Top 5 Comics

Batman #1-6

2012-02-17T13:58:00.000-08:00

Writer: Scott Snyder
Artist: Greg Capullo
Company: DC Comics

With the buzz around the upcoming Batman crossover "Night of the Owls" and the general notion that Scott Snyder doesn't know how to write a comic that even remotely falls into the category of bad, I decided to reassess my initial, slightly negative reaction to the book. The biggest hurdle that it had, and still has really, is simply Greg Capullo's artwork. There's no getting around the McFarlane influences that are ingrained in the line work. Yes, he has improved over the years, no question about it, but that particular comparison is inescapable and off-putting in many ways.

Breaking things down, as that's what this whole review is supposed to do, there are two problems that stand out in these six issues in regards to the art. The first one is Characters. When Capullo draws masked men and women, then we don't have a problem identifying them. Out of that context however, despite some of them looking like Sam & Twitch throwbacks, when our hero and the other members of the cast are seen together, they all have a similar structure and look. One of the best examples is in this first issue when Wayne and his family attend a Gala and are introduced to a character named Marsh who is running for Mayor. Wayne and Marsh are certainly different characters, differentiated by height, but other than that they look a lot alike. In the long run, it's a small thing, but confusing characters happens and this ultimately leads into my second problem: Clarity.

Clarity in comics is key. Being able to illustrate an action scene or whatever is occurring on panel in a way that is readable and easily identifiable is one of the hardest but most crucial things that an artist needs to be able to do. Capullo pulls this off a lot during these issues, but there are several instances where it took a minute to figure out what was happening. Now, some of that is due to Snyder's experimental and mind wonky story, which is fine and all part of the show, but there are a few action scenes that could have been much clearer.

Now that I have rattled on for two paragraphs about my problems with the art, it's inevitable that you'd think that I hate everything about it. That isn't true. One of the best features of Capullo's art is the way he makes Batman look like a badass when he's on panel. He makes the suit flow and the design work that he puts into not only the character and the tech that he uses, but in the city of Gotham as well, is great. The architecture lines up with what you expect but as you go further into the story, as you dig deeper into the nooks and crannies of this very old place, it surprises you too. I'll also point out that the design of The Owl's Talon (essentially the villain of the piece) is perhaps the best looking new villain that we've seen so far in the Relaunch of the New 52. It inherently looks cool but its also functionally menacing as well.

Enough about the art though, let's talk about the story. At this point, Snyder's track record speaks for itself. American Vampire, Detective Comics, and Severed are all amazing and should be on anyone's reading list. Batman deserves to be on that list as well, as it turns out. This is definitely a Batman book. Snyder covers all of the aspects and genres that you need and that you would expect: Superhero, Detective, Action. What makes it more noteworthy however is that he draws genre threads from his other books and injects them into the tale that he's telling. The Owl plot in particular is creepy and draws on horror, but horror that has been squeezed through a drug fueled lens and is transmuted into something out of a Stanley Kubrick film.

The imaginative ideas that Snyder has come up with here are great. He gets Batman so well and through simple yet telling ways, is able to build a world that is fun to explore. The advancement in technology that Batman utilizes, the interaction and relationships between the members of the GCPD and Batman, and the fact all facets of the character are explored seals the deal.

There are a few hiccups here and there though, the biggest having to do with a potential reveal of a grander scheme behind the deaths of Martha and Thomas Wayne. I don't actually think it will come to pass, as the randomness of their deaths feel too instrumental in the creation of the idea of Batman. That said, the idea does bring about some great flashbacks with Bruce and Alfred and the mental state that Bruce was in at that point in time, something that I don't remember being explored too often.

So yes, in a lot of ways, this seems like a continuation of what Snyder was doing in his Detective Comics run. A huge plot simmering in the background while smaller stuff boils up front, keeping our hero occupied. It's a long opening arc (still going at this point), but Snyder and Capullo have created something fairly special here. The Mystery is the fun part and that we're learning about it at the same time as Batman, and in some ways actively involved in the experience (Issue #5 with its twisty maze), just makes it cooler. If you're a fan of Snyder and you're not yet reading this, now is the time to start.

Week in Review 2/14/12

2012-02-14T01:19:00.000-08:00

Batwoman #6
Writer: J. H. Williams III & W. Haden Blackman
Artist: Amy Reeder Hadley
Company: DC Comics

While it is a little sad to see Williams take a break from the art on Batwoman, the powers that be couldn't have chosen better for a replacement. Hadley is such a talented artist. Her work on Madame Xanadu was sensational and the work for this jumping on point in the Batwoman title is just as thrilling. The way that she has her own style but is able to mirror the
tone that Williams set up (the huge double splash pages and the like) allows readers to not be too jarred by the replacement. Williams' story is solid enough, though there is a sort of throw away nature to the villain. In a lot of ways, this is a book that focuses on characters more and less on action, even though it does seem that there is something brewing in the background. The way that it's segmented into specific character sections is cool, but the main reason that this book continues to impress is that he's given people like Cameron Chase and Maggie Sawyer a book to call home.

Wolverine & the X-Men #5
Writer: Jason Aaron
Artist: Nick Bradshaw
Company: Marvel Comics

Nick Bradshaw continues to impress. Previously, Bachalo had seemed to be the guy for this book, as the oddness and sometimes outrageous style seemed to match the off the wall stories that Aaron was keen on telling. That hasn't turned out to be the case. The more traditional nature of Bradshaw's style allows a much cleaner and more approachable take on the zaniness of the book. This time out, there are quite a few laugh out loud and chuckle worthy scenes (Beast taking the kids on a field trip may have been the best), neck and neck along some generally well executed ideas. Revisiting the Brood for the thousandth time sounded boring, but Aaron created a reason for it that makes me want to know more. Aaron's simple ability to straddle the line of being funny without it becoming outright slapstick and therefore devoid of substance continues to impress. And the fact that he has endeared characters like Quentin Quire and Kid Gladiator to readers is a herculean feat I thought nigh impossible. Wolverine and the X-Men is always at the top of my reading pile, with good reason.

Batman & Robin #6
Writer: Peter J. Tomasi
Artist: Patrick Gleason
Company: DC Comics

Probably my favorite of the Bat-centric titles, Batman & Robin continues to be a thoughtful exploration of the book's core characters combined with a hearty dose of violence and mystery. Watching Damian spiral into the depths of evil has been a compelling read, as has the backstory between Bruce and Ducard. My one gripe with the whole thing is the pacing, as we're six issues in and still haven't had a new story arc to speak of. I could easily see how this could have been trimmed down, but then again, if that happened we wouldn't have gotten so much gorgeous artwork by Gleason. The powerful lines, the emphasis on character, the vibrant colors, and a whole deck full of spectacular action sequences treat the ocular orbs with such delicacy.

Secret Avengers #22
Writer: Rick Remender
Artist: Gabriel Hardman
Company: Marvel Comics

Rick Remender completes his trifecta of undercover operative books (Uncanny X-Force/Venom/Secret Avengers) with this first issue and jumping on point for new readers. I wish that I could say that it was an Ali-like knockout of an issue, but I can't. The story, which involves Super Adaptoids that hunt Avengers, is a tad on the hectic and frenetic side of table and while I typically have found Hardman's artwork always impresses, here the action sequences are tough to decipher. Remender's handle of Hawkeye and the inclusion of Captain Britain are nice touches, and the way that he's given Beast a very upbeat and SUPER science mindset makes for some great scenes. All in all though, the expectations of awesome were dashed by a mediocre outing.

Venom #13
Writer: Rick Remender
Artist: Tony Moore
Company: Marvel Comics

Venom, Red Hulk, She-Ghost Rider, & X-23 walk into a Casino in Vegas...Yeah, there's a joke there but there's also, believe it or not, a decent story in that idea too. This story, called the Circle of Four, is very reminiscent of the Midnight Sons storyline from the 90's, as it deals with Demons trying to take over the Earth. Remender's tongue-in-cheek nature and over the top sensibilities push the insanity along at a good clip and the focus on these four characters allows a more cohesive story to be told. The highlights for me were the back and forth, very adversarial, relationship between Red Hulk and Venom and the fact that Remender doesn't "Hillbilly-ize" Johnny Blaze. Moore's artwork adds another spark to the proceedings. The movement of his scratchy and distinct line work and the energy that he gives his characters make the events that much more exciting. It's a little sad that Remender is only going to be writing a few of the other issues following this one, but we'll see what happens.

Deadpool #50
Writer: Daniel Way
Artists: Carlo Barberi
Company: Marvel Comics

Having dropped off of Daniel Way's continuing adventures of the Merc with a Mouth a while ago, the hype of the Dead storyline couldn't be refused. Not that I actually think Deadpool will die or even come close to dying, but the story has too many wacky possibilities and like the Mafia, it drags you back in. Luckily, unlike a few of Way's other books, he seems to bring his A game with Deadpool. The humor that's illustrated here and the lengths that Wade goes to see himself get whacked with his over-complicated version of Chess (played his way) being the so called delivery system of his demise are satisfying. The way that Way is bringing in a lot of Deadpool's collected history gives it all more weight, especially if you've been reading the character for years. Barberi's artwork is cohesive with the story. It feels cartoony yet has a slick quality to it that allows the gags and insanity to have that quintessential Deadpool nuttery. A solid start to what could be a standout story.

Suicide Squad #6
Writer: Adam Glass
Artist: Tom Raney
Company: DC Comics

From dialogue box numero uno, this issue gets off to a smashing start and only goes up from there. Glass "gets" these characters. He makes them cool, allows the crucial aspects of the name Suicide Squad (the focus is on the Suicide part) to shine, and is armed with a biting sense of sarcasm. This jumping on point sees our motley crew take some leave to hunt our pal Harley Quinn throughout Gotham City while at the same point delving deep into the psyche of our demented cheerleader with a sledgehammer. These two story elements that blend action and drama succeed at every turn, making for an exciting read. Raney's artwork is clear and concise. It isn't amazing but he doles out the crazy, the action, and handles the quiet moments with skill. Suicide Squad is a Top of the Class comic built with a hollow-tipped, blood soaked, laugh inducing bullet that never seems to miss.

Conan the Barbarian #1

2012-02-10T11:58:00.000-08:00

Writer: Brian Wood
Artist: Becky Cloonan
Company: Dark Horse Comics

By Crom, this was good. Come on, it had to be said, and more importantly it isn't a lie. Brian (DMZ/Northlanders) Wood takes the reigns of the Conan property and diverts it from the sedate and unexciting waters that it has been treading as of late into the lands of Bad Ass and Awesome. Wood is a natural storyteller, and even though this is an adaptation of Howard's popular story Queen of the Black Coast, he definitely puts his own emphasis on it. Being only a dabbler in the world of Conan (the movies, minus the last very uninspired and Mystery Science Theater 3000 candidate one, and the Busiek and Nord offerings), I am not familiar with the story at hand, but already Wood has my attention.

The main reason for that is due to his attention to, first and foremost, telling a story in a very natural way. Typically, Conan is all about action and adventure instead of realized, 3 dimensional characters that get under your skin and grab/hold your attention. The way that the story unfolds, through Conan telling his story to a group of men on a boat that he basically jumps onto at the last possible second to escape his jailers, is such a clever device. It endears you to him and Tito (the Captain), the rest of the crew, and the energy that all of them project. Wood obviously gets these characters, which is pretty darn important.

He also utilizes a bag full of writer's tricks in this one, in an effortless fashion: Time jumps, Dreamscapes, and telling instead of showing. All of these are used to build the story up and where sometimes they fall short for other writers, Wood sells them in extraordinarily ways where the entertainment value and the content is at such a high standard. My only complaint is the typeface of the narration. In keeping with the other Conan books that have come before, it's done in a typewriter fashion. One would imagine that it's supposed to evoke the image of Howard jamming on the keys of his machine, slaving over the story. It's okay, but at this point it feels unnecessary.

Even better than Wood's story however, is Becky Cloonan's artwork. It isn't the typical style you see meshed with the Fantasy genre and I know when it was announced that she was going to be the artist, it certainly piqued my interest mainly for that very reason. Her out of the box style makes everything stand out more. Her attention to character movement and emotion makes the conversations that this issue has in abundance pop. I'm curious to see how she'll handle the more action intensive portions of the story, but based on what we've seen here, it should be striking. Speaking of striking, the eeriness of the first appearance of the Pirate Queen Bêlit is so strong and so well executed that you can't help but be mesmerized by those pages.

A very strong outing and a great first issue. This is very different territory for both of the creators and I love to see people change it up a bit and try something new. The result can be something very special.

Thief of Thieves #1

2012-02-08T11:37:00.000-08:00

Writers: Robert Kirkman & Nick Spencer
Artist: Shawn Martinbrough
Company: Image Comics

Ocean's Eleven, To Catch a Thief, and White Collar. These are just a few stories that feature bad boys and thieves that are suave and classy and are people we can ultimately root for as they rob the rich and the common man for various reasons. It's a trend that probably won't ever stop in the entertainment industry. With comics, the same trend exists. In standard superhero fare, we have Gambit. In the land of more realistic comics however, we now have Conrad Paulson to fill the particular void. So far, he's doing quite nicely.

Which is a little surprising for me, with this pair of creators involved. Now, I know what you must be asking, "What is Nick talking about? Robert Kirkman and Nick Spencer are awesome." I will agree that they have talent, but many of their stories miss the mark for me. Walking Dead has petered out over the years and I checked in on the first arc of Morning Glories and wasn't hooked by what was there. Maybe I'm just hard to please. With Thief of Thieves however, there is an instant hook.

That hook involves the world's greatest thief becoming fed up with the job at hand and the life he's living. There's also just a heavy focus on characters. It was nice to have a book filled with very realized and interesting characters. Kirkman's story and Spencer's script together have a very cinematic feel to it, which makes it easy to imagine on the big screen. The snappy back and forth repartee between Paulson, also known as Redmond (his thief name), and his protege Celia is both funny and believable. There are some similarities to things like David Mamet's film The Heist with the framing and the cuts to each character's backstory, but there's a much lighter edge to this one. That is mainly due to Spencer's involvement, I would imagine. He enjoys brevity and humor in his dialogue which are tools, when used wisely (like here), help a story go that extra mile.

Martinbrough's artwork for the book is right on target as well. Like Sean Phillips on Criminal, Martinbrough's style embodies what we want in our crime titles: Heavy lines and grittiness and instantly recognizable characters that look as if they could be the guy who's walking down the street next to you. That sense of realism is such a key thing and he nails it.

The book isn't all gangbusters, as there are a few issues here and there. The most notable being whether or not Kirkman and Spencer can make the pacing of the story flow through the issues as easily as if they had released it as a single graphic novel. Still, the first issue is very satisfying. If you're in the mood for a bit of crime or just enjoy a good caper tale, Thief of Thieves more than easily fits the bill.

Blast from the Past: Daredevil #220

2012-02-08T00:23:00.000-08:00

Writer: Denny O'Neil
Artist: David Mazzucchelli
Company: Marvel Comics

It's late at night, a storm is rolling in, and you're craving something to read. That's the situation that I found myself in the other evening. To remedy said problem I went to the bookshelves and happened upon a collection of Daredevil entitled Loves Labor Lost. I couldn't remember buying it, but I must have, considering it's sitting on my shelf with all of the other Daredevil collections. Being a Daredevil fan to the extreme, I quickly settled in and devoured it. The stories inside were all notable. A few of them I even remember stealing from my brother's collection to read. This one however, this issue eerily titled The Fog, was the stand out.

It was the standout for a lot of different reasons, but main among them is the fact that it is a very human story. Writer Denny (Green Arrow/The Question) O'Neil immediately followed Frank Miller on the title, and while he continued the darkness and the trend that ultimately led to some depressing aspects of Matt Murdock's life being explored, he too hit some notable stories that stand the test of time. The gist of The Fog is fairly simple. It revolves around Matt getting multiple phone calls from his ex-girlfriend, Heather Glenn, where she tells him that she's in trouble.

Heather's need for Matt is palpable, as is her unstable mindset when she reveals that she has merely manipulated Matt into coming for her. Matt's mind is just as clouded though. On his way to rush to Heather, in fear that her life is actually in danger as he leaps through the fog thickened streets, he passes up the opportunity to stop a domestic abuse incident that ultimately goes bad. The scenes between Heather and Matt are harsh and heartfelt. The anger that Matt feels towards her and his inability to see how hurt and close to the edge that she truly is is great storytelling. As is the outcome of Matt leaving to find the culprit behind the domestic abuse incident. Heather's death rips through Matt, clearly and dramatically depicted through Mazzucchelli's artwork. The horror in that scene where Matt is called to Heather's apartment and where he sees her body is chilling. O'Neil could have left it at that and he would have had a story that amazed, but he took it a step forward and let Matt's rage and denial of the facts take him over as his belief that Heather was murdered solidifies. His need to find the culprit (instead of it being he himself who left her alone) is soul crushing and ultimately, even though the resolution is dark, it punctuates the tale with a huge exclamation point.

One of the other reasons that this issue has such an impact on the reader is David Mazzucchelli's distinct artwork. Here he was still finding his legs as an artist, which is strange to say, but he was still a few years away from the Awesome Fest that was Batman Year One. Still, that didn't stop him bring such power to this story. His characters expressed a great range of emotion and the rawness of it and the framing of it smacks of intelligence and skill. He also adds such personality to the city of New York and the borough of Hell's Kitchen specifically. It's amazing and the claustrophobic nature of this issue's other main character, The Fog itself, is such a master stroke. It hinders our characters, confuses them and makes for one hell of a setting. Add to that to the fact that his overall storytelling and action sequences are top-notch and you have a combination of flash and skill that made anything and everything amazing to look at.

So yes, this issue and pretty much all of the stories that are collected in Loves Labor Lost are worth seeking out. O'Neil and Mazzuchelli work so well together and were able to accentuate the Dare in Daredevil.

Winter Solider #1

2012-02-04T10:55:00.000-08:00

Writer: Ed Brubaker
Artist: Butch Guice
Company: Marvel Comics

When it was announced some time ago that Bucky was coming back in the pages of Captain America, people were skeptical. It was strange and the notion of turning him into what is essentially a trained assassin wasn't a very popular idea. That said, writer Ed (Sleeper/Catwoman) Brubaker, being a fairly talented writer, did the impossible. He injected a healthy dose of espionage into the pages and made a believer out of a lot of people. He made Bucky a character to root for, a man who was more than up to the challenge of taking on Captain America's mantle. Then came Fear Itself and the supposed demise of our new favorite hero. The shock death felt forced and wasn't a very satisfying conclusion to our hero's story.

This first issue of Winter Solider (and the previous Fear Itself Point One issue) marks the return of the character to the Marvel Universe, and plainly stated, it's a very satisfying opener. Chock full of the things that you would expect, Brubaker bares down and focuses on the characters. The relationship that he has built between our main character and Black Widow may be in fact the best romantic pairing that is going on in the Marvel Universe. The two of them work and Brubaker finds a way, even during the many bouts of action that occur, to show that the two care for each other deeply.

The story that comes together here is a straightforward one, as it seems that Bucky wasn't the only assassin that was kept on ice over the years by the Russian government. One can argue that it makes Bucky's circumstances a little less special, but the idea makes sense in the grand scheme of things. It gives him a larger drive, a more defined emotional investment, as he wants no one to suffer the way that he suffered at the hands of his one time masters. This motivation quickly leads into some very well designed action pieces that have a pleasant Superhero meets James Bond vibe.

Butch Guice's artwork is also something to crow about in regards to this issue. He's always been a talented artist, with things like Ruse and El Cazador and Resurrection Man under his belt, but he's changing things up a bit this go around. For one, his style is different. There's a more photorealistic edge to it, which takes some getting used to, but the underlying talent and ability to still retain a blistering sense of movement to things instead of feeling frozen is impressive. Every single one of his lines has purpose and the realism that dominates adds a lot to the proceedings, as does Bettie Breitweiser's expertise with colors. The hues and shades that she utilizes, without a doubt, enhance Guice's work. It makes the light and shadow and the things that ultimately need to, pop.

Winter Soldier starts out on the right foot. Brubaker, as always, peppers the entire issue with reminders that this is indeed taking place in the Marvel Universe. That coupled with great action and art that is so vivid and engaging result in a comic that is a martini, shaken and stirred with awesome.

Week in Review 2/3/12

2012-02-03T12:40:00.000-08:00

Action Comics #6
Writer: Grant Morrison
Artist: Andy Kubert
Company: DC Comics

While I always think Morrison books are packed with fun ideas and have a great sense of energy to them, his Action Comics lately has been a tad on the disappointing side. It hasn't been bad, just disjointed and muddled and nowhere near as exciting as those first two issues were. This issue, which sees a battle waged in the confines of a partitioned section of Clark Kent's brain and copious amounts of time travel, fares a bit better. The action is livelier and the dialogue clearer. It's Morrison's brand of Superman, nothing less. Kubert's artwork is solid enough, his take on the different version of the Legion of Superheroes being a highlight, though it isn't as dynamic as Rags Morales work. Overall, I have a sneaky suspicion that this will read best in trade form, like many of Morrison's stories. The backup, written by Scholly Fisch and drawn by ChrisCross packed an emotional punch that was surprising.

Animal Man #6
Writer: Jeff Lemire
Artists: John Paul Leon & Travel Foreman
Company: DC Comics

Every once in awhile, an issue hits that really makes your eyebrows twitch quizzically. This is one of those issues. Animal Man, one of the best of the New 52, has been chugging away at such a intense speed that I was wondering if it would ever let up. Apparently, it does, but not really in a great way. What we get out of this issue is a look at the indie movie that Buddy Baker made and was referenced to in the first issue. It's strange because, unless I'm missing something, it doesn't really move the story forward any. It feels out of place and while Leon's art is masterful and effective and the story interesting, the choice here to show this instead of forwarding the story with The Rot is puzzling.

Fatale #2
Writer: Ed Brubaker
Artist: Sean Phillips
Company: Image Comics

Mixing equal parts horror, Lovecraft, and noir, Brubaker and Phillips continue to tell one hell of a compelling story. Set completely in the past this time and though there is a lot to keep track of, the pieces of this puzzle are slowly coming into focus. The motivations behind the various cast members actions aren't completely revealed, but we're learning more and more about them, which is important. The pace is crucial, and Brubaker obviously knows what he's doing. The small moments between the characters as they manipulate and flounder in the ever darkening world that is blossoming around them are spot on. Phillips is, as always, doing great work that exceeds expectations. The grime and sex appeal, the horror and the violence...It's all on display and handled beautifully.

The Strange Talent of Luther Strode #5
Writer: Justin Jordan
Artist: Tradd Moore
Company: Image Comics

Dark. Dark. Dark. Darker than dark. That's the word that I would have to use to describe this penultimate issue of what has been one of the best minis that has come out in a considerable amount of time. The way that writer Justin Jordan has planted all of the seeds throughout, seeds that involve the spiral of blood that Luther's life quickly has become, and that he is now delivering on them with such an impact is the sign or a truly talented creator. Moore is in that same category. He paints blood with a mop, no doubt about it, but that's a definite plus and much needed for what happens here. The cartoon-y nature of his style, a style that feels in the same vein as Rob Guillory's work on Chew, allows a considerable amount of humanity and absurdity and visceral emotion to be packed into the panels as we see Luther fight to keep his family and friends safe from the Librarian. I'm unsure if we'll get a happy ending with the next issue, but I have no doubt whatsoever that it will be satisfying based on the excellence that has already been accomplished.

