Weekly Comics - 01/25/12

Justice League Dark#5 - Peter Milligan/Mikel Janin

Milligan notionally wraps up this title's first arc, as June Moon and the Enchantress are defeated and these disparate individuals have a discussion about teaming up. Granted, it doesn't go very well, as they angrily go their separate ways, but these characters have faced their first conflict as a group. This is the kind of story that I'd love to go back and re read in light of this issue's events - namely, that Madame Xanadu had more to do with causing the problem than solving it and that the Enchantress and June weren't nearly as sinister as Xanadu herself (despite her apparent best intentions). This issue is bigger on plot movement than most, as the group struggle amongst themselves to unite June and the Enchantress. It's laced with character conflict, as the pain and bitterness each character experienced individually in the first four issues is preventing them from coming together as a unit. Deadman, in particular, cannot bear to be around the others or help them against June. However Milligan plans to keep this group together, there is a great dynamic here, rooted in this anger and pain. It's to his credit that scenes of fantastical magical opponents are always grounded by these characters trying to reach out to each other. Zatanna kissing Shade to remind him what is real is particularly effective. Most the issue takes places in a mindscape, where the characters jump between scenes, appearing to help and antagonize each other, and it's a disorienting and effective set up. The final scene is also great, with the assembled characters confronting Xanadu about what she's done and leaving. There's a softness and vulnerability to her character, the supposed evil mastermind, and I can't wait to see where she goes from here. Janin continues to surprise on the art. His figures are soft and believable in their facial expressions and body language, but they are thrown into any number of horrific settings against different creatures. It's a very pretty book. Even the various creatures and mindscapes are meticulously rendered. At the end of this first story, I still don't necessarily know what the premise of this title is going to be. That said, Milligan has created a deep, interesting world, and a cast of fully realized characters, so I'm happy to keep following it.

Flash#5 - Francis Manapul, Brian Buccelato/Francis Manapul

Manapul and Buccelato continue to great work on this book. In one sense, they wrap up their first story, leaving dangling threads for future stories. And, in another, they use this story to continue to expand on the Flash's power set in innovative ways. The Manuel Lago story wraps up with this creative team's typical flair for high octane superheroics and startling artwork. The set piece here is an experiment run by Dr. Elias to correct the genetic imbalance in Manuel's clones, and Manapul uses it as an opportunity for some stunning visuals. Sound effects invade the very pacing and structure of the page, bringing an innovative look to the action. The climactic splash pages, where the Flash stops the experiment, are a beauty to behold, bathed in a pale green and mixing the right amount of pathos into these cartoony faces. The writers leave Manuel's story open ended - the threat has ended in tragedy, but the door is re-opened at the end for the returnof Mob Rule. I like how personally connected Barry has been to this fight. Last issue's flashbacks are built on, so that the friendship between Barry and Manuel is at the core of the heroic, but impulsive, choices Barry makes here. Events from this story directly lead to the bombshells of the final scene, where Barry learns how his powers are causing time travel incidents - the EMP blast that abruptly descended on the city in the first issue is traced to his actions here, among other incidents. There is a nice serendipity to this twist, explaining some random elements from previous issues with grace. At the same time, this wrinkle in Barry's powers is presented as a grave danger, surely a threat to be explored further. It's a paradigm shift for the book, and I was really grabbed by this twist. There's a lot more going on here - Iris' rescue from Iron Heights (a wonderful action scene as drawn by Manapul), Barry flirting with Patty and Iris in his two different guises, and the set up for a future opponent in Captain Cold. I do still think the writing team have some kinks to work out, albeit minor ones, but the final product is always great - fantastic, inventive artwork wrapped around energetic, fun stories.

Fantastic Four#602 - Jonathan Hickman/Barry Kitson

Wow. Hickman really ramps things up here. The previous issue of FF started to show how everything connected, and this one continues in that vein. But, at its core, this is a strong action issue with a lot of fun character work. I tend to find Hickman's action issues to be quick reads, but he peppers a lot of team interaction through this one. His run has been so focused on high concepts, that the characters can sometimes get a bit lost, particularly the fun team dynamic. Hickman rectifies that here, with a playfully scheming Reed and Sue planning a big move while their two team mates struggle to keep up with them. It's fun, while contributing to the bigger story. The action also moves along at a great pace, jumping between the different parties involved and keeping a wider story going in the background. But the big moment here is the final sequence with Galactus. I've previously said the Kree/Inhumans/Galactus elements felt out of place with the time travel/alternate Reeds/Nathaniel story Hickman had been building since his first issue. Here, Hickman shows how they are all connected, and, read in conjunction with FF#14, a wonderful tapestry is emerging. Galactus, particularly, seemed like a late-game addition to the big story, but his purpose is revealed here, and it's a great twist that makes perfect sense. Barry Kitson guest pencils the issue, and is typically excellent. His figures and faces are crisp and expressive, his action scenes are clear and powerful, and his style is a great match for the book. Things are coming together at a controlled pace here. At the same time, the action is big and fun. A really great issue.

FF#14 - Jonathan Hickman/Juan Bobillo

Hickman's also revealing more pieces of his grand plan in this issue. Namely, the role of the Celestials, more background on the alternate Reeds, just what Valeria and Nathaniel have been plotting, and what role Doom will play in everything. We're beginning to see how a number of Hickman's plot elements, going back almost three years, fit together into one sequence of events, all leading to this point. If this is what the payoff to a sometimes plodding long, long-term story feels like, it's worth it. The lengthy flashbacks to Nathaniel, Valeria, and Doom are great scenes, teasing at the big reveals without outright spelling everything out. It's enough for the reader to piece things together. As for the present day scenes, they retain the fun group dynamic of previous issues, while adding the gravity of the fight with the Celestials. There is weight to the proceedings here that makes the events feel as important as the war with the Kree in Fantastic Four. I also love Doom's role - I tend to like when he joins with the Fantastic Four as an ally, and his willpower and sense of sacrifice here adds an interesting layer to the story. Bobillo also continues to impress, with a great depiction of the children and an offbeat look for all of the deranged adults populating the book. The space battle looks great, and he continues to play with panel arrangement and blank space in effective ways. I don't think this one was quite as urgent as this week's Fantastic Four, but it was still a strong read that continues putting the pieces of a major story together.

