Mike Carey's first overarching story on Hellblazer seems to 
reach a conclusion in his third volume, Staring at the Wall. The big bad lurking on the fringes of our plane of reality fully reveals itself and is defeated. But the larger character arcs Carey is playing with continue to proceed, as this volume focuses on Gemma and her quest to follow in her uncle's footsteps. There's also a thread involving John struggling to keep his cool in the face of his opponent. It's more of what I've come to expect from Carey on this book - methodical plotting and presentation, well-realized characters, a strong script, and a sense of humour. And while the climax isn’t quite as methodical as the build-up, this volume is still stellar stuff, and it leaves John in a desperate position for future stories.
The volume opens with the two-part "Bred in the Bone," with guest art from Doug Alexander Gregory. It's a solo story for Gemma, who is recruited by one of Fredericks' men to wrap up a case left open by her uncle John years earlier. It's a nice showcase for her character - she's hard-edged and defensive 
about tidying up John’s business, so desperate to prove herself as a magician in her own right. But she has a warmer side when she's actually on the case. The case itself is a bit slight. The first chapter is driven by Gemma's portrayal and the second by Gregory's artwork, with the story getting a little lost. That said, Gregory's art really carries parts of the story. With a lot of sweeping shots of demon creatures flying towards Gemma over a setting sun, he plays with shadows and angular shapes to create some very nice pages. Some of the conversations are a bit too muddy, but he has a distinctive style and knows how to employ it effectively. On the flashback scenes in particular, his depiction of John's cigarette smoke as a horizontal lightning bolt is great stuff. They’re an enjoyable couple of issues, but they cruise more on mood and Gemma's portrayal than a really compelling story.
The rest of the volume contains the five-part "Staring at the Wall" - John's confrontation with the big baddie that's been hovering around the edges of this book since Carey started writing it. We've learned that this creature is a beast from hell that followed Adam out of Eden. As Adam didn't name it, it can take different forms, and has over the years. John assembles a crew of magician types around him to confront the creature, but eventually turns to old standbys to finish the conflict - Gemma, Chas, his girlfriend Angie, and Swamp Thing. Carey does something interesting with John here. He positions the character as a figure who must lead and inspire others to end this conflict. His trademark cool-as-a-cucumber wisecracking doesn't exactly go over well with the group of magicians. He finds himself desperate for their help and begging to get it. Similar to how Brian Azzarello took John out of his depth, it's interesting to watch the character's ever-cool facade get challenged. From here, Carey creates a wonderful mood piece, as the magicians hole themselves up in a decrepit old house to take down the beast, while the world spins out of control outside. These are great issues - Frusin bathes the house in shadows, with oranges and browns coming in through the windows, tension amongst the participants is high, and personal problems, like Angie dealing with her brother, anchor all of the action in the characters.
The stakes continue to grow into the final chapters, where John is taken into the creature's realm and Gemma must save the day. Frusin's fantastic depiction of Swamp Thing returns, hulking and brooding. He remains out of sync with the sense of humour displayed by Gemma and Angie. I love what Carey is doing with Swamp 
Thing's powers - he can grow, at will, out of a potted plant Gemma holds and he finds a way to use his plant powers to keep John's body alive. The humour is sublime here. Similar to how the Red Sepulchre, history's deadly weapon, turned out to be a piece of rope, Angie unveils a twig, a piece of pre-lapsarian wood from Eden, as the weapon that will defeat the creature. Swamp Thing creates a suit of armour out of it for battle, and later finds out the battle was just a distraction so the girls could enact their own plan. There a lot of good to these final chapters, chief among them the interaction between John and Gemma, struggling to find common ground as the latter tries to grow out of her uncle's shadow. I also love how the group come together to defeat the creature, another clever twist from Carey. And Frusin really stretches himself artistically, from Gemma's body contortions as she enters the creature’s realm, to the realm itself, to a weakened and hopeless John.
It all builds to a strong climax, where John emerges from his traumas, covered in blood, with no memory of what happened. And the craft here is undeniable - Carey has built to this conflict since his first issue, as a threat has slowly grown in strength, while the relationships John has with Gemma, Angie, and Swamp Thing have been leading to this point. The storytelling is controlled and skillful, but some of the wild set pieces and the strong undercurrent of humour add an exciting and fun layer to the story. Great stuff, once again, and highly recommended for fans of the character.
Wednesday, February 29, 2012
Hellblazer - 'We do not require the slow build and meaningful pauses.'
