DC and More - Month 3

Flash#3 - Francis Manapul, Brian Buccellato/Francis Manapul

Manapul and Buccellato continue their experiments with the Flash's powers, as well as their wildly inventive artwork and layouts, in this strong third issue. In another expansion of Barry Allen's power set, he vibrates molecules on an atomic level to get onto a plane falling in the wake of last issue's electromagnetic pulse. We also see the effects of last issue's "thinking fast" powers, as Barry is crippled by indecision in the arresting cliffhanger. The story remains full of life and energy, even as the plot starts to veer into darker territory. It's fast-moving, exciting, and covering a lot of ground, plot-wise. The ramifications of the power outage are a lot more than I expected, but it works quite well. Flash's rescue scenes are a lot of fun, which a nice montage double-page spread depicting them. I also love the shot of Barry and Patty riding off on horses. They begin to piece together the mystery of Manuel, one that includes stem cell research and experiments with pigs, and it leads to a strong ending. There is a short scene in the middle that is a bit confusing. I assume it ties into this story, but there are references to Captain Atom and the whole thing is a bit misplaced. However, there are hints of larger stories that I quite like - we are promised to learn more about the history of Central and Keystone Cities in future issues and Iris' encounter with Captain Cold hints at exciting villains' in Barry's future. On the art front, the book is a beauty. Once more, the artists use page layouts and power effects to tell their narrative, in completely creative ways. But there are stunning images, like the opening splash of the falling plane, starkly presented against a white background and the splash of Barry "thinking fast," faced with countless decisions in front of him. The characters have such a unique, cartoony look to them and look quirky and fun on the page. And the book is unafraid to not always be bright and vibrant in its colours - most of this issue is bathed in beautiful darkness, and the rest is in muted browns and yellows, but if lends a strong atmosphere to the art that works much better than day-glo superhero colouring would have. This remains a very strong book - the story is ramping up on several fronts and the art is fighting with Batwoman to be the best of DC's new books.

Justice League Dark#3 - Peter Milligan/Mikel Janin

I've read complaints that this book is moving too slow. I hear that, but I'm really enjoying the journey. Milligan seems to be telling the story of a bunch of disparate characters who are slowly coming together to combat the Enchantress. I don't think this needs to be treated as a team book, as the portrayal of the individual characters is so strong. Milligan explores the past romantic encounters of John Constantine and Zatanna as they come together to find the Enchantress. The dialogue is fun here, with John playfully teasing her. The Deadman segments remain strong as well. His relationship with June is developing nicely. It seems that having a new person in his life is an opportunity for him to reflect on his powers and being dead and how he feels about these things. June is also an interesting character; she is so frightened of anything magical, that she freaks out when Shade tries to contact Deadman, thinking it is the Enchantress. So just as Shade tries to contact Deadman, Milligan subverts the "gathering of the team" trope and continues to have his cast act in isolation from each other. Shade is possibly the weak link here, which is odd considering Milligan's history with the character. Dare I say he seems a little too grounded and ordinary for this story? The situations he is in are great, though - trying to reach out to gather this group (and failing) and warding off the romantic advances of the a decaying vision of his lover Kathy. Janin continues his strong work, despite the odd facial expression that is a little too posed. The figures are generally well-composed and the settings and colours convey the danger lurking around the corner. Overall, though, I'm liking Milligan's format for this series, shifting the focus to different characters as the threat of the Enchantress develops. The character portrayals are layered and deliberate, and it feels like a tapestry is building. There is an unsettling vibe around each scene that has been allowed to develop naturally. I can't imagine this operating as a typical team book, so I'm in no rush to have the whole group assembled.

This week also saw the release of Fantastic Four#600 (Jonathan Hickman/Steve Epting, Carmine Di Giandomenico, Ming Doyle, Leinil Francis Yu, Farel Darymple), which of course has been running as FF since March. Both titles will continue under Jonathan Hickman after this. Building off the death of the Human Torch almost a year ago, there is, naturally, a big event here relating to that. Don't thing I need to say more.

