X-Force and the Burning Man festival

I've been rereading John Francis Moore's run on X-Force lately. That might bring out snickering from the crowd, but it's quite good stuff. It's just got a couple comic stigmas against it - 1990s X-book, it was started by Rob Liefeld. Moore picked up the baton from a truly bland run by Jeph Loeb (who in turn picked it up from Fabian Nicieza, who had been doing some good work on the book) and ran with it.

The above cover is from #75, a true favourite comic of mine. At this point, Moore had pared down the team to five (Sunspot, Warpath, Siryn, Meltdown, and Danielle Moonstar) and had them turn their backs on Xavier and Cable, going on the road with no money to their name. This is a beloved era for fans. The X-books have always been steeped in youth, but how often hadthose youths legitimately rebelled against their elders? Yes, Kitty called Professor X a "jerk" (sidebar: Uncanny 168, what a great comic) and the New Mutants went off a couple times when Xavier said "no." But this X-Force represented a different opportunity. These characters weren't the youthful teens of earlier mutant books, but characters in their later teens/early 20s, who had all been around Xavier's school and dream long enough that they were a little bored and jaded with it. Moore had them go off and try to build something for themselves.

The art for this run was from series mainstay Adam Pollina. I don't think Marvel ever recovered from losing this guy. His characters alternated between lithe and attractive and bizarrely ugly, but they wore it well. His females almost always bared their midriffs, and Pollina was so relentless with this look that he made you believe that this is the only possible style of top, and any woman who didn't wear it is impossibly out of style. His page layouts dazzled, his body language was sublime, and his art style was uniquely his own.

The entire road trip story, which ran for almost a year, is great fun, but #75 is a true gem. Moore has the team stop at the Burning Man festival, where a boatload of stuff happens. There's a fight with Selene and an animated Burning Man and guest appearances from Karma, Cannonball, and Cable, but, like all of Moore's run, it was all about balance. The focus remained squarely on the characters and advancing their story arcs. So while this issue is a wild trip through the festival, there is always space for James to reflect on his family's death and be comforted by Dani, Dani to question her place in the team, and Tabitha and Bobby feel a growing attraction to each other. Moore expertly brought this balance to his entire run, including the Operation: Zero Tolerance crossover issues, where ongoing plots and character arcs never stopped for the sake of the crossover.

John Francis Moore's run on X-Force is highly recommended stuff, with the highlight being these road trip issues (#71-81). At a time when the main X-books were floundering, he brought believable character growth, well-structured long-term plotting, and fun to a book that had always been perceived as a joke, because of its roots.

DC Relaunch and more

Justice League Dark#2 - Peter Milligan/Mikel Janin

Milligan is taking his time here, and, while that may be grating for some, this continues to be a layered exploration of a group of damaged characters who are slowly uniting against a common foe. The focus here switches to Deadman and Dove, two characters I'm not too familiar with. But one doesn't need to be to understand the relationship problems that impact their involvement in the plot. Milligan sets the tone of their relationship up well, so that all of the reactions and problems that arise feel natural and expected. They reminded me of John and Laurie in Watchmen, trying to connect and relate to each other, but coming from different frames of reference. There is a lot of time given to them here, but I found it to be strong material, well paced, ominous, and interesting. The wider plot is also starting to come together, with Zatanna and John Constantine separately investigating the Enchantress, while Madame Xanadu's plots in the background begin coming to light. There's a lot going on here, but the pacing still feels methodical and the proceedings have a haunting feeling to them. I'm coming around to appreciating Janin's style, which I still think is a bit too posed and photo-referenced on faces, but is still capturing the expression and body language needed for the softer moments. This book is an enigma - what is it going to look like when the plot really comes together? I have trouble imagining a traditional team book. It's wearing it's non-traditional style and plot construction on its sleeve right now, and I hope that keeps up.


The Flash#2 - Francis Manapul, Brian Buccellato/Francis Manapul

Manapul and Buccellato continue their artistic experimentation with this issue, and it makes for such a unique reading experience. I have never read something that so incorporates the art into the flow and progression of the story. The character's speed powers come to life in new ways in this book, and also contribute to some of the visual effects on display. A new idea is explored here, with the Flash using his speed power on a mental level, using it to 'think faster,' and process everything he sees on a busy city street at once. Manapul produces some stunning visuals for these pages, with a succession of small panels depicting the activity around Barry, with his stunned face in the centre. There are other great artistic choices, like a splash of Barry running as he processes information about the Manuel Lago case. Story and art are fused in this book, with colour choices and panel arrangement contributing to plot progression as much as the story itself. As for the story, it is nicely building on a couple of fronts. There is a foreboding feeling to the Manuel plot that nicely contrasts with the brighter world of Keystone City being created, and it's going in several interesting avenues. I am also loving the supporting cast and work environment the writers are building for Barry, with a gentle love triangle progressing and a likeable lead character at the centre of it all. This book looks and feels fast-paced, it's fun and vibrant, and it's also building a strong story. Manapul and Buccellato are going out of their way to make the book feel special, and it's working.