Uncanny X-Force #21
Writer: Rick Remender
Artist: Greg Tocchini
Company: Marvel Comics

While not as thrilling as the previous Dark Angel Saga storyline, this Captain Britain Land tale does have a few things going for it. Remender continues the insanity that he started twenty issues ago. He has an ability to tackle things from X-Men history that you never would consider anyone else toying with, and tackle them like an NFL linebacker, no holds barred. While I personally never read Alan Moore's work on Captain Britain and the Corps, it seems like if you had, you'd get a lot more out of the story. Still, even if you haven't, there are copious amounts of great moments focusing on the antics of Deadpool, a great action scene that shows the limits and drive of our new "hero", Age of Apocalypse Nightcrawler, and the furthering of the odd relationship between Fantomex and Psylocke. Tocchini's artwork evokes a very Alan Davis-like feel to the proceedings, which works in more ways than one, but it can at times feel a bit unwieldy. There's a lot going on in the panels and its easy to miss things. Overall though, Uncanny X-Force continues to be the number two book Marvel puts out.

Aquaman #5

2012-01-26T15:06:00.000-08:00

Writer: Geoff Johns
Artist: Ivan Reis
Company: DC Comics

What happens when you drop Arthur Curry in the middle of the desert? That's the question that Geoff Johns asks and answers in this issue of Aquaman. In all seriousness, Johns is on a hot-streak these days. All three of his titles, Green Lantern/Aquaman/Justice League, border on the good to great. For me, Aquaman has been the breakout. The way that's he humanized Arthur while at the same time showing what makes him a hero when most people think he's just a joke, has gone a long way to make fans flock to the title. It also doesn't hurt that Johns is doing unexpected things, zigs and zags when you're expecting straightforward tales.

This issue, the start of a new storyline, continues to do that. There are times in comics when the back and forth time flips from present to the past can sometimes feel, for lack of a better word, jumpy. They often feel confusing and read like someone was shaking an Etch A Sketch with the force of a hurricane, but Johns does a great job of handling the transitions of Arthur being stranded in the desert to 20 hours ahead of time. He keeps them tight and readable, therefore preserving a higher fun factor. The pace of the story is also quite nice. There's a crisp juggling act going on here that involves human interaction, exposition, and action. It's got the full complement, in comic book terms.

What happens in this issue definitely has a "done in one" feel to it, but it's obvious that Johns is also planting a lot of seeds for stories to come. That's a trademark move, one that paid off for Green Lantern. Here though, it's interesting to see things such as Atlantis brought up and teased as this super technologically advanced city. Mera's motives and persona are also explored to the point where she actually feels like a real character instead of merely female background fodder. And then there is the notion of an Atlantis Special Forces group, which is an idea that makes the kid in me jump for joy. The adult in me thinks it's a fairly neat idea too, by the way.

Drawing this cavalcade of entertainment with such precision is Ivan (Blackest Night) Reis. The realism that he provides in his lines is stunning, but Reis doesn't seem stuck in his realism. In a lot of ways, the art vibe is the same sort of vibe that I got from Olivier Coipel's work on Thor. There's just an energy to it that feels both comic book-y and real at the same time. It's this suspension of styles that makes it perfect and very approachable. One of the best examples of this is the scene with Arthur falling and slamming into the floor of the desert. It's simple looking, but it has such an impact to it. The progression of the character as he's falling through the vast blue space is pitch perfect. The same can also be said for his various action scenes and more personal character moments too.

Each issue of Aquaman surpasses the previous one. If the trend continues, and Johns' can pull off a bit more of the same magic that he has in the past, then I can easily see that we've got one heck of a story coming down the pipeline. Viva Aquaman!

Prophet #21

2012-01-25T13:30:00.000-08:00

Writer: Brandon Graham
Artist: Simon Roy
Company: Image Comics

Go ahead and ignore the whole #21 that appears on the cover of this comic. Why? Because it's lying to you. Well, not really lying, more like fibbing. But in a good way, as instead this is a first issue, one that you can jump on and ride the crazy with. Let me reiterate the fact that you do not have to have read any of the Rob Liefeld drawn and written stories. In fact, I might just give a hearty, "Don't seek those out," but you know, I read them at the time and probably still have them in a box somewhere, so there's that. Still, Brandon Graham, the man behind King City and Escalators, brings a delightful and fantastical voice to the proceedings.

The gist of the book follows the "Man out of Time" theme, which of course we've seen before, but Graham does such a good job with it that it exceeds the standards that we're used to. That we the audience and the main character are on the same footing in this new world, that we are learning about the makeup and the inhabitants at the same time, is a neat mechanic that goes a long way to endear the character to you.

Now, I will not dispute that there is some weirdness to the story. Weirdness however is a staple with Graham. It's what he's known for and while there may not be cats that can transform into anything they can think of, the weirdness in Prophet comes from it's living ships and alien caste systems and the idea of skinning your enemy and wearing their skin so no one will literally sniff you out. Without a doubt, it has a very European Sci-fi flavor to chew on, along the same lines as Moebius or something that you could have found in the back of old issues of Heavy Metal.

Giving the book that tactile and extremely alien feel is artist Simon Roy. To be perfectly honest, I'm not familiar with his other work in comics, but with this opening issue he's really made a name for himself and I will definitely keep an eye peeled for other new stuff. The depth and vision is there. It's in your face and rather outstanding in its depiction of this dark and violent new world. His design work for the book's inhabitants are top-notch. The savagery of Prophet is captured while making him look more more realistic, the aliens look alien and scary, and the world itself is blossoming with bizarre quirks. Roy's work has impact. It surprises and sticks with you and he works insanely well with Graham's script.

Prophet is a smart book. Graham has concocted that hard to harness mixture of ground floor jumping on point with a story that pushes the envelope. Add into said equation one hell of an artist, and the end result is a book most certainly worth a gander.

If I Ran DC: The DC Relaunch Re-Imagined

2012-01-23T00:30:00.000-08:00

Well, as it sometimes happens, on days that are a little slower than others, the guys at the shop start talking about this. One day, a few months back, my friend and co-worker Randy Lander proposed an experiment. A What If, if you will, on what the DC Relaunch would look like if we were the ones behind the editor's desk. There were several caveats: First of all, we had to stay somewhat within reality. By which I mean, we assumed that a lot of folks already had contracts with DC, so almost anyone who had been on books before the relaunch and was still on books after the relaunch, we had to use. Also, we couldn't just grab anybody we wouldn't be able to get. Nobody who's a Marvel exclusive, there was no way Mark Millar was going to work for DC, etc.

We also decided to tweak a few big things. For one, we went reboot, not relaunch. We're going with a sort of Brave and the Bold approach, where there's a history, and we'll explore it as it becomes relevant, but we're not assuming that any of the stories previously happened. Basically, unless it's specifically mentioned in the new stories, assume that it hasn't happened. This is a little more flexible than it probably should be, less specific than the "5 year timeline," but it is sort of the opposite of what DC went with, which is "assume it happened unless we outright tell you it didn't."

There's also the fact that we each decided to create a new imprint. I created a space-themed one called Mystery in Space while Randy took the opportunity to create an All-Ages imprint that is fairly spectacular.

You should definitely check out Randy's half on his site, Inside Joke Theater.

So, without further ado...Well, before that I should probably clarify that this is all done in fun. Many of the sections I got had books that were already fairly stellar, so I didn't change much. Tweaks were made though and I hope people enjoy the exercise.

JUSTICE LEAGUE IMPRINT

JUSTICE LEAGUE #1

Written by GEOFF JOHNS

Art and cover by JIM LEE and SCOTT WILLIAMS

1:25 Variant cover by DAVID FINCH

RETROSOLICITED • On sale AUGUST 31 • 40 pg, FC, $3.99 US RATED T • Combo pack edition: $4.99 US

Retailers: This issue will ship with two covers. Please see the order form for more information.

Comics superstars Geoff Johns and Jim Lee make history! In a universe where super heroes are strange and new, Batman has discovered a dark evil growing that requires him to unite the World Greatest Heroes!

This spectacular debut issue is also offered as a special combo pack edition, polybagged with a redemption code for a digital download of the issue.

JUSTICE LEAGUE INTERNATIONAL #1

Written by JUDD WINICK & JOHN ROGERS

Art by AARON LOPRESTI and MATT RYAN

Cover by AARON LOPRESTI

On sale SEPTEMBER 7 • 32 pg, FC, $2.99 US • RATED T

With the unnerving and growing presence of super beings around the world, the United Nations decides to put their differences aside and create a super group of their own to promote unity and trust, a group called Justice League International. The Guardian, Guy Gardner, August General in Iron, Fire, Ice, Vixen, and Rocket Red are tapped for duty, but who is Booster Gold and why does he keep saying that this group is a mistake? More importantly, why does Batman think he's right?

AQUAMAN #1

Written by GEOFF JOHNS

Art and cover by IVAN REIS and JOE PRADO

On sale SEPTEMBER 28 • 32 pg, FC, $2.99 US • RATED T

The superstar creators from BLACKEST NIGHT and BRIGHTEST DAY reunite to take AQUAMAN to amazing new depths!

Aquaman has renounced the throne of Atlantis – but the sea will not release Arthur Curry so easily. Now, from a forgotten corner of the ocean emerges…The Trench! A broken race of creatures that should not exist, an unspeakable need driving them, The Trench will be the most talked-about new characters in the DC Universe!

THE FLASH #1

Written by KEITH GIFFEN and FRANCIS MANAPUL

Art and cover by FRANCIS MANAPUL

Variant cover by IVAN REIS and TIM TOWNSEND

On sale SEPTEMBER 28 • 32 pg, FC, $2.99 US • RATED T

Retailers: This issue will ship with two covers. Please see the order form for more information.

Wally West is one of the wealthiest men in the world. He's also the Fastest Man Alive. Quickly though, he's learning that being able to move in the blink of an eye can't solve every problem, especially with his new business venture with Kord Industries falling apart and a new villain who can be everywhere at once! Are the two connected? And why is Captain Cold helping our hero out? Who said being a hero was easy?

GREEN ARROW #1

Written by SCOTT KOLINS

Art by MARCUS TO

Cover by SCOTT KOLINS

On sale SEPTEMBER 7 • 32 pg, FC, $2.99 US • RATED T

Oliver Queen is broke. The legacy that he had hoped to leave with Queen Industries is now a subsidiary of Wayne Enterprises. Angry at everyone, especially himself, Oliver Queen is a man on a mission. That mission: To get back to basics. With a fresh start and a move to Empire City, Queen takes to the streets and dishes out some much needed justice. He may be moving from the frying pan into the fire though as someone else has claimed Empire City as their own, the immortal...Vandal Savage!

WONDER WOMAN #1

Written by MATT WAGNER

Art and cover by ANDY KUBERT

Variant Cover by MATT WAGNER

On sale SEPTEMBER 21 • 32 pg, FC, $2.99 US • RATED T

A New World Part 1 of 3. Diana Prince, daughter of Paradise Island, has gone missing. But not in the way you’d think. Having grown tired of being constrained and watched every moment of her life, she has fled the comforts of her home and escaped into the unknown wild of Los Angeles to the one man that she knows that she can trust, John Lynch. But who exactly is John Lynch and why is he helping her? Oh and yeah, what is Project A.R.E.S.? So many questions, so little time.

MISTER TERRIFIC #1

Written by GAIL SIMONE

Art by MIKEL JANIN

Cover by J.G. JONES

On sale SEPTEMBER 14 • 32 pg, FC, $2.99 US • RATED T

The world’s third-smartest man – and one of its most eligible bachelors – uses his brains and fists against science gone mad in this new series. Michael Holt is the head of a successful high-tech corporation and an institute that recruits and encourages the finest minds of the next generation to excel. As Mister Terrific he inhabits a world of amazement few others know exists, let alone can comprehend.

DC UNIVERSE PRESENTS #1

Written by PHIL HESTER

Art by JESUS MERINO

Cover by RYAN SOOK

It’s the start of a new series spotlighting some of the DC Universes’s most exciting super heroes! First up is Wesley Dodds, better known to his enemies as The Sandman. As dreams come to life all around the globe and begin to wreak havoc, it's up to one of the most reclusive heroes to step into death's door and put things right. But he can't just enter anyone's dreams, which is the problem. He now has to convince his ex-girlfriend, Helena Bertinelli that he knows what he's doing and convince her that she's the key to everything!

SUPERMAN IMPRINT

ACTION COMICS #1

Written by GRANT MORRISON

Art by RAGS MORALES and RICK BRYANT

Cover by RAGS MORALES

Variant cover by JIM LEE and SCOTT WILLIAMS

On sale SEPTEMBER 7 • 40 pg, FC, $3.99 US • RATED T

Retailers: This issue will ship with two covers. Please see the order form for more information.

The one and only Grant Morrison (ALL-STAR SUPERMAN) returns to Superman, joined by sensational artist Rags Morales (IDENTITY CRISIS), to bring you tales of The Man of Steel unlike any you’ve ever read! This extra-sized debut issue is the cornerstone of the entire DC Universe!

LUTHOR #1

Written by FABIAN NICIEZA

Art by PERE PEREZ

Cover by J.G. JONES

On sale SEPTEMBER 14 • 40 pg, FC, $3.99 US • RATED T

Two different people. Father and Son. Want superpowers? Need a rogue government toppled? An alien pest bothering you? Have a few billion dollars to spare? If so, then Luthor Corp, more specifically Lionel Luthor, is the person you need to talk to. If you want to talk about the secret history of the world over brunch while at the same time exploring the notion of pocket dimensions and their practical apllications, then Lex Luthor is who you seek. Two sides of the same familial coin, and the fate of the DCU rests on their shoulders. Do not miss this one.

SUPERGIRL #1

Written by PETER TOMASI

Art and Cover by MAHMUD ASRAR

On sale SEPTEMBER 21 • 32 pg, FC, $2.99 US • RATED T

One minute the brash young teen was on Krypton, talking with friends, the next she was standing in the middle of a battle cruiser flying through space. With no idea of how it happened, Kara Zor-El is thrown into a fight she doesn't understand and with only one thought: Find Kal-El. Find Earth. But who is that and what is Earth? And what is that creature standing in the corner hissing?

SUPERMAN #1

Written by NEIL GAIMAN

Art by CLIFF CHIANG

On sale SEPTEMBER 28 • 32 pg, FC, $2.99 US • RATED T

The new adventures of Superman begin here! What is The Man of Steel’s startling new status quo? How does it affect Lois Lane and The Daily Planet? Why is he fighting a dragon above Metropolis? What are Jimmy and Perry up to? And why oh why is Clark Kent kissing Brenda Barda, movie star extraordinaire? Be here and find all of your questions answered.

GREEN LANTERN IMPRINT

GREEN LANTERN #1

Written by GEOFF JOHNS

Art by DOUG MAHNKE and CHRISTIAN ALAMY

Cover by IVAN REIS and JOE PRADO

Variant cover by GREG CAPULLO

On sale SEPTEMBER 14 • 32 pg, FC, $2.99 US • RATED T

Retailers: This issue will ship with two covers. Please see the order form for more information.

The red-hot GREEN LANTERN team of writer Geoff Johns and artist Doug Mahnke introduce an unexpected new Lantern. One you'll never see coming.

GREEN LANTERN CORPS #1

Written by DAN ABNETT & ANDY LANNING

Art by FERNANDO PASARIN and SCOTT HANNA

Cover by DOUG MAHNKE and CHRISTIAN ALAMY

On sale SEPTEMBER 21 • 32 pg, FC, $2.99 US • RATED T

Welcome to the Corps part 1 of 4. Katma Tui, hailing from Space Sector 1417, is the newest recruit to the intergalactic police force known as the Green Lantern Corps. Training was tough, but her first day is a nightmare. Partnered with the human Jon Stewart and on a mission involving a group of dignitaries from The Spider Guild, a Manhunter assassin, and the realization that the great and mighty Green Lantern Sinestro, her idol and the reason she joined the corps, didn’t die a heroic death but has instead become an even bigger threat to the Universe...It will be a day that she won't soon forget.

SINESTRO CORPS #1

Written by PETER MILLIGAN and ETHAN VAN SCIVER

Art and cover by ETHAN VAN SCIVER and CULLY HAMNER

On sale SEPTEMBER 14 • 32 pg, FC, $2.99 US • RATED T+

The most lethal force of evil is stepping into the spotlight for the first time. Sinestro, long thought to have died a heroic death against the Manhunters, has returned...But he isn't alone and he's ready to take his rightful place as monarch of the Universe. Who can stand in his way?

GREEN LANTERN: NEW GUARDIANS #1

Written by TONY BEDARD

Art and cover by J. CALAFIORE

On sale SEPTEMBER 28 • 32 pg, FC, $2.99 US • RATED T

Kyle Rayner, under the express orders of Ganthet has secretly assembled the most powerful team in all the universe, selected from the full spectrum of corps. But can he even keep this volatile group together or will they end up killing each other when the worst fight of their lives come knocking at their door?

DARK IMPRINT

SWAMP THING #1

Written by SCOTT SNYDER

Art and cover by YANICK PAQUETTE

On sale SEPTEMBER 7 • 32 pg, FC, $2.99 US • RATED T+

One of the world’s most iconic characters has returned to the heart of the DC Universe, and every step he takes will shake the foundations of the Earth! Alec Holland has his life back…but the Green has plans for it. A monstrous evil is rising in the desert, and it’ll take a monster of another kind to defend life as we know it!

ANIMAL MAN #1

Written by JEFF LEMIRE

Art by TRAVEL FOREMAN and DAN GREEN

Cover by TRAVEL FOREMAN

On sale SEPTEMBER 7 • 32 pg, FC, $2.99 US • RATED T+

Buddy Baker has gone from “super” man to family man – but is he strong enough to hold his family together when Maxine, his young daughter, starts to manifest her own dangerous powers? Find out in this dramatic new series from writer Jeff Lemire (SWEET TOOTH) and artist Travel Foreman (The Immortal Iron Fist).

FRANKENSTEIN, AGENT OF S.H.A.D.E. #1

Written by JEFF LEMIRE

Art by ALBERTO PONTICELLI

Cover by J.G. JONES

On sale SEPTEMBER 14 • 32 pg, FC, $2.99 US • RATED T

It’s Frankenstein as you’ve never seen him before, in a dark new series from acclaimed writer Jeff Lemire (SWEET TOOTH) and artist Alberto Ponticelli (UNKNOWN SOLDIER)!

Frankenstein is part of a network of strange beings who work for an even stranger government organization: The Super Human Advanced Defense Executive! But can he protect the world from threats even more horrifying than himself? And since he’s vilified for who and what he is, will he even want to take on this mission?

I, VAMPIRE vs THE WORLD #1

Written by JOE HILL

Art and Cover by KYLE HOTZ

On sale SEPTEMBER 28 • 32 pg, FC, $2.99 US • RATED T+

Fighting a secret war for hundreds of years, vampire Andrew Stanton is feeling his age. The good news is that his battle is almost over...Or is it just beginning? With a new, more lethal breed of monster appearing all over the DC Universe, it seems that the rules have changed. But who is making these monsters and why is his ex-lover, Mary, the Queen of the Damned mysteriously back in his life? Didn't he kill her already?

RESURRECTION MAN #1

Written by DAN ABNETT and ANDY LANNING

Art by FERNANDO DAGNINO

Cover by IVAN REIS and JOE PRADO

On sale SEPTEMBER 14 • 32 pg, FC, $2.99 US • RATED T+

It’s the return of Mitch Shelly – and he’s still dead.

Resurrection Man can’t stay dead for long, though – and with each rebirth comes new and unexpected powers. But his many returns have not gone unnoticed, and forces are gathering to learn what’s so special about him – and to see which of them will finally stop Resurrection Man dead.

DEMON KNIGHTS #1

Written by PAUL CORNELL

Art by DIOGENES NEVES and OCLAIR ALBERT

Cover by TONY S. DANIEL

On sale SEPTEMBER 14 • 32 pg, FC, $2.99 US • RATED T

Set in the Dark Ages of the DC Universe, a barbarian horde is massing to crush civilization. It’s fallen to Madame Xanadu and Jason Blood, the man with a monster inside him, to stand in their way – though the demon Etrigan has no interest in protecting anyone or anything other than himself! It’ll take more than their own power to stop an army fueled by bloodlust and dark sorcery, and some very surprising heroes – and villains – will have no choice but to join the fray!

MYSTERY IN SPACE IMPRINT

THE CURIOUS CASE OF ADAM STRANGE

Written by STERLING GATES

Art by JOE BENNETT

On sale SEPTEMBER 28 • 32 pg, FC, $2.99 US • RATED T

It's an Adam Strange like you've never seen before! On the run for the kidnapping of the Princess of Raan, Adam is being pursued across the universe by members of the Green Lantern Corps and other bounty hunters. But don't forget, things are not always as they seem.

HAWKMAN & THE OMEGA MEN

Written by ALEX KURTZMAN & ROBERT ORCI

Art and Cover by GREG TOCHINNI

On sale SEPTEMBER 21 • 32 pg, FC, $2.99 US • RATED T

Ranians, Durlans, and Thanagarians, Oh My! With relations between alien races at an all time low, the many inhabitants of the universe have decided to band together and keep the peace. Though noble, this does not always go to plan. Hence the need for a strike team that can respond to problems fast and resolve them with an appropriate amount of force. However, their first day is not going well as someone is using Zeta Beam technology to target key members of parliment. It's a mystery that only Carter and Shyera Hall and their Omega Men team can solve!

THE CHALLENGERS OF THE UNKNOWN #1

Written by MARC ANDREYKO and JIMMY PALMIOTTI

Art by AMANDA CONNER

On sale SEPTEMBER 28 • 32 pg, FC, $2.99 US • RATED T

Four friends, Karen Starr, Ralph Dibny, Raymond Terrill, & Patrick Dugan, are unstuck in time and space. Using technology stolen from a man named Rip Hunter and their own innate abilities, they explore worlds and realities that have never even be concieved by the human mind. Trouble always seems to find them though and now they've found something impossibly alien...Something called The Bleed.

LOBO #1

Written by KEITH GIFFEN

Art by PHILLIP TAN

On sale SEPTEMBER 14 • 32 pg, FC, $2.99 US • RATED T

The Emerald Eye of Ekron is one of the crassest bars in all of the galaxy, but it's owner, the one and only Lobo wouldn't have it any other way. He's given up the life of bounty hunting and replaced it with nights filled with fights, horrible grub, and drinks that taste like they were made from a trillion year old Space Dolphin. Then one night a man walks in and tells him that he has 60 seconds to live unless his directions are followed exactly. Yeah, this is going to end well for everyone!

Wolverine & the X-Men #4

2012-01-13T11:34:00.000-08:00

Writer: Jason Aaron
Artist: Nick Bradshaw
Company: Marvel Comics

I fear that Wolverine & the X-Men may be one of those books that I go back and forth on. One moment I like it, the next there are beats and moments that make me want to shoot laser beams out of my eyes and destroy the Earth...Or maybe just Krakoa. That may be overstating the hatred a bit much, but it properly captures the mood swings that this book injects. This fourth issue however was just what the doctor ordered.

It seems to me that lately we have been seeing the occasional return to a more upbeat style of story. Not outright See No Evil, Hear No Evil, slapstick or anything, but it seems as if not every single issue has to be entirely about murder or the angst of being alive and the need to not be a superhero. Humor and comedy and stories that put a smile on your face aren't exactly commonplace yet, but they are out there. This is a good thing. Not everything needs to be about revenge or a hero falling from grace. This issue, which oddly enough feels like an addendum issue to what has been going on in Uncanny X-Force, skates a fine line between both humor and darkness in a way that really strikes a chord. The possibility of death and destruction of the world is touched on with the inclusion of Teenage Apocalypse to the Jean Grey School for Higher Learning, as well as in the situation with Warren Worthington's new status quo. What's interesting is that at the same time, the humor of both situations is explored, which makes the events pop even more.

