The post Comic of the Week: “Batman/Superman/Weird Al: World’s Weirdest” appeared first on G33K-HQ.
]]>
“Batman/Superman/Weird Al: World’s Weirdest” is written by Mark Waid and Tyrone Finch, with Dan Schoening and Fico Ossio on the art, Luis Antonio Delgado on the colors, and Steve Wands as the letterer. That’s an all-star team already, and they bring their A-game. (Weird Al himself is included in the credit for “vibes,” which is pretty fair.)
Comics with celebrity crossovers can often be hit-or-miss. While the best seamlessly integrate the guest star into the plot without feeling out of place, others have a random celebrity show up to save the day while the superhero the comic is about mostly provides commentary. “World’s Weirdest” may put Weird Al on an equal level with Batman and Superman, but it does so in an entertaining way that makes sense narratively.
“World’s Weirdest” is an appropriate name for the comic (as well as a play on “World’s Finest,” but you already knew that), as it’s a tribute to, well, being weird. Comics have plenty of weirdness that we can all enjoy, but even beyond the pages, it’s important to enjoy the goofier things in life (like the music of “Weird Al” Yankovic). The comic highlights this message by showing us the greatest threat to weirdness and comics alike: mundanity.
So, what’s the plot? Without spoilers, “World’s Weirdest” kicks off as a plague of normality infects one of the weirdest parts of the DC universe: the 5th Dimension, home of interdimensional imp Mr. Mxyzptlk. He turns to Batman and Superman for help, but they quickly discover that only one man is weird enough to be immune: “Weird Al” Yankovic.
That covers the basics. The rest is a fun, comedic adventure where the heroes (including Al) have to figure out what’s going on and save the day, filled with entertaining character interactions and a great tribute to being weird. (Also an accordion-themed homage to “The Devil Went Down to Georgia,” of course.)
Mark Waid and Tyrone Finch keep the comic running at a good pace, with engaging and entertaining dialogue throughout. A personal favorite is Batman telling Weird Al that Robin loves his albums, and Batman tolerates them, but Al himself gets plenty of good lines. The writers not only have the voices and personalities down for DC characters like Batman and Mr. Mxyzptlk, but they also capture Al’s nicely.
Most notably, Weird Al fans will notice more than a few references to Al’s songs and recurring gags, from Harvey the Wonder Hamster to his taste for Twinkie wiener sandwiches to getting “the room next to the noisy ice machine for all eternity” (from the song “Everything You Know is Wrong”).
As it’s just one issue, “World’s Weirdest” only has so many pages to tell a complete story, but it doesn’t feel rushed. There’s enough time to set the stakes, bring the characters in, and carry the plot through to a satisfying ending while staying consistently entertaining across each page. Without spoilers, the antagonist behind the plot is a great choice, avoiding the usual go-to baddies Batman and Superman face and using a thematically appropriate foe with enough power to be a proper threat.
Above all else, “World’s Weirdest” is a story about embracing the things that make us weird. When Weird Al talks about spreading the message “that it’s okay to be weird,” I felt that to my core. This is a comic that embraces the strangest and goofiest aspects of comics while encouraging us to love what’s weird about ourselves.
How about the artwork? “World’s Weirdest” features illustrations by Dan Schoening and Fico Ossio, with colors by Luis Antonio Delgado bringing it all together. Their styles match nicely, so there are no jarring shifts between artists, and it’s visually engaging all around.
Schoening and Ossio do a great job bringing the comic to life, from the utterly insane world of the 5th Dimension to the streets of Metropolis. The 5th Dimension in particular is overflowing with detail that makes it feel alive, otherworldly, and absolutely bonkers, featuring sights like a car that’s also a giant hatching egg, a pink elephant on a large ball, and what appears to be a building-sized croissant… and that’s just in the background. That makes the shift all the more jarring as the world is overrun with mundanity, heightening its impact.
Similarly, the artists do a great job with the character designs. Batman, Superman, and all the other recognizable comic characters already have familiar silhouettes, and the artists capture them nicely with a good balance of detail. Weird Al himself gets a slightly exaggerated design that brings out his features well, like the shape of his face and his iconic Hawaiian shirts.
During the final showdown, the artwork really goes all-out. Music flies across the page as the landscape shifts, and the panels themselves bend as space warps around them. It helps maintain the pacing for the comic while helping the core moments land all the better and adding intensity to each scene, as a good comic clash should.