But, beyond that event, I wouldn't look to this to be a big show-stopper that takes Hickman's story into high gear. It's business as usual for him on this title - more plot threads are weaved in, the kids are up to no good, cosmic threats are amassing in the background, and vague hints and clues continue to be dropped. Is it blasphemy to say I'm getting a bit bored? Let me step back - I was enthralled with the first year and a half of Hickman's run and I was happy to have so many cryptic story threads growing, as they were seemingly being developed in a methodical way. But ever since the title change to FF, things have slightly faltered. After a strong start, it has lost some steam. Hickman has been writing this book since August 2009 (if you don't count the five-issue FF:Dark Reign mini series before that, which lays the foundation for many ideas) and #600 should have been the show-stopper (if not the big conclusion). But it's not over. And so much has been added, that I have lost sight of what the threat really is. The story was so nicely contained for awhile to this book, then Hickman started bringing in characters embroiled in Marvel stories outside of this title - the Inhumans, Ronan, Crystal, and now Galactus and his current story in Thor. When it was contained to the War of the Four Cities, Nathaniel Richards, multiple Reeds, and cryptic future warnings, this was taut and effective. By bringing in Marvel's current cosmic landscape, I'm losing sight of what the central conflict is. (Namely, outside of the Inhumans' connection to the Four Cities, how do all these new characters connect to the bigger mysteries Hickman had been developing?). The new and old players haven't come together for me. I'm also a bit confused most of the time.

ALL THAT SAID, this is still a strong comic. It's divided into five chapters, with different pencillers. Steve Epting returns for the opening, in which the FF and assembled Marvel heroes battle Ronan's Kree invasion. The action is nicely rendered by Epting and there are some great seeds being laid here (Doom, Kristoff, and the alternate Reed in Latveria, the kids protecting themselves from the fight). We also get some real answers as to why the Kree are going after the Inhumans. The lead up to the big reveal is as perfectly paced and energetic as the Human Torch's death scene from #587. As as much as the reveal was completely expected, the character in question looks so unusual that it's a nice twist on the typical heroic return shot. The second story, with delightfully expressive and twisted art by Di Giandomenico, is the core of the book. It explains what has been happening since we last saw our missing hero. The art so perfectly depicts the alien, war-torn landscapes of the Negative Zone that we feel as displaced and in danger as the protagonist. From the desolate prison, to the worms that burst from his body to regenerate wounds, this is the story of a man struggling to escape a dangerous and alien world. The conflict is a bit more straightforward here, with the roles of the Inhumans and Negative Zone denzeins clearly sketched (even if I don't really understand the Anti-Priest of Annihilus aspect of things), and it helps. At the end, we're left with a set up vaguely similar to Planet Hulk. I'm hoping the protagonist is sufficiently changed by what he has experienced and I look forward to seeing how it has affected him.

Three shorter stories round out the issue. Ming Doyle provides lovely artwork on a story exploring Medusa and Black Bolt's relationship and leadership roles within the Inhumans, along with his new wives. Perfectly enjoyable, but not exactly earth-shattering. Reed and Sue visit with Galactus on the moon before the events of the main story, as illustrated by Leinil Yu. I'm used to seeing him draw Wolverine, so this restrained take on cosmic material is actually very nice, with a strong, composed look to it. The story relates to the recent story in The Mighty Thor, where the Asgardians planted a new Galactus seed within Earth. I'm not enthused to see a direct tie to another title, and I don't necessarily think another giant cosmic force needs to be added to this sprawling conflict thirty issues in. But it's a fine story and it's nice to see old enemies interacting as partners. The final story is wonderfully drawn by Farel Dalrymple and explores Franklin playing his newly created pocket universe with Leech. It's very fun, but also carries some weight with it. It's also nice to see Franklin regain the spotlight after losing it in recent years to his sister Valeria.