Birds of Prey#2 - Duane Swierczynski/Jesus Saiz

I decided to pick up this second issue because I was impressed with the first. It was the right choice. Swierczynski has a very strong handle on pacing and story progression. He sets up his players and their mission and plows ahead fearlessly with a fast-paced action romp. At the same time, the dialogue of the three Birds is very strong, and we get a good feel for these characters and their interrelationships in the midst of relentless fun and action. Katana is a strongaddition, as her less mentally-stable characteristics are not overplayed and create some amusing moments with the other two. Starling is a vital and fun character, and Black Canary is growing into a strong lead. Her narration shows a confident, sure hand that is nagged by doubts and the inability to let herself relax. There is a fun interlude where she struggles not to lose focus on her mission and feel attraction to a doctor helping with this case. I'm enjoying the gathering of this team too. Not one of the women has answered why they are joining the group, and the last page arrival of Poison Ivy is a great moment - what would draw an acknowledged villain to this team? I can't wait to find out and see how her inclusion changes the great group dynamic that already exists. The mission over which this all plays out is perfectly fine, but it's the execution that really draws me in. Saiz' art mirrors the story - great work on the action, shadows, and fast pace. But a closer look reveals that, like Swierczynski, he too brings a depth and weight to the female leads, with vivid figures and expressions. These women command the page, both as characters and as drawings. A really surprising book.


I an X-completist, I also picked up Wolverine and the X-Men#1 (Jason Aaron/Chris Bachalo). This new title is coming off the heels of the X-Men: Schism mini series that I had huge problems with. That story was well-told, particularly the thrilling middle chatper, but I did not buy the "Schism" that split Wolverine and Cyclops one iota. The stance Wolverine took made no sense to me. And, because Wolverine can never look less than 'ultra-cool' in a comic/movie/cartoon, and Cyclops can never be anything more than the lame boy scout, Cyclops' position had to be the 'loser' side of the equation. Even though it logically made way more sense that Wolverine's side. The whole situation felt shoe-horned and forced, nothing about Wolverine's actions felt natural, and it all felt like it just existed to get us to this point. To add to it, in the atrocious X-Men: Regenesis one-shot, where characters chose if they were going with Wolverine or staying with Cyclops, almost none of them even mention the issue behind the Schism as their reason for staying or going! Most were like 'I like school, I'm going!' or 'No, I'm staying,' with nothing more. So much for "the schism that split the X-Men in half" - the majority of them didn't seem to care about the issue one way or the other.

Anyways, all of that nonsense brings us here. Was it worth it? Sure. This was a wholly enjoyable first issue, with the wit and charm of Scott Lobdell and Chris Bachalo's old Generation X mixed with a harder edge and some quirky characterizations. I love the idea of Wolverine, Shadowcat, and Beast at the core of this new school venture, and this title. All of the extra material on the curriculum and class lists was very fun as well. It didn't necessarily go anywhere as a first issue - it just introduced the school,the premise, and the light-hearted tone of the book, but it nailed its version of the lead characters and it's a tone I tend to like. I'm of course held back in my enthusiasm because I just didn't like the forced logic that brought us to this point, but I'm sure I'll get over it if all issues are this good. Jason Aaron's work at Marvel so far has just not even come close to touching Scalped for me, but this was probably the strongest I've seen him yet on a mainstream Marvel book.

Hellblazer - So. I guess Fredric Wertham was right.

Brian Azzarello wraps up his run on Hellblazer with this mammoth collection. Eleven issues are collected in Highwater (#164-174), with two single issue stories sandwiched between two longer stories. There certainly is a lot to digest here. Against all odds, Azzarello seems intent on having everything in his run connect into one larger story - the story is all about finding out how John ended up in prison, framed for murder for the suicide of his friend Richard Fermin, back in Azzarello's first arc. For me, I think it was a case of the parts working better than the whole. I didn't need all of this to come together into one full story and I wasn't as engaged with this as a narrative as Azzarello may have hoped. The strengths are still in John's portrayal, the compelling side characters (who alternate between sympathetic and horrifying), the snide sense of humour, and the climatic moments of confrontation. Is a ranting lunatic, homosexual pastiche of Bruce Wayne really where this story's strengths lie? I guess that's in the eye of the beholder, but he sure takes up a lot of page time.

The opening story, "Highwater," stands as one of Azzarello’s strongest efforts on the book. That’s partly due to the fact that it could easily be read as a freestanding story. John goes to the town of Highwater to apologize to Fermin's widow Marjorie, and ends up embroiled with a white supremacist group who lord over the town. It features John in a dark and hopeless place whose populace is so overtaken with irrational hatred that they barely acknowledge his typical parade of sarcastic comments. Azzarello has fun with John's supernatural side, as Fermin's hole-in-his-head corpse following John around and writes notes of advice. Azzarello expertly blends the true horror of the story, that a seemingly nice woman like Marjorie can sprout of racist diatribes during a casual walk down the street, with this title's typical tone. When some of the locals kill their arms dealer once they learn he also sells to black men, John is called in to clean up their mess. It's at this point that a character named S.W. Manor, the angry boss of the murdered arms dealer, enters the story to get vengeance. Marcelo Frusin draws this, and creates a vivid portrayal of the town and its inhabitants. It's a dark story, but he sells the lighter elements, like Fermin's corpse, just as well by playing it so deadpan.

