Week of 3/27 Comics Review: A Study in Strange
Detective Comics #1083 written by Ram V with art by Riccardo Federici and Stefano Raffaele
“People shouldn’t have to look up for hope and salvation. They should only have to look around.”
Ram V’s run on Detective Comics is quickly approaching the endgame with the conclusion of the three-part Elegy in the Sand. As Batman continues his journey through the desert Aras, confronted by demons both familiar and unfamiliar. Since the beginning of his run, Ram V has been externalizing Batman’s demons and bringing his mythology to the forefront leading the reader to question whether the Caped Crusader was more god than man. This issue brings that question to a close, and, in a way, caps off the writer’s thesis on the character. Batman is a hero because he is one of us. Deprived of his wealth, his strength, and his friends, he will still make the choice to do the right thing with nothing more than what any of us have. His obligation to act against injustice is the same one that we all share, and it’s that core which will drive him into the final arc. The art has been consistently fantastic throughout this run, but Riccardo Federici deserves special mention for his work on Elegy in the Sand. There’s an unusual sense of realism in the art as Bruce crosses the desert in his torn costume. Every cut and bruise is illustrated in painful detail and leaves no question about the pain and exhaustion weighing Bruce down as he struggles to reach the end of his journey. The Azmer and the demon Barbatos, two creatures which have haunted Bruce throughout the run, are depicted here as hulking, muscular figures. They tower over our hero and prove to be daunting threats throughout the story.
Of course, Elegy in the Sand has not been the only story in the past three issues. Each issue has contained a story running parallel about the Gotham without a Batman that has been taken over by the Orgham family. Part three of Gotham, Forget Me Not is written by Ram V with art by Stefano Raffaele. If Elegy in the Sand is a sweeping tale of mythology, Gotham, Forget Me Not is a crime noir as Renee Montoya, in her alter ego as The Question, stalks the streets of a Gotham that has forgotten Batman while she investigates the murder of a fellow police officer. Raffaele’s art is full of shadows and edges contrasting with the utopian city the Orghams claim to be building. Homeless people and young delinquents are being rounded up and either imprisoned or killed to make the city more “beautiful” for Gotham’s elite. But the city weeps for its forgotten children and Montoya is the only one who can hear its voice. Her investigation finally bares fruit, but the consequences of her chosen identity prevent her from acting on her findings. As she says, “The truth might be mine... but justice belongs to the people.” Heroes are advocates and protectors but it is not their role to make our choices for us. They give us the freedom to make our own choices and remind us that the easy option is not always the right one.
But wait, this issue isn’t one story, nor is it merely two! Part three of the backup story His Name Was Doctor Hurt written by Dan Watters and illustrated by Jorge Fornes also reaches its conclusion as the remaining victim of one of Batman’s most vile enemies struggles to complete his mission. Doctor Hurt featured heavily in Grant Morrison’s run back in the late 00’s and has made sporadic appearances since then as one of the most evil villains in comics. Rather than a force of chaos like the Joker, Hurt is calculated and resourceful and seems to have little motivation beyond maximizing the pain and suffering in the world. Each of his victims that we’ve seen in this story have been broken in cruelly specific ways for seemingly no reason. The backup does not end with a victory, but it does end with an understanding as our protagonist, who ends up tying into Morrison’s run, finally grasps another layer of the evil doctor’s motivations. Thankfully, the main story does show Hurt getting at least a little comeuppance as the ultimate difference between him and Batman is laid bare. Once both men have been stripped of their resources and their plans have fallen to pieces, only one possesses the will to keep going.
All in all, this issue is yet another fantastic piece of a run which will surely be remembered as one of the classic Batman tales. If this sounds like it’s for you, don’t even think about picking up this issue. Go back and start reading from issue 1062. This entire run has been one sprawling epic examining Batman in fascinating new ways and this issue is made all the stronger by the twenty plus issues preceding it.
Ultimate Spider-Man #3 written by Johnathan Hickman with art by Marco Checchetto
“...[T]he world is a strange and dangerous place these days.”