Aaron may be another writer who may just excel at writing team books instead of one-off character titles, as I always found his Wolverine and Ghost Rider books to be lackluster. Here though, the camaraderie and teamwork that he displays in his very varied cast of characters is one of the book's strongest aspects, and more importantly, it feels very X-Men because he is taking the characters seriously. He's also making you give a damn about characters like Quentin Quire and Broo (a Brood student) and a whole host of other kids that could have easily been delegated to background fodder. That coupled with a keen handle on Kitty Pryde (better than what Whedon was doing with her) and many other teachers and guest professors, like Deathlok, that are there predicting the possible futures of the students, and you have a healthy amount of entertainment.

On the art side of things, Nick Bradshaw is a talented draftsman. The characters feel very animated and he has a great sense for clear storytelling. I can imagine that many people will prefer his take on the book to what Chris Bachalo had previously done, even though Bachalo's more frenetic stylings seem to fit the nature of the book a bit better. One thing about Bradshaw's style that is interesting, is that it is heavily influenced by Art Adams, almost to the point where when I first picked the book up, I had thought Adams was the one who drew it. I do like Bradshaw's ability to capture emotion in his character's faces and that he takes the time to focus on the backgrounds with as much detail as he does.

In reality, this outing of Wolverine and the X-Men feels a lot like an episode of the television show Community. There's obviously an ongoing story being told, what with the new Hellfire Club, but in a lot of ways it isn't the focus. What matters are the characters, and Aaron and Co. are treating them with respect and having fun. Not too shabby.

Suicide Squad #5

2012-01-12T09:52:00.000-08:00

Writer: Adam Glass
Artist: Federico Dallocchio
Company: DC Comics

Well at this point, five issues in, it's official: Suicide Squad has become one of the best written titles being published by DC Comics. A bold statement, sure, but the craft is simply there. The name Suicide Squad has a lot of history in the DC Universe, and while I don't know if you can quite compare it to the utter insanity/awesome laden opus that was Ostrander's creation, there are many similarities between the two that make the reading experience exciting. Beyond that, writer Adam Glass hits the gleeful destruction button with regularity and allows the deluge of blood buckets, filled to the brim no less, to fall where they may.

This issue is no different, as the Squad's back is against the walls of their own "home", Belle Reeve Prison, as they stave off a metahuman riot. There's an intensity in Glass' writing in this and previous issues of the book that hadn't previously been seen. The work that he had done on the Flashpoint: Legion of Doom hadn't been very impressive to me personally. Yes, it had some of the same ruthlessness to its characters and penchant for bloodshed, but it was missing something at its core that tied it all together and made it sing. Perhaps the difference is simply that Glass writes team books better. Legion of Doom, for the most part, focused on a single character Heat Wave, and often times felt bland and boring. Here though, things feel nuanced and anything other than boring. Each and every character, be they a one off or not, has a sense of distinctiveness to them. They matter. More importantly, the Story matters.

There are two other things that seems to help out quite a bit. Action and humor. The action, for a book such as this, is needed and Glass delivers some great moment to moment stuff. With this issue in particular, seeing Deadshot and Diablo plow through wave after wave of inmates in order to reach the high ground certainly sates the action hungry man who demands his testosterone on a daily basis. The humor is a bit harder describe. It's organic and its extremely dark, like Danny Devito meets Tim Burton meets Gail Simone on Secret Six kind of dark, but it's resonates so well and endears the characters to you more than many other writing tools would. There is no other character who is a better example of this tool than King Shark. I won't spoil things, but let's just say he is put to good use in this one.

If I had one complaint about the book, it would be about the art. Dallocchio is improving with every issue that he puts under his belt, but there are still times where his storytelling could be a bit clearer. It's not a huge issue, as both his characters and backgrounds read nicely, but there's a bit of a stiff Michael Lark in proceedings and I'd like to see him loosen up a bit. It would make the action sets feel more organic and read infinitely better.

That said, Suicide Squad continually finds new ways to shock and impress me. It unloads an entire clip of insanity at your face and then takes the time to calmly reload and fire again. You know, but in a good way.

Amazing Spider-Man #677

2012-01-10T23:29:00.000-08:00

Writer: Mark Waid
Artist: Emma Rios
Company: Marvel Comics

As strange as it sounds, before getting too much into the review of this issue, I want to first take a few moments to define a certain word. In the world of comics, FUN is, it seems, a bit of a dirty word. It has the connotation of being easily dismissed or not really important, a watch-word that somehow instantly flips a switch in a person's brain that designates the comic as old school and therefore not worth their hard earned money or time. That is not my definition. My definition of the word FUN is a book that exceeds expectations, one that exudes cleverness, brandishes exciting action, and allows a reader to join in on the exploits of their favorite hero or heroine. Mark Waid understands that and meets every bit of that criteria for this issue of
Amazing Spider-Man. Hell, he does better than that, he exceeds that definition in every way possible to the point where I swear, when you're done reading this issue, you'll be smiling from ear to ear. It's that good.

But enough about definitions. The specifics to this book (and cross-over with Waid's Daredevil) are deceptively simple. The scintillating Bad Luck Charm, Black Cat, is wrongly accused of a crime and our favorite wall crawler decides to help her out by hiring her the best attorney any man could hope for: Matt Murdock. Like I said, it's deceptively simple. Waid builds the case so well. The humor for Spider-Man is so on, but not in the cheesy shtick sort of way that has become so commonplace, there's heart in his words and actions. Seeing him bound around town with vigor, dealing with this and that, speaking about being a superhero and the small things (like architecture) that you would deal with day to day in such a life is joy inducing.

Another reason that this issue works so well is that Waid doesn't makes his heroes look like chumps. They all get to do cool things in cool ways. Their actions aren't mired down in depression or darkness, there's a sense of adventure and entertainment that gets in your bones to the point where you can't help but feel energized by the antics happening on the page.

Part of the reason for said energy is indeed Waid's impeccable story, but it also has a lot to do with Emma Rios' one two uppercut of intensity in the art department. Her uncanny sense of movement and action is nothing short of dynamic. It is Marvel Style in so many ways, what with the ZIP and POW angles that suck the reader right into the story. Rios first came onto the radar with her work with Nick Spencer on the Spider-Island: Cloak and Dagger book. There's no doubt that there is a hefty influence of Paul Pope. The fluidity and attention to detail while at the same time finding a balance between that realism with a sense of kinetic-ism. Rios' style is so refreshing and provokes such a visceral and immediate appeal that it only seems likely that we'll be seeing much more from her in the days to come.

Brilliant. It's the best term other than Fun that I can come up with that aptly describes the adventure that lurks beneath the cover. Mark Waid and Emma Rios knock this one out of the park.

Top 5 Comics: The Best of 2011 - The Creators

2012-01-07T11:49:00.000-08:00

While it's been a little quiet around these parts as of late, I figured that it was time to change all that. What better way to accomplish that goal by joining many other comic book blogs in the fun task of running down the Best Of List for 2011. It was a huge year, one that saw a metric ton of comics that impressed and surprised and stood out from among the pack. With DC's revitalization to up and coming books that you always look out for, the comic book world flourished this year. This first part (of 2) will focus mainly on the comics themselves, while the next one will focus on the creators. Well, without further ado, TO THE LIST!

BEST WRITER:

While the Best Comics section was hard, the Creators section is infinitely harder. There are so many talented people working in comics, and the list of writers who had a banner year is longer than you would think possible. Still, compiling that lengthy list into something more manageable is my task at hand, so here are the nominees for Best Writer:

Grant Morrison - Say what you will about the man, call him crazy and insane and a hit and miss author, there is no denying his love of the medium of comics. He also lives and breathes FUN and imbues that sensibility into the pages of his stories. With things like Batman Incorporated, Joe the Barbarian, & Action Comics, he's set the bar quite high and constantly reminds us why these super powered beings that we all love are truly Heroes.

Brian Azzarello - Another writer who's been around for awhile, has always been talented and beloved for things like 100 Bullets, but this year put together a stellar showing that knocked the socks off of people. From the moral grey areas and shocking revelations in the pages of Flashpoint: Knight of Vengeance to the revamp and reformation of the Wonder Woman mythos, Azzarello has turned comic book expectations on their head. His work is fresh and new and zips and zaps in such a way that, like a cat following a laser pointer, we can't help but be entranced and race along to keep up.

Mark Waid - A creator with a variable pantheon of outstanding work under his belt, this year Mark Waid came back in a big way. People are still entangled in the villainy and creativity that is being shown in the books Irredeemable and Incorruptible, and I think it's fairly obvious how I feel about the start to his Daredevil run. Waid is a writer that never does what you expect, he circumvents the obvious and knows a thing or two about constructing not only action scenes that deliver, but character moments that are poignant and spot on.

Mike Carey - While The Unwritten was edged out in the comics section by a few other books, there is no doubt that Mike Carey belongs on this list. His craft is amazing, especially his ability to methodically wrap your brain in a land of magic and literary creations, which is unparalleled. The character of Tommy Taylor and the trials and tribulations that he is suffering as he continues to search for the meaning of his life and existence, is a testament to that. He makes you care, which is paramount in the land of writing.

Rick Remender - Any writer who can take characters like Psylocke, Fantomex, Archangel/Angel, characters that have typically been very bland, and create a continuous story that makes you give a damn about what happens to them deserves a slap on the back and a hearty, "You did the impossible." That teamed up with writing unique situations that felt more like an X-Book than any other X-Book has for years, and the humor/action that resonated in every single issue makes for a compelling case of why he's on this list. Also, let's not forget the ending to his long running Sci-Fi Pulp book, Fear Agent, which was pretty great too.

Scott Snyder - With the strength of his flagship Vertigo title, American Vampire, it seems that Scott Snyder can really do no wrong. Now with titles such as the superb run on Detective Comics and things like Swamp Thing and Batman under his belt, Snyder is fast becoming DC's top writer. His ability to tell stories that scare, intrigue, surprise, entertain, and bring forth that key component of being memorable, is the reason that his books are doing so well. He is a writer of the finest caliber, and it seems that he's only starting up.

The WINNER:

Mark Waid can not be stopped. Not only do the stories that he is telling fall into the phenomenal category, but he's resurrected, in a sense, a favorite character of mine from the brink. He constantly surprises you, which as a reader, I am a fan of.

Honorable Mentions:

John Rogers
John Layman
Geoff Johns

BEST ARTIST:

If you thought writer was hard, the visualization of comics and choosing artists that are the BEST out of a group that is so talented, may be even harder. Art in comics has come a long way and has changed so much in such vast ways. This list is a diverse group, styles that range from traditional to streamlined to a more stylized way of telling sensational stories. They are all, without a doubt, winners. Still, that isn't the purpose of this list. So in order to choose the Best, let's get to the nominees for Best Artist.

Francis Manapul - His style has evolved so much from previous years and the way that he has treated Barry Allen, the constant motion and brilliant action pieces that exude a bit of that bottled lightning, marks him as one of the best in the business. Sleek, flashy, and layouts that go above and beyond and treat and amaze the eyes. Every time I open up The Flash, there's some new visual delight that makes me sit back and bask in the creative energy that was exerted. One can only imagine that if he's this good now, that Manapul is only getting started.

Jerome Opena - Uncanny X-Force keeps popping up on not only my lists of Best Of, but many other people's lists as well. As does Opena. There is a reason for that: He's damn good. Brilliantly matched with the story beats being told, Opena's artwork blasts and bellows and snikts with such intensity. He delves into the psyche of the characters, and is able to get across the most subtle thing in his visualization, but also handles End of the World action pieces too. He creates worlds that LIVE and inhabits them with characters that we want to see through his eyes. That's fairly impressive in my book.

Travel Foreman - I've said it before and I'll say it again, Travel Foreman brings the creep with a capital C with his work on Animal Man. He has injected a skin-crawling agent in it and has let it run wild. You know, in a good way though. Seriously, the imagination behind his work and the way that it is displayed and utilized is phenomenal. Before, when he was working on Immortal Iron Fist, he was hands down, one of the best Kung-Fu action guys that I'd seen. This year though, that's changed. He's become an all around great artist, one who can handle anything that's thrown at him and make it his own.

Sean Murphy - Hyper-detailed but never, ever, static. That right there, that feat, is insanely hard to do. Murphy makes it look easy. Many artist can do the hyper detailed work, people like Bryan Hitch & Michael Lark, but while it looks fantastic, the trade-off usually is that the works feels frozen. Murphy's work from this year, Joe the Barbarian and American Vampire: Survival of the Fittest, explodes off of the page and into your imagination. The character depth, the splash pages, the action, the gore, the imaginative landscapes that burgeon with life...The package that is Sean Murphy is about as complete as you can get.

Peter Gross - My love for Peter Gross' work was cemented long ago when he was working on a little book that went by the name of Lucifer. Okay, that wasn't a little book. Really, if you haven't read that, go do it. I mean, I won't wait or anything, but it's worth it. Nowadays though, Gross' work on The Unwritten is, simply stated, magical. From the literary exploration of things like Moby Dick to the back and forth, very human and down to earth, play for the ultimate power to save the Universe, Gross brings it with every panel. His scratchy, understated, line work forms a world that is both unforgettable and a place that I want to go.

Paolo Rivera & Marcos Martin - I feel a little strange combining these two artists into one, but when I really thought about it, their artistic talents together, have made such an impact in the comic book world. Daredevil has a history of great artists, from people like Frank Miller, David Mazzucchelli, and Michael Lark. Both Marcos Martin and Paolo Rivera belong in that pantheon of greatness. They each bring something to the game, but their clean lines and explosive action is so compelling. You can tell the amount of thought that goes into every panel that they put their pencil to. The angles and decisions, the smallest things that most people would overlook, only adds to the excitement and creativity that is on display.

The WINNER:

Sean Murphy stole the show this year for me. Joe the Barbarian was a swan song for any toy lover, and the work and imagery and the imagination that he put on display was downright amazing. On the flip side, the horror and violence and nuanced emotions that he was able to get perfect in Survival of the Fittest was just a huge exclamation point of awesome to an already outstanding showing.

Honorable Mentions:

J.H. Williams III
Rafael Albuquerque
Patrick Gleason
Chris Burnham
Jock

Fatale #1

2012-01-05T09:39:00.000-08:00

Writer: Ed Brubaker
Artist: Sean Phillips
Company: Image Comics

It seems that the dynamic duo of the comics world have readily identifiable names: Ed Brubaker and Sean Phillips. Whatever they touch, they turn it golden. Fatale is no different. The story is very much in Brubaker's wheelhouse. The Noir elements and the Crime genre in general that has become his pedigree is front and center, just as it has been in his other titles, things like Criminal, Sleeper, and going a bit further back, Scene of the Crime. However, what makes Brubaker so memorable isn't just his ability to fashion a crime story, it's that he's able to fashion a story that entices and peaks your curiosity from page one, and from there sends you on an adventure that keeps you guessing and isn't the type to be forgotten.

This first issue, which bleeds together the Noir with the works of H.P. Lovecraft, introduces us to our main characters Nicolas Lash and the enigmatic and seemingly immortal being going by the name of Josephine. Immediately, each character is interesting for different reasons. Lash seems like a simple man dealing with the death of his godfather, but you can tell that he has a few secrets bubbling beneath the surface. With Josephine however, all she is is secrets. She's deadly, capable, and seems to know what is going on as Lash finds an old manuscript in the home of his departed grandfather, but even when the shit hits the fan, is tight-lipped about it.

The actual construction of the story, told in present day and then in flashback form in the guise of a manuscript, is also interesting. It allows a lot of leeway and fun to be had as we explore the depths of San Francisco in the 1950's. It also allows the reader to get to know Lash's Grandfather and Josephine a bit better. Fusing it with Lovecraft, with its cultists and mysticism and end of the world insanity, is simply icing on a very evil and violent cake. It adds to the potboiler intensity that Brubaker's scenes have a tendency to carry. He makes the small things, the tiny conversations and whispers between two people, matter.

On the flip side of the equation, with Fatale, Sean Phillips turns in some of the best artwork that I've seen from him in some time. I've always enjoyed Phillips' work, but oftentimes I feel that his characters feel very similar to those that he's used before. It's a minor glitch from an artist who's construction and talent is so strong though. Here though, his characters feel very real and memorable and different. What is also drawn with perfection are the locales. From an old country estate to winding highways to crime scenes, everything lives and breathes with such a pronounced sense of realism. You can tell that Phillips takes pride in it, and that he's able to capture not only the beauty and mystery of a woman but also the adrenaline inducing energy of a car chase that in many way feels like a scene from a Hitchcock film, is a major check in the plus column.

Fast paced, well crafted, and beautifully drawn, Fatale doesn't disappoint. If you're a fan or Brubaker and Phillips or if you simply are a fan of either of the genres that this book delves into (Lovecraft fans should definitely take note of the write-up on the author in the back), this is a book that you should seek out.

Top 5 Comics: Best of 2011 Part 1 - The Comics

2012-01-04T01:57:00.000-08:00

When talking about a Best Moment, it's a very hard thing to quantify as to what makes a moment great. Surprise has a lot to do with it. The building of tension and the snap of release is something else that comes in to play. The relationship, however broken and one-sided it occasionally was, between Psylocke and Fantomex ultimately led to some great moments, ones that smacked with great emotion. Mike Mignola literally tore a favorite character's heart out of his chest and put it on display, a moment that no doubt shocked and surprised. Mark Waid had our Man Without Fear truly show how fearless he was by kissing the bride to be at a Mob wedding that he crashed. Grant Morrison gave us the Bruce Springsteen Superman, the type of guy that isn't afraid to lay the smack down or issue an ultimatum or two while at the same time being the hero you can root for.

The WINNER:

Talk about tension. This scene from Scott Snyder's run on Detective Comics, featured in the story Black Mirror, is one of the creepiest, downright frightening moments. The dialogue between estranged Father and Son is muted and you can feel Gordon's mind scraping the bottom of the barrel as he tries to decided whether or not his Son really is the psychotic that he seems to be. Francesco Francavilla's sublime artistic talents are put to great effect and the use of color and light and shadow gives it almost a Hitchcockian type vibe. It's a scene that will always send goosebumps down my spine.

BEST COLLECTED EDITION

The Nominees:

There can be no doubt, this has been a great year for Graphic Novel collectors. Not only did we see collections of fabulous stories such as Scott Snyder's Black Mirror (one of the best Batman stories to come about in some time) and IDW's Dungeons & Dragons title (printed in the same format as the actual D&D game books), but we also got reprints and Deluxe editions as well. Suicide Squad, a book that needs to be in print, saw its first (and probably only, sadly) collection and Grant Morrison's WE3 was beautifully bound in a gleaming package with new material and process work that allowed you to go deeper down the rabbit hole with its creators.

The WINNER:

Hands down one of the most gorgeous books on my bookshelf, The Martini Edition of the Parker Novels is a testament to beauty and the Noir genre. Darwyn Cooke's art is sensational, especially at a size that dwarfs even the DC Absolute Series, and the number of additional materials, the process and the extra artwork that was done, makes the package that much sweeter. IDW continues to prove to be one of the best companies in the business of putting together snazzy collections. I can't wait to see what comes next.

BEST SINGLE ISSUE:

The Nominees:

Best Single Issue is a category that has a few sets of criteria. One, it could simply be a done in one comic that jabs at the audience with a fast paced, yet memorable, caper. Two, it can just be an issue of an ongoing story that does its job perfectly in every regard. With Fantastic Four #600, Jonathan Hickman brought back the Human Torch in a way that didn't feel cheap while at the same time giving us a continuation of the web of affairs that he had been brewing the entire time he's been on the book. With Daredevil #1 and Ruse #1, Mark Waid reintroduced us to old friends and easily relayed just how fun and awesome and clever that these characters and titles can be. And then there was Batgirl #22, a fun story that saw Stephanie Brown and Squire team up to battle and have fun in the streets of London. It's great sense of Comic Book FUN was palpable on the page and it left you smiling like few other comics.

The WINNER:

Grant Morrison's "Finale" to his phenomenal Batman Inc. storyline, however, takes the cake here. Imbued with ingenuity, humor, guile, subtlety, suspicion, intrigue, action, and story cue after story cue that reminds you what it's like to be a fan of comics, this issue battled with the best of them and came out on top. From Morrison's rendition of Stephanie Brown (which felt exactly like the persona Bryan Q. Miller gave her) to the wonders of a School for Gifted Evil Doers in England to the bowels of Leviathan's Base of Craziness to that final page that sends a tingle down your spine and your brain mouthing, "Holy Shit, Batman...Why didn't I see that coming?"

BEST NEW SERIES

The Nominees:

This was an exceptionally difficult category. With all of the DC new number ones, the sheer number of books to choose from were insane. But still, there were a few from the other companies that couldn't be ignored either. From Skybound, Witch Doctor came out of nowhere to fill a void that I didn't even knew existed. Part Dr. House and part The Exorcist, Witch Doctor finds that niche spot of humor and cleverness that packs a wallop of a punch. The same can be said for Image's The Strange Talent of Luther Strode. It's Kick Ass with a brain, a book that's smart and unique and pops. DC did outdo themselves though with the eerie and creepy and skin crawling book with a heart, Animal Man, and Grant Morrison's ever moving, always entertaining recreation of the Man of Steel in Action Comics.

The WINNER:

Few books start strong and continue to keep up the pace, if not exceed that pace and rush headlong into the lands of awesome, like Mark Waid's Daredevil. It's fast, furious, funny, and puts the A back in Adventure. People can say that this isn't a new number one, but that little number one on the cover and the new, more swashbuckly and exciting, direction that Waid has taken the character says otherwise. That and the fact that Waid has teamed up with some of the best artists in the business, Paolo Rivera and Marcos Martin, who's clean lined playgrounds of imagination make this a book that you can not miss.

BEST CONTINUING SERIES:

The Nominees:

This is a category that always takes awhile to compile. There are many books that I regularly look forward to and find that each issue fills that specific criteria of being both excellently written and highly entertaining. Rick Remender's Uncanny X-Force is perhaps the best X-Book on the market, a mixture of insanity and classic X-Men-isms that continually finds a way to surprise you. Cullen Bunn and Brian Hurtt's The Sixth Gun is another contender in that regard. A Supernatural Western who's story continues to evolve and become something greater and greater with every issue that hits the stands, it is a book to be reckoned with. J.H. Williams' Batwoman and Joe Hill and Gabriel Rodriguez's Locke & Key are a few others. These are books that entice with horror and beauty. Batwoman smashes the boundaries of elegant art while Locke & Key wrenches your heart out and sends goosebumps down your spine.

The WINNER:

Vampires, Vampires...They're everywhere nowadays, but none of them but the ones found in American Vampire are written by Scott Snyder. To say that he's talented is a huge understatement. Time and time again, whether it's having to do with World War II or Hollywood in the 1920's to a romance between a regular joe and a killer beast, he makes it work. He hooks you in with great characters like Skinner Sweet and Pearl Jones and then let's the chips fall where they may as a new world is created. With a collaborator in the forms of Rafael Albuquerque and Sean Murphy, American Vampire continues to blaze a trail of death and destruction and delight every single month.