Giuseppe Camuncoli does a superb job drawing two interlude chapters. His figures and faces are a lot more blocky than Frusin's, but it's a refreshing change of pace. The content of these issues is less compelling. The first starts as a fun bingo game, with John trying to win money to pay for a prostitute. Unfortunately, he ends up berating two older women in a lengthy sequence, simply for being old. It's completely out of touch with the character's true nature and this book's sensibilities. It's the wrongly-righteous, the stupid, and the troublemakers who deserve John's wrath. Not two old women who just want to enjoy their bingo. There are a lot of pages here devoted to building up S.W. Manor, and it becomes clear he is the American John conned in the flashback story in the previous volume. It's here that Azzarello starts to connect everything, and it's also the point when things start to feel a little scattered.

"Ashes & Dust in the City of Angels" is the difficult five-part story that closes Azzarello's run on the book. It's difficult because I wanted to love it. Certain elements are great, and others are so over-the-top, I'm not sure what to make of them. FBI Agent Turro joins a female detective in investigating the seeming death of John Constantine in an L.A. sex club, where he was burnt to death. This story does its absolute best to repulse, disturb, turn off, and excite (the last through Manor’s ridiculous portrayal), but it's the interaction and relationship between these two law officers that I really enjoyed. Azzarello did a great job with almost every side character in his run, and these two are fun to read. In the midst of the depravity of this case, the woman asks Turro on a date, and it's one of the strongest moments - an attempt to reach out and connect with someone. A parade of club goers are brought in as witnesses to the crime, and Azz pulls no punches here. The interrogations paint a disturbing portrayal of the club and John's activities there, with wonderfully moody art from Marcelo Frusin.

Into this investigation is dropped the home life of S.W. Manor. I can only assume he is Azzarello's take on what Batman would be if he were a complete nutjob, living in a giant home, surrounded by bats, ranting and raving through his various brooding sessions. Some would say that this is Batman, not a parody of him. Oh yeah, he’s also gay, living a life of obsession over the men he's encountered through in the past, starting with John. There's no disguising the Batman pastiche here - Manor's parents were killed, his former ward Jason (whom he lusts over) died, he has taken in a young child named Tim, and his butler is named Fredo. Also, he only perks up when John kisses him while he hangs from chains. Azzarello attempts to tie all of Manor's schemes to entrap John back to the three Fermin brothers we've crossed paths with, as well as Marjorie. The details are almost immediately lost because the real point here is that Manor did all of this due to his spurned, unrequited lust for John, Things continue to snowball, with Manor chewing the scenery to the extreme in his home, as the detectives arrive and violence ensues.

I honestly have no idea what to make of this finish. It's like Azzarello built up a story through careful construction, mood, pacing, and pitch, exploring different areas of American society as John passed through the country. And then, he attempted to bring it all together with a psychotic gay Batman who just wanted a kiss and cuddle. It's almost like he played a joke on the audience, who expected traditional story construction, and got a ridiculously over the top ending and a villain that doesn't have any credible motivation outside of getting back at a spurned crush from years ago. It's hard to take much of the final story seriously, even the strong interrogation scenes. And John barely appears in it. Outside of flashbacks, he shows up in the last scene, comforting the dying Agent Turro in a religious pose. What in God's name anything in this final story meant goes beyond me, but I still find myself getting enjoyment out of it and the bizarre backtrack it does on giving readers a genuine conclusion to the story of Richard Fermin's suicide.

So what can be learned from Brian Azzarello's tenure on Hellblazer? He sent John on a trip through hell via rural America, encountering townsfolk who make increasingly depraved pornography to stay financially afloat, the horrors of prison life, all the trouble that can ensue when someone is stabbed with an icicle, a bunch of crazy skinheads, and finally a homosexual Batman who just wanted to be loved. Everything besides the last story could basically exist as incredible compelling, well-paced standalone arcs. The final story, that attempts to tie them together, was almost a parody of stories that try to do so. I'll give Azzarello marks for aplomb in doing that. I enjoyed it to an extent. At the same time, I also understand comments I had been reading about people hating his run on Hellblazer. Because this certainly isn't for everyone.

DC Relaunch 2.3

Wonder Woman#2 - Brian Azzarello/Cliff Chiang

Wow. This continues to be just as good as the stunning debut issue. But in this one, Azzarello weaves in much more of the gods and mythological elements, to wonderful effect. These figures are truly larger than life here, with jealousies, rivalries, and egos all played on a grand scale. They are also fairly primal figures, not following any sort of lofty code, but ruthless in their tactics and violence. When Diana, Hermes, and Zola arrive on Paradise Island, the Amazons come off as a threatening, pervasive force (until they realize the new arrivals are friends). Diana herself is a strongly-drawn protagonist, with a commanding presence, but also a compassionate side. So in terms of mood and characters, this is great stuff. But Azzarello is also telling a strong story. There was a directness to the pace and violence of #1. This issue is considerably less violent, but no less direct in its focus. The stories establishes its points, then plows forward with confidence. The plot threads of Zeus' affair with a human woman, Hera's vengeance, and Strife's brutal attack on the Amazons are presented with intensity, and come together to create a very powerful issue. Even Diana's origin is simplified to such an impactful, short sequence, and fits nicely in with the revelation at the end, to create a dynamic finish. It goes without saying that Chiang's work is excellent here. Like the writing, his figures and settings are clear and dramatic, jumping powerfully off the page, even in the softer moments. His extra-large Strife, and Diana's fight with her, looks great and Diana's duel with Aleka is a perfectly choregraphed sequence. Azzarello is showing anyone who thought Wonder Woman was lame that there is a power and drama to the character and the concepts in her book. He exhibits a sure hand in his portrayal of her world, and sells it for me.