X-Men: Legacy#261 - Christos Gage/David Baldeon

Christos Gage properly gets his run underway after the Point 1 issue, picking up on some of Mike Carey's threads. And I can safely say it is coming off a lot more obvious than Carey would have handled it. I hate to be comparing Gage's tenure to Carey's but when he is drawing on Carey's stories and character arcs so strongly, it's hard not to. It starts with the characterization. From the opening scenes where Rachel and Rogue discuss the latter's relationship with Magneto and Frenzy and Gambit discuss their kiss, it is all just laid on the table. Carey was always a bit more opaque and subtle with his character work, and here it is all out there. It's fine stuff, it just lacks the layers and depth a more stripped back presentation would give it. Exodus' arrival draws on one of Carey's best issues, #225, where Xavier convinced Exodus and his followers that the dwindling number of mutants need to unite, not fight amongst themselves. It was a brilliant examination of the X-titles and a strong direction for their future. Here, Exodus arrives, angry at the schism in the X-Men, and Carey's earlier idea loses a lot of its subtlety and sharpness. Again, the conversations are laid right on the table, and the topic of mutant unity just becomes the backdrop for an enjoyable, but generic, fight scene. By the end of the issue, it seems the conflict is over, then Gage tacks on plot where Exodus will attack Cyclops for causing the schism. It's all nicely executed, and the fight scene is energetic, with artwork much improved by Baldeon, but it feels pedestrian compared to the depth Carey could bring to the book, even in a wordless scene. I hate to dump on this book in Gage's second issue. This is a good issue, but subtle it ain't, and the comic is weaker for that.

Weekly Comics - 01/18/12

Batman#5 – Scott Snyder/Greg Capullo

This is it. The big one. I'm not sure if I can say more than what has already been said in online reviews, so I'll stick with my gut reaction. I loved every page. Snyder and Capullo have created a masterwork with this comic. The writing is haunting and unnerving, the panel compositions are hypnotic, and the image of an exhausted, frightened Batman struggling to come to grips with his surroundings was captivating. By the time the now infamous page-flip happened, I was completely drawn in to this world, and felt as disoriented as Batman. Suddenly, I was reading a comic upside down, as bewildered as Batman was. And, when the second big twist came at the end, it was a gut-punch. But the chaos here was so controlled - the panels presented to achieve certain effects and the sudden scene shifts as Batman hallucinates expertly presented for maximum effect. They ramp up when the book flips, mirroring Batman's state of mind as the reader struggles to keep up. There isn't so much a story here as a tale of Batman struggling to stay afloat through the maze of torments that the Court of Owls has put him through. There are two brief framing scenes, and the rest of the issue takes place in the maze. Those framing scenes don't take away from the rest of the issue at all. They add a layer of humanity to Batman's disappearance. Commissioner Gordon and Damian Wayne's insistence that the Bat Signal gives people hope is touching. Batman's journey through the maze is hard to comment on. It continues the story Snyder has been building. Whereas before, Bruce adamantly denied the existence of the Court, now, faced with their existence, he finds other things to deny, constructing his own explanations for the horrors they are showing him in order to stay somewhat in control of his situation. It's a harrowing portrait of the consummate hero, able to stand up to anything, worn down, physically, and mentally, to nothing. Batman's journey through the maze takes the hero through a number of disturbing rooms and visuals, and the narrative jumps suddenly, mirroring his mental state. It's fantastically well done. Capullo produces some stunning visuals. The barest hint of cartooniness to his style is the secret ingredient. It brings just the slightest exaggeration to his work, from Batman's impossibly large, bedraggled cape to the minor excesses in Batman's dwindling physical state and the vividness of the final attack. His unique style brings an edge to the visuals. That's to say nothing of the setting itself, bathed in haunting whites by FCO. The setting is less a maze and more a series of disturbing, impossibly large rooms, one after another, where even a series of framed pictures looks disturbing. The white really helps. Instead of bathing the issue in shadows, the setting are presented to us in stark whites, adding an unusual feeling of terror to the book. Even Batman's costume, wearing away after a week, is an odd white shade that is very effective. Altogether, an outstanding piece of work. This is a very special comic, but it's really just one shining piece in a run that has been uniformly excellent.

DC Universe Presents#5 – Paul Jenkins/Bernard Chang

Jenkins wraps up the five part Deadman story with an issue that unfortunately loses its sure hand at the end. The opening two-thirds of this issue continue the philosophical discussions at the story's core. But once Deadman resolves his dispute with Rama, Jenkins moves to wrap up the wounded veteran's story, and it doesn't quite come together. The Deadman story is thankfully up to the quality of earlier issues. Jenkins has lead Deadman down a path of self-discovery. He has grown in courage to be able to even ask the questions about the purpose of his existence. Here, he confronts Rama about the journey she has set him on and how long it must continue. Their conversation builds on last issue's existential dialogues, leading Deadman to ask the important questions about his life. It's compelling stuff, bringing Deadman's character arc full circle in his quest for some measure of understanding and independence. I knew nothing about this character going in, and Jenkins has proven that beneath his power set lay the potential for interesting questions about the nature of his heroism and the impact he has on the lives of others, as well as the purpose of his own life. It's been an interesting story, and I'm glad to have read it. That said, the story then has Johnny, the wounded soldier Deadman is currently possessing, attack the arms dealers we barely met last issue to get his own closure. I get the ideas Jenkins is going for here, but this isn't the best way to get there. The arms dealers are a hastily introduced plot device and Johnny's heroic mission is out of step with this story's thoughtful tone. Jenkins is able to wrap it up with a nice monologue, but this resolution is still out of step with the rest of the five-part story. Chang's art is up to its usual standards of quality, bringing life and expression to mystical characters in his trademark blocky style. I just wish this story had stuck to its unusual, talky roots right up until the end. As it stands, the final scenes don't ruin the story, but they don't quite sync up with the type of story Jenkins had been telling.

Birds of Prey#5 – Duane Swierczynski/Jesus Saiz, Javier Pina

Swierczynki takes a bit of a break here, but in a good way. The frenetic action of the earlier issues is stripped back. The issue has the Birds recuperating in the wake of a fight where one member is missing, injuries have been healed, and no one can quite remember what has happened. This title definitely needed the space to breathe and get to know these characters better, but having it happen under this fog and haze of uncertainty lends and air of doom to the proceedings. Swierczynski is successful in creating this tone through the script, as each of the Birds struggles with how exactly they have awoken, in perfect condition, in the middle of a street after last issue's battle. The character building scenes that result are top notch stuff. Poison Ivy is embroiled in some nefarious scheme, possibly connected to her membership in the team, and its nicely set up. Black Canary and Katana get a scene that finally humanizes the latter, showing her reaching out for companionship with her teammates. The dialogue is fun, but also does a good job developing these characters. Battle-hardened and weary, Black Canary is showing cracks that reveal her true self. Batgirl is put to interesting use here. Obviously, she is the missing link who disappeared after last issue's battle. Yet, here, she remembers nothing. She's a good addition to the book, skeptical of the team and playfully sparring with Canary. Starling gets a lot of focus, with hints about her personal life and her thoughts on her role in the team. As the only new character in this book, she remains a vibrant and compelling one. The wider plot is still going on here, with a minor skirmish at the start and bigger revelations at the end, leading to a cliffhanger for Starling. As usual, the plot itself is good stuff, but is overshadowed by the pace, tone, and energy of the proceedings. Even in a breather issue, that remains true, and Swierczynski flips through the various characters' personal lives at a good clip, giving us enough to get drawn into their respective stories. Saiz provides layouts here, with Javier Pina finishing his pencils. Saiz' strong page designs and attractive figures shine through as usual, but I won't deny they lose a bit of their lush fullness under Pina's finishes. It's still a strong-looking comic, just not as polished as when Saiz provides full art. It's another strong issue for this title. Swierczynski changes up the focus and gets worthwhile material out of his cast members as a result. One last thing - can this please be the end of these awful David Finch covers?