Weekly Comic - 02/29/2012
FF#15 - Jonathan Hickman/Nick Dragotta
Hickman wraps up the Future Foundation's fight with the Celestials in this issue that closes off some stories while further connecting this title's narrative to that of Fantastic Four. This issue doesn't have the urgency or rising tension in its sister title, but it does have a fun, whimsical voice and a good sense of forward movement. The plot actually really jumps around here, as Nathaniel and the kids traverse
through a lot of settings to get to the final sequence, where the action replicates the ending of Fantastic Four#603, but from a different perspective. Much of this is a lot of fun - the group interaction, particularly when focused around Valeria, is always stellar, there's a good clip to the kids' dialogue, and all the main characters get a moment to shine. Particularly poignant is Kristoff's reaction to losing Dr. Doom. The jumping around does cause this issue to slightly lose focus in spots - for example, I'm not entirely sure what the point of fighting the evolved Moloids was, beyond shuffling every character without the last name 'Richards' out of the story. But the pace is good and the tone is fun throughout. The subplot involving Franklin's mysterious friend, who narrates parts of the issue in a very effective fashion, speeds up here, and is very interesting. In the midst of this wide-reaching story, it's nice to have such a character-focused plot unfolding. The final scenes do repeat what happened in last week's Fantastic Four, but the scope of the fight is still evident and the final reveal still a great moment. Nick Dragotta takes over on art from the reviled Juan Bobillo (who, for the record, I quite liked). He keeps a lot of Bobillo's trappings - the youthful energy, the design for the kids' faces - but has more of a sure hand in pulling of the cosmic scope of this story. I liked Bobillo's use of white space, but Dragotta adds a lot in the way of backgrounds, and it looks quite nice. He brings a very Kirby/Buscema-style to the book, which can only be a good thing. It's a solid issue, with a lot of fun to be had. As Hickman's mega story builds to its end, it lack the intensity of its sister title, but it's still an enjoyable read.
Sunday, February 26, 2012
Weekly Comics - 02/22/2012
The creative team begins a new story with this issue, where the ramifications of the Flash's actions in the first story lead to an attack from Captain Cold. The conflict is essentially pretty simple, but the issue works well as a way to continue building the Flash's world while launching him into another visually interesting fight sequence. I like how the writers are building off of what has come before. Barry has been learning about the time travel effects
of tapping into the Speed Force. Not only does he work with a solution to that problem here, but, in causing the EMP burst in the previous story, he's caused Captain Cold's attack. Instead of just presenting new angles on Barry's powers, the writing team are building this angle into their ongoing story progression. This issue plays around with time, as the narrative jumps around from Cold's climatic attack to the events leading up to it. I like the approach - the non-costumed scenes of Barry, Patty, and Iris become much more interesting when juxtaposed with the later action. The first story lost track of Barry's civilian life, so it's nice to see his relationship with Patty, his job, and the love triangle with Iris delved into here. Captain Cold gets some page time as well, as we learn his motivations in going after the Flash, tied to his terminally ill sister and the EMP blast. I'm not completely sold on him as a villain - I like his motivation and the destruction he causes is a sight to behold, but his personality is a bit one-note at this point. However, there's still time for that to change. The battle scenes are a marvel to behold. Buccelato brightens up the book's traditional colour scheme, letting the Flash's red outfit contrast with the crisp blue sky and the white of snow and ice. The book feels vibrant and lively. Manapul once again does wonderful things here, playing with panel arrangement and visual sound effects to tell the story. The image of the boats, raised by columns of ice, is fantastic, and Manapul does interesting things with it. The page layouts are generally very fun and the action looks great. In the non-costumed scenes, the characters have a strong, expressive look to them, as Manapul uses his cartoony style with confidence. It's another strong issue - a fantastic looking comic with a fun, upbeat story that also has some depth to it.Justice League Dark#6 - Peter Milligan/Mikel Janin
The team's first antagonist is defeated, they angrily went their separate ways. So where does the book go from here? Milligan has the core cast drawn back to Madame Zanadu to find an explanation for their distressing nightmares, and it's surprisingly effective stuff. I'll give Milligan credit - he drew me right in, with engaging characters and disturbing dream sequences. As usual with an issue of this nature, when the plot actually has to get going in the final pages, and a real narrative has to begin, things become less graceful and engaging, but Milligan has a sure hand with the cast and tone of this book. I'm no fan of lengthy dreams in comics, but the four presented here are directly tied to the personal problems and neuroses of Deadman, Zatanna, Constantine, and Shade, even looking back to the fight with the