Star Wars: Agent of the Empire #1

2011-12-15T15:34:00.000-08:00

Writer: John Ostrander
Artist: Stephane Roux
Company: Dark Horse Comics

Lately, Star Wars has been on my brain. Not a huge surprise, really, as the world that George Lucas created is a playground for creators to come up with great ideas for different kinds of stories. One such creator, John Ostrander, is the man behind many of the more notable tales in the Expanded Universe of the Star Wars license. The work that he was able to do with characters like Quinlan Vos and Cade Skywalker, characters that could have easily felt like one dimensional stand-ins for the classic archetypes, is rather exceptional. He makes you care about his characters and the problems that they are up against are not usually meager or easily forgettable. With Agent of the Empire, Ostrander introduces a new character to the Star Wars mythos...James Bond.

And oddly enough, it kind of works. This first issue, which granted is a little on the slow side at times, has an air of insanity and hilarity to it. The character of Jahan Cross is most definitely a stand in for everyone's favorite British spy, right down to having his own Q. The idea almost seems too humorous compared to things like the Jedi Order and the Stormtroopers of the Empire, but again, this is Ostrander that we're talking about. He makes it work.

From page one, we quickly find out everything that we need to know about Cross. He's a skilled individual, a man that always completes his task, and that he is loyal to his cause. It's strange to actually root for what is essentially a member of the villains, but the popularity of characters such as Vader and Boba Fett is so strong that we should be used to such a phenomenon by now. That coupled with the action and the interesting, behind the scenes look, at the day to day life of the Empire makes for a compelling read peppered with wit and action. Ostrander even populates the story with a great subset of characters, everything from a brand new type of Droid that acts as Cross compatriot to a few cast members that have been a part of the Universe since the very first movie.

As always with the Dark Horse Star Wars books, the art never dips out of the solid range. Stephane Roux, a French artist who's recently done work for DC on the Zatanna title, does a great job with this one. The action, though it doesn't include light saber battles, feels distinctly Star Wars and reminds me of many scenes right out of the newer trailers for Star Wars the Old Republic. The level of detailed emotion that he's able to get in the face's of his characters is impressive, and goes a long way to convey some of the smaller beats of the story. If I did have to complain about something about the art, it would have to be Julien Hugonnard-Bert's inks, mainly because there is a bit of inconsistency with them. One moment is perfect and the next, the action or smaller moment feels muddled.

Still, besides a few minor things, Agent of the Empire has quite a bit going for it. The level of fun is off the charts and if you're in a Star Wars mood or just feel like reading a book that finds a level playing for both fans of the original trilogy and the fans of the more Expanded Universe.

Animal Man #4

2011-12-10T12:16:00.000-08:00

Writer: Jeff Lemire
Artist: Travel Foreman
Company: DC Comics

Mainstream superhero comics hardly seem the right place for horror in most instances. It's a great genre, and has been used well at times, but it has a way of upsetting the balance and quickly slaps the cuffs on any of the spandex adventuring that typically takes center stage. With Animal Man however, Jeff Lemire has found an odd balance that drives an 18 wheeler packed with mutated nitroglycerin through said formula and never looks back. The subsequent explosion of genre bending material has an enjoyment factor that is set so high with every issue that a part of me thinks that there has to be an issue that takes a step back or pauses for a breather. The thing is, such an instance hasn't happened yet, and really, that is a great thing.

While there is plenty to talk about story with this issue, let's first talk about the visuals that inhabit the pages. The creepy and the horrifying and haunting is often times hard to nail down from panel to panel. People like Guy Davis, Tom Mandrake, and Kyle Hotz are artists that instantly spring to mind that nail that sort of thing with consistency. I don't think it ever would have entered my mind that Travel Foreman would be one of those guys. To me, he was the go to action guy. The guy you wanted when martial arts were the stories bread and butter. With his work on Animal Man, he has quickly changed my mind on that. The creatures that have sprung from his mind to page are so eek inducing, so menacing and malicious, that I can easily see them haunting people's dreams.

Also, his storytelling ability is so strong in general. The way his characters move and emote reminds me in some respects of what you would find in Japanese Manga, with its high level of expressiveness and energy. The way he finds balance between Buddy and his daughter in the Red and the abnormality involved to the "quieter" scenes with Buddy's wife and son running for their lives is striking.

With some of the New DC 52, pacing has become a real problem. Some have a plodding or disjointed feel to them while others blaze by with rocket propulsion speeds and are started and finished within the blink of an eye. Animal Man is not either kind. The pacing is right on target as Lemire packs his story with enough things that you really feel as though you're getting your money's worth. The history of what Animal Man is tackled, as are the ties between this and Swamp Thing, which are definitely made more apparent with this issue. Another thing that really makes the issue something more is the relationship between Buddy and his daughter. The role that is being set up for her is a thing that you want to see more of as there's an essence of classic comic to it. Yes, there is horror going on, but you are also getting that burgeoning superhero storyline within the confines of that genre, which makes the whole experience unique.

So yes, Animal Man is a horrifyingly awesome tale of good versus evil, a classic grudge match expertly planned and implemented by two talented creators. I highly recommend checking it out.

Holiday Buying Guide 2011

2011-12-09T10:21:00.000-08:00

Sometimes, finding that perfect gift for that special someone or close relative that has a love for all things geek or comic related is a hard, nigh impossible job. There's too much out there to sift through and the question of whether or not a person already has something or not always enters into the equation. That part is still hard, but what this article will try to do is help those in need, or simply will become a list of goodies that I would ultimately be thrilled to find nestled gently beneath the tree on Christmas morning. So without further ado, "To the List!"

FOR THE BATMAN FAN:

The Batman Files

Writer: Matthew K. Manning
Company: Andrews McNeel Publishing
Price: $100.00

Clocking in at over 300 pages of material, this giant leather bound tome of all things Batman is a treasure trove of goodness that will make any fan ooh and aah with glee and joy. Writer Matthew Manning delves deep into the history and universe, giving every character that's come into contact with the Caped Crusader a thorough look at. It also, more importantly, compiles great prop material that allows you to view things in an entirely new way. These come in the way of articles from the Gotham Herald, actual Riddler Clues, Batmobile blue-prints, breakdowns of gadgets and costumes, and a slew of other things. Truly, this is a great book that any comic fan would proudly have on their shelf, or if you were so inclined, on a sturdy coffee table for friends and family to peruse at leisure.

Batman Black Mirror HC
Writer: Scott Snyder
Artists: Jock & Francesco Francavilla
Company: DC Comics
Price: $29.99

Perhaps one of the more defining and skin crawling stories that have popped up in any Batman book in some time, Black Mirror collects Scott (American Vampire / Batman) Snyder's entire run on Detective Comics. It's dark, memorable, and terrifyingly original as we are subject to two tales that push Batman to his very limits. Plus, you get to see Batman as the World's Greatest Detective as well as him cracking skulls. That coupled with sensational art by Jock and Francavilla and you have a Batman story that will no doubt stand the test of time.

FOR THE CRIME BUFFS:

Richard Stark's Parker: The Martini Edition
Writer/Artist: Darwyn Cooke
Company: IDW Publishing
Price: $75.00

I have a lot of favorite artists, but without a doubt, Darwyn Cooke is very near the top of my list. This oversized edition, which even dwarfs those swanky Absolute Editions in size, collects the first two adaptations of the Parker books, The Hunter & The Outfit, while also reprinting Cooke's take on The Man with a Getaway Face and a new story that hasn't been printed anywhere else. That and the fact that you get a ton of Cooke's process on how the project came about and a whole slew of original artwork is like getting your cake and eating it too. To say that this is a thing of beauty is a complete understatement. The stories that are told within, with their collection of calm and cold crime characters, are some of the best adaptations that you'll ever find. Any fan of the crime genre, of the writer Richard Stark, or of Darwyn Cooke will be ecstatic to get this one.

FOR THE CHEF CROWD:

Chew Omnivore Edition Volume 1
Writer: John Layman
Artist: Rob Guillory
Company: Image Comics
Price: $34.99

Acidic, dark, and riotously fun in all the right ways, Chew gets everything about as perfect as you can. From the creation of a world where the Bird Flu grew to epidemic proportions to the idea of chicken speakeasies that sell high grade bird to a main character who needs only to eat something in order to know everything about said object, the ideas at play are highly original and highly addictive. This hardcover collects the first two volumes of the series, Taster's Choice and International Flavor, and introduces readers to a well crafted story and a memorable cast of zany characters that you'll quickly come to like and love. That paired with Rob Guillory's smooth and animated style and you have a book that is a can't miss.

FOR FANS OF TURTLE POWER:

TMNT: Ultimate HC Volume 1
Writer / Artist: Kevin Eastman & Peter Laird
Company: IDW Publishing
Price: $49.99

Long out of print in pretty much every format possible, this sizable and gorgeous hardcover brings back the original, slightly more violent, Turtles on the half shell to the spotlight. Not only do the seven issues that are collected in this stories stand the test of time and stick with you, but they are expertly transferred to this format and comes away looking as pristine as the day that it was originally published. IDW constantly meets and exceeds expectations with these types of collections. They also know a thing or two about special features. Here that takes place in the form of commentary from the creators after every chapter. With such things and the ability to travel back in time to see our heroes beat the living snot out of Mousers and meet face to face for the first time, the evil Shredder, you can't put a price on that kind of nostalgia.

FOR THE MAGIC DOOR AFICIONADO:

Locke & Key Keys
Company: Skelton Crew Studios
Price: $20.00 - $25.00

Based on the various keys that appear in Joe Hill's immensely popular comic series Locke & Key, these keys are an impressive prop that any fan should have. I was lucky enough to snag a Ghost Key for myself and the quality and craftsmanship that went into it makes me want the whole set. Not sure if they will really turn you into a ghost or give you uncanny strength or allow you to open up your head and sift through it like a bag of toys or not, but that won't stop me from trying them in every door that I come across just to be sure. Check them all out in more detail here.

FOR THE SCIENCE HERO IN ALL OF US:

Pandemic
Company: Z Man Games
Price: $39.99

While this board game did hit shelves in 2008, Pandemic continues to be one of those games that gets under your skin and demands to be played at any and every family get together. Not only because every time you do, you're saving the world from deadly infection (unless you fail, in which case everyone dies and it's all your fault), but more to the point it's because it's extremely fun. The cooperative nature of the game is unexpected and refreshing, and with an expansion that comes with its own petri dishes for each disease that you can personally name, the disease stomping fun never ends.

FOR THE COMIC NEWBIES (aka Gateway Drugs):

Walking Dead Vol 1
Writer: Robert Kirkman
Artist: Tony Moore
Company: Image Comics
Price: $9.99

If you know of a few people who've been glued to their television sets every Sunday night for their weekly dose of groaning and bloodshed, do your friends a favor and surprise them with a copy of this. Sure, it's possible that they'll groan a bit themselves and say they don't read comics, but give it some time and you will quickly see the need for more grow in their eyes. What's cool is that while the cast of the comic is fairly close to that of the television show, there are differences between the two that allow for interesting twists that they won't see coming.

American Vampire Vol 1
Writers: Scott Snyder & Stephen King
Artist: Rafael Albuquerque
Company: Vertigo
Price: $19.99

Feel the need to reform a few people who think that the only thing that vampires do these days is sparkle? Plop one of these bad boys down in front of your friends and say the words Stephen King and you're halfway there. Really though, Amercian Vampire is a book that speaks to people who are seeking a balance between a well crafted story and a book that contains all of the blood and gore and horror that you expect from this particular genre. I'm happy to say that American Vampire does this very thing. Your faith in vampires will be restored!

FOR THE DRINKER OF FINE ALES AND MEADS:

Toon Tumblers (various)
Company: PopFun Merchandising
Price: $10.99

There is nothing cooler than drinking out of a glass that has been emblazoned with the visage of your favorite superhero on it. Seriously, I think I have a small army of these and they are now all I drink out of. They're that cool. Plus, they have everyone you could want: Green Lantern, Deadpool, Thor, Captain America, Iron Man, Shang-Chi, Luke Cage...The list goes on!

Villains for Hire #1

2011-12-08T11:19:00.000-08:00

Writers: Dan Abnett & Andy Lanning
Artist: Renato Arlem
Company: Marvel Comics

While it was a little sad to see Heroes for Hire slip into the ether, it's nice that the core of the title and many of the main threads essentially get to live on in another incarnation in this four issue mini-series. The focus has shifted a bit, skewing to the villains this time, but not much has changed in the actual craft of the story. DnA still approach it the same way, putting forth a collection of off the wall characters and allowing them to be cool in ways and deeds that they normally don't get the chance to be. It's almost as if these writers sorted through a toy chest filled to the brim with D and Z list action figures and then, after careful consideration, went to war with them.

From the opening page, we are assaulted with great ideas. The notion that The Purple Man has taken the bones of Misty Knight's plan of attack and made it his own in a sort of reverse Ocean's Eleven quest for money and power, is a great hook. It not only makes sense for the character, but the almost procedural element serves as a great framing device and compliments the various villains and their respective specialties as we see Purple Man's team plan and enact a rather complicated heist. As you might suspect though, when you're working with villains, the plan never goes the way you think, especially when there's another player in the game that wants to see you fail.

Really though, the main attraction here is getting to see characters that are normally used as grunts, people like Shocker and Avalanche and Crossfire, and have them be the stars of the book. Every comic fan out there has a favorite character that they wish got more screen time or that they were treated with a little more respect. This is the book where that can happen. Obscurity is on the table and even if you aren't really familiar with the people who are being used (and I wasn't in some respects in this issue), DnA make the story and the characters very accessible. You're given quick beats, in the form of dossiers, as to the nature of the character and what they're all about. It helps greatly for the narrative but it also ratchets up the cool points a few notches as well.

The art here, while skewing a bit dark in the ink department a few times, is quite nice. Like with Heroes for Hire, the action is key and Renato Arlem, and artist that has been on a host of other projects over the years that range from Annihilation Silver Surfer to Hawkgirl to X-Factor, seems up to the challenge. His movement and action pieces have weight to them and there is an almost Alex Maleev like quality to the work that gives it an edge. The level of realism that he brings to the table, especially in his backgrounds, while at the same time finding a way to not sacrifice the very larger than life qualities that make these kinds of stories great, works so well.

So yes, if you were enjoying Heroes for Hire before or if you just want a book that upholds the credo of great story and great action, then Villains for Hire is a book that fits the bill. A solid beginning to what should be a great mini.

Week in Review 11/26/11

2011-11-26T12:38:00.000-08:00

Astonishing X-Men #44
Writer: Greg Pak
Artist: Mike McKone
Company: Marvel Comics

First off, the cover to this one is definitely one that has an immediate grab factor. That sounds stranger than I meant for it to, but I still stand by my statement. The comic inside, written by Greg (Hulk) Pak is quite good too. It's standard fare, but not run of the mill or boring, as it deals with Storm requiring a favor and some help from Cyclops. The focus on
Cyclops and allowing him to essentially stretch his legs while at the same time blasting some Sentinels is refreshing, but with Pak, you have to expect some cool factor and a bit of the unexpected. McKone's artwork is yet another plus with this issue. It's clean, has fantastic storytelling, and there's an innate fun to the action that has been missing in Astonishing X-Men. Quite a fun beginning.

Flash #3
Writers: Francis Manapul & Brian Buccellato
Artist: Francis Manapul
Company: DC Comics

First and foremost, Manapul may be one of the best designers and artist currently employed by DC Comics. This book, in every facet, is beautiful. The layouts are jaw dropping and have an innate simplicity and readability to them that many other experimental artists don't have. The story of Mob Rule, the character that Flash has been battling since the relaunch, continues with this issue. While I am enjoying it and the further exploration of the many different uses for the Speed Force, the tale being told borders on the merely okay line and occasionally teeters into some very bland areas. The Flash should be filled with excitement and though much of this story is devoted to Barry doing cool things, the excitement level of the main story never rises past a certain point. That said, Manapul and Buccellato are able to imbue life into the bones of Barry Allen, more so than any other creative team has been able to lately. And really, Manapul's art is so gorgeous that it's worth the price of admission all on its own.

Justice League Dark #3
Writer: Peter Milligan
Artist: Mikel Janin
Company: DC Comics

Another case of there being some good ideas but the execution of said ideas falls a bit flat. The interaction between Constantine and Zatanna is the highlight of the issue, a relationship that makes sense and needs to be explored more, but the June Moon/Enchantress debacle continues to deviate into Dullsville. It's dragging on for way too long and even the possibility that Madame Xanadu has some hand in causing the insanity doesn't elevate the story. I swear, if Mikel Janin's artwork wasn't as pretty and hardcore and nicely detailed as it is, this book would probably get relegated into the latter half of my read pile, the section of stuff that isn't looked forward to. As it is, it's on the edge, teetering in a not so friendly direction.

Mighty Thor #8
Writer: Matt Fraction
Artist: Pasqual Ferry
Company: Marvel Comics

Picking up the pieces from the Fear Itself #7.3 book that focused on all things Thor, Fraction seems to have found his footing once again with this book. It seems that the fallout of Fear Itself is much more interesting than the main story ever was. What this particular issue does is "introduce" Tanarus, a character who has been written into existence and replaced Thor in every single way imaginable. That means Tanarus was a founding member of the Avengers and all of that. It's an interesting idea and Fraction sells the well, especially the payoff. Ferry, who has always been a favorite of mine since his run on the Adam Strange Planet Heist book, does a keen job with this one. The larger than life vibe that he's able to achieve with his slightly irregular pencils is great, but he does that while at the same time really making this Fantasy story feel very Fantasy. So yes, Fraction and Co. have me interested with this very solid start to a new story.

Voodoo #3
Writer: Ron Marz
Artists: Sami Basri & Hendry Prasetya
Company: DC Comics

It seems that with only three issues in the can, many people have simply written Voodoo off as being one of the least compelling stories being told in The New 52. To some extent I can agree with that, as the book has had, and continues to have, problems. However, each issue of this book sees an elevation in the story. We're getting more and more information about our lead character, her motivations for doing what she's doing, and with this issue, get to see how she reacts to meeting face to face with a Green Lantern. This kind of melding between the two Universes (Wildstorm & DC) are the kinds of things that we should see more of, as it does work, and helps ingratiate the character a bit more. The art for Voodoo continues to be about the same. It's clean and easy to read and knows how to make an action scene pop. All in all, Voodoo was the surprise of the week.

Wolverine & the X-Men #2
Writer: Jason Aaron
Artist: Chris Bachalo
Company: Marvel Comics

While this second issue does contain some of the lightheartedness that the first issue contained, there are several problems that, like the pesky weeds that contaminate your lawn, need to be dealt with swiftly. The main problem is the focus for the book. Aaron seems a bit in love with his new, all homicidal children composed, Hellfire Club, and the notion of Wolverine and what constitutes as this new team fighting kids simply doesn't sit well with me. They're too quipping and flippant and feel like Warren Ellis cookie cutter characters. That said, the exploration of Iceman's powers and expanding on them is extremely cool. That's the kind of stuff that should be done with these characters, and I like that Aaron thinks outside the box with them. Bachalo, like always, goes a little crazy at times. The experimental and outlandish styling typically works in favor of the book, but it never fails that there are instances where its extremely difficult to read as to what exactly is happening on the page. There needs to be a bit more consistency overall, but Wolverine & the X-Men is a fun book.

All Star Western #3

2011-11-23T12:42:00.000-08:00

Writers: Justin Gray & Jimmy Palmiotti
Artists: Moritat & Jordi Bernet
Company: DC Comics

Violent. Bloody violent. That's what All Star Western is and what it should be. Justin Gray and Jimmy Palmiotti have been at the wheel of the character named Jonah Hex for a long time now. They've always put together a solid book, one that embodied who Jonah Hex is and the stories that he usually found himself in. With All Star however, things are a bit different. For the better. Including him in the DCU proper has been one of the best moves yet and essentially teaming him up with a burgeoning Amadeus Arkham allows a whole new take on the character to be seen.

This third issue, which sees the continuation and potential end point to the Secret Society of Gotham City story line falls right in line with its predecessors. The back and forth between our two main characters still has that rapid fire feel, which makes the story stand out. It also keeps up the dizzying pace of action and bloody mayhem. Gray and Palmiotti don't pull any punches and because of that create a very believable constant for this larger than life Western tale while at the same time being very faithful to the character. In fact, Hex's characterization, the bastard wanting only to do his job and nothing more, oozes out of the panels and gives him a very memorable and larger than life persona.

The one downside to the story however is that there are times, mainly between scene transitions, where things have an almost choppy feel to them. It's slightly jarring and makes you feel that some scenes are being rushed through where it may have been more beneficial to have slowed things down. Still, these instances are few and not extremely detrimental to the overall story.

Artistically, All Star Western continues to be distinctive and amazing. Moritat's style is such an attention grabber. There is a starkness to all of it that works two-fold. For one, it throws a spotlight on the harshness of the time period and of this unforgiving maw that Gotham City is. He knows a thing or two about drawing violence and lobs at you panel after panel. And the second reason is that it coincides with the actual character of Jonah Hex. There's also the fact that his anatomy has a very realistic feel yet also has some fluidity and exaggeration to it that allows each person drawn to have a unique and distinct feel.

All in all, these components mixed with a backup story that expands on the Western characters of the DCU drawn by the immaculate and insanely talented artist Jordi Bernet make for a book that shouldn't be missed, especially if you have a love for the genre.

Fantastic Four #600

2011-11-23T10:42:00.000-08:00

Writer: Jonathan Hickman
Artists: Steve Epting, Carmine Di Giandomenico, Ming Doyle, Leinil Francis Yu, & Farel Dalrymple
Company: Marvel Comics

To be completely honest, I had lost interest in the story that Jonathan Hickman was forming in the pages of FF over the past few months. When the focus of the book strayed from the main players to a few background characters, namely the Supreme Intelligence and the Inhumans, my interest dropped off the face of the map and spiraled into Don't Caresville. Those characters are tough sells to begin with and the story was boring and felt like a huge deviation from what had been building into a tense and memorable tale. After reading this 600th issue, I feel the need to go back to those issues and catch up. Why? Because taken as a hole, though those issues may have been
disappointing, with this one, Hickman ties everything that he's been working on together so distinctly and with panache. Call it the Hindsight is 20 20 effect, but this issue (forgive the pun) is Fantastic.

Yes, the big draw for some might be the return of a certain character, but it's more than that. It's a wallop of a story, the perfect example of the Marvel Universe being a shared land of stories tethered together. Hickman connects things that have not only been happening in FF, but also with books like The Mighty Thor. You also get to see the proceedings happening from every point of view imaginable, be it from the good guys to the bad guys to the guys that are treading water in the grey area. Hickman doesn't leave a man behind or out of the equation.

The book itself, coming in at a resounding 100 pages, is broken up into several different sections. The main one, which consists of a Kree invasion of Earth, starts things up. Hickman is certainly an idea guy and like some of the older Marvel writers, people like Claremont, he actually utilizes these characters and their powers in interesting ways. They aren't bland people shooting rays out of their hands, they're more than that. He also has the heroes being heroes, something that I personally appreciate. He also drops huge information bombs that will no doubt have a huge impact on the Marvel Universe. After that, the other sections focus on Annihilius, Franklin Richards, Galactus, and of course Johnny Storm. I will say though that Johnny's death from a year ago isn't cheapened or a cop out, it happened. There is a reason for everything, even his return, and more importantly, it's a reason that makes sense.

The art throughout is one of those rare occurrences of being great. Epting's work is at times a little stiff and photo reference-y, but the level of detail and the way that his work has as much impact as it does is exciting. The real star however is Carmine Di Giandomenico's work on the Johnny Storm and Annihilus story. He's been around in comics for a while, most notably with his collaboration with David Hine on Spider-Man Noir. His style, like you would imagine is definitely a more European feel, is a lot looser in appearance, has a great sense of storytelling, and is reminiscent of a lot of the work that was seen in the original Annihilation story. Really though, every artists style works well together and in concert with Hickman's overall vision for the story.