It's a great package overall - 96 pages, no filler or reprints, for a reasonable price (ok, I almost collapsed when I first saw the price, but it is worth it). I just NEED this story to really move from here on in. I read an interview where Hickman stated the next arcs in both this title and FF are the end of this big story (after which, he will continue on to other stories). Please be true. The journey has been fun, but it's been going on for a long time.


Also, we have Astonishing X-Men#44 (Greg Pak/Mike McKone). In the past, the thought of not buying a core X-title would have horrified me, but this title has been treated as an afterthought since Joss Whedon left in 2008. I bought all of Warren Ellis' issues, but my unofficial policy since then has been to give each new creative team an issue or two to impress me then decide if I'm sticking around. Suffice it to say, I didn't make it more than one issue into writers Daniel Way and Christos Gage's runs. But I was certainly going to give a creative team of this quality a try.

And this was a disappointment. This title went from being the premier X-book to the place where lame filler stories go to die. I expected a lot more of a writer like Pak. The story is passable, but completely underwhelming and forgettable. An alternate reality (spoiler-alert ... if anyone is still reading this book) Storm lures Cyclops away from his Schism-induced depression (I feel ya, Scott) on Utopia to help fight some Sentinels. The dialogue is heavily flirtatious and out of character throughout. The much-hyped kiss on the cover occurs. Then Cyclops awakens to find he is captive on an alternate Earth, where he and other mutants use their abilities to power the planet. There is just nothing to this. The alternate reality plot is the type of filler that gave annuals a bad name, but it's going to be stretched out for four issues. And, outside of that bland ending reveal, I felt like nothing happened here. There was some opportunity in the opening scenes to explore Scott's mindset post-Schism, but Pak instead chooses to have him mope and brood around Utopia. There's no depth or insight whatsoever. The forced flirtatious banter with this fake Storm is painful to read in spots. The saving grace is Mike McKone's art, which I've always loved. His splash pages of Storm and Cyclops fighting with each other and the Sentinels are lovely, with his unique, crisp figures really standing out. It can't save the story, but his art would be the only reason to stick with this.

Alas, I won't be. I gave it my one issue to impress me and it flunked. Even Daniel Way's opening issue had more to it than this cookie-cutter alternate reality story. At $4 a pop for 20 pages, it's not worth it.


Finally, Wolverine and the X-Men#2 (Jason Aaron/Chris Bachalo) came out, and I remain amazed at how much effort is being made to make this book the fun, eclectic title, while Uncanny becomes dour and depressing. This is a fight issue against the Hellfire kids, and the Krakoa creature beneath the mansion grounds, but Aaron packs so many character moments into the proceedings - Iceman finally stepping up to the plate, Idie forming a bond with the Brood alien, Rachel kicking butt, a surprising kiss, Kitty trying to protect the school's human visitors. It feels jam-packed, in a good way. It really reminds me of Bachalo's days on Generation X, where quirky humour and small, cute character moments sat alongside the plot and action. Bachalo's art really helps create that tone, and Aaron seems inspired by him to throw in more fun little moments. This book is a great success so far.