Wonder Woman#5 – Brian Azzarello/Tony Akins

Brian Azzarello continues to redefine the world of Greek mythology Wonder Woman operates in, and this issue is his strongest statement on that yet, as the big story starts to reveal itself. Not only is Zeus Diana's father, but he has disappeared, and a fight for his kingdom is about to break out. This issue thrusts the action into this story with the same commanding confidence and strong voice Azzarello has brought to the book so far. Like much of his run, the concept is simple. But Azzarello commits to playing it on a godly scale, with a variety of godlike beings weighing in on it and the stakes presented as Earth-shattering. It completely works in the tone Azzarello has developed for this book. There's sinister messengers, dire prophecies, and age old grudges at play here, and the proceedings feel suitably epic. At the centre of this is the trio of Diana, Hermes and Zola, struggling to accept their role in the conflict. Azzarello keeps their interaction playful, providing a nice counterpoint to the rest of the action. Zola and Diana, in particular, are developing a friendly banter and a caring relationship that really humanizes the latter character. I also like Diana's struggle to accept her new family. Through her words and hesitant actions, she is still coming to grips with not only the fact that Zeus is her father, but that she has such a perverse, evil family lineage because of that. The confrontation with Poseidon is a wonderful scene, where Diana must confront her new uncle about her father's disappearance. It comes to life thanks to Tony Akin's portrayal of Poseidon as a giant, lumbering sea creature. I was excited to have Akins on a guest penciller. I loved his work on Jack of Fables, and thought his playful qualities would work well on an aquatic issue like this. His design for Poseidon is sublime and he captures the other creatures equally well. His style is in keeping with the look Cliff Chiang has developed for the book, but with a bit more quirk to the facial expressions, which suits the fun and banter of some of the scenes here. Overall, it's another stellar issue of this title, which takes Azzarello's direction for the book into the next phase of the plot with its usual strengths in writing and art.

Uncanny X-Men#5 – Kieron Gillen/Greg Land

I'll give Gillen credit: This is one of the better issues since this book relaunched. Similar to last week's Wolverine and the X-Men, this one is seeped in events from Uncanny X-Force. The entire conflict spins out of it and much of the material surrounding Psylocke comes from her role in that title. I know the broad strokes of what has been going on in that book, so I could follow things pretty well, with the exception of a couple moments. In general, there's enough background given here that non-readers of that title should be fine getting through this. The Tabula Rasa conflict is a fine idea for a story. It is a bit disconnected from the X-Men (only because all of them except Magneto don't know X-Force exists, so this isn't a personal mission for them like it is for Psylocke), but it works as a good starting point. There's the potential for some great visuals in it. One page even has Colossus comment on how beautiful it is. Unfortunately, this is accompanied by some muddy tracing by Greg Land. Gillen seems to recognize that the bloated cast of this book have mostly been ciphers. So he has the team split up into pairs here for some potential characterization. He's partly successful in this. The Colossus/Illyana scene is great. Their relationship has been ignored since #1, and there is a lot to it in its current form, which Gillen nicely delves into. Psylocke and Magneto get a strong scene as well, discussing her complicity in creating Tabula Rasa. On the flip side, Namor and Hope get some forced banter and Storm makes things uncomfortable with Scott when she casually mentions the Beast's name. That scene had the subtlety of a sack of manure, and was a ham-fisted attempt to remind us of Schism. Thanks, but I'd rather forget about it. Still, Gillen is putting some effort into this cast, and I can appreciate that. Meanwhile, in more non-subtle territory, the build-up to Avengers vs. X-Men begins with a scene straight out of Matt Fraction's terrible Uncanny run. Captain America tells Cyclops that the press are trying to present the X-Men and the Avengers as at odds with each other. Um, since when? Is this going to be another forced, contrived conflict, like the aforementioned Schism? Who cares, I've already decided I'm not reading it. But that scene was painful. So it's a mixed bag. The book still feels impersonal and cold, and the inhuman Greg Land art doesn't help that. But there is a genuine effort made with some of the characters here and the story is just fine. Not completely successful, but certainly a better issue than most for this struggling title.

Hellblazer - Parliament of the Trees. Could use a bit of a pruning, in my opinion.

Hellblazer - Black Flowers (#181-186)

If Mike Carey’s first volume on this title, Red Sepulchre, was an exercise in constructing a strong story, building up mysteries and character relationships, and reaching a satisfying conclusion, Black Flowers shows that Mike Carey is attempting this exercise on a wider scale. Red Sepulchre was a solidly constructed single story, but, in Black Flowers, Carey reveals that he’s taking his knack for strong plotting to build up a mystery and a threat for John to confront that spans volumes. This volume comprises three shorter stories, each building on the threat that revealed itself in Red Sepulchre and is lurking on the fringes here. But these three stories are also brimming with a vibrancy that Carey was only touching on in his first volume. As the mysteries deepen, Carey is getting a stronger handle on John, the pace of his adventures, his connection to people around him, and how to bring excitement and danger into this book.

The first of these stories, “The Game of Cat and Mouse,” is a single-issue story drawn by Jock. It’s a chase story, in which three demons called Lukhavim are after John for killing Fredricks in the previous volume. Jock’s design for the creatures is great – they look hulking and imposing, but also sit quite naturally in panels with human characters. The issue itself has a great balance. It’s a very typical John Constantine encounter, with the magician walking the demons into traps and calmly gloating as they wither away. But, at the same time, danger lurks around the proceedings. Enough cryptic warnings are provided by the demons that it is obvious their pursuit of John is tied to a bigger problem. Their first attack on him is jarring, in that it actually hurts him. This puts John on edge through the rest of the story. For as calm and cool as he remains, he knows they mean business and can hurt him, and it shows. The pace of this story hits just the right balance as well. I also like that Clarice, the rich old woman from the previous story, is being used as John’s advisor on all things Hell. A fun ride, and there’s a lot happening here.