The all-new, rebooted(?) line of Ultimate universe comics continues with the third issue of its flagship title. In this universe, Peter Parker is in his late-thirties/early-forties, married, has two kids, and has never possessed the proportional strength of a spider. This is all linked to a larger plot by The Maker, and evil alternate universe version of Mr. Fantastic, to create a universe without any superheroes. However, a forgotten group of heroes have begun their own machinations to restart the Age of Marvels and bring the rest of the heroes back. None of this occurs in any of these three issues, but the consequences of Ultimate Universe echo through the book in unforeseen ways. Not the least of which is the fact that Peter’s Uncle Ben is alive while his Aunt May has died a year prior. Ben works at the Daily Bugle as Peter’s boss alongside his best friend J. Jonah Jameson, at least until one Wilson Fisk buys the paper and begins declaring edicts on what will and will not be covered. The two immediately walk out and resolve to start their own paper, but Peter, needing to support his family, is resigned to stay and weather out the storm. The first issue ends with Peter, who has been living the last two decades haunted by the feeling that there was something he was meant to do, looking at a mysterious orb containing a message of a forgotten world and a spider. Finally given an outlet for his feelings, he accepts the gift and gains the power of a spider.
The second issue follows Peter getting his sea legs as a vigilante. The wry, snarky humor is still there, though perhaps a bit more self-deprecating than before. Despite being older than usual, he is still naive and willing to see the best in anyone, a fact of which several criminals are eager to take advantage. He has the power and a vague sense of purpose and responsibility, but no plan other than to jump into the fray. In the meantime, a mysterious vigilante in green, high-tech armor has begun to bomb locations owned by Wilson Fisk. The second issue ends with Peter’s young daughter May discovering his identity and Peter choosing to confide in her about what he’s trying to do.
The third issue picks up with MJ and Richard, the elder Parker-Watson child, commenting about how bad Peter and May are at hiding that they have a secret. Throughout the series so far, MJ has clearly seen Peter struggling with his feelings of not living up to his potential. Rather than demanding answers or telling him to get over it, she gives her blessing for him to do what he needs to, trusting that her husband will make the right choice. Peter, to his somewhat credit, seems aware of how incredibly understanding his wife is being and is struggling to balance respecting the trust she’s given him with discovering who he is as a superhero. Peter being a family man adds a dimension to the character we haven’t seen before and adds weight to each decision he makes as he is no longer the only one who has to bear the consequences. As MJ and Richard head out, Peter and May make for the roof and begin working on designing Peter’s costume as his mysterious benefactor had also entrusted him with a high-tech shapeshifting suit which can be customized with a thought. Peter cycles through costumes while May gives feedback including a funny scene that is sure to make any 90’s kids feel old. In the meantime, Ben and JJJ find a dilapidated wreck of an office out of which they plan to start their new paper. The dynamic shared by two of Peter’s father figures is fascinating and often feels like the highlight of each issue. They have an easygoing banter which bespeaks the years of friendship unseen by the reader. JJJ is still a tightfisted blowhard, but is also driven by a righteous desire for truth. Ben, on the other hand, is stoic and pragmatic, but filled with gentleness to his close friends and family. Their story is compelling enough to easily be its own book, and I hope we continue to see more of them as the story unfolds. It is these two who finally put Peter on the trail of Green Goblin as they pose questions to which Peter can’t help but want answers. After a few days awkwardly staking out a potential target site, Peter finally gets good luck as he intercepts the new Green Goblin in a fight with what appears to be a version of Bullseye. After fending off the assassin, the two vigilantes have a surprising encounter, setting the stage for the next issue and possibly the series as a whole.
This run has proven to be a refreshing take on the character. Family-man Peter is a joy to read and the dialogue shines with banter between his family members. After nearly twenty years, it’s great to see Peter being freed from his perpetual early-twenties and allowed to be an adult. His age adds a subdued quality to his wit, giving this version of the character a familiar yet distinct voice that makes him feel like more than just an alternate counterpart. It says a lot about the book that the scenes of Peter in his daily life are even more compelling than his super-heroics, not that those are anything to sneeze at. Marco Checchetto continues to be the king of Marvel’s street level books and it’s great to see him back on a Spider-Man book. His eye for detail, from Ben’s smirk when he banters with JJJ, to Peter’s strange costume writhing around his face, makes everything feels textured and grounded in reality. It goes a long way to selling this universe as one without superheroes. There’s a grit to the world, but it still doesn’t feel like a “bad timeline”. It just makes the world feel a bit more like ours. Ultimately (get it?), the charm of this book may be that for the first time in decades, the world in these comics actually does feel like the world right outside our windows. There’s darkness and corruption, but there is hope too, even without brightly colored characters swinging around buildings. Seeing how the world reacts to the sudden influx of superheroes is going to be an interesting journey.