While the price tag for this issue is a little steep ($7.99), there's ample material here to warrant it. Also, the story is just that good. The only thing that I'm a little worried about is the need to have both the current FF book and a return of Fantastic Four, but with Hickman in the driver's seat on both books, we'll just have to wait and see. It should be fun.

Week in Review 11/19/11

2011-11-19T15:09:00.000-08:00

Amazing Spider-Man #674
Writer: Dan Slott
Artist: Giuseppe Camuncoli
Company: Marvel Comics

With Spider Island having seen its conclusion, Peter Parker picks up the pieces of his life and shoulders on. Slott still has that mixture of things that work and things that don't in this book. The revitalization of an old villain by making him the leader of a group of Emo teenagers causing mayhem doesn't jibe all that well and makes them seem like rejects out of Rumble Fish. On the other hand,
the way that he handles the crumbled relationship between our hero and Carlie is, oddly enough, the best part of the book. It feels real and thought out and not your traditional, "I hate you and never want to see you again," kind of event. Camuncoli's style trends towards the more sketch-y side of things, but with Spider-Man, that sort of thing works in his favor. A solid book with a few points that drag it down.

Avengers #19
Writer: Brian Michael Bendis
Artist: Daniel Acuna
Company: Marvel Comics

Sadly, another team formation issue. I swear, we've seen more of these pertaining to The Avengers in the past five years than we've seen in any other book. It's worrisome, and lends credence to the fact that Bendis doesn't know how to write exciting team books. Still, there are individual scenes that pop, especially with a certain Avenger making his return. The inclusion of Daisy from Secret Warriors is fun, but has my Spider-Sense tingling with danger. My biggest complaint is that, again, there is not much in the way of action, there is only a bunch of people standing around talking. Now, Daniel Acuna has certainly improved as an artist over the years, but his style still isn't the perfect choice for this book. Often the realism that comes with his photo reference-y style seems out of place. Disappointing.

Birds of Prey #3
Writer: Duane Swierczynski
Artist: Jesus Saiz
Company: DC Comics

The introduction of Pamela Isley to the new Birds of Prey team is the main draw for this one, and though there's a certain recognizable formula to the story, Swierczynski makes the affair enjoyable enough to watch. The way that he breaks down the story and gives each character a moment or two to shine is nice, as is the Mission Impossible vibe that runs through the entire book. My one complaint, story wise, is the Invisible Ninjas and the people turned into bombs story is not as interesting as is could be. Saiz however is killing it. The smoothness that his characters and the organic way that his action plays out is so on the nose and cool. It makes everything on the page have more impact and lets you get into the story easier. While I am hoping that the story's pace picks up, Birds of Prey continues to keep me interested.

Incredible Hulk #2
Writer: Jason Aaron
Artists: Various
Company: Marvel Comics

Oddly enough, this second issue feels pretty much like a rehash of the first issue. Yes, we get more from Bruce this go around, with his megalomania and need for the Hulk personality ratcheted up, but there isn't any new information revealed that wasn't last time. Aaron's story itself is oddly paced and though there are some good one liners here and there, there are times when his characters feel oddly out of place. Case in point his new Von Doom female spy, who needs to reiterate that there's no relation to the real Doom. It's almost as if that single piece of information is the driving force for the character and it really, really, doesn't work. His Hulk though is the only interesting thing going on. The way he's characterized is different than we've seen him before and really does keep you turning the pages. The art this time out, provided by 12 different artists, is disappointing. Yes, there was a reason for it, but the different styles, even though they are trying their hardest to work together, don't mesh well and the change ups take the reader out of the story. A bit bland overall, but I'm curious as to the fallout of Banner's stint as a fill in for Dr. Moreau.

New Mutants #34
Writers: Dan Abnett & Andy Lanning
Artist: David Lopez
Company: Marvel Comics

The idea of separating themselves from both Cyclops and Wolverine, and deciding to live in the real world, among real people, is a great storytelling device. It allows the characters to be more personable and believable. It also is a great way to show that even though these characters are mutants, they're human too. The way that DnA are able to do that works so well and that they are able to deliver laugh out loud situation humor while at the same time reintroducing Blink into the lives of the X-Men makes for a solid start to a new story arc. Lopez, who first caught my attention with his run with Peter David on Fallen Angel, continues his very clean lined style that makes his work as good as it is. His version of Warlock, stuffed inside a hoodie and baggy clothes cracks me up every time I see it, but it also makes sense in the grand scheme of the story. Really, this isn't the New Mutants from Claremont, this is something new and different and so far, engaging enough that you want to keep on coming back to see what happens next.

Venom #9
Writer: Rick Remender
Artist: Stefano Caselli
Company: Marvel Comics

I've been a huge fan of the Venom series by Remender. He took Flash Thompson, melded him with a character that I really only cared about as a kid, and added in a special forces angle that created a trifecta of unexpected fun. This issue however felt like Remender emulating an arc or two of Walking Dead. Yes it's the fallout of Spider Island, as there is a would-be villain trying to take advantage of the opportunity of the chaos, but there are elements of violence and torture used that felt very heavy with Shock Value. Yes, I can see the reason that these things are being used, to show the back and forth between Flash and the Symbiote, so maybe it's just my own sensibilities getting the better of me, but the instances and the context that they were presented in didn't add much to the story. In fact, the only thing that did add something was having Caselli as the guest artist. His work on Amazing Spider-Man has been great and the work here for Venom is just as good. It's expressive and entertaining and is pitch perfect for the character.

X-23 #17
Writer: Marjorie Liu
Artist: Sana Takeda
Company: Marvel Comics

While I typically haven't checked in on X-23, I still believe that the character is one of the few that have been created recently that has the ability to stick around. There are two reasons why I checked out this issue. 1) Because it was recently announced that it was getting cancelled. And B) Because of the homage to Adventures in Babysitting that this cover does, as that's a film I absolutely loved as a kid. This issue of X-23 however proves to be immensely entertaining. There are a few instances of backstory that pertains to past relationships and choices that Laura has made, but the bones of the tale centers around Mr. Fantastic and The Inivisible Woman asking her to babysit for an evening. The humor is fresh and Liu's take on Val and Franklin is rather great. It seems like an odd combination but the payoff is welcomed. Takeda, an artist who I know mainly from Ms. Marvel, does a fairly good job. Her painted style seems a little like Clayton Crain's, but there's a bit more focus to it. She also captures here characters rather well, especially the stoic blankness of our heroine. It's sad that a book that has the potential to be this good should be cancelled.

Catwoman #3

2011-11-19T10:36:00.000-08:00

Writer: Judd Winick
Artist: Guillem March
Company: DC Comics

After the "controversy" of the first issue, not much has really been said about our favorite feline anti-hero. Whether that's because it was written off as a tawdry book who's only reason for existence was to show some skin and have page after page of sexual innuendo or for some other reason, I don't know. For me, Catwoman has fast become the sleeper hit of the DC relaunch. Yes, it's tawdry and unrelentingly dark, but Winick is pulling the threads of a calculated and interesting story together, panel by panel, inch by inch.

The cover, drawn by March, is telling and gives us a quick glimpse of what is to be found inside. The use of
negative space (with added dabs of crimson) is striking, the tears that are streaming down her face creates a great sense of palpable emotion, and then there is the dash of outlandish insanity with the spray painted logo of "Gotham Bats" on Catwoman's weapon of choice. That in a nutshell is what this book is; Crazy, character-centric tales that hit you over the head with great force.

Still, the actual story is that odd blend of horrific and edge of your seat intensity, peppered with a light dusting of War of the Roses (the movie) humor. We begin the issue with Selina captured and tied to a chair, forced to look at the body of her friend lying on the floor whilst a villain monologues. Artist Guillem March ability to capture the fear and anger that she's feeling is phenomenal. There's a sense of almost exaggeration in the portrayal of it, similar to what you would find in Manga, but not taken over the top. It's real and powerful and you immediately hope that she goes all Man on Fire on the lunatic that has done this to her. Still, Winick doesn't make Catwoman into a victim. He explores her psyche throughout the issue, what exactly drives her, and the lines that she's willing and not willing to cross.

That coupled with slick action and a certain winged guest star, and you've got the makings of a memorable story that is surprising.

And then there is the art. March, simply put, is amazing. The movement of his characters, the simplicity of his line work...It's methodical and beautiful. The range of emotion and expressiveness is something I've already mentioned, but he doesn't do that just with his character's faces. It's in their body language and the intensity that they have. The backgrounds that he provides, while simple, frame each panel in unique ways and allow the reader to get a great sense of location. He really has the whole package.

It's true, Winick does have his ups and downs in comics. With Catwoman though, his abilities are turned up to Eleven. I also appreciate the fact that though the story is definitely continuing, the first three issues are a complete story that has a beginning, a middle, and a satisfying conclusion.

Justice League #3

2011-11-19T09:28:00.000-08:00

Writer: Geoff Johns
Artist: Jim Lee
Company: DC Comics

While a few DC books have been floundering, Geoff Johns' foray into the land of the Justice League continues to be one of the most entertaining titles of the relaunch. Why? Because every single issue that's come out is packed to the gills with so much stuff that it has a re-readability quality that many other books don't. It's also that cool combination of stage magic where it has both flash and substance that keeps you on the edge of your seat. This third issue is no different. Right off the bat it is our introduction to Wonder Woman's character and then once that has been established, goes right into the chaos as Parademons begin their attack for Darkseid on various cities all around the world.

Now, a person can probably complain about the pacing of the story or make some comment that really, by issue three, the team should have already been constructed and more meat should be on these bones. There is a nugget of truth to that, as the pace of the story is a mite slow, but it's not to the book's detriment. In fact, I like that Johns is taking the time to really allow the reader to get a good handle on each individual character and their motivations. If they had rushed it and hurried into the formation of the team and attacking Darkseid, I don't think it would have been as enjoyable as these issues have been.

His take on Wonder Woman is actually refreshing, with its upbeat adventurer bravado and with her always on the hunt for the next great challenge. It gives Diana a fun edge and something that is a bit more relatable to rather than a stuffy diplomat or a character that is so mired in convoluted mythology. The dialogue that Johns provides is cute and engaging as Diana fumbles a bit at the new things that she's never encountered, you know, like ice cream. And while Wonder Woman is the main focus, the story doesn't disregard the rest of the team. They each get their own moment. The fact that Superman continues to get to do cool things page after page is great. Normally, he's the straight laced boyscout, the guy who is typically boring, but in this world he gets to cut loose and use cars as baseball bats on his enemies and be quite the badass instead of having Batman stealing that particular calling card every issue.

Jim Lee's art, thankfully, does not seem rushed. It's just as detailed in this issue that it was in the first, and while there are a few moments in this one where his storytelling takes a dip (a scene that seemed to tease a link between Victor Stone and Darkseid), the work overall stills hits the awesome button with regular frequency. The splash pages pop, the characters are very expressive, and everything feels like its moving with rigorous movement.

So yes, Justice League proves again and again how good it is. Through character development, action, and in this specific issue, a cool text feature that is made to look like an excerpt from a book about the secret history of Atlantis, there is always something surprising in its pages.

Avenging Spider-Man #1

2011-11-18T12:57:00.000-08:00

Writer: Zeb Wells
Artist: Joe Madureira
Company: Marvel Comics

A very middle of the road affair, all told. Sometimes you hate to say certain things about comics, especially when you know that they are issues that people are looking forward to, but it's true, Avenging Spider-Man is the perfect example of what a "Middle of the Road" comic looks like. That said, it's big news that Joe Madureira has returned to the land of comics (even though it shall more than likely be a brief visit). Like Jim Lee, he's one of those beloved creators that had an intense artistic impact on a huge group of people years ago and created a huge fan-base that constantly crave something new from him. His X-Men and Battle Chasers are of course still held in high regard, so yes, him on a Spider-Man title is a big deal.

At it's core, Avenging Spider-Man is a very artistically led book. The story that Zeb (Amazing Spider-Man) Wells has cooked up feels as though it has been slapped together and rushed out the door before it was really ready. Now that's not to say that there aren't good things in the script. I've always found that Wells has a knack for humor. His work on the television show Robot Chicken is the best example of that, but the one-liners and the overall humor that he imbues into his version of Peter Parker hits that classic feel that can occasionally be missing.

Teaming him up with the Red Hulk, a character that until recently during Jeff Parker's run on Hulk was one that could easily be dismissed as being a black hole that was sucking the life out of good comics (harsh, yes, but there's a lot of hate out there for the character), is an odd choice. But when you step back and think about it, the notion of the comic relief teaming up with the straight-laced, no-nonsense character who really just wants to hit everything that gets in his way, is a tried and true element to countless stories that have been successful over the years. Where things start to get shaky is with the slightly cheesy "villain" choice of the piece, which is shoulder shrug worthy, and the art. Yes, you heard me correctly. I said the art.

In the past, Joe Madureira's style has been very slick, with the influence of Manga and Anime quickly became his defining mark. The pencils were tight and visually appealing though, which can't necessarily be said for his work on Avenging Spider-Man. The pencils are visible shaky and much looser than we have seen. Now, a person could say that that adds something to the action, a greater sense of movement, which I could agree with at times, but here it comes off as messy. Another detractor to the look of the art is the fact that the finished work seems to have been colored and shot from the original pencils. It's a method that I've seen used well by Dale Eaglesham and a few other artists, but in this case there is an unfinished quality to it that quickly becomes distracting.

Overall though, Avenging Spider-Man flounders a bit, but I do appreciate the more lighthearted approach that the creators have taken. There's fun action, humor, and some good ideas put down on the page. If only the execution of it all was a little bit better.

Dc Comics The New 52 - Quick Shots 10/29/11

2011-10-29T13:01:00.000-07:00

Well, everyone take a quick sigh of relief. Catch your breath while you can, as the first month of DC's relaunch is finally over. 52 new books with new creative teams and new things to love or hate. Okay, break's over and the books keep on coming. Overall, I have to say that I'm pretty happy with the quality that we've seen. Sure, there have been a few books that have disappointed, but we expected that to some degree. There was no way that all 52 of them would hit the bulls-eye. What this article will try to do is provide a quick three or four sentence review of how each of the subsequent issues of the title fare. I wish that I could provide a more in depth look at each of them, but time is a harsh mistress and it seems to always run out. Anyways, to the books!

All-Star Western #2
Writers: Justin Gray & Jimmy Palmiotti
Artist: Moritat and Jordi Bernet
Company: DC Comics

While it may not have had the surprise factor that the first issue had, this second issue of the Jonah Hex starring book was fairly awesome. The meat and potatoes of the issue is Hex knocking fist and bullet against the many bodies that our Gotham Secret Society has sent in his general direction, but it's nice that the Amadeus Arkham viewpoint hasn't been completely thrust to the side. Moritat utilizes his expert skills as an artist to beautifully render the violence. There's a great splash especially, one that is broken down into much smaller panels that what is typical, to show the brutalization of a fight scene in an almost second by second sort of way. So yes, this still qualifies as one hell of a Western comic and the fact that there's a backup El Diablo story drawn by the amazing Jordi Bernet makes it even better.

Aquaman #2
Writer: Geoff Johns
Artist: Ivan Reis
Company: DC Comics

While not as good as the first issue, many of the, "Aquaman is lame, so let's make him cool jokes," have been thrown back out to sea and replaced with some good old monster attacks. The action is a bit intense in places, skewing to some of the gore that Johns has been well known for, but it doesn't feel out of place somehow. It's obvious that The Trench is the new big bad and I think the expansion of Aquaman's rogues gallery is a great thing. The other stuff things that are touched on in this issue is how Aquaman and Mera are fitting into every day society. It's kind of schlocky, but I like what's going on and even more surprising is that I think Johns is making Mera a much more interesting character than she's ever been. Reis, as always, provides excellent visuals. The man is an awesome machine.

Batman: The Dark Knight #2
Writers: David Finch & Paul Jenkins
Artists: David Finch & Richard Friend
Company: DC Comics

Well that Silver Age remark that I made in the first issue review needs to be revamped, as this issue through out the funny corniness and supplied a deeply messed up and creepy vibe in its place. What do I speak of? Well, let's just say that it involves The Ventriloquist acquiring a new dummy. In all honesty, while I do think that Finch is a decent artist that knows how to set a scene and sell it, he's not the world's greatest writer. His storytelling just isn't up to snuff and even with Jenkins' help, The Dark Knight seems to be limping along without supplying much in the way of fun or entertainment.

Flash #2
Writers: Francis Manapul & Brian Buccellatto
Artist: Francis Manapul
Company: DC Comics

Standard superhero fare. I say that and I know most people immediately interpret that as somehow being boring, but that isn't the case. In fact, it's a major compliment, as getting traditional super-heroics isn't as easy as you would think it is. Manapul, as a writer, is showing a great knack for ingenuity. He and Buccellatto think outside the box and allows his characters to feel Super. With this issue we see how Barry figures out how to allow his brain to access the Speed Force in order to out-think his problems. It's a cool idea, but you can already see that it's one that is a bit of a double edged sword. As an artist, Manapul is killing it. The experimental nature of his panels and the sheer approach-ability of the world that's creating is great. It's a great time to be a Flash Fan.

Green Lantern: New Guardians #2
Writer: Tony Bedard
Artist: Tyler Kirkham
Company: DC Comics

Lobotomy. You just brought Lobotomy into a Green Lantern comic? I mean, I know this relaunch is meant to stray a bit into the realistic and the darker avenues of the world, but when you literally lobotomize a character, some imaginary moral code has been crossed, right? Beyond that, things in this issue are fairly bland. Why Kyle has become a lantern for all of the other rings is addressed, but not answered. Bedard skates to the more extreme side of things while making Kyle a bit of a dope, sort of in the same vein that he was when he first showed up on the scene back in the 90's and was made fun of by most of the other heroes. Kirkham's art on the other hand is fine. Not perfect, but decent enough.

I, Vampire #2
Writer: Joshua Hale Fialkov
Artist: Andrea Sorrentino
Company: DC Comics

Are you a vampire? Do you happen to feel persecuted by the pesky human race? Feel like joining a team that wants to wipe said annoyance off the face of the Earth? Then come on, join Team Queen of Blood! Yup, that's pretty much what this issue goes into. It's odd to see things take a dip into the political and social stuff of vampires, but it's a welcomed distraction from the poorly executed love/hate relationship between the two main characters. The conflict doesn't jibe and feels so cookie cutter that it's distracting. Sorrentino's artwork, still channeling Jae Lee, again feels stagnant and stiff, especially during the action scenes. Sadly, this book goes into the meh pile.

Justice League Dark #2
Writer: Peter Milligan
Artist: Mikel Janin
Company: DC Comics

A bit of a dip in the wrong direction this issue. The quote on the cover promises a good burning of witches, and there is a bit of that, but the longer this story goes on (and I know this is only the second issue), the more you realize just how played out The Enchantress as a big bad and story element is. The other, lower key, elements revealed here were fine, though the soap opera of Deadman and Dove may have served better if it had been trimmed and substituted with some more burning of witches. Or you know, action of any sort. On the flip side, Janin continues to provide strong visuals. His anatomy and storytelling and overall attention to detail trends to the impressive to downright badass status.

Superman #2
Writer: George Perez
Artist: George Perez & Jesus Merino
Company: DC Comics

There's one thing that a Superman comic should never do. It should never bore you to tears, which is what this book has been doing. The pacing is so off and the ideas aren't interesting. I love George Perez and will always be thankful for his work on Wonder Woman and other DC books, but the pacing that he employed with those 80's works shouldn't be used nowadays. It just doesn't gel. The fight between an invisible, possible Kryptonian monster and the back and forth between never together but oddly sound like divorcees, Lois Lane and Clark Kent both feel very cold. Merino, who's a bit locked in by Perez's breakdowns is solid enough. I still think there should be more inherent movement to his characters, much in the same way that Morales and Co. put into Action Comics. A disappointing title to say the least.

Teen Titans #2
Writer: Scott Lobdell
Artist: Brett Booth
Company: DC Comics

An instance where, while I recognize the many Lobdell-isms that are prevalent in the title, the story being told in the pages of Teen Titans is one that has a lot going for it. The characters seem more balanced than many others in the relaunch, and I like the melding of new characters (i.e. Wildstorm Universe) with the DCU. There are a few lines of dialogue that are snicker worthy, but Red Robin's go get em attitude and the action reads well. The art on the other hand is distracting. Booth has certainly come a long way in his career, but there are times where I can't help but feel that this title would have been boosted even more with the likes of someone like Mike Norton. Booth's messy line can sometimes obscure details and can be very distracting. I'm still on board for story, but I would kill for a better artist.

Spaceman #1 of 9

2011-10-28T16:15:00.000-07:00

Writer: Brian Azzarello
Artist: Eduardo Risso
Company: Vertigo Comics

Well, I'm going to just come out and say it: Brian Azzarello is on fire. With his Flashpoint: Batman Knight of Vengeance mini being the creme de la creme of the Flashpoint world and the start to the new Wonder Woman series hitting all of the right notes, you'd think that he might be stretching himself a bit too thin. Wrong. Spaceman, an urban Sci-Fi story, is just as clever and mind grabbing. Teaming up with his artistic partner Eduardo Risso is the icing on the cake.

Together they aptly tell the tale of Orson, a genetically engineered hulk of a man who, like most people, is trying to find his place in life and dreaming
about the literal stars and space that he was promised. If you know Azzarello, then you know that this isn't going to be a happy go lucky kind of story that elicits a smile and gives you candy and sends you on your way. No, it's a dark and messy and morally corrupt world that comes to life and pulsates a greasy sheen onto your mind. But in a good way.

Really, after the teaser that appeared in the anthology Strange Adventures a few months back, I would have told you that Spaceman was pretty much Blade Runner, but shown from the runaway Replicant's side of things. This first issue however paints a different picture, focusing more on the kidnapping of a socialite's daughter and how Orson fits into the affair. What makes such a traditional story come to life though is how the world around the characters is built. It's very Sci-Fi, and looks it, but Azzarello goes the extra mile and concocts a new dialect, or slang, that the characters communicate with. I can sort of see how it could get annoying, as such things have in the past (Fray, I'm looking at you!), but here it isn't distracting, it's engrossing.

Risso's style is pitch perfect for this kind of thing. He makes it his own and makes every panel slick. His creation of this dystopian society that the world has become, its shattered city-scapes and gutted buildings, is spot on. Another thing that is done so well is the character design of Orson. This man, a literal Hulk blended with a touch of Superman, makes for an interesting main character. He isn't the typical good looking, smooth talking, badass that we're used to and watching him lumber about his salvage boat and do the things that every person on the planet does it captivating. Risso is also a master of light and shadow. He can do so much with so little and because of that ability, the smallest things can become so damn awesome and memorable.

So yes, Azzarello and Risso strike gold again with Spaceman. You can tell from page one that this is going to be a tragic book, without a doubt, but you also know that it's going to be satisfying as well. If you're in the mood for something along the lines of Children of Men or something that hits that sort of tone, seek this one out. It's that good.