Lee Bermejo pencils the two-part “Black Flowers” next, and it is a treat to see his interior artwork. The human characters have a strong realism to their faces and the inhuman characters are so commanding on page that they truly feel like they are intruding in our world, which is the point of the story. The art is dark, but not overly so, with shadows being used to accentuate the locations. The story involves Angie getting John to help her with an outbreak of madness in the town where her brother is a psychiatric patient. This alls ties into the wider plot Carey is working with. Namely, that “there is a disturbance at the border” – something nasty from the otherworldly realms is creeping into ours. These spirits have turned the town mad, and three murderous shepherds from that realm have come here to set things right. The story does a great job digging into Angie’s character. Carey wisely places a lengthy scene between her and her jerk boyfriend early on, to give us more insight into her regular life before plunging her into this. She’s on edge for the rest of the story, struggling to accept John’s world but equally angry towards her brother. Carey also tells the story really well. The cutting of scenes between John discovering something is amiss as Angie gets deeper into it is expertly done, building up tension effectively. The climatic moments also work nicely, aided by Bermejo’s designs for the shepherds. And, as well as this works as a standalone tale to build up John and Angie’s relationship, Carey swings things on the final page to remind us how this otherworldly invasion seems to be part of a bigger danger John is facing. The tension is effectively built, allowing this story to fit into a larger whole.

Marcelo Frusin is back to pencil the final three issues, the “Third Worlds” story. John takes Angie across the world with him, first to South America to get Swamp Thing’s help and figure out what may be coming from another realm, then to Iran to find the followers of Cain, and finally to New Zealand for more information. This doesn’t feel like wacky globe-trotting, mainly because it is all tied together so nicely by the threat of the otherworldly invaders and the strong narration from John and Angie.

The Swamp Thing chapter contains some card game shenanigans that are a bit off-course, but the visit with Swamp Thing is perfect. Carey gets their antagonistic dynamic, and John brings a lot of humour to the situation. Frusin, an artist grounded in darkly cartoony Vertigo books, creates a captivating vision of Swamp Thing, growing out of a giant old tree. The visit to Iran is another fun chapter, as John must answer for an old theft and Angie comes into to her own as an adventuress. There are hints that the evil John seeks goes back to the Garden of Eden and also an old-school trial by ordeal with humorous results. Very strong stuff, and Frusin’s depiction of arid desert life is great. The Tasmania chapter swings things into the deeply personal category. John learned from Swamp Thing that the evil he seeks also escaped from Tasmania two centuries ago, and journeys back in time to colonial slavery to learn about it. At the same time, Angie must ward of Aboriginal spirits and relays the story of her brother’s mental illness to them. These two story threads, coupled together, create an incredibly compelling narrative of pain felt throughout the years. Carey doesn’t downplay the years of pain felt by the Aboriginals when their land was taken over, but it’s a very poignant moment to have one of the spirits acknowledge that Angie’s family has also faced great suffering. The issue gives Angie remarkable depth. Just the fact that she stands up to the spirits shows a strength she didn’t have when we first met her, and a growth since accompanying John on the road.

I think what I like just as much is that Carey keeps the ominous threat feeling both sharply drawn and very vague. The point of the Tasmania story is for John to get information from the natives in the past. He gets it, but the scene cuts away as that conversation starts. At the end of the issue, he relays that he learned what he needed too, but we still don’t know what it is. Throughout this volume, the vague threat of something breaking through the wall between realms and entering ours is pervasive. But the terms are never laid out in stone, the threat is never delineated, and the dangers don’t have to be spelt out. Something bad will happen, and John is trying to learn more to prevent it. The danger feels real, partly because it is so vaguely sketched. In presenting it that way, Carey is allowing these individual stories to live and breathe as standalone tales and leaving ample space for character interaction. But it always feels like these pieces are building towards something, even if we don’t have a clear picture of what yet. It’s incredibly strong story structuring, and, aided by three strong artists, a sharp and effective package.

Weekly Comics - 01/11/12

Batgirl#5 - Gail Simone/Adrian Syaf

Simone starts a new story for Batgirl, and, once again, there is a lot going on here. It works for the book. I like the multiple plot elements. But sometimes there is even too much going on within a scene. In the opening action scene, there are so many players doing so many things at once, that it does get a bit cluttered, especially since these are all new characters. Now, this does work to replicate Batgirl's confusion at facing so much at once, and it certainly has impact once new opponent Gretel enters the scene, but there is a lot happening here. That said, the issue is still a strong one, and I do like the multiple events going on - Barbara tries to reconcile her differences with her mother, Detective McKenna's vendetta against Batgirl continues to build, there's some roommate bonding, and Gretel makes a second strike. I like the general randomness of Gretel and her motivations. By her second attack, Simone has smoothed it out. That sequence still feels chaotic, but more organized. The opener had Simone playing with too many ideas, while the chaos at the end is engaging. We feel as bewildered as Batgirl at the tactics of her opponents and the final page twist. Gretel is an interesting figure, standing around, seemingly in control, while a brutal fight wages around her. The characterization of Barbara remains strong, balancing anger, hopefulness, and a desire to move on. The roommate dynamic is also developing nicely. The scene with Barbara's mother isn't fully satisfying, and deliberately so. It touches on their issues, with Barbara's hard shell up the whole time. I suspect there's a lot more to come here, and for now it's a good start. Finally, Simone and Syaf work in a clever "Occupy Gotham" subplot (including some graffiti in an earlier scene), where citiziens of Gotham are protesting Bruce Wayne's philanthropic building plans (built up so favourably over in Batman). I love the willingness to play with this idea and present this title as coming from a different place than Batman. Syaf's art remains strong, and at it's best with bigger panels - Batgirl swooping through the skies, Gretel's first attack. When Simone is cramming a lot into a scene, and Syaf has to do the same, it shows. But the book still has a strong look to it. This remains a complicated book, overall. It is dealing with complicated issues surrounding its lead character, and still ironing out how to tell her story. Even with that, there's something special here. It's certainly always engaging.