DC Universe Presents#2 - Paul Jenkins/Bernard Chang

What the hell was that? I mean that in a good way. The first issue of Deadman's story was a subtle, thoughtful exploration of a selfish man struggling for redemption in death. This issue plays with that idea, but also has him fight his way into club full of supernatural characters in the hopes of learning how long he will be helping troubled souls for. For every tender, subtle scene (such as Deadman leading his parapeligic host body to start conversing with a woman he meets), there are ones where he body-jumps through a variety of creatures to reach a winged-librarian who can tell him his future. It's an eclectic mix of settings and characters, and was certainly fun. Through all of it, including the opening confrontation with the woman who put Deadman in this role, is a strong portrayal of the character, who is only doing anything he does here for the sake of finding out when his life as Deadman will be over. I like that Jenkins isn't fearful of showing this selfish, unpleasant side of his lead character, who is still interesting and charasmatic enough to remain likeable as we learn more about him. Chang has fun with all of the creatures on display here, and his angular characters look quite good. I still think his strong lines are being over-produced and over-coloured, but it's undeniably a good-looking comic. I went into this expecting more of the somber, quiet exploration of the lead character we got last issue, and got a zany romp through DC's supernatural characters. Through all of this, the focus was squarely on the troubled lead character, and I appreciate that Jenkins is exploring like this while telling his story of self-discovery.


Batman#2 - Scott Snyder/Greg Capullo

My only negative thought about the first issue was that, in being so polished, the comic lost a bit of the grit that Snyder had brought to Detective Comics. I take it all back. Not that this issue swings in a gritty direction, but it's becoming clear that this isn't the book for that. This is the refined, polished, almost cosmopolitan Batbook, where ominous danger lurks in a brightly lit skyscraper just as strongly as it does in a morgue. In terms of threats, the story is strongly focused on the claim for Bruce Wayne's life made at the end of the last issue. Snyder explores this plot in some expertly-paced scenes, particularly the one in Wayne Tower, where, thanks to the flashforward opening, we know danger will strike at any moment. What's great about these scenes is how Snyder world-builds in the midst of advancing the plot. We get more insight into the Batman/Jim Gordon relationship, Batman's various CSI technologies, Bruce Wayne's political maneuverings to get his latest project off the ground, and, in a great opening page, the landscape of Gotham and the legacy of the Wayne family in builing it. There's also a scene of Batman chasing thieves on a motorcycle that is deliberately added in to show how in-control of his busy schedule Bruce is. Within the confines of one plot moving forward, there is a lot to unpack here. The art from Capullo remains a treat, with big characters and expressions, great layouts and action scenes, and a strong mix of lightness an cartoonier figures with darker elements. It's a unique looking final product that leaves and impression. I criticized this for being pitch-perfect last issue. I take it all back.


Birds of Prey#1 - Duane Swierczynski/Jesus Saiz

I decided not to stick with Blue Beetle and try out the second printing of another first issue I had heard good things about. This was a fairly straightforward debut, but it was fast-paced and had a fun portrayal of its two lead characters, and I was pretty happy with it.

This debut issue had a strong balance between setting up the basics of the premise and getting the story moving, and it did both well. The story moves at a fast clip, with strong action sequences, and is juxtaposed with brief flashbacks to Black Canary getting the Birds assembled and her and Starling discovering the reporter on their trail. I personally loved this setup, as the action scenes were very fun, but would have been too thin on their own. The flashbacks give more insight into these women, their skills, and their personalities. During the battle scene, Swierczynski weaves in details about their powers seamlessly and showcases their interaction and adventurous side. A lot of time is also given over to the reporter, and there's a good sense that he's in over his head with these women. The focus on him makes the final page that much more surprising. I've read complaints about the role Barbara Gordon plays here, and to that I say that's nitpicking for the sake of it. I came in fresh to this, and the whole setup and her role in it feels natural and easy to follow. On the art front, Saiz nails it. His women bounce off the page, but through strong shading, they also have depth and weight to them. This is a fairly grounded comic, and his people look attractive. So I had fun with this. It kind of hits the right notes and doesn't miss a beat. It's not telling the deepest story, but it shows a lot of skills in telling an action/spy story, but also knows how to have fun.