DC Relaunch, Month 3

Batman#3 - Scott Snyder/Greg Capullo

This is a stellar comic. The gist of this Court of Owls story is that Bruce is discovering a side to Gotham he was unaware of, one that is very threatening to him. The key to the whole story, which Snyder never hits us over the head with, is that Bruce is ever so quietly trying to ignore or deny that these secrets in Gotham could actually exist, without his knowledge. Batman, usually portrayed as a perfect detective, is taken aback by what has been going on for over a century. In a great moment, Bruce has to question the family history he has long accepted, to see if the Court of Owls fit somewhere he has never considered. Snyder doesn't make this a giant, obvious plot point. Bruce's disbelief and struggle to accept what he doesn't know is subtly weaved through almost every scene, and works wonderfully. I truly feel like this Batman is out of his depth, so that when Alfred delivers his typical advice that Bruce shouldn't work so hard, it actually hits home for the reader. Snyder is also intent on building the world of Gotham, and it works with this character thread. Bruce is constantly reaffirming aspects of Gotham's past and present, almost to prove he knows it well, as he can't accept an aspect he doesn't know about. But, moreover, the Gotham details are interesting. Snyder has clearly put a lot of thought into them and the role they play in this story. They never encumber the story, but give it depth. The opening flashback, to Alan Wayne's death, is a great scene that flows very well. The story bubbling behind all of this is interesting, and I remain endeared by Bruce's friendship with mayoral-candidate Lincoln. It goes without saying that Capullo does a fantastic job. I love his look for Bruce, with an unashamedly commanding face and jaw. His figures have the slightest cartoony look to them, that gives this darker book a real flair. The final scene, played fairly worldless by Snyder, look great, as Batman moves through the Court of Owls' hideout. Capullo's style is also unique. He's got all of the elements of a Batman comic down perfectly, but adds his own touches and designs to the settings and people. It's a great comic - perfectly paced, with wonderful art, and an intelligent, exciting script.

Wonder Woman#3 - Brian Azzarello/Cliff Chiang

To some, this may be the big issue where Wonder Woman's origin is revised. I don't have much history with the character, so I'm not as concerned about if she was molded from clay or Zeus' illegitimate daughter. What I got here was a fantastic comic. Outside of the origin details, I was struck more by the mood Azzarello created in the opening part of the comic. Having read interviews, I know Diana's origin is being revised to be Zeus' daughter, but, in the opening section of the comic, we don't yet know who knows what.There is an incredible sense that something has transpired since #2, some information has been revealed to some of the parties, and that relations of Paradise Island are forever changed. But we don't exactly know what has happened, who knows what, and if the full extent of Diana's new origin has been revealed yet. It creates a wonderful sense of dread and uncertainty, and Azzarello wisely moves between scenes at a choppy pace. This continues into the later scenes, where the tension between the Amazons is thick on the page. There is weight and gravitas to the story. We feel we are dealing with troubles of the gods, and this revelation of Diana's father has cut through the group, leaving mistrust and anger in its wake. As for the new origin itself, Azzarello presents it in very simple, straightforward pages, that work to convey what Hippolyta was thinking and feeling when she met Zeus rather than giving us an exposition dump. In the midst of this epic drama, there are some great touches - Strife's giant figure looming over everyone, Zola trying to get into a game of godly taunts. The proceedings feel epic and Diana's resolve at the story's end has weight to it. Chiang plays a large role in this. There's a number of wordless moments that shine with a power that his clear, clean style captures well. His Diana feels shaken, but not undaunted, by what she learns here. The simplicity of his style makes the book feel expressive and dramatic. It's a very strong comic and another chapter in a great run of issues.

DC Universe Presents#3 - Paul Jenkins/Bernard Chang

If the first issue was deeply introspective and the second a wild romp through DC's supernatural world, this one strikes a good balance between both. Jenkins provides incredibly strong narration for Deadman here that holds the issue together. We're beginning to see more layers to him. It's not that he doesn't want to help the individuals Rama pairs him with, it's that he is haunted by their troubles and failings, and wants to know why she insists those feelings stay with him long after he leaves them. There's a touching flashback to a man he possessed on death row, who was never granted a reprieve. Deadman was with him through to his death, and has no answer for how he was supposed to help this man. There's also a great follow-up scene to Deadman's current host, the paraplegic veteran, whom Deadman had left talking to a woman in a bar. Seeing how they both deal with this situation is a great, simple moment of character interaction. Around this, a wild plot is still unfolding, with Deadman tormenting the fallen angel turned librarian who knows his fate. There's a great bit where she turns red and flaming the further he takes one of her books away. There's also some set up here with a mob arms trade, but Jenkins swings things back to the supernatural as Deadman encounters another fallen angel at the circus, one who apparently can help him confront Rama. It's an eclectic book, but it comes to life through some very deliberate and thoughtful narration from Jenkins. Deadman isn't wholly altruistic and likable, but he shows moments of extreme kindness and sadness towards his host bodies. I'm over the fact that Chang's art isn't as rough and blocky as it usually is. The more polished look is helping convey the supernatural aspects, accompanied by strong colouring. And, on the down to Earth scenes, such as the bar scene, he sells the human characters and the emotions behind the scene very well. I like that I'm not sure what strange direction Jenkins can yank the plot of this story, mostly because I know the lead character's portrayal will remain the glue holding this together.