Batwoman#5 - J.H. Williams III, W. Haden Blackman/J.H. Williams III

Utterly amazing in every way. In twenty pages, Williams and Blackman accomplish so much. And they do it with grace, skill, fluidity, and beautiful artwork. This issue shows that there is a big plan for this book. The Weeping Woman isn't just an opponant to be fought and defeated in this opening arc. She is a catalyst for a much bigger story and the drive that forces Kate to make tough decisions in this issue. There's a paradigm shift in the final pages of this book that is tense, disturbing, and dark, as Chase and Bones finally make their move. In order to protect the world she has created around herself, Kate makes a tough choice, and, like that, an already wonderful comic series is propelled into a bold new direction. This issue is forward thinking. It moves the story of Batwoman forward into dark new territory, hinting at the places her story can now go. But it also looks back to the character's past with skill. Kate's final confrontation with the Weeping Woman is a moment of terror for the character, where she is forced to confront her lost sister and the person she became. Kate makes her peace with her sister's fate, and, in a rare moment of serenity for Kate, resolves to move forward, using her sister's memory for strength. Then Chase and Bones arrive and Kate's life is thrown in another direction. The book moves wonderfully through it's various movements, from action to denouement to further horror, with ease. The opening page uses the typical expository text (a brief blurb on the Batwoman character), incorporates it into the text of the story, and makes it an integral part of the story. From the horror of Kate's new predicament, the final page then swings the mood of issue, showing us the strength and resolve of Kate's character that is still present, even in her current predicament. Outside of Chase, this issue strips back the supporting cast to focus on Kate and it's a great showcase for her. It goes without saying the Williams' art is fantastic. His depiction of the fight with the Weeping Woman brings that scene to life, with sweeping pages depicting the battle in watery images. It truly feels like Kate is fighting for her life in a very personal battle. He switches to the less painterly depiction of Kate at the right moments, in a way almost reflecting the layers of her character by presenting her in completely different ways throughout the issue. There are the typical innovative layouts, dazzling splash pages, and haunting depictions of people. This issue is a game changer that proves this title as a tour de force in both writing and art.

Frankenstein: Agent of S.H.A.D.E.#5 - Jeff Lemire/Alberto Ponticelli

I didn't know what to expect from this one, a crossover with OMAC#5 (which I didn't read). They said repeatedly in interviews that this was Frankenstein's take on the battle with OMAC, and that you didn't need to read both comics to get the whole story. They were right. I shoudn't have doubted Lemire. This is an incredibly fun comic, a great crossover issue, and a piece in the larger Frankenstein story. The premise is deceptively simple - Checkmate asks S.H.A.D.E. to capture OMAC for them. With all these super science underground groups running around the DC Universe, it's inevitable they'd cross paths at some point. Lemire plays this up for humour, with an antagonistic tone between the two groups, enhanced by the fact that S.H.A.D.E.'s representative (Father Time) is a young girl in a domino mask. Frank himself is at his surly and unimpressed best here, echoing the readers' sentiment that he knows nothing about the fight he is getting into and has no background information on his target. The SHADE.net narration is used to strong effect by Lemire, stepping in to illuminate the situation with deadpan humour numerous times. The actual battle with OMAC is a great showcase for Ponticelli's artwork. He experiments with panel layouts in new ways (removing them entirely on one page, so the fight just moves down the page) and has some great splash pages. The fight itself is right in line with this title's sense of humour - Frank's unimpressed demeanour juxtaposed with OMAC's Hulk-like phrases, as mass property damaged happens in their wake. It's a lot of fun, as is the end, where Frank loses an arm and later matter-of-factly gets it back. As mentioned, some ongoing threads from the title continue admidst the crossover - Father Time shows her truly devious side, outwitting Checkmate to get needed information, hints of an atraction are brewing between Frank and Agent Mazursky, and Frank hits a wall in his frustrations with S.H.A.D.E. The book looks great, as usual. Ponticelli has created a rough and nasty world full of exaggerated creatures. He helps develop the book's over the top nature and quirky charm while also creating some nice, quieter moments. It's another strong issue. The opening arc was a bit action heavy, and I worried how long the book could sustain that momentum. This one proves that not only is that formula a winner, but there is a lot more going on in this book. Great stuff

Superboy#5 - Scott Lobdell/R.B. Silva

This book continues to impress in its fifth issue. Lobdell is doing a lot of what he's done well so far - exploring the growth and maturity of a young boy who's been raised in a laboratory. Superboy isn't exactly mature at all times, but he's making decisions for himself and acts on his own impulses for the first time in his life. That's interesting to read about. Sometimes, his choices are intelligent and good-natured, and other times, he faces wrongdoers in a way most of us wish we could. His decision-making has a certain logic and process to it, but there also are base emotions and impulses driving his actions. Lobdell is also succeeding in building a fairly deep tapestry of characters and subplots within the metal and glass of the laboratory. There are now three "lab boss" type characters vying for Superboy's trust and loyalty - perhaps one too many, but it keeps things interesting. Meanwhile, Caitlin Fairchild's character has moved in a wholly unexpected direction, with increasing comments that she is only one of a group who may betray N.O.W.H.E.R.E. Rose Wilson has risen since Caitlin was captured. Here, she's alternately hard-edged and lonely. The shot of her slumping down against the metal walls of the facility captures the sterile, alienating feeling of this series perfectly. There are also numerous references to a bigger story developing, with the Culling Day mentioned more than once (including in the wonderful twist of the final scene). Silva's artwork remains a strong fit for the book. His figures and faces have enough expression and quirk to them that they keep the cold laboratory setting feeling lively. There's also a great rounded look to the characters. At the same times, his layouts are strong and occasionally creative. So there's a lot going on here and I remain entertained watching this lead character navigate the unsavoury world he has found himself in.

Wolverine and the X-Men#4 - Jason Aaron/Nick Bradshaw

This issue is certainly a breather after the opening story. It retains the title's dense feel (almost every page is packed with little character moments and jokes), but it's not the beginning of a new story. Similar to how last week's Uncanny X-Men#4 was a breather issue, this one is too. I still don't feel like either title earned a breather issue this early on. This title doesn't have a compelling plot hook outside of "Wolverine runs a school." Yes, that's fun and all, but I just think it's too early to take a break to explore that premise more. We've had a lot of that so far. That said, this is still a lot of fun throughout. It may seem hard to establish a group dynamic in such an eclectic book, but Aaron is sticking to a central cast (Wolverine, Iceman, Rachel, Kitty, Beast) and making them work as an overextended, exhausted faculty, cracking wise as they try and keep the school together. There's also a great effort to establish a student body - Kid Gladiator, Idie, Broo, Quentin Quire, and new additions Genesis and Angel. The classroom scenes, with Kitty trying to reign them in, are funny, and good example of Aaron cramming a lot onto each page. This is also the issue where Aaron makes explcit links to Uncanny X-Force - Genesis and the amnesiac Angel get lengthy introductions (along with Deathlok delivering humourous prophecies to the students). I don't read that book, but I had no trouble following these elements. In fact, they were quite compelling, particularly the visions of the future caused by Genesis and Iceman's pledge to stick by Angel and guide him through this difficult time. It just feels like these are meant to be big additions to the book. But the book is only on its fourth issue, still settling into its setting and cast, and to throw two elements from another book in with such a big introduction was a bit jarring for me. This issue also sees the addition of Nick Bradshaw as artist. Really, he's the only artist in the X-stable unique enough to take on this role, in my opinion. He's not aping Chris Bachalo's style at all. He's got a style all his own (ok, it's heavily influenced by Art Adams), with facial expressions and sense of humour to it that are right at home in this title. So it's another very strong issue, with Aaron's humour and approach to the book fully intact. On it's own merits, it's a great comic. I don't think it was the right time for a breather issue, so early on. And I'm a little concerned about the big role two characters from another book take immediately. But, with a cliffhanger ending so funny and a strong hand in guiding this book so far, I have faith in Aaron's direction for the book.