DC Relaunch, Month 2 continues

Batgirl#2 - Gail Simone/Adrian Syaf

I have mixed feelings about this one. On the one hand, it's got a strong portrayal of its lead character, concerned with the well-being of her healed legs throughout a lengthy battle scene, struggling to open up to her new roommate and a date without revealing too much about herself, and worried about her father finding out she's back in costume. On the other hand, I think Simone puts a bit too much of Barbara Gordon's narration into the book. The opening battle scene is superbly drawn by Adrian Syaf, through a rain-slicked cemetery, but the narration is a bit heavy. I like when Barbara is worried about her legs, but I found some of the other narration got in the way of presenting the fight as fluid and tense by slowing it down. I also appreciate that Simone is trying to give us a balanced book, with a good mix between Barbara pursuing the Mirror and dealing with her personal life, but a little bit too much happens here. The plot is drastically jumping, as Barbara makes great leaps in logic to discover exactly who the Mirror is, the personal losses that are motivating him, and what his next scheme is (and this is in addition to the opening fight with him, her date, her roommate interaction, her father finding out she is in costume again, and her growing beef with a female cop). Again, Simone is trying to create a tapestry and a world for Babs, and I wholly appreciate that, but it's maybe one plot element too much for a single issue. Looking at Batwoman, which has created a living, breathing world for its lead character to operate in, that title has taken a much more deliberate, well-paced approach to building that world. Here, the pieces are all strong, there are just too many of them. The roommate and date scenes are both quite strong (particularly the bizarre impression Barbara is creating for her new roommate), and I wish they could have had more time. Here, they are two scenes in a very busy issue. It's just a surprise to feel this way after a pitch-perfect first issue. The book looks great, the lead character is an interesting mess of conflicting feelings and priorities, and the stories all have potential, there's just perhaps too many of them for one issue.

Frankenstein Agent of S.H.A.D.E#2 - Jeff Lemire/Alberto Ponticelli

Speaking of world-building, Lemire is doing so perfectly on this book, all the while advancing his story and presenting a humourous group of characters. This issue continues Frankenstein and his crew's investigations into the monsters attacking a small town, as they quickly get to the bottom of what is happening, while launching themselves into the next step of the fight. The strongest sequence is a jarring flashback into the past of Agent Mazursky, the amphibian hybrid who joins Frankenstein on an underwater exploration of the monsters. I mean jarring in a good way; as the two jump underwater, we are abruptly taken into the life of Mazursky, whose first child passed away after birth, and whose marriage ended soon after. Plunging herself into her work, she created the group of human-animal hybrids that serve as Frankenstein's squad (herself included), after a failed first attempt that I can't help but think will turn up again in the book. It's a tender sequence of loss and the search for new meaning in life, and it oddly sits perfectly between the grotesque fight scenes that surround it. As with the first issue, this book remains fun, with an off-kilter sense of humour. When Mazurksy asks for a brain sample from the monsters, Frank literally plunges his hand into one of their heads and hands her a big lump of brain mass, then they continue on their merry way. He's so stoic and dismissive at times, that it sets the funny, but no-nonsense tone of the book well. I'm also liking the narrative device of the title, where Frank can pull up S.H.A.D.E. files, for quick background info that isn't intrusive at all. Ponticelli continues to be the star of the book, creating a rough, grimy, cramped, busy world, full of the snarling and unsavoury beasts that make up the main cast. But there's a softer touch to his expressions that sell things like the flashback perfectly. He excels on the underwater scenes, where hideous creatures and air bubbles collide for a messy fight sequence. Lemire's giving us a deeper picture of S.H.A.D.E. while zooming this story along, and it's a fun ride.

Batwoman#2 - J.H. Williams III, W. Haden Blackman/J.H. Williams III

This is just perfection. There are so many balls in the air here - Batwoman dealing with Batman's offer to join Batman Inc., Detective ChAse's arrival in Gotham and her ongoing investigations into Batwoman's identity, Kate and Maggie's developing relationship, brutal slayings at the hands of the Religion of Crime, the attacks of the Weeping Woman, and Kate's banter with her cousin Bette. It's all handled so gracefully, with fully-formed scenes moving these various plot threads along, as the characters live and breathe within them. Kate is presented as such an interesting character, headstrong to prove herself as a hero, cold and angry in all matters relating to her family, and warm and playful when on a date with Maggie. I wasn't expecting the Detective Chase subplot to move so quickly, but I'm happy it is going somewhere, with her investigations into Batwoman's identity leading to some great scenes with Maggie (who, in turn, is resentful of Batwoman and wants to arrest her for being a vigilante). The villainous subplots are minor elements here, really just sitting on the fringes of a character piece right now, which I don't mind at all. They are played as unsettling scenes, and Williams' art conveys that well. The art on the whole is brilliant. The opening crime-fighting scene with Kate and Bette is bathed in bright yellow and blue, colours not typically associated with Williams' art on this book, but it looks wonderful. There continues to be a juxtaposition between the costumed and non-costumed scenes in the book, with the former looking ghostly and painterly and the latter more cartoony, with expressive faces and body language. I was waiting for this title for ages, and it is seriously delivering. A tapestry of characters, emotions, and plot lines have been created for Kate Kane to live within, all of which are perfectly paced and moving along nicely. More surprisingly, characters like Maggie Sawyer and Cameron Chase are sitting alongside Kate as fully-formed characters, and this solo title suddenly has an incredibly strong cast of female characters at its core.