All-in-all, if you’re looking for a Spider-Man book that truly lives up to the promise of an everyman hero, a book full of fun, fleshed-out characters, or a superhero story with an underlying layer of sci-fi weirdness, I can’t recommend this book enough. Hickman and Checchetto are firing on all cylinders and I can’t wait to see where the story goes from here.
The Six Fingers #2 written by Dan Watters with art by Sumit Kumar
The serial killer saga running alongside The One Hand by Ram V and Laurence Campbell continues in the second (also kind of fourth) issue. In the first (also kind of second issue) we were introduced to Johannes, a young factory worker with a compulsive need to control his environment. Readers saw just how badly his compulsion undercut his life, leading to his girlfriend breaking up with him and to a reckless decision at a factory getting him exposed to radiation and being put on leave for treatment. He’s given pills to stop the effects of the radiation, but it’s too late to prevent the growth of a small, sixth finger from his right hand. Just when it seems like things couldn’t get worse, Johannes is plagued by a nightmare in which his gruesomely butchers a random person. He wakes up to find himself standing shirtless over the corpse and in the middle of writing strange symbols on the wall with the blood of the victim.
The second issue picks up with Johannes returning to the scene of the crime. He is aware of the existence of “The One Hand Killer” and the supposed copycat who appeared a few years later. However, he has no connection to either of these people nor to the man who has just been murdered. Lost and confused, he wanders into an art gallery his ex-girlfriend had taken him which featured artwork inspired by the killer. As he observes the art hoping to unlock some sort of clue, he is approached by the curator of the exhibit, Ada, and engages with her in a conversation of whether or not some things are beyond knowledge and logic. Johannes argues that everything, even dreams, have an underlying logic to them if one has the will to discover it. However, that night he has a dream that seems to have a hole in it. He pushes through the hole and finds himself very much awake and at the scene of yet another murder. He flees the scene and finds himself back at the art exhibit. This time, his paths cross with The One Hand protagonist Ari Nassar. For a brief moment, Johannes considers turning himself in and letting the detective help figure out what’s been happening to him. However, something pushes Johannes away and he resolves himself to solving his mystery alone.
That summary may sound short, but those scenes are full of philosophical gems as we learn more about what makes Johannes tick. He is desperately trying to assert control over his chaotic life which seems to be a losing battle as the line between dream and reality becomes increasingly blurred. A story recounted about something his father told him about dreams becomes a motif throughout the issue as Johannes struggles to determine what is real. He’s a compelling character, rude and anal-retentive, but sympathetic enough to make the reader want to root for him as he pursues the truth about himself. Johannes, much like his perception, is blurred. Is he a decent person being manipulated by unseen forces, or is he a remorseless killer desperate to deny his own crimes? That question seems to be what is driving the book at the moment and it remains to be seen where the answer lies. I continue to be amazed by how well The One Hand and The Six Fingers play off of each other. Each time we see the books intersect, it feels meaningful without feeling staged. Ari and Johannes are two people living in this world whose lives are being consumed by this mystery. It’s natural for them to be in each other’s orbit, though Johannes has the advantage of knowing about the famous detective while he’s merely a nobody far beneath Ari’s radar at the moment.
Sumit Kumar’s art adds even more depth to the world. From the art gallery to Johannes’ feverish dreams, the art feels consistent with The One Hand while also crafting a distinct identity for the book. It’s aided by Lee Loughridge who is the colorist for both books. While the protagonist in The One Hand walks through a world of shadows, The Sixth Fingers is far brighter. Unlike Ari, who seems alone in a world of shadow, Johannes is in a world filled with people. There is nothing singular or special about him, just another face in the crowd. The two books continue to complement and contrast each other in interesting ways with the promise that their duet will reveal a third narrative.
I’d highly recommend this book to anyone looking for a trippy neo-noir crime drama. Unlike its grim and gritty sister-book, this one leans more towards sci-fi dystopia. Reading both books helps the reader understand the facets of this strange future and builds suspense as we follow its elaborate game of cat and mouse to the conclusion.