Wolverine & the X-Men #1

2011-10-28T13:12:00.000-07:00

Writer: Jason Aaron
Artist: Chris Bachalo
Company: Marvel Comics

Well, whether or not you cared for the idea of Cyclops and Wolverine calling off their friend engagement and splitting into two different factions or not, there's really no stopping it now. It's happened and even though it was forced and felt off in seventeen different ways, we now have another X-Book to keep an eye on. That said, this is a weird book. Or more to the point, a weird X-Men book. Why? Because it bashes you over the head with humor instead of mutant, death-freeze-omni-whatever blasts that we are used to, which is a little atypical of the traditional X-Men formula. If you can get behind that and the very Whedon-y style to the characters speech patterns and banter, then there is a pleasant surprise for you with this book. If you
can't, and find the humor out of place or grating, then I'm afraid to inform you that it's a deal breaker and this is probably not going to be the X-book for you.

But like I said, there's something here that is refreshing. The lightness in it, the back and forth between the characters, and really, just seeing Logan portrayed as the Headmaster of a school makes me think we've entered some sort of National Lampoons rendition of Graymalkin University, but aside from that it is interesting and indeed fun.

As first issues go though, this one takes the route of slow burn. Yes, there is a ton of information at people's fingertips here, with the cast of the teachers, the students, the cliques that are forming, and the general nuttiness that Hank McCoy has imbued into the newly minted walls and underbelly of the Jean Grey Institute being explored. What's missing however is the driving force of the book. Is it going to simply be the antics of the school? Will it be the newly formed Hellfire Club, which do make an appearance (and provides one of the low points in my opinion)? Or is it something else entirely? Hopefully, that issue can be resolved quickly though, as I love the bare bones here. Oddly enough, where Aaron is traditionally the guy you go to for darker stories, things like Scalped, The Other Side, and even Schism, his humor shines. The backups that are provided in the form of diagrams and a class schedule, which is the best part, are almost worth the price of admission alone due to the cleverness at work.

Handling the artistic duties is Chris Bachalo. On the surface, just skimming the issue, you might think that he's the wrong person for the job. The frenetic look is a bit off putting and his panel structure, as per usual, is wonky. That said, reading the title as a whole is a much different experience. Bachalo lets things go wild at times, especially with the actual look of the school (which looks like the love child of Hunter S. Thompson and a Brownstone), but the little details that he injects into the work make it something more. One of the best things is the way that his characters have an almost rough edge to them. The details, the things that make the characters what they are in our minds, are there, but the remainder of the individual is left a little muddy and said technique allows the brain to formulate the rest of the picture. It's a strange thing, but it works, especially for this very character centric tale.

Overall, this is a happy, strange, and satisfying first issue. There aren't many comics that fit that bill, which is part of the appeal. There are a few speed bumps that need to be addressed, but Aaron and Bachalo seem to have set the stage for good times.

Incredible Hulk #1

2011-10-28T10:12:00.000-07:00

Writer: Jason Aaron
Artist: Marc Silvestri
Company: Marvel Comics

Compared to the books that have encompassed the Hulk property over the last few years, Jason Aaron's new foray into the grand misadventures of a Banner-less Hulk leaves a distinct and quite unsatisfying taste in your mouth. Yes, the prerequisite material that any Hulk book should have is there. Hulk does smash stuff bare handed and grumble a bit about persecution and being hunted, but to me it's missing the heart that Greg Pak was able to package and get across in his book.

One of the biggest selling points is probably the Marc Silvestri artwork. It's been a long time since we've seen him do a monthly book, as for the past few years
he's mainly been the go to guy for one shots with things like Dark Avengers/X-Men Utopia and X-Men Messiah Complex. With Incredible Hulk, you certainly get some solid action in the guise of our "hero" trading blows with a giant Magma Monster. Still, this isn't quite the Silvestri of old. Yes, it's his style but instead of a slickness to the pencils, there is a messiness to it that we haven't seen before. This can probably be attributed to the fact that there is another artist (Broussard) providing finishes and then another three artists completing the inks. With that kind of artistic parade, the end result is going to suffer no matter what, and sadly, it does. The backgrounds are less than stellar, seem devoid of much life, and the characters occasionally feel smudged.

The biggest problem however isn't the art, it's the way that the story is approached. For being a new number one, a fact that will undoubtedly get more people to pick it up and give it a try than any subsequent issue, the story takes it for granted that the reader already knows that Banner and The Hulk have been separated from each other. It's a fairly notable piece of information, one that isn't really touched on until the very end. It would have been easy to cover that at the beginning in a text piece titled Previously On or even in a quick flashback. That said, there are some things about Aaron's depiction here that are interesting. Hulk's need for introspection is different and I like the fact that over a period of time he's sort of made a home at the center of the Earth. The befriending of a clan of Moloids, a clan that seems to be reminiscent of a tribe of Native Americans, is a little out there and feels more like it belongs in Franken-Punisher, but the parallel that it gives to the story is needed.

The inevitable cessation of said happy times when the government bursts onto the scene isn't surprising and the "shoot first ask for help later" attitude that they use feels like a clumsy excuse to have another action scene. Aaron's Ellis-isms continue a bit with a governmental character, dubbed with the last name Von Doom, that is snarky and snide. I get that these are things that work in comics, but it's not needed in every title and lately has become distracting. Then there is the twist ending, which being a Banner fan, made my inner groan machine bristle and rev up.

All in all, this version of Incredible Hulk is off to a rocky start. I think Aaron is a talented enough writer, but his approach to superheroes doesn't always work, and the lack luster pencils by Silvestri doesn't help much either. Here's hoping things get better fast.

Why Haven't there Been Any New Articles Recently?

2011-10-27T08:10:00.000-07:00

The answer to that is fairly simple. ARKHAM CITY. Well, that and a crazy few weeks of life, but mainly because I was so engrossed by the expansive, interesting, beautiful, laugh inducing, beat em up fest that this game is. Though it sounds insane, it's the best licensed game that's ever been made, and unlike many other sequels, this one somehow beats the high bar that Arkham Asylum created. Now, with the main game over with and my obsessive need to find all 400 Riddler trophies (which is insane by the way...and I'm sure I've already started cackling), I decided that it was time to go back to comics.

So, without further ado, let's get back to the reviews! Of course, the Nightwing download pack comes out next week, so I better get cracking!

Have you guys been playing it as well? What's the general consensus from you? Best game ever?

Ultimate Comics Spider-Man # 2-3

2011-10-14T11:56:00.000-07:00

Writer: Brian Michael Bendis
Artist: Sara Pichelli
Company: Marvel Comics

It's a fairly easy statement to make that Ultimate Spider-Man, in whatever incarnation that it's taken, is Brian Michael Bendis' best work. It's the most character centric, spot on, interesting, and ultimately enjoyable comic book that he's written. Sure, you could throw out and argue Alias, but there's something so dead on with the way that Bendis "gets" the character of Peter Parker. Now, this new book isn't Parker, but that in and of itself isn't a deal breaker. Starting from the ground up with a new character, while risky in many ways, also makes a great amount of sense. The potential for new readers is there, but the game has to be brought in order to keep up with the expectations. The first issue did that, though it did
trend towards the slower side of the street. Issues two and three do as well, but despite that slow burn, you can feel things ramping up to something.

In a sense, the Miles Morales story arc so far is a direct homage to the tone and pacing of the first few Ultimate Spider-Man comics. The costume has yet to appear and the main focus of the book is our hero coming to grips with his new powers. Bendis does set new ground in a few ways. I really am enjoying the familial overtures that are being set up with Morales' Mom and Dad. They bring an interesting dynamic to the tale that we haven't quite seen in Spider-Man comics. Sure, we've had Aunt May in the past, but it isn't the same and that difference brings the new to the table, as does his best friend, Ganke, whom is the only person Miles has shared his secret of being empowered with. He's a bit of an odd duck, a kid with a Lego addiction and the need to wear "ironic" Marvel Universe t-shirts emblazoned with Frogman and Howard the Duck, but he adds a dose of much needed humor and takes up the role of sidekick rather well.

What keeps us in the seat and has our fingers flipping the pages though is Miles himself. Bestowing a different set of Spider powers on him is great. It makes him similar to Parker, yet different as well, works. The active camouflage has the potential of being very useful and a very cool visual to attribute to the character. Still, Bendis makes you like the kid very early on. He's easy to connect with, has real problems that you can understand, and he just feels like he could be the kid that you see down the street playing basketball with his friends. The action front, sadly, is a little vacant at the moment, which is a missed opportunity in my opinion. I understand that Bendis wants readers to get a great sense for the character before he delves into that well, which they are, but there needs to be a happy medium that is able to connect these two things. Now, I will say that there is a cool action sequence in the third issue, one that allows you to get a good sense of what our hero can do in the way of physicality.

On the other side of the fence, visually speaking, Sara Pichelli's work on the book is flawless. The body language, the movement, and the utter detail that she injects into her characters adds so much to the proceedings and make everything pop so well. Nothing is taken for granted, be it the clothes that the characters are wearing or the busy and bustle-y New York streets. The way that she draws Morales leaping and hopping and even standing around isn't the standard stuff, each pose is fueled by a great sense of character. The movement is so fluid and fun, so eye appealing that its hard to tear yourself away from it. There's also this great mesh of realism and the traditional comic book aesthetic in her work that makes what's happening on the page so approachable. Without a doubt, Pichelli is one of the best artists in comics right now.

So yes, Ultimate Comics Spider-Man aims to entertain, and it exceeds that goal quite regularly. Armed with an interesting new character to comics and beautiful and stylish art, this bi-weekly powerhouse can't go wrong.

Week in Review 10/5/11 - 10/13/11

2011-10-14T10:18:00.000-07:00

Angel & Faith #2
Writer: Christos Gage
Artist: Rebekah Isaacs
Company: Dark Horse Comics

If you feel the need to read a comic that in any way relates to the world of Buffy, I can not stress the fact that Angel & Faith should be that book more. Gage is a writer that brings a good story with him when he comes on a book. He does his research, gets in the characters' headspace and then lets the ball of chaos unravel so the reader can get caught up in it. In a good way. The interaction between Faith and Angel is so paramount, and here it has a simple good cop/bad vampire type feel to it, one that feels faithful to the show while at the same time breaking new ground. The notion of Angel
trying to atone for the sins of Buffy Season 8 (which needs to be atoned for) and bring Giles back is actually a great driving force for the story and the hows and whys of that tale are, so far, extremely readable and interesting. Isaacs, who handles the art side of things, is bringing such an array of talent to the game. Comparably speaking, she outshines Georges Jeantly on the likenesses with ease, and her storytelling is smooth and has better composition. She is the perfect fit for this book, striking both the action and personal moments with precision.

Ghostbusters #1
Writer: Erik Burnham
Artist: Dan Schoening
Company: IDW Publishing

If you have any love for the Real Ghostbusters cartoon, or just a fan of Ghostbusters in general, then you need to get your hands on this first issue of IDWs new series. The one thing that can make or break a licensed book like this is whether or not the writer can find the right voices for these characters that already have lived on the screen. Burnham does this and captures the look and feel and demeanor of all of the characters that are used rather well. The story itself, focusing on a building that is haunted, does have a few cliches and tics that probably could have been left on the cutting room floor, but there is some smart writing here and a reminder of just how much I've missed these characters. Schoening brings a very animation style to the book, a move that works well. At a glance it really pops, but when you take a longer look at it, the bare bones of his line work and the level of expressiveness that he achieves makes it even better. A great first issue, on that contains copious amounts of highly enjoyable, proton packed energy.

Huntress #1
Writer: Paul Levitz
Artist: Marcus To
Company: DC Comics

Back with a vengeance, this is one of the first minis of the new DCU, one that brought with it a bit of worry to be honest. For one, Huntress is a character who I have always found interesting, and the fact that Paul (Legion) Levitz was writing her did not bode well. That said, Levitz outdoes himself. This is definitely an easy entry point for new readers, an issue that forms a well crafted story which focuses on Huntress dealing with her ties to organized crime. And while the story is good, the real attraction is Marcus (Red Robin) To's artwork. A lot of reviewers are quick to say that art is sleek and slick (I of course do this as well), but To is the model definition of those two things. The way that his action scenes are constructed is so in your face and the martial arts scenes, scenes that have our heroine leg sweeping, leaping, and side-kicking her way out of situations, are so vivid. To that you also add To's ability to draw sexy women and provide realism to the background and the tools that all of the characters use, and you have a mini that is off to a great start.

Pigs #2
Writer: Nate Cosby & Ben McCool
Artist: Breno Temura
Company: Image Comics

The story of a Cold War KGB Sleeper Cell brought back from the brink of forgotten memory when a few key words are whispered continues, and while this issue does have a sense of brevity, the very character-centric tale is a grabber. This time out we see our villains meet an old friend, The White Russian, a man who may or may not have adapted to the world that he now lives in. We've seen this sort of conflict before, but McCool and Cosby bring a fun eye to it even when it's fairly obvious what is going to happen. Temura, who's style continually grows on me more and more, is a cross between Sean Phillips and Paul Azaceta. His characters, all distinct from one another, have a very realistic feel to them and the real life world feels lived in and gritty, the way you would expect the setting of a suspense/thriller/espionage book to be portrayed. Really, the only complaint that I have is that the issue felt like it was over in a flash, but beyond that, Pigs dishes out a great story that hits the mark.

The Shade #1
Writer: James Robinson
Artist: Cully Hamner
Company: DC Comics

It's always a bit fearful when a writer who has long since seen his golden years with writing a certain character return to said celebrated character. As readers, you normally don't want this because the possibility of this newer book being able to injure the memory of the old is there. However, Robinson's return to The Shade isn't one of those times. If you were a fan of Starman, this feels very much a continuation of those characters (minus Jack Knight, thankfully) and rolls them up into the new DCU. Seeing Hope O'Dare and Shade make nice with one another and continue their relationship is great fun and just being able to revisit this conflicted anti-hero and his peculiar ways of operating and living out the days of his immortal life provides ample avenues of entertainment. Hamner, who is the first artist in an ever rotating group who are slated to appear in this title, does a fairly decent job. It's not out of the park amazing, but everything is clear and he is able to attain a great amount of personality in his characters, which brings about a much more human tale. The shock ending feels out of nowhere, but it's the start of a new adventure and there's enough here that Robinson has me.

Ultimate Comics Ultimates #1
Writer: Jonathan Hickman
Artist: Esad Ribic
Company: Marvel Comics

Taking a swerve into crazy town, this second issue of the wonkily titled Ultimate Comics Ultimates, brings to bare a story that feels so unlike what you would normally get in an Ultimates book. Hickman, who's known for some strange ideas, pulls an idea of a bottle city of powered "humans" and inflicts their need to conquer the world as we know it, not to mention the Asgardian World, upon us. The out of left field idea leaves the story a little cold, as does how things end up after the smoke settles. Helping out with the coldness is Ribic, with his very structured and almost static renditions of our characters. There's action here, a lot of it actually, but it doesn't scream in a very dynamic voice, especially with Dean White's more heavy colors. I guess my biggest complaint here is that characters that shouldn't have been punked out, are, and that sort of storytelling just ends up being kind of sloppy. I know Hickman is a big idea guy, and more than likely he'll reign this story of God vs God well enough in the end, but right now it's missing some crucial elements.

X-Men Regenesis One-Shot
Writer: Kieron Gillen
Artist: Billy Tan
Company: Marvel Comics

While I found the end of X-Men Schism to be forced and a bit contrived, the notion of Scott and Logan opening up separate schools and handling the role of mutants differently does have the potential for interesting stories. Regenesis is a one shot that essentially sets the stage for the two new books, takes a gander at who all of the characters side with, and in many cases, expresses why they side with either Cyclops or Wolverine. Gillen does have some fun ideas to bring to the table, and I do particularly like his take on the Beast. The weirdness with the story is a section that runs the entire length of the book, which sees the X-Men decked out in caveman attire, as they rally around a savage fight between our two heads of state. I can see what Gillen was going for, but there's never a reason given for having things shown this way, they just are, almost as if the X-Men, at their core, are neanderthals somehow. The art, provided by Billy Tan, is a spattering of both good and bad. Tan has improved over the years, but there are panels here that seem rushed, which lead to some meager renderings and more than a few static poses. Overall, I'm curious as to where the two new X-books go, but this issue did have me scratching my head a little.

DC Comics The New 52 - Quick Shots 10/12/11

2011-10-12T20:24:00.000-07:00

Batgirl #2
Writer: Gail Simone
Artist: Adrian Syaf
Company: DC Comics

Here's the thing about Gail Simone's Batgirl, it's decent but man oh man, where is the fun and the humor? It's all dire and depressing and hardcore, the jokes thrown in feel a bit clumsy, and it's missing one of the things that I had figured it wouldn't have a problem proliferating: Charm. I do like how Simone shows how smart Babs is and applies that in how she fights The Mirror and the mystery behind him, but the character seems mildly ineffective, which isn't how I typically think of Batgirl. On the other hand, Syaf is doing a stand up job on the art and his design for our villain is quite nice.

Batman & Robin #2
Writer: Peter J. Tomasi
Artist: Patrick Gleason
Company: DC Comics

A decidedly stronger second issue by Tomasi & Gleason, one that is a vast improvement from the first issue and has me looking forward to the next. At the outset of this book, in some interview, I remember hearing that this title would examine the relationship between Bruce and his son. I thought that that was a cool notion, and the way that Tomasi writes that notion and the Bruce Wayne, Damien Wayne, and Alfred relationship here is realistic and layered and immensely engaging to witness. That coupled with a few fun nods to Batman continuity and Gleason's extreme talent and eye popping, street level visuals, and you get one hell of an outing.

Batwoman #2
Writer: J.H. Williams III & W. Haden Blackman
Artist: J.H. Williams III
Company: DC Comics

This is a slow burn book, one that specifically focuses on characters over action. Don't take that the wrong way though, as there is action here, distinctly and beautifully rendered by Williams in an array of styles, but the items that are addressed seem personal to the characters. There's a level of coolness to seeing Cameron Chase interact with Captain Sawyer who in turn deals with Kate Kane. It's the best example of exploring the amazing boundaries of the new DCU, while also getting dose after dose of swanky art and cool mystery. This is the sort of thing that Batgirl should strive to be.

Deathstroke #2
Writer: Kyle Higgins
Artist: Joe Bennett
Company: DC Comics

Bloody and violent and fast paced, Deathstroke is the comic book equivalent of the gratuitous action flick that you're not really expecting to like, but once you're in your seat, you can't help but be entertained by the flashing lights and vast pools of blood that splay out on the screen. I will admit that this one's short on character development, but I like this EXTREME version of Slade Wilson, the type of guy who fights the faceless masses of a private army only for the hell of it, and find Bennett's artwork to be particularly on the nose in depicting the carnage.

Demon Knights #2
Writer: Paul Cornell
Artist: Diogenes Neeves & Oclair Albert
Company: DC Comics

Barbarian Vandal Savage is by far one of the best new character directions that I've seen with this entire new DC relaunch. Picking up right where the last one left off, Demon Knights continues to feel like DCU fueled Dungeons & Dragons, high on laughs, action, and bad-assery. Cornell has gathered an interesting group of characters, normally nothing more than second or third stirngers, and makes you give a damn about them. Neeves and Albert have captured the fantasy vibe so well too and barrage you with cool thing after cool thing. Plus...DRAGONS! What's cooler than Dragons?

Frankenstein Agent of S.H.A.D.E. #2
Writer: Jeff Lemire
Artist: Alberto Ponticelli
Company: DC Comics

Last week, Frankenstein was the best of the week. This week is no different. Monster fighting mayhem, sci-fi nuttery, and one-liners that are memorable and executed with such skill make this book stand out among the pack. This issue is slightly slower than the last, focusing more on the town from the first issue and the secondary characters rather than Frankenstein, but this doesn't make it any less enjoyable. Ponticelli's artwork is still a bit looser than I'd like, but the way he's able to get the point of a particular panel across even when it's packed to the gills with stuff to look at, is an impressive artistic feat. Also, I absolutely love his monster design. He kills in that regard.

Green Lantern #2
Writer: Geoff Johns
Artist: Dough Mahnke
Company: DC Comics

With Johns in charge of three books, you'd think that he would eventually drop the ball on one of them. That hasn't happened yet, as his retooled Green Lantern book feels reinvigorated and fresher than it's been in years. The way that Sinestro and Jordan butt heads and play off one another in this one, not to mention how they help each other in unexpected ways, makes for some top notch storytelling and Mahnke's ability to slickly portray alien on alien violence and then capture the complexities of each member's ring slinging while making it seem so smooth adds a whole new level of cool.

Grifter #2
Writer: Nathan Edmondson
Artist: Cafu
Company: DC Comics

With a disappointing first issue under its belt, I was part of the way to writing this book off. I'm glad I didn't, as this issue was a much better outing than the last. We still haven't seen the action that I was expecting with the title and the pacing is still off, but I can see where things are going now and there are some neat ideas being put into practice here. Cafu's art, while good, doesn't quite work for me. It trends to being a bit too stiff and the coloring of the book makes much of it feel bland to some degree.

Legion Lost #2
Writer: Fabian Nicieza
Artist: Pete Woods
Company: DC Comics

Boring. I don't want to be too harsh on this one, it really is the better of the two Legion books, but that isn't saying much. The problem is that there are several great ideas at work here, but the execution of said ideas is so muddled and weighted down by darkness that they don't have the time to shine. Woods is still providing a healthy dose of futuristic action horror, and doing it quite well, but the story is what's holding this one back. I'm hoping that it can unwind itself and really deliver on the potential that's there.

Mister Terrific #2
Writer: Eric Wallace
Artist: Gianluca Gugliotta
Company: DC Comics

My biggest complaint with this one is the art. Gugliotta is a fine artist, one who employs a more European style with great skill, but there's just something wrong with his storytelling. The slight abstractness of it doesn't help as some of the panels in this come off as unclear. Wallace's story continues to impress. It's standard stuff, with good guy versus bad guy, but there are lots of little small things that make it stand out. The science angle alone makes it more unique.

Resurrection Man #2
Writers: Dan Abnett & Andy Lanning
Artist: Fernando Dagnino
Company: DC Comics

I got to say, without really much connection to the character of Mitch Shelly, in two short issues Abnett and Lanning have created one. Where the first issue summed up the characters powers and the "debate" between Heaven and Hell, this second issue explores Shelly's past. It's a fun exploration spiced up by some off the cuff action in the form of two, gun toting, women who are sent in to capture Shelly. With great art by Dagino (who I have never seen until now) and that DnA mixture of entertainment, you can't go wrong with this one.

Suicide Squad #2
Writer: Adam Glass
Artist: Federico Dallocchio & Andrei Bressan
Company: DC Comics

Darker than dark, this isn't you're old Suicide Squad anymore, it's in a class of its own. With a fun mixture of characters and some solid story construction that pits our team against an outbreak set in the confines of football stadium, this done in one story has a lot of villainous charm. Also, while people were griping about Harley's portrayal in the first issue, she was back to her old self with this one. It's one drawback is Dallocchio and Bressan's artwork, as there are times midst the chaos, where the action comes off as being unclear and messy.

Superboy #2
Writer: Scott Lobdell
Artist: RB Silva
Company: DC Comics

While I do think there are a few Lobdell-isms that plague the story, the execution and the characters that have been chosen for this title make it interesting. It embraces the whole DCU / Wildstorm commingling, which I think more of these books should do, and Silva's artwork has a very animation style to it that allows more and more stuff to pop. There's one scene, a key one that has to do with a certain Gen 13er, that could have been much clearer, but I am so far very impressed with this book.