Grifter#2 - Edmondson/CAFU

I was quite impressed by the tone and pacing of the first issue. I remain impressed by this book, a fast-paced action and chase book, with an undertone of governmental conspiracy running through it. That said, there isn't a lot to grab onto here in terms of character or wider plot. It's a collection of cryptic scenes and fights, with ominous dialogue skirting around the actual plot, as the lead character tries to figure out what he has stumbled in to. The plot twists, presentation of scenes, and mysterious nature of the book's events are very clearly drawing on LOST and its ilk, but tinged with a bit more action and a fast-pace. In the midst of DC's other offerings, it's actually refreshing to have this book, with its brisk pace, cinematic pacing and presentation, and fun action scenes. And even though none of the characters are jumping out as well-rounded yet, I do find myself drawn into the protagonist's plight and the way he handles being so out of his depth and one-step behind his pursuers. The cover hints that his pursuers are tied to the Daemonites. Now I know this is a concept from the Wildstorm Universe, where the Grifter character originates. I know nothing about it, but it doesn't seem to have a huge bearing on this story. I can enjoy this for what it is, a chase story with supernatural elements creeping in around the edges. CAFU continues to nail it on the art, with crisp, sharply defined characters set against locations that are deliberately sparse and ordinary. The action is very street-level, but he makes it feel exciting and fast-paced. It's a great looking book, the mood and tone are very well-conveyed, and the mystery is starting to take shape. I do hope that can happen a bit faster, but, for now, the book is successfully creating a strong look and feel.

Superboy#2 - Lobdell/Silva

This continues to be the surprise of the DC Relaunch. I don't know what the plans are for this as an ongoing series, but I hope the cold, clinical lab setting, juxtaposed with bizarre field missions, keeps up. Even with a fight against three giant talking sharks, evoking an absurd tone, the book still feels alienating to the reader, in a good way. I'm struggling to find the "centre" of the book, and, while that may turn readers off, I find the unfriendly tone of the story interesting. Superboy himself is a half-human, both biologically and in personality. He doesn't know how to speak to people, how to interpret both the kindness and the exploitation that faces him, and how to operate outside of controlled situations. At the same time, for every shred of warmth "Red" brings to the book, she is shut down by the scientists at N.O.W.H.E.R.E. and her opposite in Rose Wilson, a ruthless mercenary employed by the company. The fact that N.O.W.H.E.R.E. engineers mass destruction for the purposes of testing Superboy adds to the unfriendly feel of the book, with even "Red" essentially powerless to speak up about any of this. R.B. Silva is creating fluid, expressive, lively characters to populate this clinical world, and the effect is excellent. Like CAFU, his art has its own brand of crispness and clarity in bringing the script to life. He becomes creative with the page layouts on the shark fight scene, bringing a bit of fun to an unfriendly title. Against all odds, a superhero book written by Scott Lobdell has crafted its own unique direction and tone. The script is sharp and engaging and the unpredictable nature of the story will keep me coming back.

DC Relaunch, Month 2

I’ve decided to stick with all six books I picked up the first week of the DC Relaunch (Batgirl is delayed until next week). It’s fun to follow a set of new books as their longer-term stories get underway, and, now that the first issue blitz is over, I found I was look at them with more of a critical eye.

Stormwatch#2 – Paul Cornell/Miguel Sepulveda, Al Barrionuevo

This book is finding its legs. I found the first issue ambitious in the scope of its plot lines and character introductions. There’s a bit more room here to breathe, see the characters in action, and watch them interact with each other. There is still a lot going on, but the various threats the group is facing are starting to coalesce. The threats don’t necessarily tie together plot-wise, it just feels like the group is facing a lot at once, piling on top of them, and the combined pressure is getting to them. I’m really enjoying everything going on with the vengeful, angry moon, lashing out at Earth; it feels like something straight out of The Authority, and, with Henry’s allegiance to it, there’s more intrigue to this plot line. There’s an interesting dynamic set up here, as Stormwatch try to woo Apollo and Midnighter into their group, with the promise that they are high-end heroes; they don’t deal with common criminals. They have been around for centuries and their concerns are global. It’s condescending and annoying, but it works as a pitch for the series. They may think they are above everyone, but this group bickers like small children and their egos get in the way at every turn. Sepulveda's more polished artwork remains in place for the moon scenes, and is appropriate in depciting the caverns and creatures there. Al Barrioneuvo steps in for most of the rest of the issues, and he creates more vibrant, expressive figures than Sepulveda did in the first issue. There’s still something that has to come together for this book, but the ingredients are all there and simmering.