X-Men: Legacy#260.1 - Christos Gage/David Baldeon

Christos Gage takes over this title from longtime writer Mike Carey with a Point One issue that lays out the school setting, the main cast members, and the various relationships between them. It's a good comic and I like that Gage isn't afraid to begin developing the characters in a Point One issue. But it can't help but feel a little lightweight. Part of that is down to the nature of the threat. The main cast (Rogue, Rachel Summers, Gambit, Iceman, Frenzy) stumble upon the N'Garai cairn on the mansion grounds and accidentally open it. The issue covers their attempts to take down the creatures without involving the students or disrupting their school day. It's a cute premise (maybe too cutesy), but it touches on the thing that annoyed me most about the "Schism" that brought us to this point - the notion that Rogue and co. have to take down these creatures without involving the younger mutants or harming their innocence. Without forcing them to use their powers to fight. Keep in mind the mutant students in question have been to hell (literally) and back and used their powers to fight for their lives plenty of times before Schism. The premise of the split still grates on me. I'd much prefer it was just glossed over, as Wolverine and the X-Men has done. Still, the battle scenes are well done, with fun juxtaposition of what's happening inside the school. As mentioned, Gage is not afraid to get right into the character arcs he'll be exploring in his first issue. Gambit's unrequited feeligs for Rogue, Cannonball and Husk's struggle to reconnect as siblings, a budding romance for Frenzy, and surprisingly strong material for some of the students. That's what gets me excited for his tenure on the book - not these lightweight action scenes. Much to my surprise, I'm a little wary of David Baldeon's pencils. I've liked him on past projects, so I was surprised to find his work here was so cartoony. It's borderline Marvel Adventures, which is a departure for a mainstream X-Men book. It lends the book a very distinct tone, and was certainly part of the reason why this book felt light and cutesy at points. Seriously, it makes Mark Brooks' art look grim and gritty. Still, this was a good comic. I'm happy to see Gage has plans for the various cast members. It should provide a solid foundation for future stories.

Steve Seagle and Joe Kelly's X-Men

I'm continuing to read through my Uncanny X-Men and X-Men collection, and have made my way to the Steve Seagle/Joe Kelly year. When these writers took over the books in the fall of 1997, it didn't take long for me to fall in love. My only exposure to the X-Men had been under stalwart 90s writers Scott Lobdell and Fabian Nicieza. I had a large amount of Claremont's back issues, but my time as a regular collector of the monthly titles had been the Lobdell/Niceiza years. So two fresh writers, both quite popular when they came in, was a big change for X-fans, myself included.

There are a lot of problems with these two writers' runs - dropped subplots, character arcs that didn't really go anywhere, new team members that didn't get a chance before being removed from the books, and the fact that editorial interfered with the writers' plans for the books. Both writers effectively wrote only ten issues (Kelly - X-Men#70-79 and Seagle Uncanny#350-359), as, after that point, their remaining six issues on each book were almost completely editorially driven - the stories, the new lineup, the direction. So, naturally, the work they put in before that feels truncated, unfinished, and at times, unfocused. But there is a lot of good to their respective ten issues, and they both brought a voice to the books that resonated for me when they were being released.

For one thing, these issues felt fresh. For the first time in my reading history, the X-Men lineup was shaken up. Xavier was long out of the picture, and, as the two writers started, Bishop, Gambit, and Joseph also departed. Cyclops and Phoenix moved to Alaska to recover from injuries, and remained in Uncanny in a supporting role. Archangel and Psylocke's previous supporting role diminished even further. The core X-Men were Storm, Wolverine, Beast, Rogue, Cannonball, and new recruits Marrow, Cecilia Reyes, and Maggott. There's a great scene in X-Men#71, where Scott and Jean depart, that Wolverine and Storm discuss how they are going to hold this team together. I've always connected more with the second generation of X-Men than the first, so anytime Storm and Wolverine take charge of the team, I find it to be more energetic and fun. There's was also a fun dynamic here - suddenly, neophyte Cannonball was a veteran, the Beast took a more active role than he had in awhile, Rogue struggled with personal issues after Gambit's departure, and the new members each brought something to the table. Ok, Maggott is a bit embarrassing reading these issues back, but Marrow had a lot of potential and Cecilia is a gem. She's defined by her reluctance to give up her real life and become a hero, and her story is one of the more interesting ones. She slowly comes to respect the X-Men, but her disdain for their way of life and superheroics never goes away. She's a funny, fresh voice who left her stamp on this era of X-history.

But it wasn't just the characters who felt fresh. With all due respect to Lobdell, who did the best he could on the X-Men, I wouldn't say his writing had personality. Outside of a few issues, he didn't ever really create mood or atmosphere on the titles. Niceiza was a rock solid writer, generally much stronger than Lobdell, but I would say the same for him. But for the first time in my reading history, under Seagle and Kelly, the books did have a real personality to them. Seagle, with his focus on Rogue's desire to touch people and Jean's struggle with her powers, went for a much darker, more atmospheric feel. Aided by Chris Bachalo's artwork, Seagle was able to create dark dream sequences, inventive page layouts and character designs, and unique-looking characters, all within the confines of some moody, character-based issues. Kelly focused on humour, but certainly touched on darker themes as well. His artists were more conventional in nature, but just as good as Bachalo. Carlos Pacheco wrapped up his X-Men run with four of Kelly's issues, and he brought a lot of energy and emotion to Kelly's scripts. After that, Kelly is joined by German Garcia, a guest artist whose style looked a lot like John Romita jr's, and I've always enjoyed the look of his issues.