Delgado’s color work does a great job setting the atmosphere as well, shifting between bright, vibrant colors and a dull gray as needed.
When normalcy overtakes an area, it becomes saturated with dark shades of brown and gray, which makes the brightness of Al’s shirts and Superman’s blue stand out even more. It contrasts well with the bold, expressive colors of the 5th Dimension, as well as with the familiar tones of Metropolis, making the shift all the more notable.
Likewise, when Al plays his music, the glowing tones of the tunes nearly fly off the page, illuminating the area as we read. The color work brings out the artwork and enhances each scene, keeping us drawn in to the moment and feeling the mood each moment conveys.
If you’re a fan of “Weird Al” Yankovic, you probably already bought this comic and have it sitting right between your old VHS copy of “UHF” and that one concert t-shirt that’s completely worn out but you can’t bring yourself to throw out. (We all have those, right? It’s not just me?)
But if you’re on the fence, “World’s Weirdest” is absolutely worth reading, with fantastic work from the writers and artists alike. It’s a great tribute to Weird Al and all the weird things that make comics so much fun and life more bearable.
The post Comic of the Week: “Batman/Superman/Weird Al: World’s Weirdest” appeared first on G33K-HQ.
]]>The post Comic of the Week: “Marvel/DC: Spider-Man/Superman” #1 appeared first on G33K-HQ.
]]>
Marvel Comics and DC are teaming up again, with Spidey and Supes joining forces. While we missed the timing to include March’s “Superman/Spider-Man” team-up, this comic continues the crossovers, just with the order reversed on the title. So of course a cross-company team-up like this has to be our Comic of the Week.
“Spider-Man/Superman” is an anthology of team-up stories, so it’s written, illustrated, and colored by multiple creators. Among the credits are familiar names like Geoff Johns, Jason Aaron, Dan Slott, and Stephanie Phillips, to name a few writers, as well as artists like Humberto Ramos, Todd Nuack, and Sara Pichelli. Credit must also be given to the colorists, including Muntsa Vicente, Brad Anderson, Federico Blee, and Louise Simonson. There’s only one name consistent between each and every story, and that’s Joe Caramagna as the letterer.
So, with all those talented creators on the team, how is the comic?
Each story in “Spider-Man/Superman” presents different scenarios where the characters meet, and gives them all chances to shine and showcase their personalities. The largest story has Brad Meltzer, Pepe Larraz, and Matthew Wilson on a team-up tale called “Our Kryptonite,” but others feature team-ups with Spider-Man Noir and the early version of Superman, Gwen Stacy and Lana Lang, Miles Morales and Superman, and even Jane Foster as Thor teaming up with Wonder Woman.
The details for each story differ from writer to writer, featuring different types of team-ups. We have Spider-Man and Superman trapped by villains and talking each other through it, Ghost Spider and Supergirl forming a rivalry, The Thing being inspired by Superman to do more than clobber, Steel and Thor meeting up, and more. Each one gives their respective characters an opportunity to show off their personalities and bounce off each other in ways we’d never get to see outside of this crossover, like Superman giving Miles Morales a pep talk, while highlighting each of their strengths.
The entries vary in length, with the longest being over 20 pages, and the shortest coming in at two. The writers and artists make full use of however much or little space they have, telling a satisfying story or snippet in each one.
The key to this lies in the characters above all else, as the comic highlights what makes each of them timeless. Superman inspires. Spider-Man perseveres. Wonder Woman sees the good in everyone. The stories that capture these core elements hit the key emotional beats they need to showcase the characters and the love that the writers and artists hold for them. Some do it better than others, but overall the writers nail it more often than not.
By focusing on these central character traits, “Spider-Man/Superman” manages to tell multiple character-driven stories that carry emotion along with the action. Sure, seeing Superman breaking free of the Venom symbiote is cool, but it’s the conversation before that, where Superman and Spider-Man share what motivates them, that makes the story land. The balance of character dynamics and team-up action make the stories land, while focusing on the timeless elements of the heroes.
Each story also features a different artist, showcasing an array of styles. Pepe Larraz, Gary Frank, Todd Nauck, and Sara Pichelli are some particular stand-out artists, but credit must be given to all of them. The art styles tend to match the stories nicely, with artists that can bring out both the action and the emotional moments.