DC Comics The New 52 - Quick Shots 10/8/11

2011-10-08T13:18:00.000-07:00

Action Comics #2
Writer: Grant Morrison
Artists: Rags Morales & Brent Anderson
Company: DC Comics

Hands down, the best comic of the relaunch. Morrison continues to run full steam, head-on into excitement, adventure, and Action with this book, throwing around great concepts and ideas and character reworks like explosions of brilliant and flashy confetti bombs. The attitude of Superman is refreshing and adds a quality to the character that brings him into the new age while still keeping what makes him relevant alive. Morales and Anderson both bring top level work and are able to capture that sense of uncanny movement as Superman zips and zags and bashes his way out of captivity while at the same time providing a great new visual look to classic Superman iconography. Also, don't skip the interviews in the back!

Animal Man #2
Writer: Jeff Lemire
Artist: Travel Foreman
Company: DC Comics

A bit slower than the first issue, though such a thing doesn't really present much of a problem as the characters are really coming into their own. Horror is still the name of the game as we pick up right where we left off and see Buddy and Maxine traverse the wonderment of The Red in search of a "Life Tree", and let me tell you, the horror here is creepy and effective and downright unsettling. Foreman's sketchy linework is dead on brilliant and ratchets up the tense moment to moment work with creepy hippos giving birth to one another and tattoos that magically form a map all over our hero's body. Go Lemire. Go!

Batwing #2
Writer: Judd Winick
Artist: Ben Oliver
Company: DC Comics

Dour, dreadful, and not extremely fun. There should be a sense of wonderment about having a super hero in Africa, a sense of exploration that we don't normally see, but nope, all we get is the traditional story elements about tribesman killing each other and corrupt police officials. It's tedious, especially with the knowledge that Oliver is seriously bringing a nice look and feel to the paint-y style work for the book, but the story entrenched in violence and a character that feels somewhat ineffective and very un-Batman drags the book down to that I don't care level.

Detective Comics #2
Writer: Tony Daniel
Artists: Tony Daniel & Ryan Winn
Company: DC Comics

Better than the first issue, for sure, though it still isn't the Batman book that I want to see on the shelves. This skews to the genre of horror/suspense, a la Silence of the Lambs, rather quickly and puts Batman in that weird place where he was for most of Long Halloween, that place of being unable to stop the bad guys from winning and always arriving late. I did enjoy the first few pages of Bruce Wayne dealing with a new woman in his life though. Daniel is doing the cliffhangers well, which I know people are a fan of, and I do think that people are enjoying the dark approach that this book has. I merely can't count myself as being one of those fans.

Green Arrow #2
Writer: J.T. Krul
Artist: Dan Jurgens & George Perez
Company: DC Comics

The worst thing that this book has going for it is its utter blandness in the form of its story. I still think that the Smallville version of Oliver Queen can work, but the cheese ball one-liners and the faceless villains that are providing our hero with some target practice invoke a great sense of yawntasticness and drains the excitement from the bones of the work. Jurgens & Perez's artwork feels a bit on the dated side too, though I think there is more energy in it and that the action scenes do have a fun nature to them.

Hawk & Dove #2
Writer: Sterling Gates
Artist: Rob Liefeld
Company: DC Comics

What did I just read? I mean really, I like Sterling Gates, but the story here is so convoluted and out of control (and not in a good way, mind you) that I stopped caring fairly quickly. The first issue had some interesting character moments, things like Dove's relationship with the original Dove and Boston Brand, but this time out we get things like torture, Condor, and TORTURE. Oh, and then there's Liefeld's art, which continues to become more and more outlandish by the second.

Justice League International #2
Writer: Dan Jurgens
Artists: Aaron Lopresti & Matt Ryan
Company: DC Comics

Front and center, Lopresti and Ryan's artwork is slick, fun, and evokes the sense of fun that you should get in a JLI book. I just wish the story itself had matched that same sense of fun, as we essentially get a Cobra Commander "RETREAT" moment from Canadian Booster Gold as a battle with a giant robot that's too big for their britches goes south, and back and forth snipes that feel flat and induce groan after groan. That said, I still enjoy Jurgens take on Batman and Guy Gardner, though two people do not make an entire team.

Men of War #2
Writer: Ivan Brandon
Artist: Tom Derenick
Company: DC Comics

A bit of a misfire, I'm afraid, as Ivan Brandon brings forth a rather confusing and cobbled together continuation of his Joe Rock story. I want to like this, I want to enjoy the notion of an almost G.I. Joe set in the DC Universe dishing out pain to super villains, which there are elements of here, but it's a bit mired down in random flashbacks and other distractions to have much of an impact. Derenick's art is nice though and ably brings to life decent action and character emotion. The backup by Vankin and Winslade, which picks up exactly where the last one left off, needs more room to breathe than the 8 pages that its getting.

O.M.A.C. #2
Writers: Dan Didio & Keith Giffen
Artist: Keith Giffen
Company: DC Comics

Continues to be one of the most surprising books of the relaunch. Giffen and Didio continue to homage the classic Kirby comic in a lot of ways, though this outing does see a few more speed bumps than the last. At its core, this book is an action tale and seeing O.M.A.C. go toe to toe with another empowered character, even if he is being used a bit by Brother Eye (who seems to be at odds with the world) at this point, proves to be a lot of fun. My one gripe...Why did they have to change the acronym of O.M.A.C. I want my One Man Army Corps!

Red Lanterns #2
Writer: Peter Milligan
Artists: Ed Benes & Rob Hunter
Company: DC Comics

As a friend pointed out to me after reading this issue, "The aliens in this book act exactly like humans in almost every regard. Why are they called aliens?" It's a weird statement/question to puzzle out, as I don't have the answer. I can see what Milligan is going for with this book, but he's doing it in a very slow, very uninteresting way. Atrocitus is a ferocious, awesome, and somewhat evil character, but he comes off a bit timid, if not a little perplexed with the predicament that he finds himself in. If there was ever a book that screamed the need for ACTION it would be Red Lanterns, but for the most part it's absent. Also, don't get me started on the Ed Benes artwork.

Static Shock #2
Writers: Scott McDaniel & John Rozum
Artist: Scott McDaniel
Company: DC Comics

A collection of interesting, ground floor, Peter Parker-esque super hero action combined with bizarre ideas and sometimes clunky artwork. This time out, Static's fight with our big green gorilla of an assassin (no, he's not really a gorilla...sadly) is a fine example of action done well. It's smart, there's a bit of fun to be had, and if you doubted it in any way shape or form, it shows Static being a flesh and blood super hero! Yay! The weirdness that I mentioned before comes from a side story involving his family life, specifically his sister and apparent clone of said sister. McDaniel's art on that story could have been much clearer and ultimately, it leaves you scratching your head. And not really in a good way.

Stormwatch #2
Writer: Paul Cornell
Artist: Miguel Sepulveda
Company: DC Comics

This issue is a bit frenetic and tends to drop you in the middle of an event, which isn't probably the best way to lure new readers into the world that you're creating, but that said, it was an enjoyable issue. That's mainly in part to the way that Cornell is structuring the story. It has a very similar feel to Captain Britain & MI13, and the way that he's handling not only a sentient moon who wants to destroy Earth, but the multiple cast members and all that they bring to bare, is fairly impressive. There's a steep learning curve with this one, but the gorgeous artwork helps.

Swamp Thing #2
Writer: Scott Snyder
Artist: Yanick Paquette
Company: DC Comics

Snyder continues what seems to be a long, lonely, and mayhem lined road for our resident hero, Alec Holland, this time dropping truth bombs and filling in the gaps as to the many aspects of what exactly makes a Swamp Thing a Swamp Thing. There are a few pages that are oddly laid out, but other than that, Paquette's artwork runs the gamut of cerebral and horrifying quite well. Like I said initially, this is going to be a slow burn of a comic. There will be ups and downs, but Snyder seems to have a plan, and the notion that this comic and Animal Man have some common ties bodes for an even more interesting time than originally thought.

The Strange Talent of Luther Strode #1

2011-10-07T11:28:00.000-07:00

Writer: Justin Jordan
Artist: Tradd Moore
Company: Image Comics

To be completely honest, I had no idea what to expect with this first issue of The Strange Talent of Luther Strode. A friend of mine read a preview copy a while back and immediately stated that it was a "must read" title, one of those books that grabs you by the balls from the get go and gets you hooked quick and leaves you gasping for breath wanting more. I said okay, that I would most certainly give it a shot, even though it seemed like a book that wasn't really my cup of tea. It wasn't because of the super violence that I knew the book reveled in, nor was it the notion of a high school kid getting super powers. What it was, was the fact that we've seen these kinds of things tackled before and I was unsure of what, if anything, new that could be
brought to the table. Let me just state for the record just how wrong I was up front.

Justin Jordan and Tradd Moore are creators that are relative new comers to the comics world. That their first outing is such a strong one, speaks volumes to both of their abilities as creators. Jordan's script, one that takes the old age Charles Atlas comic book advertisement of promised strength in just two weeks, and puts the proverbial new age spin on it is an immediate grabber. Again we've seen it before, but there's a new feeling here that differentiates itself from other stories we've seen before in the form of a Secret Society that uses said advertisement as a method of tryout. That's the starting point. From there we get a look at our main character, Luther, and his best friend Pete. The interaction between the two is very well done. They're believable as typical high school students who are a little bit on the fringe of society while at the same time being actual good guys that you can invest yourself in. You want Luther to succeed, revel in his newly acquired powers, and feel for him as he gets dragged deeper and deeper into a society that has been around for years and years.

Jordan also crafts a nice supporting cast in the way of Luther's Mom, Petra (the girl that he's interested in), a few bullies that are foils for Luther, and our villain, The Librarian. None of these are throw away characters. Each are treated with respect and feel very well rounded and bring some unique element to the story that when put together, makes for a much more enjoyable read. That's a fairly important thing and I give Jordan a lot of credit for it. In a lot of ways, there is sort of a Spider-Man vibe going on with the book, but of course, that's really before you add in the hyper-violence. Usually, that sort of thing throws me off, but there's a tongue in cheek sensibility that keeps it from being beyond the pale. I think if you're looking to compare the violence to something, I'd compare it to something like Kill Bill. It's over the top and gory, for sure, but there's a real element of entertainment as well.

A lot of that has to do with artist Tradd Moore and what he brings to the table with his talents. With a style that evokes artists such as Romita Jr., Ryan Ottley, and Dan Hipp, the work here is insanely impressive. It deceptive with its cartoon-y styling at times, but beneath that it's hiding a brilliantly honed edge that Moore uses with such skill. The action is no holds barred, in your face, tearing things limb from limb, and your eyes are glued to the proceedings completely and utterly. He also handles the day to day stuff, the characters talking to one another, quite well. Just the character creation and design and the way that they all move on the page is very fluid. Nothing about the art here is boring or mundane. It bristles with originality and demands your attention.

So yes, The Strange Talent of Luther Strode is a title definitely worth your time and money. It's inventive, humorous, immensely enjoyable, and sates your desire for revenge and destruction. What more can you ask for, really?

DC Comics The New 52 Week 4: Part 2

2011-10-01T09:12:00.000-07:00

Well, the wait is finally over! The New DCU is upon us, and whether you're ready or not, this week sees the release of 13 all new series. It's strange, exciting, and truly a great time to be a fan of the medium of comics. Now, on the review side, I'm trying to be as spoiler free as possible with these reviews, mainly due to the fact that experiencing them yourself is paramount. I'm also going to try to do full reviews for a lot of these new series, though time constraints and my current sanity level will prevent me from doing all of them. That said, in these The New 52 Articles, I'll give you a quick rundown of what was good, what was not so good, and what are the books to seek out. So without further ado, TO THE BOOKS!

Green Lantern: New Guardians #1
Writer: Tony Bedard
Artists: Tyler Kirkham & Batt
Company: DC Comics

In the pantheon of Green Lantern titles that have come out of the New DCU, New Guardians, while flawed, comes out of the gate with a fairly successful first issue. Bedard introduces Kyle Rayner to the masses well enough, encapsulating what makes him different from the other Lantern bearers and then throwing him into a situation that he doesn't quite understand. There is a lot going on however, a mystery that seems to be snatching different rings from the other Rainbow Corps, that may seem a bit much for new readers. Other than that though, the story here is solid and has many moments that are great summations of heroism and what make characters tick. On the art front, Kirkham and Batt do an admirable job. It's nothing super, insanely awesome, but there's a solid enough structure to it. I found Rayner's ring slinging and the the constructs that he makes very energetic and fun though, and used quite well. All in all, New Guardians has a lot of promise. It will be interesting to see where it goes from here and how the different Corps are used.

I, Vampire #1
Writer: Joshua Fialkov
Artist: Andrea Sorrentino
Company: DC Comics

Immersed in a love/hate relationship between two vampires, it seems that the fate of the world and all those who inhabit it rests on the shoulders of Andrew Stanton (our main character) and whether he can stop the Queen of Blood and her band of vampires from running rampant. Truthfully, while I figured this book would find a happy medium between the True Blood and Anne Rice flavor, something that would appeal to the masses, it really doesn't. Much of the story, the unbelievable and poorly executed love angle, feels sluggish and boring and quite confusing. Fialkov, who's worked on things like Vampirella and The Cleaners, fails to bring anything new to the table that makes the book stand out. I wanted to like the characters, but they come off cold and clinical. That makes a bit of sense because of the alien nature of who they are, but there's nothing for the reader to latch onto or care about. Sorrentino's artwork, which feels very much in the vein of Jae Lee, is another part of that problem. He's a talented artist, for sure, but it has a very static look to it. That coupled with very dreary, though aptly gothic, colors make the proceedings much less interesting than they should be. I really wanted this one to stand out among the crowd, but it doesn't. Instead it sort of ambles by and barely bares a fang.

Justice League Dark #1
Writer: Peter Milligan
Artist: Mikel Janin
Company: DC Comics

Where Milligan dropped the ball a bit with Red Lanterns, he picks the pace up and casts a hefty magic spell that kicks things up a notch with the first issue of Justice League Dark. The cast of characters, pretty much a who's who of the magic world of the DCU, is equal parts dark, broody, and caustically delicious. Milligan is able to give readers a good handle on the majority of the characters as we delve into things. Having The Enchantress be the big bad at the moment is a bit of a rehash from his Flashpoint series, but I have to assume that something new will come of it. One of the biggest points in this issue is that he shows how many of the other heroes of the DCU, people like Batman, Superman, and Wonder Woman, are affected by the utter devastation that magic can bring. It's a neat aspect that I wasn't expecting. Mike Janin, an artist that only recently has hit the comic book scene for me, does an excellent job here. The style leans heavily on a more photo reference-y nature, but there isn't a stiffness to it that becomes an issue. Instead, the thick line of his pencils lend to the doom filled styling of the story and the color tones, many pinks and purples and more subtle colors, do a great job of making things pop. Overall, Justice League Dark gets off to a good start. We'll see what sort of tricks are up Milligan and Janin's sleeve next time.

The Savage Hawkman #1
Writer: Tony Daniel
Artist: Phillip Tan
Company: DC Comics

Well, it was better than Detective Comics...I'll say that much. And I know that I'm in the minority of not caring much for that book. Still, I do like that approach that Daniel takes for this book. Unraveling the convoluted history that Carter Hall has had over the many years of his existence and trimming it down to a much more approachable and simple affair is a great idea. Daniel's approah, however, leaves a very METAL (i.e. Heavy Metal, not Nth Metal) taste in your mouth, which doesn't jibe with Hawkman. The book does follow a traditional heroes path, as it takes Carter from a person who no longer wants to be the hero he was to the point where he has to stand up against an enemy, as he's the only one who can. It isn't bad, but most of the story is very mundane and borders on being boring. Phillip Tan, who's work on Green Lantern recently was only okay, here steps it up and produces a much more vibrant and more rounded affair. There's more detail to it this go around and his style certainly has evolved. It all boils down to the story though. Art alone can't hold your attention. Daniel's story just doesn't have enough to it that wants to bring you back. Hawkman hits things, which is cool, but I had hoped for more.

Superman #1
Writer: George Perez
Artist: Jesus Merino
Company: DC Comics

Compared to Action Comics, Superman disappoints. Utterly. I wanted to like it. Heck, I was primed to like it. George Perez was the man behind the brilliant relaunch to Wonder Woman back in the late 80's, and it's still a run that I return to and enjoy on a regular basis. It had a style of storytelling, a metre and rhythm that made it stand apart from its brethren. This book, and how it approaches Superman, feels off. It's stuck in the past, at least style wise, and Perez, known for his sometimes heavy prose, creates pages that are fit to burst with text bubbles and narrative captions that are so dense that they completely distract from a story that should have been energetic, vibrant, and action packed. The story itself sees the demoliton of The Daily Planet, introduces new takes on Lois, Perry, Jimmy, Clark, and Morgan Edge. It's sadly light on action, but there is a Fire Monster for Superman to trade blows with, though it doesn't do much to really engage the reader in the fight. Merino does a fine job here though. The panel structure is tight, with Perez providing layouts, but there are moments where the art pops and I think the design work and structure to Merino's backgrounds is great. It really is disheartening though. I was hoping to have a great sister book to Action Comics, one that put forth copious amounts of action and fun. This Superman, however, is a bit of a snooze fest.

Teen Titans #1
Writer: Scott Lobdell
Artist: Brett Booth
Company: DC Comics

An instance where there are good ideas here that aren't executed very well. Scott Lobdell, the man behind Generation X and the most recent Superboy relaunch, fumbles the football a bit with this one. His Tim Drake, made more of a computer hacker threat than outright superhero, is a bit weird, but having him be the driving force that gathers a team to fight a faceless government entity works rather well. I also am fond of the way that he introduces Cassie Sandsmark. The backstory of her being more of a petty thief on the run adds something to her character. That said, the dialogue throughout is a bit heavy handed and has a slightly dated element to it. Then there is the art. I will say that to date, this is probably the best that we've seen from artist Brett Booth. His work in the past on things like Anita Blake haven't been all that impressive, but here he shows a bit more energy and a slight change to his style. It isn't a huge improvement, but the storytelling has become much clearer and the panels don't feel as "messy" as they have. I still don't agree with many of the costume changes, but with the tone that's being set up, I do understand what they're going for. Still, much of the issue misses the mark. That doesn't mean I'm not curious to see what happens next though.

Voodoo #1
Writer: Ron Marz
Artist: Sami Basri
Company: DC Comics

A surprise, as I wasn't expecting much from this first issue of Voodoo. I in fact know very little about the character, other than she was a stripper in her first incarnation in the pages of WildC.A.T.S. That element hasn't gone the way-side with this version. The good thing is that writer Ron (Green Lantern) Marz takes that idea and actually puts thought into it. Yes, the sexual nature of working in such a place is broached, as is sex in general, but there's more going on her than just T&A. Voodoo's character is actually well thought out and that she has a reason for doing what she's doing makes sense. There is also a nice supporting cast being fleshed out in the guise of a special agent. Basri's art is very stunning. It has an almost Gene Ha meets J.G. Jones effect to it that I really enjoy. It's sultry, which it needs to be, but he's also able to bring a nice horror element to it. I will also point out that his anatomy, something that can be overlooked so often, is spot on. His characters move realistically and the addition of Jessica Kholinne's gorgeous colors makes things even better. A very solid opener. It's a bit of a bottle issue, with the majority of the time spent in a strip club, but at no point is it boring as there's a lot going on. Color me interested to see where Marz takes this.

DC Comics The New 52 Week 4: Part 1

2011-09-29T12:14:00.000-07:00

All-Star Western #1
Writers: Justin Gray & Jimmy Palmiotti
Artist: Moritat
Company: DC Comics

This was one of the books that I was most looking forward to. Not because that Jonah Hex is a favorite character of mine, he's really not, but the concept was so strong. Hex giving Amadeus Arkham a hand in tracking down the criminally insane in the blossoming insanity of 1880's Gotham City...It just screamed cool. In execution, it's actually a bit better than that. Writers Gray and Palmiotti, who have been in charge of the Western themed Jonah Hex book since it was relaunched a few years back, really put together a tight script. It pulls bits and pieces from things like From Hell and The Alienist, the tense and methodical serial terror, and puts what is essentially a superhero in the middle of it. There's also a good explanation of Hex's character, what makes him tick and what drives him to do what he does too. He's very believable and the way he's seen as almost as a force of nature when he gets going has an almost Punisher like effect. Drawing this little ditty is the artist known as Moritat. Known for his covers and his work on the title Elephantmen, his work on All-Star Western is beyond impressive. It's evocative, has a solid line, draws the reader in, and really provides an on the ground, first hand view of what life is like in this burgeoning city. The entire affair has an almost muted tone to it, but it's very intentional and sets a great mood for the story. All in all, with a story that gets under your skin and a powerhouse artistic talent drawing a very character-centric tale, this one does more than impress.

Aquaman #1
Writer: Geoff Johns
Artist: Ivan Reis
Company: DC Comics

Johns tries a little too hard with this one, but for the most part he's fairly successful in making Aquaman, traditionally one of the more laughable heroes (at least to some), into a much more interesting and powerhouse of a character. The first issue is a bit of a slow burn, but Johns really allows the reader to get into the headspace of Arthur, and allows them to know how our hero feels as the world laughs at him. I'm also a huge fan of the apparent need for the character to escape Atlantis and the title of King. It's a plot point that I'm sure won't be thrown out, but we've seen it for so long and something new and different is what this character really needs to keep people in the seats. Reis, who worked with Johns on Blackest Night, turns in some really smart artwork too. The design work for the villains of The Trench, which feel very Cthulhu-esque, are creepy and evoke a deep sense of terror. That coupled with his smooth storytelling and high impact action makes this title stand strong. Essentially, Johns really is on a roll with the work he's providing for the new relaunch of the DC Universe. Aquaman however, with its blend of humor, action, and creepiness may be my personal favorite at the moment.

Batman: The Dark Knight #1
Writers: David Finch & Paul Jenkins
Artist: David Finch
Company: DC Comics

Mired a touch in corny, over the top caption boxes, David Finch and Paul Jenkins' The Dark Knight feels crazily like a bit of a throwback to the Silver Age stories of old. But not in a good way. Essentially, this is just another Batman story. It too, like the main Batman title last week, deals with problems at Arkham Asylum and a breakout involving many of his typical rogues gallery. I really think this is an every day event now, or at least it certainly feels like it is. There is even the similarity between the books with Wayne giving a speech about Gotham. There are some differences, but the inclusion of a Internal Affairs officer who is looking into Wayne financing the Batman Operation isn't the greatest of plot points. Then there is the art. Like I've said before, Finch is a decent enough artist. I think there's a lot to be said about his action set pieces and the level of detail that he brings to his backgrounds. He has a lot in common with artists like Jim Lee and classic Ed Benes. The one issue that I have with his style is that his faces typically look either very stock and similar to one another or sometimes extremely awkward. His Bruce Wayne in this issue looks wonky and it proved to be a real distraction. At the end of the day though, The Dark Knight doesn't impress.

Blackhawks #1
Writer: Mike Costa
Artists: Graham Nolan & Ken Lashley
Company: DC Comics

For a book that follows a group of elite soldiers out to put the kibosh on terrorist groups that are trying to take over the world, you need to get a writer who understands such a concept. It only makes sense then if you seek out the writer to one of the best G.I. Joe books that has hit the shelves in the past decade. That book would be G.I. Joe: Cobra and the writer is Mike Costa. The first issue of Blackhawks gets across the gist of that concept and provides copious amounts of action, character work, and that crucial ingredient, entertainment. Costa gives us a helping of action at the books outset and then settles down a bit as we see a government stiff pay the Aviary, the teams remote base, a visit. It's a solid way to play the first issue as it allows the reader to be put in this man's shoes and experience things firsthand. The books one downside is the art. Nolan (provides the layouts) and Lashley (provides the finishes) have talent, but there's a frenetic side to the finished product here that doesn't do the book any justice. It's too messy and loose, too confusing at times which doesn't allow the action to have much focus. The bare bones for a good book are there though. The concept is great and what we get in the way of character background is neat. In other words, it's a great start.