Swamp Thing#2 – Scott Snyder/Yanick Paquette

This is really good stuff. Snyder throws us headlong into all of the backstory and where things will go from here. Alec Holland remains a strong protagonist, still morose and angry, but also resentful with “the Green,” feeling that he devoted his life to the plant world, and all it brought him was death and a bunch of bad memories. I like that he can reject the swamp creature’s proposal and still come off as heroic and likable. We learn what the book is all about, with a creature responsible for the plagues of history on the loose, and the Parliament of Trees offering Alec the role of Swamp Thing to stop it. It appears as if everything from Alan Moore’s Swamp Thing days still happened (at least in a general sense), along with the idea that Alec’s bloodline is destined to work with the Parliament and the Green. I like all of these ideas and think they set a great foundation for the book. That said, they are delivered in pages so full of dialogue that they would make a mid-1980's issue of Chris Claremont’s Uncanny X-Men look like a breezy read. In the midst of these explanations is a book chock full of horror, insect plagues, horrible creatures brandishing the faces of infants, and twisted necks. Paquette is a perfect fit. His panel layouts convey Alec’s mindset, appearing fragmented, jagged, and smashed together like his broken memories and sense of self. He transitions perfectly into the horror of the final sequences, literally having a swarm of flies fall onto the page and overtake the action. He sells the disturbing images perfectly, while depicting a damaged and unhappy protagonist at the centre of the story. And his depiction of the swamp creature withering away are wonderful, bringing back great memories of similar scenes in Moore’s issues. A somewhat wild ride, where the heavy exposition works in spite of itself to create a vibrant world and a sense of danger.

Static Shock#2 Scott McDaniel, John Rozum/Scott McDaniel

Not sure on this one. It feels a little like a bunch of jumbled elements are struggling to come together, while a story is playing out in the background. In the first issue, it was obvious a number of elements of Static’s past were brought in without too much introduction, but it wasn’t overwhelming. I actually found it kind of charming. Here, further elements and supporting characters are mentioned, and it’s not working. If a full reboot wasn’t in the cards, the character’s past had to be either pared down or dolled out a little slower. The story is just fine, but hardly breaking barriers. The group after Static for interfering in their shady business dealings continue to pursue him, and the action scenes work well. Beyond that, not much happens. The lead character remains likable, even if his dialogue is a little exposition-heavy (particularly in the scene where he’s just talking out loud to himself), and I like his struggles to find a place for himself in his new school. McDaniel’s art works on the action scenes, with a frenetic pace and a strong, angular look, but some of the faces and settings do look a bit rushed in spots. It’s an enjoyable comic, but it struggles in comparison to the pedigree of the week’s other releases. Stellar cover, though.

Action Comics#2 – Grant Morrison/Rags Morales, Brent Anderson

This is just amazing. It’s everything I could have hoped for. It’s got its own feel, its own energy, and its own brand of fun. This book is low tech and revels in it. It makes anything trying to be hip and modern look pathetic. A run down electric chair that looks like it belongs in a museum comes off as a terrible device of death. Superman’s jeans and t-shirt are emblems of strength and perseverance. The simple shot of an outstretched cape being shot at feels like torture is being performed. Morales creates a Superman who thrives in this world, and his playful attitude shines through. This is a fairly contained issue, set on the military compound Superman has been brought to, but it feels expansive in its reach. Lex Luthor is being crafted as a great opponent. He’s not young, cunning, and dangerous, but a bit older, desperate, and angry. I love his struggle to interpret and break down Superman, mocking his alien heritage and calling him “it,” to no avail. Superman’s portrayal is tour de force. I didn’t know what to expect from this “for the people, against The Man” hero, so I continue to be surprised by how likeable and upbeat he is. His actions are laced with anger, but he revels in heroism and taking down societal oppressors, and it’s a joy to read. His escape is a truly rousing moment. Once he breaks out of the chair, the action doesn’t let up as he plows through the military defenses. There’s a supporting cast being built up, with Lois, General Lane, and John Henry Irons making substantial appearances. Morrison also hints at a Kryptonian force aiding Lex in defeating Superman. The silent, menacing ship, apparently taking down its last son, makes for a great visual and chilling end. Morales, a fairly conventional artist in my eyes, is nonetheless building a visual world for this rough and down to earth story, so much so that Brent Anderson is able to work within that world when drawing the Lois scenes without missing a beat. Truly great stuff.

Animal Man#2 – Jeff Lemire/Travel Foreman

This book was just slightly beat out by Action Comics as my favourite of the week. It’s still excellent stuff. It’s a perfect fusion of story and visuals. Travel Foreman creates a number of disturbing images here, from splash pages depicting grossly impregnated hippos and Buddy and Maxine’s distorted bodies as they enter the Red, to smaller details like Maxine feeding milk to her skeleton cat. These images really sell the horror at the core of the story. At the same time, he depicts the fear, anger, and worry of the human characters with intensity, knowing when to pull back on the backgrounds to emphasize the character. The opening segment deals with the fallout of the first issue’s cliffhanger in fairly disturbing fashion. I love this lengthy sequence, set in the dead of night on a quaint suburban street, but full of animal skeletons and distorted body parts. Buddy’s wife is growing into an interesting character. Harsh and rude to her husband last issue, it becomes obvious here that she acts like this because she is scared of his powers. I loved her running around in her underwear and t-shirt during this chaos; it reminded me of JoBeth Williams in a similar outfit in the climax of Poltergeist, and stressed the dangers being brought into her home. The story proper gets underway, with Buddy and Maxine traveling into the Red to right some sort of imbalance, and fix the scarring that has emerged on Buddy’s face and chest. Maxine is becoming the standout character of the book, developing powers like her father, but trying to be a calming influence in her frightened family. A really strong book, playing right to my sensibilities.