Enchantress in the opening arc. That's what drew me in. It helps that they were also genuinely creepy sequences, presented in a very deliberate, haunting manner, with stunning art. Zatanna's fears of half-dead creatures stuffing fingers down her mouth, Shade's horrific efforts to ressurect Kathy, Deadman facing the result of his impulsive behaviour towards June Moon - these dreams resonated with me because they drew on events from the opening arc, while reaching to the core of each character. Once the group reunites at Xanadu's house, their dynamic is right on point. Constantine and Deadman's disdain for each other, Shade's slightly unbalanced reaction to everything, Zatanna's desperation for answers. Milligan gets his cast very well. Not a panel is wasted and the scene comes together very well. It's the very very end that is less engaging than all of this - Xanadu decrees that the dreams are portents of bad things to come if the group separates. Is it the strongest hook for the series? No. Would I prefer this group of misfits to continue to randomly cross paths? Absolutely. But something must exist to propel this book forward as an ongoing series, and this simple premise should work just fine. The issue ends with a very abrupt transition into the upcoming crossover with I, Vampire. It's meant to feel abrupt, so we'll see how well that title integrates with this one. Janin's art remains beautiful. Even when his figures look a little too posed, they are so attractive, and the settings they are thrown into so vividly created and detailed. It's a great looking book. This book is still finding its feet, narrative wise. But in terms of tone, pace, and characters, it is A-list.Fantastic Four#603 - Jonathan Hickman/Barry Kitson
Hickman's Fantastic Four mega story continues to move towards its conclusion, as more pieces and players' roles in the big plan are revealed. On the one hand, it's exhilirating to see some of this coming together. On the other hand, in spots it does feel like a collection of moments; a checklist of plot elements that need to be re-introduced and resolved. There's still a lot of good here - the team dynamic is always strong, and there are nice moments when the kids are reunited with Uncle Johnny. Galactus' space battle with the Celestials is incredible
stuff, drawn with real scale and energy by Kitson. And the action and intrigue build with real tension and excitement towards a final page that brings back two players from very early in Hickman's run for their big moment. I love the scope of the planning Hickman has put into this title and I really do like how all of this mega story fits together. There is that slight 'checklist of events' feel to the proceedings, but when it's all so meticuolously plotted out, it can't help but work. However, there is one massive clunker in all of this - the Inhumans/Kree war. I always felt this story came out of nowhere and didn't fit in at all with the Council of Reed-Nathaniel-Doom-time travel plotlines that Hickman had been building since his earliest issues. I guess I was right. I one hideously clunky page, Hickman dismisses the whole plot. The Kree fly off, the Inhumans follow them, and suddenly our heroes no longer have to worry about them. Talk about deflating. It makes me feel that the whole story may have been an editorial remit to stretch out Hickman's mega story. Because they sure don't have anything to do with that mega story. Kitson remains an asset to the book, with clear, clean faces and expressions, and strong settings and action shots that sell the big moments. His style is exacting, but there's a softness to his people and their faces. Makes for a very nice reading experience. So this one has one major hiccup, but it's still another strong chapter in the race to the finish. Wolverine and the X-Men#6 - Jason Aaron/Nick Bradshaw
This title continues to be a ton of fun, although I would say this issue was the least engaging so far. Aaron presents two different stories, running in parallel - Wolverine and Quentin trying to win money for the school at an intergalatic casion and the X-Men and students fighting off a Brood invasion (both in Kitty's body and on the school grounds). The former is more in keeping with the playful, creative vein
of this title. Aaron has developed a great dynamic between Wolverine and Quentin. There's an understanding tone to Wolverine's voice with him, not just an authoritative one. Many alien jokes are thrown in and it's great fun to watch them navigate through alien blackjack tables. The mansion stuff ran hot and cold for me. I like that Aaron is injecting a more serious tone in these scenes. The Brood invasion has moments of tension, particularly for Kitty and Broo, but they are always balanced with Aaron's typical barbs and jokes. The rest of the team, shrunk down in Kitty's stomach, get some fun moments as well. But I kind of lost sight of the conflict - who are these additional Brood, arriving from space, and what are their goals? Their attack on the mansion causes a lot to be happening here, and unlike the book's earliest issues, it doesn't feel like organized chaos. It just feels too busy. It doesn't help that Nick Bradshaw is clearly having trouble keeping up with everything going on. The art gets slightly rushed in some panels and it's clear there is just too much happening. Bradshaw's designs for the Brood also lack any visual punch, particularly the generic main antagonist. The art is still fun, with a lot of energy and humour to the characters, but Bradshaw does struggle in spots. So it's a fun comic, but not this title's best yet.X-Men: Legacy#262 - Christos Gage/David Baldeon
expansive panels of action that transcend some of the weaknesses of his style. I also like that Gage is playing with Jason Aaron's experimentations with Iceman's powers, having him enter the fight as a giant, lumbering ice creature. The issue has its problems, though. Exodus has no teeth has a villain. He's just become a ranting madman. The intelligent Mike Carey story upon which his anger here is derived from doesn't shine through anymore. There's also some character problems, namely Wolverine lashing out at Rogue multiple times. It's all very out of character, an effort to create group tension where none exists. There was an element in the previous run of Cyclops disliking Rogue's tactics as a leader, and this is a lame attempt to repeat that. Wolverine's anger towards is so over the top and unfounded. The tension between them doesn't work at all and feels very forced. And the promised reunion of X-teams doesn't happen here - it's a cross-country fight issue, not a team reunion on Utopia. And, when Utopia characters do intervene, it's Hope's team of young mutants. I did think it was too early to reunite the X-Men, but this option is just deflating. Baldeon's art is quite good on the action, but he is still struggling with cartoony and less sophisticated faces. This book is still struggling to define itself post-Carey. It's almost deliberately less understated and intelligent than his work, but hasn't filled the void with anything other than a standard team book. An ok issue, but I'm ready for more.