For instance, Marcos Martin and colorist Muntsa Vicente bring Dan Slott’s Spider-Man Noir/Superman story to live with a distinct style, utilizing bold designs that go light on the detail to make characters pop more while looking similar to older art styles that suit the time frame of the comic. Martin occasionally shapes the comic panels into letters to emphasize the sound effects, blending the diegetic sound with the framing of the comic to add a nice emphasis to the moment.
While opinions will vary about which story is best, and some work better than others, there’s a little something for everyone. Obviously, Spider-Man and Superman fans will get the most out of the comic, but it also takes the time to highlight other iconic characters. (Personally, my favorite story is “Our Kryptonite,” while my least favorite is the Ghost-Spider/Supergirl team-up “Remarkable,” but even my last pick still has plenty to appreciate.)
Overall, “Spider-Man/Superman” is a rare and welcome crossover. It features works of passion by creators that love the characters, and takes the time to focus on the elements that have made the characters timeless. If you’re a fan of either Superman or Spider-Man, or just want to get a Marvel/DC crossover for your collection, you’ll want to pick up this comic.
The post Comic of the Week: “Marvel/DC: Spider-Man/Superman” #1 appeared first on G33K-HQ.
]]>The post Comic of the Week: “Superman: Lex Luthor Special” appeared first on G33K-HQ.
]]>
Lex Luthor, Superman’s iconic archenemy, hasn’t exactly been himself lately. By that, I mean he lost his memories and is realizing that the person he once was, someone he has no recollection of ever being, was something of an awful person.
So what happens when the Justice League needs his mind?
That’s the question Joshua Williamson asks in this special issue, which explores Lex’s past, his current state, and whether any good could come from the old Lex returning.
Story-wise, the plot of “Superman: Lex Luthor Special” is pretty straightforward… as far as comic stories go. Lena (Lex’s daughter) and Mercy have been trying to find ways to restore Lex Luthor’s memory, but he’s not sure if he even wants to remember, given everything he heard about his past self. But when Mr. Terrific encounters a problem that requires a mind that’s as dark and genius as Lex Luthor, Lex and Superman have to decide if any good can come from bringing the old Lex back.
What makes the comic work well narratively comes in two parts. First, there’s the ethical question around Lex himself – is it right to restore his memories given the harm Lex Luthor has done? Is it better for Lex to continue on as he is now, freed of his past self, or does the world need Lex Luthor?
Secondly, there’s the flashbacks that intersperse the story, giving us glimpses Lex’s childhood under his abusive drunk of a father, Lionel Luthor. It shows us that he was still brilliant as a child, and even had a love for music, but his intelligence just made his father hate him more. It’s a humanizing element for the character.
Music itself plays an important role in the comic, being used in the present to try and stir his memories, as a driving force in the flashbacks, and as another element connecting the history of Lex Luthor and Superman. In the end, it’s music that tells us (and Superman) how things have worked out for Lex.
Then we have the artwork, featuring illustrations by Eddy Barrows and Eber Ferreira, along with colors by Adriano Lucas. The ar is excellent throughout the comic, whether we’re getting the detailed, heroic action scenes of the Justice League at work or the black and white shades of the flashbacks.
In the scenes in the present, the artwork brings the characters to life with strong expressions and designs that make good use of shading to add depth and volume to the characters. It’s especially strong when we see Superman enter the scene, whether the panel has us looking up at him illuminated by the sun as he flies down over a crowd or shows us him in action with the Justice League, flying through a two-page spread as he tosses villains about.
But this is a Lex Luthor comic, and Lex himself gets plenty of focus from the artwork, including a full page showing highlights of his criminal and political career (I say acknowledging that those two terms are pretty much synonymous at this point). When we contrast that with the current Lex – his beard grown out and the creases of his face making his emotions clear, it shows us just how different these two versions are.
The flashback scenes also make excellent use of the black and white style, creating a major contrast between the shadows and light. The illustrations capture young Lex’s pain and sorrow, as well as the utter contempt on Lionel’s face, and create detailed scenes of the Smallville night that wonderfully capture the emotion of the moment.
It’s rare for changes to stick in comics, especially for iconic characters. While Lex’s amnesia was never going to be permanent, “Superman: Lex Luthor Special” gives us a look into Lex’s life and current self (a visually stunning look at that) before moving on to the next chapter in the “Superman” comics.
The post Comic of the Week: “Superman: Lex Luthor Special” appeared first on G33K-HQ.
]]>