Birds of Prey#3 - Duane Swierczynski/Jesus Saiz

I've very happy I decided to give this book a try, and stick with it. Swierczynski has a knack for setting up his situations, moving through them at a perfect speed, and weaving a number of character moments in throughout. This issue continues the Birds' investigation into the organization pursuing them, as Poison Ivy reluctantly joins the group. Swierczynski continues to have fun with the group dynamic. Katana is still a nutcase, but, when faced with international criminal Poison Ivy, Starling takes to Katana like an old friend. Starling is a remarkably fun and capable character, and Black Canary's attempts to hold the group together are amusing. Poison Ivy is an interesting addition. She sees her past deeds as right, and is joining this group to continue punishing the rich. The personalities are all well-defined and their characters remain intact as the action and espionage kick in. Swierczynski is proving to be very talented in this sort of storytelling, with a mystery that bounces along between plot beats very well. The pacing is so strong - even though the action doesn't let up, the characters still feel fully realized in these scenes. The fast pace also keeps things fun, so when true danger hits home for Canary in the final pages, the impact is stronger. The plot behind the Birds' mission isn't wowing me, but I don't think that's the point. The fun is in the execution and character interaction. Saiz is doing an equally good job on his end. He is keeping up with Swierczynski's pace, perfectly structuring the pages in the train scene chase. But it's his figure work that is really strong. They have a real depth and substance to them, and sit attractively on the page. The book is an unlikely success for me, but a pleasant surprise that has yet to falter.

Thoughts on Marvel's recent announcements

I can't help but be a little stunned by recent events at Marvel. The past couple days alone have seen a spate of cancellations in rapid succession (X-23, Black Panther, Ghost Rider, and PunisherMAX, although that appears to be reaching its planned conclusion). Coupled with the cancellation of a mini-series in-progress (All Winners Squad), the cancellation of a solicited mini weeks before it was supposed to come out (Victor von Doom), and the cancellation of a mini before it was solicited (Destroyers) a couple weeks back, along with a number of layoffs, and it's a lot to take in.

I have been an ardent Marvel fan my whole life. Their characters, particularly the X-Men, are near and dear to me. I consider Marvel under Editor-in-Chief Jim Shooter to be the best the comics industry ever achieved. But the company's actions in the past year, along with the pompous boor (Tom Brevoort) they have decided to make their spokesperson, have strongly turned me against them. But I'm going to try to put that aside for the moment.

To an outside observer, it appears as though any property not tied to a movie franchise or written by one of Marvel's vaunted "Architects" has no chance of succeeding. I have long long grown tired of Marvel's events and their tie-ins, and have stayed far away from the last few with no sleepless nights. In recent times, I have been turning to more unusual side projects (the Crossgen mini-series', the X-Club, X-Men: Pixie Strikes Back, the Oz minis). Time has taught me that most ongoing titles not directly tied to an event or major creator are gone by #6. So those types of off-centre mini-series were a way to still get a complete story from a lower-priority book. But now, knowing Marvel will easily cancel a mini halfway through its run, I'm reluctant to even try more.