Thursday, February 16, 2012
Weekly Comics - 02/15/2012
I thought I’d give this new arc a try, given that the title’s first story was a pleasant surprise and I’ve never read anything by the infamous Dan Didio. OMAC has been getting great buzz, so maybe his re-imagining the Challengers of the Unknown held similar promise? No such luck. This was fairly lifeless from start to finish. The Challengers are re-imagined as the crew and celebrity cast of a Survivor-style reality show, whose plane 
crashes in the Himalayas. They awaken in Nanda Parbat, and the quest for a mysterious artefact behind their troubles begins. There’s some effort here to play around with timeframes, reminding me of what Duane Swierczynski did a couple issues back in Birds of Prey, when the cast awoke to find themselves displaced from where they had been, with hazy memories of it. Needless to say, the trick is pulled off with less style here. The issue just feels clunky – outside of a couple of personalities, the cast members are ciphers, the introduction of Nanda Parbat and the threat aren’t very engaging, and there is a lot of talking heads. For a concept that I assumed would be about high-adventure and espionage, we get a lot of sitting around and talking, by some fairly dull characters. The lead female character is at least slightly interesting, and her reaction to the loss of her boyfriend in the plane crash provides some emotional hook for the story. But that’s about as deep as this one gets. The art by Jerry Ordway is old-fashioned, but fun, with some strong visuals in the few action scenes. There are a lot of talking heads scenes here, though, so I wish he got more interesting things to draw. The opening Deadman story was a treat, so this issue is a disappointment. I may be back for James Robinson’s Vandal Savage story in #9, but I’m going to skip the rest of the Challengers arc.
Batman#6 - Scott Snyder/Greg Capullo
This is the issue after the infamous hold-the-book-upside down issue. It's not as audacious, but it's equally excellent. Batman is still stuck in the Court of Owls' maze-like tomb, but instead of focusing on his disorientation, this issue deals with his efforts to regain self-control and overcome his opponents. It's the story of a man struggling to find that one piece inside himself that will give him the strength to persevere. This issue goes for some big moments and bizarre visuals that obviously are occurring somewhere in Bruce's rattled head as much as they are in reality, and it works. Snyder sucks us right into Batman's mindset, so that 
when he does lash out and have his moment of lunacy, we are right there, buying in to the wild visuals. Snyder and Capullo work together to create an unhinged Batman, determined to beat his oppressors. Their deranged, fanged Batman works perfectly, and it's just "out there" enough to sell the intense action scene that follows. The splash page of a snarling Batman, swatting away the Court members pawing at him, is truly a highlight for this run so far. I loved the culmination of Batman's battle with Talon, where he so desperately wants to reassert himself as a master tactician. He pulls that off, but his need to explain why his plan was so successful to Talon really shows the fear and insecurity he's feeling (especially given the haunting fate he later faces). Snyder also gives us a lot more insight into the Court in this issue, with a chilling portrayal of their society, their rules, and their means of operating. Capullo is in lock step for this, portraying a deranged, maniacal society of mask-wearing evil creatures. From the old woman in the wheelchair to the bloodthirsty young girl, we're now seeing more of the Court beyond just Talon, and it is a vivid and frightening world. This title is the story of two creators working in tandem to create something special. The two have created a world that is visually stunning, dark, violent, and unsettling, while telling the story of one hero trying to navigate it. Excellent stuff, once again.
Birds of Prey#6 - Duane Swierczynski/Javier Pina
Swierczynski plows along with the Choke story. Everything that makes this book enjoyable is in full force – fast-paced action and intrigue, exacting portrayals of the lead characters, and a dark, exciting vibe to the proceedings. My one reservation is the length of this story. 
After this issue, we will be entering the seventh chapter of a story where the antagonist has been kept deliberately vague, and his goals equally unknown. Some of that is coming into focus now, but I do think this may be stretching on a little longer than it should. Thankfully, Swierczynski always keeps it interesting and exciting, maintaining the quick pace, fun action, and attitude of the Birds in action. That is the draw of the book, along with the increasingly deep portrayals of Black Canary and Starling. The action also jumps ahead here, with the Birds back on top of their opponent after last issue’s mind games. There’s a jump in time – the team has made some big strides and regained their momentum against Choke. Some may find it jumpy, but it feels like Swierczynski planned this as the next beat in the story and it works dramatically. The jump in the action fits right in to the tone and pace of the book. Javier Pina does full pencils this time, and his style is remarkably close to Jesus Saiz’s. A bit less rounded and soft in spots, but he maintains a consistent look for the characters and action and the book looks good. So while I have reservations on the length of this particular story, this issue maintains the tone, pace, fun, and great characters the book is known for.
Wonder Woman#6 - Brian Azzarello/Tony Akins
This issue continues the machinations of the gods in the wake of Zeus' disappearance. I think it is this title's least gripping issue so far, but it makes great strides in the plot while telling an engaging action story. This issue is the first time Diana has taken an active role in the familial drama unfolding around her, rather than waiting to act, and it's great fun. Watch her navigate promises to Poseidon, while 
fighting him, watching out for Zola, and keeping tabs on Lennox's activities, makes for a great read. Akins handles the action well, particularly the wordless scenes as Diana volleys around to keep Zola safe. It's fun to get some greater focus on the desires and goals of the other gods. Each of them have such strongly defined personalities and visual looks. Hades proves himself to be nothing but trouble, Poseidon is still over-the-top, and Hera's confrontation with Diana is appropriately epic. Lennox is also a fun character, a clear John Constantine take-off, but a welcome voice in the parade of godly characters. If there's one failing to the story, it's that the mechanics of Diana's trickery get a little lost at the end - too much happens too quickly, and I wasn't sure exactly how it was all accomplished. Still, the issue is enjoyable, with a fun, fast pace and strong character portrayals. Akins does a great job here, but I wish we got some of the bigger panels we did last time. Part of the reason the action at the end is a little confused is because of his smaller panels. Still the character acting is strong and the look he brings to the title is unique. This is another strong issue; perhaps not quite the gut punch earlier chapters have been, but a strong piece in the larger story Azzarello is telling.
