The Coast With The Most

On the cover of the new Justice League there's some squawk about a "Bold New Era" beginning. Only fifteen issues in, DC surely doesn't mean to imply that they were faking it during the ostentatious New 52 relaunch, right? Well, not quite. But the first story arc, written by Geoff Johns (The Flash) and drawn by Jim Lee (X-Men) often felt like Superman, Batman, and the rest of DC's best were action figures, getting a perfunctory crash-together by bored toddlers.

It was entertaining, pretty- and little else, despite the appearance of alien dictator Darkseid. That said, the more I chomp on this phenomenon, the more I realize the initial Justice League outing was simplified for as large an audience a possible- especially kids and teens who'd seen the recent Batman and Green Lantern films.

But now, with the visual fireworks of artist Ivan Reis in play, this is indeed a different, more fan-friendly League. Reis helped relaunch Aquaman last year, dazzling fans with a Johns-scripted tale of undersea cannibals (that revitalized the hero like never before). Here, we begin a cross-over with that title in which fish are seen leaving the Atlantic Coast in droves. A great opening page, forbidding and atmospheric, that brings us to test missiles blasting off from an aircraft carrier ahead of schedule. They zoom to the bottom of the Atlantic, hitting the fabled spires of Atlantis.

Action, we expected. Next, however, come the Earth-bound displays of personality that make us root for heroes like Superman and Wonder Woman. "Right in this room," says Big Blue, "I thought about giving up Clark Kent completely. But I like being Clark Kent. I like who I am and who my parents were." And, about whether or not to wear a mask, like Batman, there's this incredible line: "I'd rather good people trust me than bad people fear me." This is essential Superman speaking, whom we'd thought lost as the New 52 proceeded apace with endless intergalactic hay-makers.

Not to worry, those of you uninterested in seeing Clark and Diana wear glasses, sip wine, and revel in their anonymity. Once Atlantis counterattacks, hitting Metropolis with a tidal wave (Reis is at his astonishing best here), our heroes zip to the city's defense. Also, the personal is layered throughout the widescreen, as reporter Lois Lane notices that Wonder Woman is awfully quick to Superman's side.

Even the minor scene where Batman chases and disarms the Scarecrow's thugs (in boats, under the Gotham Bridge) is beautiful. Reis, who years ago polished his muscular style on the brightly-lit Green Lantern, seems particularly thrilled to draw the Caped Crusader. Fighting for just a few panels, he's as acrobatic as he is unholy. Then Aquaman intervenes, and we overhear a few cops try to bring him into their squalid little locker room: "Oh, yeah, sure. He's got an Aqua-Signal that throws fifty pounds of fish food into the bay whenever a sailboat capsizes." Yet when his ravishing wife Mera arrives, they haven't much to say. "Speechless?" she inquires, "Or just a little wet, I guess."

This first issue of "Throne of Atlantis" leads directly into Aquaman, also out this week and welcoming new series artist Paul Pelletier (She-Hulk). We learn that Prince Arthur himself wrote up the plan of attack that his brother now uses against the entire East Coast. In Johns' hands this premise captivates, though it owes much to Mark Waid's 2000 JLA story "Tower of Babel." More than likely, the heavyweight scribe is well aware of this. He might even be teasing us, chumming the water so we sink our teeth in.

Two by Johns

I've mentioned superstar DC writer Geoff Johns in other posts, but have yet to address his work directly. Today, August 29, 2012 presents a perfect chance to correct this oversight. Two of his New 52 titles have dropped into my hot little hands, and I'd be a prude not to discuss the supposed smooch-fest that is Justice League 12.

Last week, friends forwarded to me a shot of Superman and Wonder Woman lip-locked, asking my opinion. I realized, "DC wants mainstream news outlets reporting this, and so they are." But why? People like me would be reading comics if they were printed on toilet paper, and have seen this kiss before. Hell, we've even seen the tale in which Princess Diana and Clark spend a thousand years trapped together in a medieval world, in the throws of all-or-nothing passion.

No, it's everyone else, readers of one or two comics provided they can afford it, who matters to DC in this case. The publisher took a great risk, after all, in relaunching their entire Universe and reestablishing their characters from scratch. The New 52 is a more diverse Universe (so DC announced last November), featuring a fuller spectrum of minority heroes, and a better representation of gay and lesbian characters.

Overall, the New 52 has been a critical and financial success. In seemingly unrelated news, President Obama came forward in unequivocal favor of gay marriage earlier this year. Marvel, DC's main competitor, snatched some of that spotlight by wedding gay X-Man Northstar to his lover Kyle. DC, not to be outdone by the feats of minor characters, made more noise- I mean news- by saying that one of their MAJOR characters was gay. Um... alright.

What is this in front of me? Is DC trying to assure homophobic readers that their comics are safe? Possibly. As a fan of great stories no matter who's in them, such cynicism doesn't interest me. Johns (lest I forget whom this post regards) is an exceptionally thoughtful, not to mention careful, writer. Rather than flip a status quo because it's in need, like a wool blanket in April, he brings elements into play because he has plans for them.

This kiss heard round the world comes at a time when DC's icons, Superman especially, face accusations of being shallower than their counterparts from the "Old 52." Some fans find them less engaging, and less human, in their exploits. And yet, this Justice League tale, drawn by Jim Lee (and nine inkers, which may be a record), presents a young team coping with the stress of public disapproval.

Caught on film fighting each other, Green Lantern and Wonder Woman both take drastic measures to ensure the League's future. One quits, opting to focus on the cosmic threats that his ring is better suited to handle. The other severs contact with the first and best friend she's made since leaving Paradise Island, Steve Trevor. As the League's government liaison, Trevor helped build the heroes' good reputation.

A recent misadventure, against the villain Graves, leaves him near death. To Wonder Woman's claims that she's blinded him to the dangers they face, he says, "I thought you weren't like everyone else. I thought you didn't think I was a puppy dog following you around."

A fairly organic lead-in to Superman and Wonder Woman discussing (by moonlight) how superheroes can share their lives without destroying loved ones. Johns does fine here what he does with excellence elsewhere- make old ideas fresh, familiar poses startling, and comics something to be thrilled at by just about anyone.

Aquaman, strangely enough, is the character most benefiting from Johns' talent at the moment. The Justice League's walking sight-gag up until last fall, Atlantean ruler Arthur Curry now stars in a no-nonsense action series that one doesn't so much read as snort.

Since the first issue, Johns and workhorse artist Ivan Reis have given Aquaman the bold, cinematic treatment he's lacked for decades. The current issue is the penultimate chapter of a story called "The Others." In it, Arthur's wife Mera finally meets the rough and ready squad of adventurers who know her husband better than anyone. No, not the Justice League, but a huntress named Ya'Wara, a hooded soldier called the Prisoner, a Russian spaceman known as Vostok, and the Operative, who could very well have escaped from G.I. Joe.

Together, they battle Aquaman's nemesis Black Manta for possession of a trident that's one of several weapons said to have destroyed Atlantis. Like most summaries of Johns' scripts, however, I come up short in the face of what an addictive reading experience he creates. Reis, a penciller of muscular grace in the John Buscema range, fills his panels with sinewy dynamite. The action unfolds like a legend in the making, and goes by way too fast. To accuse other creators' work of being a fast read can be insulting. But like literature's best scribes, Johns writes for himself. In doing so, he manages to never insult us.