The company just seems to be in an odd spot. It's become this annoying boys club of blowhard editors and the Architects spewing out boring events. (Not to mention actually allowing Jeph Loeb to write for them.) I stayed far from Fear Itself, and it seems my first instinct was correct - it didn't have a solid premise (which caused its marketing to be haphazard and confusing), it was bloated beyond belief, and it was boring (by all accounts). These epilogue one-shots that have been coming out seem to be ret-conning the major plot developments of Fear Itself (Thor's death, Bucky's death, the destruction of Paris) - so what was the point of any of it? The company has lacked direction since "The Heroic Age" began.

I'm content to stay far from these events, but now it seems like the little side projects I enjoy are in complete danger. Marvel is conditioning fans to stay away from anything not tied to the Architects or the events by cancelling anything remotely different. I'm happy the X-Men corner is stabilizing a bit, and I will always stick with the main books there. Of course, Marvel is threatening to tie the X-Men into the next big event, so I will be judiciously purchasing if that happens.

Rob Liefeld, of all people, astutely pointed out that Marvel is only concentrating on properties owned by Marvel Studios. This would certainly account for the never-ending Thor tie-in mini-series' last year, along with Captain America side projects. All of this is incredibly boring to me. Cap, Thor, and Iron Man aren't exciting characters to me (outside of a few stories over the decades) - they have little cache or flair to their personalities, as depicted in the comics. So there's another chunk of stuff I can stay away from. In addition, planned Crossgen minis Kiss Kiss Bang Bang and Route 666 have yet to be solicited. Given recent practices, I wouldn't be surprised if we never see them. But that's ok, Jeph Loeb is writing an Avengers/Cable team-up mini, which will tie in to next summer's crossover!! Kill me. I don't even want to touch the $3.99 issue, the 20 pages, and all the kicking and screaming they did towards DC last fall about these issues (only to fully follow suit).

Not to glorify DC too much, but I can applaud the diversity of genres attempted in The New 52. Not everything is working, but they put out a wide variety of titles with a big marketing push and tried some unique books. And, in cancelling X-23 and Ghost Rider (which starred a new, female lead), Marvel now has no books led by female characters. Now DC has been raked over the coals for everything woman-related recently, completely unfairly. They have Batgirl, Batwoman (featuring a squadron of wonderful female leads), Voodoo, Catwoman, Wonder Woman, Birds of Prey, and more.

I guess there wasn't any real point to this post. A company I adore, even with recent anger towards them, is facing tough times, and it's being made public news in rapid fire succession. (When I was reading the announcement of Ghost Rider's cancellation, the comments thread pointed out that Black Panther's cancellation had just been announced, so it really feels rapid-fire). I'm having trouble processing what's happening, and fearful of where things will keep going. I'm calling it now - May 2012, in time for the movie's release, Marvel will announce The New Avengers 52 (ironically all written by Brian Michael Bendis, with art by Mark Bagely).

DC New 52 Month 3

Frankenstein: Agent of S.H.A.D.E.#3 - Jeff Lemire/Alberto Ponticelli

This issue continues this title's weird, fun romp to an alien planet to fight creatures consuming human children on Earth. It's the storytelling, humour, and bizarre, over-the-top presentation that really sell this. Lemire and Ponticelli are working in unison here. Lemire has made the group interaction in Frankenstein's team both cutting and frivolous, and is really refining the cast dynamic. Adding to the team dynamic is Frankenstein and his estranged wife alternately defending and putting down each other and everyone barking at Father Time. This humourous tone makes the otherworldly settings and plot (as well as cast of monsters) a bit more relatable and keeps the book fun. A couple fantastic action scenes break out here, with the cast of freaks letting loose on some alien creatures, and Frank once more tearing out a vital organ to end a threat. There's a humour to how starkly some of these ridicuolous situations are presented, as well. At the same time, some ominous subplots at S.H.A.D.E are being set up and some of the characters are getting more depth to them. Ponticelli is a marvel on art, depicting every drop of saliva and tentacled limb on the aliens in messy detail. There's a frenetic quality to his art that makes the story feel like a wild ride. Three issues in, and this book is running high on its bombastic portrayal of the bizarre, it's comical depiction of bureaucracy, and the strange cast of characters it focuses on. It's highly fun stuff, with remarkable art, and a pleasure each month.