Uncanny X-Men#7 - Kieron Gillen/Greg Land
Erghh. This is not doing it for me. The characters have essentially been stripped out of the story, and I’m left with the in-depth conflict of two advanced creatures at war with each other. I’m just not engaged with the concept of this Tabula Rasa story at all, 
and it feels like the X-Men are so removed from it. It started out as a problem Psylocke needed to resolve, and that was the character hook of the story. But she appears for two pages here before being knocked out. Colossus and Magik are absent, and Magneto is wallpaper, so all the interesting characters are off the table. What we’re left with is a fairly detailed exploration of the conflict between two characters from Tabula Rasa, with the X-Men following around trying to keep up. It’s just not engaging to me at all, which is disappointing, as the first two issues tried to bring the X-Men in to spice up the story. They’re absent in any significant way here. Also, there’s another issue of this story left! Talk about dragged out. I think this title could use some subplots – Wolverine and the X-Men is brimming with little side stories and character moments. You could argue that’s what comprises every issue. And it feels lively and full of character. This book has nine lead cast members and they all mainly sit there as blank ciphers. And the book is badly suffering because of it, because these stories don’t have enough to keep my interesting.
Friday, February 10, 2012
Weekly Comics - 02/08/2012
Lemire begins to bring this book into different territory in the sixth issue - he starts exploring Frankenstein's past while delving into the intrigue at S.H.A.D.E. It's a wise choice. For as great as the first arc was, it was a big fight book, with a lot of humour. It's nice to add some layers to the story. Here, we meet Frankenstein's team ma
te from the Vietnam War, Colonel Quantum, who defied his superiors and deserted the battlefield on a mission back then. Quantum is an interesting counterpoint to Frank. He feels bad for the deaths he caused and wants his suffering to end. In the face of Frank's stoic resolve to kill him, Quantum is a figure of pity, but one who retains dignity because he accepts his less-than-proud past. Frank's coldness here is an extreme take on his abrasive personality. In fact, of all the freakish lead cast members, Frank comes off the worst here, as even his team mates show some squeamishness at the thought of killing Quantum. Speaking of his team mates, Lemire continues to refine their interaction, with some truly cutting and funny moments as they travel through Vietnam. The action at S.H.A.D.E. hq is strong stuff as well - the Humanid servants we met at the start of the series have developed enough of a consciousness, thanks to Father Time’s mucking with Brother Eye last issue, to rebel. Lady Frankenstein is highly entertaining here, but, even through the comedy, Lemire sells the danger of the situation. The end hints at more secrets from Frank's past coming out. Ponticelli continues to do great work on this book. His depiction of an aging, deformed Quantum is appropriately sad and Quantum's death scene is larger than life. I also really liked his work at S.H.A.D.E. hq, where he fused crazy machinery with some shadows and atmosphere. This issue isn't as overtly wild as previous ones have been. But I appreciate its efforts to show us another side of Frankenstein's past while starting some bigger stories. Another strong issue for this surprisingly compelling title.
Batgirl#6 - Gail Simone/Adrian Syaf
Gail Simone's curse on this title is to jam-pack each issue with too much content. This issue alone gives us Gretel's origin, wraps up her story, has Barbara reflect on her relationship with Batman while teaming up with him, features Barbara's mother trying to make amends, 
forwards Detective McKenna's story, and contains two lengthy battle scenes. This could be a mess, and it does often feel like a lot is going on, but I can't help but really enjoy it. It feels busy, but controlled, like Simone is doling out her plot elements as she sees fit. It is also always held together by Barbara's narration, which is full of life, even when reflecting on the pain and loss she has faced. And just when it feels like the book’s events are chaotic, Simone throws in a moment of true clarity and tenderness. A standout one here is Barbara reflecting on how Batman comforted her after her accident. The Batgirl/Batman relationship is really well-handled here. Simone gives Barbara her own unique connection to Bruce, and their interaction has both a familiarity and a standoffish quality to it. The story of Gretel is also very well done. The cut away to Gretel reflecting on her past doesn't feel out of place at all. Instead, it's a fairly gripping origin that drew me in right away. Simone once again parallels Batgirl with her foe, but it doesn't feel overdone. Both Barbara and Gretel have been left for dead by ruthless criminals, and Gretel’s journey to move on from an incident like that doesn't end up as well as Barbara's did. The use of Barbara's mother is much better here as well. Again, Simone seems to be telling this story at her own pace, and the snippet here is quite humorous (particularly in how Barbara sneaks two of her mother's baked goods after rebuking them). Syaf's art occasionally falls victim to the weight of the content - at times, his figures are a little cramped. But, in general, his faces and action scenes have life and movement to them, and he seems a strong fit for Simone's sensibilities. I would usually rally against a script this busy, but against all odds, this book is working. The key to it all is the strength of Barbara's portrayal. Good stuff.
