Posted by: Graeme McMillan on September 9, 2007
Let’s get the obvious thing out of the way first: There is no reason for the BLACK CANARY WEDDING PLANNER to exist. I mean, ignoring the obvious cash-grab element and desire for DC to try and fill the shelves as much as possible, of course, this is a book that seems to have been brought about purely out of a desire to – as editor Jann Jones has said at numerous occasions – create the girliest comic possible.
It’s not the girliest comic ever, if you’re really wondering.
It’s also remarkably slight – there’s nothing resembling a real plot here, beyond “Dinah has to organize her wedding! Oh noes!” and even that gets no kind of resolution whatsoever, because – hey! – there are two more special one-shots to get through before the wedding itself. What we’re left with is more or less an illustrated checklist of things that are involved in wedding planning, with some cheap jokes thrown in. And yet, if you take it in the (throwaway, all-in-the-name-of-fun) manner in which it’s intended, it’s kinda Okay.
There are gratuitous parts, of course – Vixen, Wonder Woman and Dinah trying on sexy lingerie (with, interestingly enough, especially unsexy art including characters with faces too small for their heads and a weirdly misshapen Wonder Woman) got a particularly withering look from Kate – but J. Torres’ script is charming enough, and co-artist Christine Norrie’s interludes offer some stylish moments in an otherwise fairly generic-looking book. Don’t get me wrong; I still expect there to be a “surprising” twist where Green Arrow gets killed at the ceremony and this issue to be reduced to a cruel bait before the switch, but right now, it’s light and fluffy and, surprisingly, not as bad as it could’ve been.
INFINITY INC #1, meanwhile, isn’t as bad as it could’ve been either, but also isn’t that good, either; much more complicated – and reliant on the reader having read 52, despite the attempt at a recap page at the start of the book – than any first issue should be, Peter Milligan’s script substitutes cynicism for characterization and confusion for plot. While that worked for him in his Wildstorm series The Programme, it fares less well here, perhaps because there’s nothing here that matches the sense of humor from the former series, nor enough of a throughline to pull fans of the storyline from 52 into attempting a second issue. More than anything, it read like a comic written by someone who was given the assignment of writing something that those weird emo kids would like, even though they’re 40 years old and would rather listen to John Denver. Disappointingly Crap, given the creators involved.