Hellblazer - The icicle impaling heard round the world

Sandwiched between the gruesome circumstances of "Good Intentions" and what I assume is the big finish in "Highwater," "Freezes Over" (collecting Hellblazer#157-163) is Brian Azzarello's third collection on the title. Containing three shorter stories, it certainly felt like a bit of a middle chapter, with the titular "Freezes Over" the only truly impactful story in the bunch. But the craft here is undeniable. Azzarello and his artists produce some incredibly strong material.

The opening story is the single issue "... And Buried," with former series artist Steve Dillon returning to illustrate. Dillon is one of my all-time favourites. His work on this title and Preacher was crisp and controlled, while oozing grittiness and expressiveness. This issue is a talking-heads issue, with a bunch of unsavory types sitting around a bar talking, so it's tailor-made for Dillon's style. While John talks with Agent Turro at a bar in the unidentified next stop on his American tour, three men at another table start piecing together clues that a man they killed years earlier may be alive. A photograph of mercenaries in Sierra Leone depicts a man with the same tattoo as their victim, as well as scars from where they slit his face. Meanwhile, John learns someone may be behind his troubles in America, and receives the name "Highwater" from Turro. The story intercuts between the two and it's an amusing interlude. The three men work through an interesting little mystery, and Azzarello plays their ignorance and heightened sense of danger for laughs. It's the only part of this collection that seems to tie in to the wider narrative of John's American tour, and, while enjoyable, it pales next to the other two stories.

The remaining two stories are a study in contrasts, both against each other and the previous collection. In the previous collection, John was adrift in an unfriendly backwater town in the South, completely out of his element and powerless. Simply through his confidence and swagger, John once more has the upper hand in both of these stories. However, they contrast interestingly against each other, with the first depicting John in America and the second flashing back to his youth in England. It's fun to watch John slither in an out of trouble at these different points in his life.

The first of these, "...Freezes Over," is a fantastic four-parter. In the midst of a terrible snowstorm, a group of local townspeople, a young family, three hapless criminals (one sporting a concealed gunshot wound), and John Constantine are stranded in a bar. Azzarello has John wander up to the bar on foot, no vehicle in sight, covered in snow, and brandishing his trademarked grin and attitude problem. Tension builds as the criminals' true nature is revealed, a body with an icicle through its chest is discovered outside the bar (and, wonderfully, sits propped against the building for the rest of the story, as snow covers it), and the locals rattle on about the Iceman lurking outside, an urban legend terrorizing the town for over a century.

Azzarello is a master of pace and pitch in this story. The first chapter is rife with tension and an unsettling mood - and the criminals that provide the main dangerous element don't even arrive until the second chapter. John's entrance is treated as a portent of doom by the bar patrons, but we're laughing along with him, especially as he maintains his cool when a body impaled by an icicle is draggedinto the bar . Once the criminals arrive, it would be easy to have them terrorize the patrons for the rest of the story, but that trope rarely overtakes the story. In the midst of everything, John and the town dope take a stroll outside to look at the impaled body. Legends of the Iceman's exploits regularly crop up. And even though he is treated as a small-town joke, the stories of his murders offer some grisly twists. And Azzarello wisely builds up the bar patrons into compelling characters in their own right (particularly the young Asian girl and her husband), so much so that their efforts to thwart the criminals are riveting and heroic. The closing fight is as nasty as that of the previous collection, coupled with John convincing one of the criminals that dying will have more power than killing others. The story is a brisk read, but the mood is one of a slow burn, unrelenting tension, and I was completely drawn in.

Marcelo Frusin returns to draw this, and is really making the book his own. His characters never lose their slightly exaggerated, cartoony edge, but he brings these expressive figures into a world of grime and darkness, and it really works well. The oppressive snowstorm is wonderfully conveyed, and the setting of this isolated bar, housing a desperate group of stragglers, takes on a life of its own under Frusin's pencils.

Azzarello closes the trade with a two-part flashback to John's troublemaking days back home. The story is largely fun in nature, despite some portents of doom for John's future from a fortune-telling book. This one has John and Chas scam an American who wants to get ahold of a clock that also tells the future. The danger is largely played for laughs here, even before it's revealed that John has faked most of it to get more money out of the American. It all works wonderfully well in that context, with Azzarello having a great ear for the dialogue and humour of John's life in England. It makes me wish he set more of his stories there. The early scenes in the club, before the story even gets underway, are outright hilarious, and the rest of the story has a good clip to the dialogue to keep the story fun. It's not groundbreaking material, but for a light, "breather" story, it's outright fantastic. The art is by Guy Davis, who creates a grimy feel for the underground world young John operated it, with John himself just looks like trouble in every shot. The settings are alive with detail, keeping them dirty and unsettling, but because the tone of the story isn't very dark, they're oddly welcoming and bright at the same time.

As a collection of stories, Freezes Over is a triumph of mood, pacing, frivolity, nasty humour, and grisly deaths. As part of Brian Azzarello's wider story about John's trip to America, it's definitely the breather middle chapter. That certainly doesn't mean Azzarello is slacking here; the two later stories here could easily be read as excellent standalone stories in their own right.