Batwoman#6 - J.H. Williams III, W. Haden Blackman/Amy Reeder
This is it. The big one. J.H. Williams steps back as artist for this arc, and Amy Reeder joins the book to draw the current story. This character's entire world has been defined by such a unique, strong visual sense. How will it hold up as drawn by another artist? It turns out Reeder isn't here to emulate Williams' style or even his general aesthetic. She boldly brings her own sensibilities to the book. Pages live and breathe in completely different ways than Williams would have depicted them. Characters emote and express themselves in a different way than Williams would have shown them, but no less distinct and visually interesting. Reeder plays with giant splash pages, as Williams does, but in her own way. Images don't dance across the splash page, but boldly or even angrily jump out. I think I was most pleasantly surprised with that harsher aspect of Reeder's style. Williams' world is softer and more graceful, but in Reeder's, the action and the emotion are a bit harder. I'm happy Reeder is experimenting with her style on the book. If another artist has to draw this title, it needed to be one who brought their own unique visual sense to the table.
As for the story, it jumps around, both in time and character point of view, to catch us up on all the players in Kate Kane's world, after the brutal twist of events in the previous issue. All of the individual scenes here are strong. And while I applaud the writers once again trying something different, I 
don't know if the narrative trick really worked to produce a complete issue. I felt like this was a 'catching up with each character' issue, not part one of a new arc, which it is. Now, every scene here is great, I just prefer the less obvious way they have jumped between characters and stories in the past. The highlight here is how the writers continue to develop the world around Kate. Maggie is an interesting love interest because she challenges and questions Kate in ways this closed-off woman usually tries to avoid. I also like the hint of a troubled past they introduce for her here. Kate's father takes a larger role, in a touching scene where he visits Bette in the hospital. The Weeping Woman story is also being fleshed out into a lengthy story, with hints of a back story provided and intrigue in the present explored. I loved the fight scene Batwoman and Chase embark on. Where, last issue, it seemed like Chase trapped Kate, here, Kate is so brazen in her crime-fighting tactics, that Chase is frightened and off-guard the whole time. Kate seems to be subverting her captor by being so outlandish on the battlefield, and it's a great reversion. It's also a stunning-looking fight scene, with Reeder's most dynamic pages. Barring a storytelling experiment that didn't fully come together, the individual pieces here are as strong as ever, and the art brings a bold new voice to the book.
Superboy#6 - Scott Lobdell, Tom DeFalco/R.B. Silva
The first thing I noticed here is that Bob Harras has brought another 90s Marvel staffer, Tom DeFalco, in to script this issue over Scott Lobdell's plot. And, to be honest, it's the kind of script I would have expected from Lobdell before this book started. Instead, he has been understated, intelligent, 
atmospheric, and somewhat insightful. The quieter, introspective scenes Lobdell has brought to the lead character are all laid on the table here - instead of having pondering his free will and the nature of human suffering, DeFalco has Superboy literally asks these questions. Lobdell has crafted some great inner monologues that touched on deeper issues, but DeFalco loses all sense of subtlety or elegance in his dialogue. The script in general is weaker here. Superboy's meeting with Supergirl should have been disquieting and interesting. Instead, every thought and problem is laid bare and the interaction between them is wooden as a result. This isn't even a bad issue, I was just surprised how much it stumbled without Lobdell's script. The events of the issue are all good - the fight with the Teen Titans was enjoyable, given that I don't read their title. And the meeting with Supergirl yields some interesting revelations about Superboy, causing him to attack N.O.W.H.E.R.E. And Superboy remains likable in his earnest desire to understand his life and the choices he faces. R.B. Silva's art is as good as ever. His lines are crisp and clean, and his characters fluid and energetic. The page designs are always sharp, drawing us in to the attractive figures. I just wish Lobdell had scripted this issue. He has brought a cold, antiseptic sense of atmosphere to this book that really worked, as well as surprisingly strong scripting. DeFalco's script doesn't have any life to it, and loses the book's typical nuance by being too literal. A bit of a misstep, but hopefully a one-off mistake.
Wolverine and the X-Men#5 - Jason Aaron/Nick Bradshaw
Jason Aaron ostensibly starts a new arc here, with the invasion of Brood aliens via Kitty's pregnancy. But, really, that is just one of many plotlines running though this issue, which once again has a large number of things happening, most of them highly amusing and
entertaining. The high point of the issue is probably Beast leading the students through a tour of Toad's stomach. It's funny and inventive, and the dynamic amongst the student body is refined more and more with each issue. Aaron takes this group dynamic and brings it into many other scenes. In fact, the student interaction is really the highlight of the issue, particularly Quentin's insults towards Broo. But there's a lot going on here - Kitty is pregnant with invading Brood aliens, Angel is stripped of his finances, Wolverine goes off in search of funding, and a wider alien threat emerges. Aaron has a talent from cramming each issue with tons of jokes, little character moments, and details around the school. This approach is really working for the book. It feels different from other Marvel titles. I know I can count on it to deliver a quality read that goes above and beyond to entertain. Nick Bradhsaw continues to grow in his role as artist. The whole package is a bit less visually exciting than it was under Chris Bachalo's pencils, but Bradshaw has his own unique, quirky style that suits the tone of the book. His depiction of Toad's insides captures the wonder and humour of the scene perfectly. This is another strong issue. It's a set up issue for a new story, but it is full of so many small moments of character and humour that it feels like a substantial read.
