In comic books, soldiers pull off impossible suicide missions with nothing but their wits and the resources they find around them. In comic books, men in colorful costumes save the day and get the girl. In comic books, there are no consequences; those that die rise from the grave to fight another day. In comic books, might makes right, and the real world doesn't intrude on the fantasy.
Obviously, those statements aren't true at all, but they do apply -- to a certain extent -- to a more innocent age of comics storytelling. Writer/illustrator Darwyn Cooke takes a look at that Silver Age and breaks those rules. He hurts beloved characters, obscure and otherwise. He allows time to unfold at a normal pace, not the one that grants heroic icons seeming immortality. Is DC: The New Frontier ground-breaking? Not so far, no. The tone of the here is similar to that of Kingdom Come, for example (though the pacing is radically different). But Cooke offers up some compelling and surprisingly grounded storytelling, and his simpler style maintains a nice balance with the darker elements found in the plot.
Somewhere in the Pacific Ocean in the wake of the Second World War, the O.S.S. squad codenamed the Losers makes its way to an uncharted island for a rescue mission, but before long, it becomes clear that they'll be in need of rescue themselves. In 1952, the age of the mystery man comes to an end with the death of Hourman at the hands of police, and the resignation of the majority of other super-heroes... save for a certain stubborn Dark Knight in Gotham City. And in 1953, a young pilot named Hal Jordan is forced to choose between his principles and his future when he lands behind enemy lines in Korea.
Though the style can be traced back to Alex Toth and was popularized by Bruce Timm, Darwyn Cooke is the king of pop noir comic art these days. He cemented the reputation with his work on Ed Brubaker's Catwoman and the Selina's Big Score original graphic novel, and DC: The New Frontier will serve to remind many of the strength of his place in the industry. His foray into war comics in the opening chapter of this first issue is exciting and shows off another side to his work. I'm reminded of the late Jack Kirby's work in particular throughout those pages. I'm particularly struck by the innovative quality of his work on the cover. The sketchier quality of the exterior illustration makes it look like something of a collage, but it's a lovely, frozen moment of a terrifying scenario.
The story is barely underway by the end of this first issue, and how the disparate plotlines -- though two are liked thematically -- connect isn't at all clear yet. But there's no denying that I'm intrigued and eager to learn more. Cooke is carrying on a strong tradition established by such creators as Frank Miller, Mark Waid and Alex Ross, and I expect he'll live up to the high standard that's been set.