Batwoman#3 - J.H. Williams III, W. Haden Blackman/J.H. Williams III

Another excellent issue. Just as the writers build up the tapestry of Kate Kane's world, they tear down parts of it here, forcing her to confront her past and her poor decisions. Whereas previous issues set up and checked in on the various pieces in Kate's world, this one follows one narrative, and touches on each part of her world as that narrative unfolds. I'm continually impressed by these two new writers and what they are accomplishing on the storytelling side. The progression of the plot, and it's continually rising emotional stakes, works really well. Kate is brought through the wringer more than once, leading to a final scene where she finally breaks her facade in front on Maggie Sawyer. Maggie remains the top draw of the book, barely edging out the lead character. The slow development of her relationship with Kate is believable and compelling. Maggie is fighting to break down Kate's barriers, and it's very well-played. Cameron Chase remains a strong addition. She doesn't feel like a guest star or antagonist, but full member of the cast striving to prove herself through her investigation of Batwoman. And Bette Kane is playing a larger role, growing out of being her cousin's doormat. Kate herself remains interesting - strong, silent, and incredibly capable as Batwoman, and a mess of contradictions struggling to keep it together in her human guise. And into this is injected a male presence, as Kate's father returns to reflect on the state of his daughter's life. The Weeping Woman plot is barely a factor here. It contributes to a stunning opening, but it's a side element to the trauma of Kate's life. And, of course, the art is just as strong as the writing. Williams has created very distinct styles for the human and costumed sides of the book, and now he is experimenting with mixing them in scenes, such as when the painterly Chase interacts with other non-costumed figures (depicted in the more cartoony style). Once more, there is a bevy of stunning splash pages, with incredible design sense and a level of detail and expression unmatched in most comics. The book looks special. It feels like the reader is being taken into another world. The writing possesses an intensity and strength to match the feel of the art and the whole package is incredibly compelling.


Batgirl#3 - Gail Simone/Adrian Syaf

Simone seems to deliberately structure this issue in two parts. The first section is a fast-paced, dense action scene between Batgirl and the Black Mirror. It is better than last issue's action scenes, but still suffers from their main problem - too much narration and perhaps too much happening to be properly paced out Still, Syaf fits in some stunning splash pages and the desired effect of Barbara screwing up comes through. From there, the book slows down incredibly and becomes a character study of Barbara dealing with the changes to her life since regaining the use of her legs. It's all about the character fighting to open up to people, but wanting to prove she can do it on her own. I loved the scene with her father, where the words she wants to say become a half-hearted display of feelings when she actually says them. After this, it's an aerial volley with her former lover Nightwing for the rest of the issue. I kept expecting the plot to really pick up, and them to team-up for some fight, but it never happened. It really is one friend checking to see if another is ok. Can she really deal with the changes in her life as quickly as she has? It's really nice stuff, with some soft interaction between the two, who both struggle to say what they want to. Now, I do think Simone could have pulled back on Barbara's relentless narration on multiple occasions here. There's just too much of it, at points when the emotion of the scene was saying enough for me. But there is power here and Barbara's final rebuke of help from Nightwing has resonance. She wants to face her problems on her own, at her own pace. And I can't help but enjoy that Simone essentially puts the whole plot on hold for this sequence. It's a long scene of two old friends struggling to communicate with each other, and it works. An unconventional issue, but brave and powerful in its own way.