Sunday, February 5, 2012
Weekly Comics - 02/01/2012
This is for a sure a love it or hate it book. I don't have much of a connection to Superman, so I can come into it a bit fresher, but I can imagine purists not loving this unconventional telling of Superman's modified origin. It jumps around in time and space and doesn't hold the readers hand through it's narrative. It also does a lot with the Legion of Superheroes. This is a touchy subject in Superman's origin for die-hard fans. As I'm not one of them, I can only judge but what I see in this issue. What I got was a vibrant, compelling look at Superman's
youth told through a conflict his future self faces which was exciting, interesting, and, at times, confusing, with wonderful artwork. The figures that appeared on last issue's final page become clear immediately - it is the future (adult) Superman and the Legion of Superheroes. The Legion must get into Superman's head to retrieve the Kryptonite that powers his rocket ship, which has been shrunken down for a negotiation session between the Anti-Superman army inside Supes' brain. All the while, he must fight his former friend Erik (no clue who this is), who is mutating into a variety of forms and was involved in the Kryptonite theft. Oh yeah, add in a number of flashbacks to Clark's childhood and his first meeting with the Legion as children. This issue requires patience along with an understanding that it's more frenetic plot elements may become clearer in the future. Once you get in that mindset, it is a wild ride, but one that never loses an inspiring sense of heart. The Legion really come on strong here. I like their unwavering confidence and intelligence and how Superman must struggle to keep up with them. He feels out of his depth in this crisis, and it makes his struggle against Erik feel more personal. The sense of friendship amongst the heroes creates some nice moments, particularly the ending, where the Legion balance their disappointment in Superman with his excitement when he met them as a child. Morrison is toying with some great ideas here - the Anti-Superman army negotiation session, the fact that it's going on in Superman's brain, and the interesting idea of the rocketship needing to be in balance. It has slowly grown to become a key concept in his run, and here there is this great feeling that, if it is not whole, bigger problems will arise. There is a lot packed in here, and perhaps Morrison could have spaced out the issue's contents. The flashbacks to Clark's childhood could definitely use more space, but they capture his desire to connect with other superpowered beings and his relationship with his father well. Andy Kubert's art has done wonders for Morrison's unconventional origin story. It never loses step with his wild plotting and temporal shifts, retaining an energy throughout. At the same time, Kubert emphasizes wonder, fear, and worry in Superman's face at the right moments, humanizing this otherworldly time travel story.The backup continues to explore Clark's time in Smallville, with this one focus on him leaving after his parents' deaths. This one is subtle and touching, as Clark reflects on his childhood when moving out of the family home. There also nice moments with Lana Lang and Pete Ross, exploring the deeper friendships Clark left behind. I remain impressed with how Chriscross has adjusted his style for these stripped-back, personal stories. He has brought a whole new expressive look to his characters, emphasizing their youth and inexperience, but also their earnest and true feelings. The colours are nicely washed out, lending an appropriate look to the flashbacks. There's always something interesting to be found in these backups. Sholly Fisch has a talent for these smaller, personal stories and I'd like to see more of them here.
Animal Man#6 - Jeff Lemire/John Paul Leon, Travel Foreman
Animal Man takes a breather issue, as Buddy's son Cliff watches the movie his father starred in (mentioned in #1) on his phone while the family continues to drive away from the Rot. I think a breather at this point is perfectly fine, and Lemire takes the opportunity to tell a creative story set within the backdrop he has already created for this book. The movie segment takes up the entire issue, outside of the last
three pages. Drawn in a heavily moody, but stark, style by John Paul Leon it presents a look at a retired superhero at the end of his ropes, trying to move on in life. The story nicely parallels Buddy's situation when the series began, without ever going to overboard with the in-jokes or meta-commentary. Instead, the story of the movie character is told in a pretty straight style. It's a stark, depressing portrait of a hopeless man, but told with respect and tenderness. There are strong parallels (the headstrong, somewhat rude, but ultimately caring, wife, the disinterested children), but they work to highlight what Buddy's life was like when he chose to take on this role as an actor. I was surprised at how much I was drawn in to the movie character's story, particularly in trying to connect with his son. Lemire treats the character with respect and the tragedy of his situation really comes through. It's the kind of softer storytelling Lemire brings to Sweet Tooth. I've always loved John Paul Leon, and am happy to see him as guest artist. His strong brushstrokes create a great mood and his characters are real and vulnerable. There are some in-jokes here (Cliff's phone buffering at one point, "A Ryan Daranovsky film"), but, as mentioned, the reader is not inundated with them and they are well-timed. The final three pages catch up with the family, and are illustrated by Foreman. The sense of dread and anguish the family faces are palpable, a joke between Buddy and Cliff is perfectly placed, and the final page is a chilling end. All in all, a great little experiment of an issue. If more breather issues had this level of creativity and substance put into them, I'd be happy.Stormwatch#6 - Paul Cornell/Miguel Sepulveda