The Flash #1
Writers: Francis Manapul & Brian Buccelatto
Artist: Francis Manapul
Company: DC Comics

Let's just get this out of the way first. While I think Johns' return to the character of the Flash was decent, it wasn't the end all be all that we all thought that it would be. There seemed to be something missing to it, some sense of fun-ness or some spark of energy. It seems that with the team of Manapul and Buccelatto, that missing spark has been found and nurtured. The result is an issue that has solid story about friendship and villainy, about being able to move faster than the speed of light, and yes, having a bit of fun. The writers use Flash's power set well and actually make Barry Allen a bit more...What's the word? Human? Not dull? In other words, he has character and the relationships that he finds himself in feel real and realized. The art, as one could have guessed, is beautiful. Manapul knocks you out with the way his smooth and slick style portrays the powers and world that Flash inhabits. The subtle sound effects (take a look at the actual panels to see what I'm talking about) and the way he's able to cut loose and be very inventive with panel layout and structure sets his work apart from many other artists. His style simply has an inviting quality to it that connects some missing synapse in your brain and bashes you over the head with awesome. It also doesn't hurt that Buccellato provides some sumptuous colors to tie it all together. So yes, I demand more of the same from this title with the upcoming issues.

The Fury of Firestorm #1
Writers: Gail Simone & Ethan Van Sciver
Artist: Yildiray Cinar
Company: DC Comics

I'm really torn with this book. Three things are going on with this first issue. One, you get the introduction of Ronnie Raymond, a high school jock that has all of the traditional problems you have at that age. The second thing is the introduction to Jason Rusch, a brilliant teen who certainly has his own problems to deal with coupled with a few extraordinary circumstances that teens don't usually have to compensate for. The third thing is a story about a group of individuals, members of an almost black-ops organization, that to keep a lid on the Firestorm protocol, maim, murder, and torture. Writers Simone and Van Sciver do a fine job with our two high school students and their respective stories. Each feel very different and unique and each bring something different element to the table, just like the writers do. It's the third element, this hit squad, that brings the book down a few notches. The violence is very in your face and splashy and you see these individuals revel in the torture of defenseless men and women. That can work in books like Secret Six or Suicide Squad, titles but it feels a bit wonky in a book like this. Cinar's more painted style is nice however. It gives the book a much more animated feel and I am a fan of the overall design work that was put into the two different Firestorms. So yeah, there's both good and bad inside this issue. I hope we see more of the good next time.

Wonder Woman #1

2011-09-23T11:31:00.000-07:00

Writer: Brian Azzarello
Artist: Cliff Chiang
Company: DC Comics

Always considered to be one of the major three players of the DC Universe, Wonder Woman more often plays the role of red headed step-child, you know, without the red hair. People love her. Her visage and iconic symbol sell countless amounts of merchandise to young kids. She's iconic. And yet, her comic has really had a hard time finding its niche. People such as Gail Simone, Allan Heinberg, and novelist Jodi Picoult have all had a stab at it and come up empty. The last time that I can remember having a solid, imaginative outing was when George Perez relaunched her back in the 80's. Enter Brian Azzarello. Azzarello is not the first person that you would think of to relaunch this title. His stories, things like 100 Bullets and Flashpoint: Batman Knight
of Vengeance, have an inherent darkness to them, an edge that doesn't quite work in mainstay superhero tales. He's also known to be a writer who's quirks sometimes get in the way of the success of the story being told, like what occurred in Superman: For Tomorrow. That said, against all, his Wonder Woman pulls a distinctly gory rabbit out of its hat and does what I didn't think was possible.

It worked.

The story, a genre smattering of Superhero, Horror, and Mythology, is a clever combination of entertainment and ingenuity. It has the classic dark edge, that sense of malice and gritty undertones that the writer is known for, but it's done so differently and incorporates Wonder Woman in such a classic/new hybrid way that you can't help but be sucked in by the newness that has been created.

The gist of the story concerns a young woman, named Zola, who has found herself being the target for assassination. Why? Well, that would be telling, just know that to help her, she is sent to Diana and from there things only get harrier. There's a lot in this first issue to like. The re-imagining of the Greek Pantheon of Gods, ideas that have been a constant in this title's ongoing tale and have felt stale for quite some time, is probably the best. They're creepy and fell more God like with their slightly off kilter looks, provided by the super talented Cliff Chiang. Still, Azzarello's portrayal of Diana works as well. She isn't much different than she has been portrayed in the past, which helps the reader ease into the other, more stranger aspects of the story. Seeing her tower over Zola and ripple with Amazonian strength and speed and power as she fights off creatures straight out of myth brings about some downright cool moments that keep you engrossed in the story.

Which brings us to the art. Like I said before, Cliff (Human Target/Dr. Thirteen) Chiang does some amazing redesigns on the characters in this book. His Hermes is very avian inspired, with his demeanor and overall features, and it adds so much more to the character and makes him so different. The style that he's using is a little more rough around the edges than his typical slick, very clean lined style, but there are a lot of complexities to it. The action is dynamic and the rougher pencils add a real sense of movement to the stampeding Centaurs and arrows flashing across the sky.

I'm a bit stunned by how good this issue was and how much I'm looking forward to seeing what Azzarello and Chiang can bring about in the upcoming issues. I'm sure it will be dark and feel so unlike what we are used to seeing with Wonder Woman, but maybe that's exactly what this book needs.

Catwoman #1

2011-09-22T15:02:00.000-07:00

Writer: Judd Winick
Artist: Guillem March
Company: DC Comics

Sex. Boobs. Sex. Boobs. It's almost as if you elude to these things in any way, shape, or form in a superhero comic, the internet implodes upon itself and a news cycle is created. Really though, sex sells, and while I know the gender debate is raging right along with the question of with things like this, is DC bringing in new female readers, I think a question is being lost among all of the hubbub. That question is this: Is the comic even any good? And the answer to that is yes. Winick and March bring their A games with this one and provide an over the top, rip roaring good time that caters to fans of both good story and great art. Is it the creme de la creme? No, like many other books it does
have a few things that could improve it, but for the most part this new status quo for our favorite feline in tight leather hits the right mark.

Let's first talk about the art though, as with some books, that was what initially drew me in. Guillem March, who's worked on Gotham City Sirens and various covers for other DC books, certainly brings an arsenal of sexy. From page one of this book, that is something that is made abundantly clear. It makes sense, as Catwoman has always had that element. However, it isn't tasteless. It actually has a lot in common with Amanda Conner and her work on Power Girl. Sure, it's a bit more up front in its sexuality, but it still contains that fun, frivolous, character centric focus. More to the point though, it's gorgeous. His linework is amazing. It looks simple, but it isn't. It's complex and a thing of beauty. The way he captures the normality of Catwoman one moment as she talks with friends and the next she's leaping over bad guys, dodging bullets, and bashing heads is some of the most excitement laden artwork that I've seen in a long time.

So yes, having March as the artist was definitely the thing that brought me in. Still, when it was announced that Winick was going to be the writer, my ears perked up a bit. His Batman, specifically his work on the Red Hood character, was more than solid and his work on Justice League Generation Lost was a swift kick to the head reminder of just how well he can write both characters and action. With this issue, we are introduced to a Catwoman who may or may not be the shining example of criminal rehabilitation. From page one, she's on the run from a group of bad guys who are out to get her. Their motivation? Selina doesn't know, but it's a pretty good guess that she stole something that they want back. It's a cool way to open a book. The action is inventive and provoking. It's high energy and scripted in such a way that it makes sense. The captions, which are basically Selina's thought bubbles, don't feel needless, they are indicative of the character and bring something more to the table.

From there we are introduced to a new supporting cast member, one that I think Winick will be able to flesh out in cool ways, our main character gets new digs, and then the mystery of who is after her and the why of it all is revisited. Of course the relationship between our main character and Batman is explored, but its best for the reader to experience that for themselves. Just know that it's...interesting. There is a sense of being overly violent, especially with one scene in particular, but it really never feels too out there in that respect. The event is warranted and it lets the reader understand just how deadly serious Catwoman can be.

So yes, Catwoman is a book to definitely seek out. Like I said, it isn't the end all be all, but there is entertainment to be found her. Sexy and fun entertainment with sensational artwork.

DC Comics The New 52 Week 3: Part 2

2011-09-22T12:24:00.000-07:00

Green Lantern Corps #1
Writer: Peter J. Tomasi
Artist: Fernando Pasarin
Company: DC Comics

While I have really enjoyed Green Lantern Corps in the past, this "relaunch" (which isn't one by the way) felt like a travesty on pretty much every level except the art. Fernando Pasarin's work, as it has been in the past with things like Brightest Day and The Outsiders, delivers. His characters are simple, his action breathes and lives in very readable ways, and he has a knack for drawing cool looking alien Green Lanterns. So yes, the art was nice. Beyond that, disappointment abounds. Tomasi is usually a go to guy for cool stories, as seen in his other issues of the same title, but this one felt like all of the characters had gotten out of bed on the wrong foot. It doesn't seem to be able to figure out what it wants to be. The over the top gore fest, which includes several Lanterns getting the chop, the weird side story involving Guy and Jon trying (and failing) to find Earth jobs instead of being heroes and saving people...It all feels a bit out of touch and not the kind of way you want to introduce new readers to your characters. Almost as if it's trying to be funny or cute at times but that's counterpointed with alien heads and torsos flying at you the very next panel. Like I said, this is definitely not a relaunch of the book, it merely continues on with the story that's been told for the past few years. Hopefully, we'll get back to the quality that we've received in previous issues next time.

Legion of Super Heroes #1
Writer: Paul Levitz
Artist: Francis Portela
Company: DC Comics

The Good: Francis Portela. His smooth and animated style, a style that caught my eye with his work on the Supervillian Team-Up: M.O.D.O.K.s Eleven, breathes a bit of new life into the characters of the Legion of Superheroes. There's also a certain level of detail to the work that to an extent, makes the uber complicated story a little bit easier to comprehend.

The Bad: The exclusivity of the issue. The lack of action. The odd notion that having characters that many people are being introduced for the first time going incognito. There's a hefty list with this issue. Really, what could have been a solid action opener that allowed people to finally get a handle on what makes this team so cool, instead we get a book that is mired in continuity, an espionage story that feels sluggish, and a plethora of characters that aren't introduced with much more than a caption above their head.

Conclusion: Levitz continues to not be the guy for this book. This was a missed opportunity to inject some life into these bones. But no, this one's a slog to get through, and not a fun slog either.

Nightwing #1
Writer: Kyle Higgins
Artist: Eddy Barrows
Company: DC Comics

While there's nothing too exciting going on in this one, seeing Nightwing back in his own duds and being a little more happy go lucky guy, is refreshing in a way. Higgins returns to almost a Dixon like approach to the property, allowing for some darkness and a new villain to hit the scene, but mainly focusing on Dick's character and how he returns to being Nightwing after having been Batman for a year or so. Seeing the return of Haly's Circus is an interesting plot point, but as a friend pointed out, it would have been nice to see said circus be updated a little. Barrows, one of the main artists for the series 52, really brings his A game with this one. Nightwing, in motion, looks fantastic but his classic, almost scratchier J.G. Jones like line and eye for detail adds to the overall effect of the story. He also just knows how to draw action that pops. If you've been a fan of Nightwing over the years, or just happened to pick this up on a whim, there's a lot to like. It's very new reader friendly and delivers things that people want.

Red Hood and the Outlaws #1
Writer: Scott Lobdell
Artist: Kenneth Rocafort
Company: DC Comics

In many ways, this felt almost like two different books thrown together and deep fried to a half golden, half burnt sheen. Red Hood, despite having his origins tied so heavily into Infinite Crisis (though with the reboot, we don't know if that still counts), I've found myself really enjoying the character. That hasn't changed with this book. The opener, which sees him "rescue" Arsenal from a hasty execution, has a great buddy cop feel to it that really worked. Yes, it's over the top and sort of exploitational, but not in a way that feels egregious. Lobdell's take on Starfire however, does fit that bill to a T. It's a major step backwards for her and it feels wrong for the character in so many ways. The other things in the issue, stuff that eludes to a shadowy group, is a step in the right direction. Rocafort, who's been handling art duties on Action Comics for a little while, is a bit rocky. He certainly has a Top Cow vibe in his work, which comes out heavily among the sex crazed scenes with Starfire, but his rough style has a great ability to sell top notch action that feels gritty. A mix of hit and so far off the mark that you didn't even hit the broad side of a barn. I have one question to ask: Why wasn't Judd Winick given this book?

Supergirl #1
Writers: Michael Green & Mike Johnson
Artist: Mahmud Asrar
Company: DC Comics

Effectively, this comic amounts to a single "chase" scene from front to back as we see Kara Zor-El drop out of the sky via meteorite. It's an origin story, not mired down by enormous chunks of backstory, but I question the whole idea behind it when they could have easily come up with some other route, something fresher and containing that new car smell, that these #1 issues should have. Green and Johnson, writers who are more known for their television credits like Smallville, are able to put forth a decent action story while at the same time getting across Kara's emotional status and confusion. Asrar, who burst on to the comics scene with the book Dynamo 5, has continued to get better and better. It's a little light on backgrounds, but his loose pencils evoke a great sense of action and he has a particular knack for drawing great character emotion. Truthfully though, while it is a decent enough opener, there isn't much here to get a complete feel for what the book will be about. Because of that, I now shall take up the banner of, "Wait and see."

DC Comics The New 52 Week 3: Part 1

2011-09-21T23:38:00.000-07:00

Batman #1
Writer: Scott Snyder
Artist: Greg Capullo
Company: DC Comics

Not the greatest, not the worst. It was better than Detective by a wide margin, for sure. It also has a few more nuances than Batman and Robin going for it, but it wasn't without its problems either. Snyder's script is a bit meandering, as it sees Batman and Bruce Wayne deal with an Arkham Asylum breakout, deal with familial issues, and a cocktail party graciously hosted by Wayne outlining his view on how to make Gotham City a better place. There are some fun uses of technology and a few great one liners and captions (one in particular about Alfred, which I liked a lot), but where the book really loses some ground is the artwork. Much has been said about Greg (Spawn) Capullo, and truthfully, his work has seen a lot of improvement and become much more than a run of the mill McFarlene clone. There are still aspects of that style however, much to my dismay, and the breakout of Arkham featuring most of Batman's rogues gallery feels too loose and messy to have much of an impact. There are panels, however, that are quite striking. I like the way that he draws Batman. The more angular look to his cowl gives it a more unique and striking persona that worked quite well. His Gordon though, kind of stringy and reminiscent of characters from Sam & Twitch, had a great quality to him as well. So yes, sort of run of the mill, but Snyder's known for laying down some groundwork and then the twist comes. I hope that same thing happens with this one.

Birds of Prey #1
Writer: Duane Swierczynski
Artist: Jesus Saiz
Company: DC Comics

A solid, action packed bonanza of entertainment and cool. This one came out of nowhere as Swierczynksi, for me at least, is a very unproven comics writer. His Cable always felt cold and uninteresting, and bordered on being...Well, kind of boring. His version of Birds of Prey, which let's get the fact that this is a very different animal than what we're used to seeing from this book, is nothing of the sort. There's a sense of fun to the book, one seen in over the top spy/action set pieces that all hit the mark they set. In fact, there are actually a lot of similarities to this and what Dixon was doing during his run on the book This first issue, which introduces a reporter who's investigating a group of renegade and on the run femme fatales, has a great sense of mystery and Black Canary and new character Ev Crawford are each given a really solid introduction (through action and a quick flashback or two). This coupled with the fact that Jesus Saiz slams down some phat artistic beats, beats that are not limited to beautifully choreographed and slick looking martial arts action and honest to god car chases, and you get a first issue worth your time and hard earned money.

Blue Beetle #1
Writer: Tony Bedard
Artist: Ig Guara
Company: DC Comics

Well, while I found this to be a decent enough issue on its own, there is one glaring problem that shines like a supernova. That problem is this: Why are you retelling this character's origin when you already had a perfectly, near flawlessly done version, written by the great writing duo of Keith Giffen and Jon Rogers? Bedard is a decent enough writer, case in point his work on Exiles, but this retelling of Jamie Reyes origin feels flat and lifeless compared to what we've seen before. There is a more DCU entrenched feel to the whole Scarab creature, but it doesn't feel different enough to warrant going this particular route. There's also the problem with Bedard's characters, which feel almost like caricatures running around on the page trying to feel authentic and never quite hitting it. In short, it's almost like the original story was gone through and little edits or changes were made that take a lot of the fun out of the proceedings. Ig Guara's artwork saves the book a bit with a youthful and very approachable style. It's flashy, fun, and his characters do exude a great sense of movement and life. All in all though, while I love that this character is sticking around in the DCU, the execution on this one was disappointing.

Captain Atom #1
Writer: J.T. Krul
Artist: Freddie Williams II
Company: DC Comics

While J.T. Krul has certainly written some less than desirable stories, there was some light at the end of the tunnel with his new take on Green Arrow. Yes, it was a little old school in feel, but it actually was enjoyable to a certain degree. His first issue of Captain Atom however regresses a bit and brings to the table a less than exciting tale about a character that has historically been a bit of a bore. That simple fact hasn't changed, sadly. Krul's take on the character and the situation that he finds himself in is a bit mopey, a little too slapdash, and his dialogue has the personality of a cardboard cutout. Adding a set of secondary characters, in this respect a doctor who is helping Atom figure out his newly changed body, is a good idea to make things work, but none of them are very likeable or interesting. Williams' art on the other hand is a vibrant affair. His makeover of Atom resembles Firestorm a bit, which is a tad distracting, but the energy that he imbues in each character and the way that he's able to handle the visuals of the character's powers is rather nice. All things considered, Captain Atom as a lead will always be a hard sell. He works much better in a group. This comic proves that.

DC Universe Presents #1
Writer: Paul Jenkins
Artist: Bernard Chang
Company: DC Comics

Wow, this one was rough. The best Deadman story for me is a small story in Teddy Kristiansen's issue of the sensational series Solo. It encapsulated everything that was cool about the character, from the cocky attitude to the guy who simply wants to help people get to where their supposed to go in the afterlife. Even the character appearance on the Brave and the Bold animated series, which covered a chunk of his origin, found a way to be fun and apporachable. Enter Paul Jenkins. Lately, Jenkins is really hitting the emotional heartstrings with a hammer the size of a blue whale. He wants you to know when you're supposed to feel something on the page, which makes the contents of this book feel extremely forced. He does cover Deadman's origin, his relationship to the god Rama Kushna, and why he is the way he is, but it's done in almost text book type fashion. There's no life in these pages, at least story wise. Bernard Chang's art is a different story. Chang has been around the comics industry for almost two decades at this point, and he continually puts up solid work. It seems very traditional at times, but it has that classic comic book style that is appealing. Here, while I do think his anatomy at times feels a little stretched, that aspect works for Deadman. The art can't do all the work though, and Jenkins' story about Deadman becoming other people in order to become the best version of himself just didn't cut it.

Week in Review 9/16/11

2011-09-16T13:10:00.000-07:00

Fear Itself #6
Writer: Matt Fraction
Artist: Stuart Immonen
Company: Marvel Comics

Summer Event. These two words usually are synonymous with stories that feature action, adventure, grand ideas, all mixed up with a bit of sashaying fun that gets your noggin in the game. For all of the problems that I ended up having with things like Civil War, Secret Invasion, and World War Hulk, they had those crucial things. That and they got people talking about comics on a very positive note. Fear Itself feels like the awkward step child that is standing alone in a crowded room that no one wants to talk to. Why? It's boring. Plain and simple. It's drawn out, features strange characterizations (Angry Odin, Milita Making Steve Rogers, and the Sad Sack Avengers), and for the most part this is an issue where people yell at each other. There is no action. Let me repeat that...There no action to speak of. Now, Stuart Immonen still gets to draw some interesting things. We visit the forges of Svaatalfheim, see Thor get some new duds that actually look swanky and shiny at the same time, and overall, his style is just nice and engaging to look at. And while that is good, visuals alone can't sustain interest without a compelling tale to go along with it. Fear Itself misses the mark entirely.

Daredevil #3
Writer: Mark Waid
Artist: Paolo Rivera
Company: Marvel Comics

Okay, let's just chain Mark Waid to a desk and tell him that he has to continue to write Daredevil for the rest of his days. I know it sounds mean and all, but it's just how it has to be. That's how good this book is and how quickly it's gone from being a depressing, look how far Daredevil has fallen into the depths of emotional Hell this week tale to a off the wall, fun, riotous tale of swashbuckling adventure that spans from cover to cover. This issue, which pits Ol' Hornhead against the dastardly villain Klaw, is clever. It's a fight that's happened before, but Waid brings the unexpected and plays up the hero that Matt Murdock is, both in his superhero life and in the life as a lawyer who wants nothing more than to help an innocent man. On top of that we have Rivera's extraordinary artwork. It's lithe, sexy, experimental, and so easy on the eyes. I still say that his portrayal of how Daredevil's extrasensory perceptions function is perhaps the best I've ever seen. We know Daredevil has these powers, and have seen them in action before, but there's something more visceral in the portrayals here. So yes, Daredevil is a comic that demands to be taken notice of. It is a powerhouse of entertainment.

Fear Itself Hulk versus Dracula #1
Writer: Victor Gischler
Artist: Ryan Stegman
Company: Marvel Comics

One of the odder things to come out of the whole Fear Itself tomfoolery, and really, this one may end up being one of the more enjoyable ones. Gischler, who was the man behind the whole X-Men/Vampire affair that occurred a few months back, again delves into the political structure of the Vampire world, this time throwing in a super powered Hulk who happens to be tearing through their domain, inch by inch. It's a fun concept and the execution, while standard, covers all of the right bases. He also creates a new vampire hit squad, which feels a little Blade 2 in a lot of ways, but I still found the notion to be neat. Gischler's Dracula is definitely a strategist, and seeing that going head to head with a powerhouse like Hulk just makes for some interesting story telling. Stegman's art brings quite a bit to the table. There's an almost Ed McGuiness feel to it. There's some solid anatomy, dynamic action (as we see Hulk smash vamps head's off and pulverize tanks), and an extremely fun nature to the proceedings. All in all, a fun tale that I can get behind. Wish there were more Fear Itself titles like this.

Amazing Spider-Man #669
Writer: Dan Slott
Artist: Humberto Ramos
Company: Marvel Comics

Classic case of good ideas mixed with bad, never ending, Energizer Bunny ones. Slott again crams a whole hell of a lot into this issue. That's not necessarily a bad idea, but it's extending this sort of hokey storyline, a story that really should have only lasted an issue or two, to lengths that make you shake your fist at the comic book gods and scream, "Why?" I am still enjoying Peter's relationship with Carlie, seen here as they fight crime together (such a cool scene), but the story beats that include Anti-Venom, The Jackal, and the "shock" reveal at the end (which included a character that I have no recollection of ever having seen), leave a Clone Saga taste in my mouth that has an immediate backlash. Still, Ramos is getting to have a lot of fun with this story. His eccentric and more exaggerated line work really gives Spider-Man an edge and a greater sense of movement than a lot of artists give him. It's also just kind of neat to see Peter Parker, sans costume, leaping around with web shooters, fighting crime. Not the worst book by any means, but it's got issues...some debilitating, some not.