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 stuffSuperboy#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.
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