Rereading these issues (which I've done a number of times) is always fun. Back when they were first released, I always thought Seagle's Uncanny X-Men was the stronger title of the two. I think I was so taken with the fact that someone had finally brought some mood and atmosphere to the X-Men (and loved Bachalo's artwork so much) that I overlooked some of his heavy-handed characterization and weaker plots. Kelly's X-Men was fun, but lighter than Uncanny. Rereading both runs concurrently, Kelly's X-Men always stands out as the stronger book now. The plotting is solid, even with the dropped plotlines. The character arcs (for Marrow, Cannonball, Cecilia, even Storm and Wolverine) feel more well-rounded and some of the individual issues work better as complete stories than Seagle's did. Still, there is an awful number of highlights between both writers' runs. On Uncanny, #356 is a thoughtful reunion of the original five X-Men, and #353-354 is a disturbing look at Rogue's darker impulses, wonderfully illustrated by Bachalo. There's also an inspector from a school board visiting the Institute (and horrified by what she sees). This storyline never continues, but, hey, it was enjoyable while it lasted. Kelly's wonderfully handled the team interaction on X-Men, injecting realistic voices and humour into the book. He achieved some really drama as the team fought over debate what to do with the reckless Marrow, gave Beast more of a purpose in the book, and even managed to develop the hardened Marrow's character and her relationship with Cannonball.

Reading Seagle and Kelly's issues as part of the bigger X-Men story, it's easy to see their failings. They introduce a number of subplots that don't go anywhere, they introduce a lineup and new members that aren't given enough time to develop, and they introduce a direction for the X-Men that seems to get quickly pushed aside. These are all fair points, but I will always see their time on the books as one very special year, where the patterns and dynamics the X-Men had played with for years were allowed to bend just slightly, resulting in new relationships, new stories, and a fairly unique voice on the titles for the first time in years. After years of mediocrity, Marvel rebounded in the later 90s, and this isn't always acknowledged by fans. The core X-books played a small part in that.

Weekly Comics - 01/04/2012

Fatale#1 – Ed Brubaker/Sean Phillips

I decided to pick up this debut issue. I’m a big fan of Brubaker and Phillips’ collaborations, although I usually follow them in trade. With their first project for Image, I wanted to show it some support in single issues and I’m happy I did. This is very similar to Criminal in that it’s grounded in noir tropes, but with a touch of the occult coming in around the fringes. I like that Brubaker didn’t hit us over the head with that aspect of the story. This reads like a crime book, but with some intriguing supernatural elements playing an undefined role thus far. The book is divided in two, with a prologue that is a bit of an homage to North by Northwest. We meet our protagonist, Josephine, in the present day, and an unsuspecting man becomes the victim of a hit, replete with an attacking plane on a winding mountain-top highway. This is much darker than the Hitchcock movie, though, and the story ends on a fairly somber note. From there, the creators segue decades into the past, where a still young-looking Josephine is entangled in a relationship with a corrupt cop, some strange occult doings, and a reporter who is trying to help her. Brubaker elegantly introduces us to all of the players and conflicts in this time period, with brief, effective scenes that nicely transition from one to the next. At the same time, there’s an air of mystery to all of this; so while the stories were clearly laid-out, they were all shrouded in intrigue. Both creators effectively capture the time period through the dialogue and locations. The reporter’s kitchen is a dead ringer for the Draper kitchen in Mad Men, and it comes off as a sly homage (completely the opposite of how I feel about the celebrity faces used as character references these days). It’s a perfectly constructed and paced book, it plays up its noir tropes without overdoing it, it’s nicely building up a number of mysteries, and the art is great. Phillips nails the dark edges of this story within the confines of some fairly conventional layouts. I also really appreciated the back matter, as I don’t get to see it, reading Brubaker/Phillips’ stories only in trade. A write-up from Brubaker and a short essay on H.P. Lovecraft’s contribution to the horror genre rounded out this package very nicely. Stellar.

Action Comics#5 - Grant Morrison/Andy Kubert, Sholly Fisch/ChrisCross

Even though this is an origin story that puts the ongoing narrative on hold for two issues, it feels like this is where Morrison kicks things into high gear. The origin neatly ties back into what we have already seen at several points. It's also chaotic, full of energy, beautifully illustrated, and brimming with interesting takes on Superman and his mythos. Large parts of the issue are narrated by the rocketship that brought Kal-El from Krypton to Earth and it's full of personality. The ship's narration is alternately heartfelt, exciting, and incomprehensible. There's a great moment where it laments landing on Earth, a place where the other machines can't talk like it can. The issue opens with Kal-El's parents sending him off Krypton as it falls apart around them. There's a lot here - a quick introduction to the Phantom Zone, Krypto the super dog in action, and a great presentation of Jor-El and Lara. It feels jam-packed and chaotic, which works for a scene where the world is ending. A large chunk of the issue is devoted to Morrison's reimagining of Jonathan and Martha Kent's discovery of the rocketship and the baby within. Coupled with the backup story (more in a moment), it works very well. There's a desperation and sadness to their desire for a child. The twist on what they find at the spaceship, and give to the military, calls back to a great moment in #2 and it's quite clever. The issue ends with a scene that did nothing but confuse me, but in an exciting way. A mysterious, shadowed group (later dubbed the Anti-Superman army) steal the Kyprtonite engine from the rocketship (I'm not sure where the ship is located at this point) and then four seemingly heroic figures (one of whom is identical to Superman) lament what has happened. The segue to this sequence is a little jarring, but it's part of this issue's charm, as it intentionally jumps around throughout. It's certainly interesting stuff, even if I can't fully make sense of it now. It feels like Morrison is adding to his Superman world by throwing a lot of elements into it in this issue. It feels energetic and chaotic and I really like it. Andy Kubert's artwork contributes to that feeling. The figures and faces are expressive and interesting looking. He plays around with perspective as well, so the destruction of Krypton feels frantic. The final sequence is deliberately obscured, adding more confusion to what exactly is happening. But its very energetic and suits the mad cap story quite well.

The backup story slows things down considerably, and I found myself drawn right into it. It chronicles the Kents' quest to have a child after their marriage. I enjoyed that it wasn't cliche or sappy - their pain and desire felt real. Sholly Fisch's script did its job well. I felt like they really drew strength from each other with each failed attempt. It also fits nicely in with the lead story, filling gaps and expanding on the Kents' scene there. It felt sincere and heartfelt, and made a nice counterpoint to the wild opening story. I've never seen ChrisCross drawn normal people to this extent, but it was really good. His focus on faces and body language really sold these characters' sadness and inner strength. I like the variety in these backups, too. Last issue was more of a straight-up origin (alberit well-done), and this was an emotional character piece.