And here, in Paul Cornell's final issue as writer, things really come together. This book has at times felt like organized chaos and at others a little too full for its own good. Here, the characters and storylines are put in place to provide a streamlined roster, a mission statement, and an antagonist for the book, while keeping the frenetic pace and tone. To start with, the initial bloated 9-person roster is down to a
manageable 6, each with personalities that are starting to get more defined and a group dynamic that is shaping up nicely. The lost team members still exist as part of the larger story, with Harry Tanner's betrayal providing the book with a major antagonist and Adam One's hidden secrets providing a new mission for the group. And while Jenny is still a blank slate, the other five team members get a fair amount of page time here, fleshing out their motivations and reactions to this crisis. Cornell is unafraid to jump right into Apollo and Midnighter's mutual attraction. It's nothing more than an attraction right now, but it's enough to drive both men to stay on the team. The sense of tradition behind the team is played with in interesting ways here. With the Shadow Lords mysteriously not chiming in on finding a new leader for the group, they violate that tradition to find their own. Meanwhile, Jack uses his knowledge of Daemonite culture and physiology (they can't refuse a good deal) to repair Stormwatch's ship and keep everyone alive. This is a great sequence, with a very clever hook to it. It also sets up another potential long-term development for the work. The pacing is also quite good here. Cornell creates a sense of chaos around the destruction of the team's shape, as the various members work to stay alive and fix it. The intercutting between scenes is fun and exciting, and there is a lot of room for character interaction. Sepulveda's art is also strong. His figure work improves with each issue and he captures the action well. The fake space backgrounds get distracting, but when those effects are toned down, strong art emerges. I can comfortably say all of the pieces are in place for a solid book now. It's a shame Cornell won't be here to explore the new status quo, but I have hopes the book can go to good places from here.Swamp Thing#6 - Scott Snyder/Marco Rudy
Scott Snyder plows along with his Swamp Thing epic. I feel like, plot wise, this may be one of the lighter issues, but when it comes to creepy visuals, fast-paced chases, and dramatic story turns, it packs a whallop. It seems like Snyder may have written parts of this directly for guest artist Marco Rudy's style. Rudy's work on the human characters is in keeping with the look Yanique Paquette has created for the book,
and is very good, But his scratchier, looser style comes to life in the burning of the Parliament of Trees in Brazil, where Rudy emulates Paquette's panel structure but fills the pages with an angrier look that is wholly is own. Same goes for the vision of a world overtaken by the Rot. Snyder seems to provide these opportunities for Rudy to really let loose with his style. The visual of Abby merged to the Rot, the key figure of the issue, is a haunting mass of sinews, blood, and veins, with one pained human face struggling to break free, and it is a great piece of work. The extended chase sequence is excellent as well, with a terrified Alec, having lost his only ally, riding off as horrific undead vultures pursue him. Both writer and artist are at their best here. These events are wrapped around the revelation that the Rot want Abby, not her brother, as its host. Snyder does a great job conveying Alec's pain at losing the only person he has connected with, in Abby,and his fear at facing the challenges ahead. The ending has Alec returning to the Green, volunteering to become Swamp Thing to fix things. It's haunting and tragic, complemented by Rudy's swirling panels and some muted colours. This book continues to be one of DC's best. This issue is a bit light on plot, but rides on the energy and strength of its characters, high intensity action, and fantastic visuals. Every issue is exhilarating and a true page turner. A must read.Uncanny X-Men#6 - Kieron Gillen/Greg Land
This is leagues better than this title's first arc, but I'm not fully drawn in to it. It just feels a bit too much like a mission this team has undertaken. The personal connection to it is not there, and so I feel a little removed from the story. Last issue's compelling look at Psylocke's guilt over causing Tabula Rasa is ignored here in favour of the internal politics within that enclosed world. Granted, Gillen is putting a lot
of effort in to exploring what such an advanced world would be like, and it is well thought-out and interesting. I'm just not that drawn in by it. It just sits there as some good ideas but doesn't grab me. But I do like the concepts about evolution played with here. The underwater scene in particular is strong, as Namor discusses how the sea creatures have no concept of moving water and aren't equipped to deal with currents. One thing working in Gillen's favour is the pacing. There is a lot going on here, and Gillen deftly moves through the various scenes, touching in on the various characters, and slowly providing a bigger picture of what is going on here. The character interaction is also shaping up to be much better than it was in the first arc. The characters finally have some chemistry on panel together, and Gillen knows how to play it subtle. Psylocke has added a lot to the book, and her interaction with Magneto is good stuff. And I'd be remiss in not mentioning the moment where Magneto, looking for a quick weapon, turns his helmet into blades of metal. Sublime. So I'm not drawn in by the main story, but there is still a lot of good here and Gillen is finding his footing after some rocky opening issues. (Note: Until Greg Land starts drawing and stops tracing, I can't discuss his art.)I also read Fatale#2 (Ed Brubaker/Sean Phillips), but I'm going to hold on comment until I have a few more issues.