Matt Wagner tackles mainstream super-heroes in a story that features three icons of comicdom, and Randy and Don share their thoughts on Wagner's Trinity.
Don:
When one thinks of Matt Wagner, one thinks of such comic properties as Grendel and Mage, but this summer, this unconventional creator turns his attention to three of pop culture's best recognized icons: Batman, Superman and Wonder Woman.
Randy:
Trinity will hit stores in June as a prestige format, full-color project, but what Don and I are looking at is a black-and-white photocopy pre-release copy. That means that we don't really get the sense of the colors or the no-doubt solid production values of the final version, but what we have in front of us certainly gives reason to be optimistic about what we'll eventually see.
Batman/Superman/ Wonder Woman: Trinity #1
written & illustrated by Matt Wagner
scheduled for released on June 18
Don:
An organization known as the Purge, led by one of the world's most devious and resourceful villains, is collecting weapons, and at the top of its shopping list is a humanoid powerhouse, a tycoon's dirty little secret. The Purge's leader is aided in his quest by a mysterious and angry young woman of remarkable skill and strength. Together, they represent untold danger and power, and they'll cause a trio of young heroes more trouble than they might be able to handle.
Randy:
Though this project is called Trinity, this first issue seems to me to be far more focused on the interaction between Superman and Wonder Woman. Oh, Batman makes an appearance, and a fairly important one, but it's the relationship between Wonder Woman and Superman, who have never met before, that seemed like the strong point of the story so far. At any rate, it's clear that Wagner is approaching these characters early on in their careers, but he still treats them as though they have already built up their icon status.
Don:
At first glance, Wagner's linework is simple, capturing the archetypical nature of the title characters quite well. His depiction of the characters puts me in mind of the work of Frank Miller and Howard Chaykin. But beyond the towering figures of the story lies some wonderful work with perspective. Wagner brings the sleekness and affluence of Metropolis to life. There's a dynamic flair to the slender buildings reaching for the heavens and the rails that rush in between them. The visuals on this book are stunning.
Randy:
Wagner's artwork is a rare treat, made all the more so by the fact that his current work is more polished, reflecting his years of experience, but still has the energy and stylistic flair that he brought to early work like Grendel and Mage. I'm reminded of everyone from Tim Sale to Rick Burchett to Tony Harris, among others, and Wagner brings an approach to these characters that is familiar and fresh at the same time. His work on Metropolis, as Don notes, is something of a standout, but what strikes me are some of his action sequences, which are fluid and exciting. In particular, it does this old school super-hero fan's heart good to see Superman and Wonder Woman fighting alongside one another so effectively.
Don:
Continuity fanatics might not be enthused by the plot, which ignores some post-Crisis elements (most of which involve Wonder Woman) and seems to introduce a new villain. One shouldn't get too hung up on continuity, though, as there's a fun and moody story to be enjoyed here.
Randy:
I'm in agreement with you that it shouldn't be a hang-up, but... Wagner does sort of play fast and loose with the continuity elements here, playing around with both pre-Crisis and post-Crisis elements. The result can be confusing if you try to figure out how this fits into continuity, and the much-hyped "Superman and Batman's first meeting with Wonder Woman" is probably not the best mindset to approach the series with. Instead, think of this as about as in-continuity as your average episode of Smallville and you'll have a much better time.
Don:
Wagner balances the simplicity of the super-hero storytelling of yesteryear with a sharp, clever quality in the dialogue and narration. The writer/artist employs the parallel structure of the classic team-up tale -- for every hero, there must be a corresponding villain -- but he also focuses on how the title characters react to one another. On the surface, this first issue is about establishing the players and plot, but in reality, it's really about how Superman views two radically different colleagues. He pities the Dark Knight, while his new Amazonian friend instills a measure of awe and fascination. He has more in common with Bruce Wayne -- human upbringing and a sense of isolation and loss -- but he feels more of a kinship with Diana within minutes of meeting.
Randy:
You're right, there's a lot going on here that might not be immediately obvious, and Wagner has crafted a tale worthy of the prestige format. His choice of villains and story structure hearken back to Silver Age cliche, but the modern narration and characterization, not to mention the sheer style of the piece, make it anything but a retro curiosity. Indeed, I find myself anxiously awaiting the chance to see all three parts of Trinity in full color.
Don:
Trinity captures both the fun of Silver Age super-hero storytelling and an epic feel, while still taking the time to focus on the characters even more than the larger-than-life action.
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