Stormwatch#5 - Paul Cornell/Miguel Sepulveda

The best issue of this title yet, so it's a shame Paul Cornell is leaving after #6. Things are certainly hitting their stride here. There's less of a focus on world-ending threats, as the cast take centre stage. And the mix between softer characterization and squabbles between cast members is nicely balanced. Midnighter and Apollo have an extended sequence to themselves, with Cornell playing up their attraction in a subtle way, while also having them wonder whether the public could embrace them as gay superheroes. I also like how they haven't been officially added to the team yet. They're still weighing the benefits of sticking around or breaking off to form their own team. There's a lot of interaction amongst the rest of the group as the Shadow Cabinet elects a new leader, after Adam One’s failure to lead in the previous issue. Most of this intrigue is fun, and gives attention to the wider cast. We’re also getting a good sense of Stormwatch as an organization, after the initial issues dumped us into their conflicts. Here, for example, we learn their headquarters has features of a city, as Jack can only live in cities. Sepulveda’s art is also showing growth, particularly with faces and normal people. There is a lot of standing around and talking here, and he pulls it off for the most part. The issue ends with Midnighter discovering Henry’s treachery, and an ensuing fight, and it’s effective. I feel like I know the team better now and this sort of conflict holds weight. The lead up to the finale is exciting and tense, and the issue on the whole is a success. Where it goes after Cornell leaves remains to be seen.

Animal Man#5 - Jeff Lemire/Travel Foreman, Steve Pugh

Buddy Baker's fight against the Rot continues in this issue, as he, Maxine, and talking cat Socks race across country to save his family. Imagine a horror movie centered around a tortured family, like Amityville, but one that doesn't suck. This is a thrill-a-minute fight against ruthless, grotesque creatures in a forest, with the stakes being the survival of a family. Sure, this is pitched as a conflict that will affect all life on Earth, but, reading this, all you care about is how Buddy, Cliff, and Maxine are going to safely make it through the fight. It's a gripping page-turner of a fight, and there are a number of contributions to the bigger story as well. Maxine is learning the extent of her powers and Buddy learns how the Rot plans to corrupt her. But it is all about the characters and the family dynamic ultimately. When Ellen's mother cries about her dead dog as the family escapes by car, her sadness resonates. The fear and anger Buddy and Ellen feel with the children in danger cuts right to the bone. And, as usual, Lemire is still throwing humour in, as the book has a quirky voice to it. Travel Foreman handles most of the art, and it's up to his usual standards.The creatures from the Rot are disturbing and all-encompassing, the characters emote and react in believable ways, and Buddy is once again the victim of some horrific physical distortion. He also does a great job with the forest setting, knowing when to pull back from the dense forest and let and empty space, populated by these striking figures, tell the story. Steve Pugh draws the final pages, and brings a quirky and expressive look to the characters that is right at home on this title. It's another triumph for this book, ending with Socks saying "Only Swamp Thing can save us now!" Can it get any better?

Swamp Thing#5 - Scott Snyder/Yanick Paquette

Snyder jumps right into William Arcane's confrontation with Alec and Abby. I was certainly expecting this to be drawn out longer, which contributed to my surprise when I turned the page to see William and his army of reincarnated animal corpses. Like Animal Man, this is a gripping horror story, with protagonists struggling to come into their own and trust each other while facing a great menace. The actual fight sequence is great stuff, with hideous, frothing pigs and cows attacking Abby and Alec in Paquette's traditional series of jagged panels. The moment where Alec finally calls on the Green to help fight off the animals is successfully pulled off as a big moment for the series. I was riveted on those pages. But I remain happy that he hasn't fully transformed into Swamp Thing yet. His big moment of using his powers here amounts to calling on vines to tear apart the animals (which Paquette ensures is as horrific a series of images as possible). It's #5 and we have yet to see him as Swamp Thing yet. And I couldn't care less. I adore the journey of these two leads characters and want to see it keep going. Because, ultimately, this is their story, and defeating William (even temporarily) is a moment of triumph for their developing relationship and their trust in each other. We see that develop in a sweet early scene, before the fight, and later on, when Alec offers her a canned peach to calm her down. Snyder expands on the Swamp Thing mythos at the end, and keeps it firmly tied to their relationship. We learn of the connection both of them felt to the Green as children, and how they may have been reaching out to each other, culminating in an embrace that brings back the girl made of bones image from #3. There's also a subplot, tied back to William, of a man spreading the Rot in a Brazilian jungle, tied to the destruction of the Parliament of Trees, which should provide more interesting fodder for this book. This is just such an incredible comic series. I am blown away with each issue. Paquette's artwork is stellar - he alternates between beautiful, real people and images of death and horror with ease, uniting them in a very distinct visual world, made more distinct by his style of page layouts. It's a perfect complement to Snyder's writing. Like Animal Man, this book is just as focused on its characters as its overarching conflict, and their struggles breathe life into an already exciting story.

Uncanny X-Men#4 - Kieron Gillen/Brandon Peterson

After a fairly mundane (and at times outright bad) opening arc, Gillen and guest artist Brandon Peterson present a single issue tale that provides further background on Mr. Sinister's plans while telling the story of a captive alien Phalanx. The Phalanx's inner monologue, detailing its struggle to survive without the 'hive-mind' of its fellow aliens is at times elegant and haunting. It's certainly engaging, and takes up a large bulk of the issue. This portrayal of Sinister was interesting in the previous story. Here, Gillen dovetails Sinister’s recent plans to transfer his mind between clones of his body with the concept of the Phalanx's shared consciousness. It fits quite neatly, and nicely shows off Sinister as both eternally curious and a malevolent force. The alien's efforts to subsist after escaping captivity are quite good as well. He is compelled to reach out with his species, having lost the shared mental bond they previously had, and goes to great lengths to reconnect. His desperation and emptiness are conveyed through some strong narration from Gillen. The problem comes when the X-Men arrive towards the end. The alien decides to let himself die, and the team defeat him. The end. This is certainly Gillen's strongest script on the relaunched book, as he creates a vivid world for the helpless alien and nicely ties it into Sinister's ongoing plans. But, as usual, he struggles with the X-Men. They are supposed to be seen as a lean strike force, swooping in to defeat the alien, with very little in the way of any meaningful dialogue or contribution to the issue. There's a trite attempt on the last page to have Storm to express regret over killing the Phalanx, but it's a pretty hollow moment compared to the depth Gillen pulled off with the alien. I get that the X-Men aren't the focus of this issue, but I don't think Gillen has earned the right to do an issue like this yet. He has yet to satisfactorily establish this team as any sort of team, with any compelling character dynamics or relationships. To do an issue that emphasizes them as a strike force who just enter the story at the end to fight, and intentionally plays down any characterization, just brings to light how poor this has been as a team book so far. It certainly doesn't help the book to feel any brighter or less somber to have the team feel so distant from readers. Peterson does do a stellar job on visuals, with clean lines, a lot of detail, and a great portrayal of the shape-changing Phalanx. So that's all good. But this book is still struggling. I was really drawn in by the Phalanx alien's story. Then the X-Men had to show up and remind me why this book just hasn't clicked for me since it relaunched.