Grifter#3 - Nathan Edmondson/CAFU

The bigger picture of this series starts coming together with remarkable speed here. Not only is Cole Cash a con man on the run from aliens only he can see, he's also a fallen Special Ops soldier pursued by the organization, beginning with his brother, a fellow soldier. It helps to get a better view of the protagonist. He has been intentionally shrouded in mystery, a con man with a violent streak, but now we know the big secret from his past, and how it led him to where we found him in #1. It's a strong narrative turn for the series, and it keeps it in line with the action thriller this is turning in to. Readers learn the main character has a lot more to him than we've been led to believe, and it is an effective twist. The rest of this follows the formula of the first two issues - intense action scenes juxtaposed with cryptic subplot scenes (which are also becoming clearer). The formula works. The action scenes remain very grounded, despite the alien foes. They are paced like a great thriller, and CAFU frames them very well. His art remains clean and crisp, with sharply drawn figures inhabiting this world where danger lurks around every corner, from train stations to deserted roads. I'm enjoying reading a book that, even with the aliens, feels grounded in its threats and locales. The alien threat is also well-played, in my opinion. They feel natural in the grounded setting of this book, and their threat is relentless. This is unashamedly a Bourne tribute, with a touch of LOST. It is striving to replicate the tone and pacing of the former, with the mysterious element of the latter('s better days). I didn't expect to be liking a book with that combo, but so far, this has been entertaining.


Superboy #3- Scott Lobdell/R.B. Silva

This was a remarkably surprising issue. Yes, the first two issues (especially the first)were very good, but this was really enjoyable. I have years of experience with Lobdell from his time on the X-books. I certainly don't hate him like much of fandom, but I would never describe his writing style as more than conventional. This is the first thing I've read of his that strives for a different tone - an unusual tone, but also an introspective one. He is really pulling it off. Superboy narrates this issue and it is very strong work. The strength is in this character discovering himself, his powers, his purpose within N.O.W.H.E.R.E., and if he should be striving to see and experience more than that. At the same time, it's deliberately not too deep - we're kept at a slight distance from this inhuman character, and it contributes to the cold, unnatural tone of the comic. I have to commend Lobdell, because it's an effective package. And, at the same time, there is a lot more going on here. Rose Wilson and "Red" are both struggling to accept their attitudes towards Superboy. Make no mistake, the scenes with these characters are still cold and clinical, but Lobdell is parsing out the humanity at a controlled rate, and it's making these two women very interesting (and that's saying nothing about the final page revelation for Red). There's more to unpack here, with two mysterious forces closing in around Superboy and the character trying to interact with a young girl he meets. I also love the take on his powers, and the deliberate way he deduces what is going on with them. Add to this is a remarkable art style from Silva. It's cartoony and expressive (in a good way) throughout, but he is playing with design and presentation to just the right degree. Figures and faces look clean and expressive, and occupy some very creative and attractively-designed page layouts. And Superboy looks superb in the new costume. This is turning out to be a great title, almost because it can't be easily defined. There is a lot going on here, and it makes for an exciting, and surprisingly thoughtful, read.


I picked up Magneto: Not a Hero#1 (of 4) (Skottie Young/Clay Mann) for a couple reasons. Skottie Young, an incredibly talented artist, has written some impressive stories in X-Men anthologies in recent years, and I wanted to see how he did on a full-length story. Clay Mann has astounded me with his artwork on X-Men: Legacy. And, I've really enjoyed the portrayal of Magneto since he joined the X-Men on Utopia two years ago. Young hits all the right beats with his character - he's commanding thoughtful, doesn't suffer fools lightly, and possessing of the right amount of humility. There's also some good interaction on Utopia, where Magneto speaks with Emma to help solve his problems. And Mann's art dazzles. He has a talent for body language and expression and his regal depictions of both suit this book. The action scenes are presented with power and the characters live and breathe on the page. It's in the plotting that this falters - Magneto is out to prove that he is not responsible for killing a group of protesting mutant haters, despite video evidence to the contrary. It's perfectly fine, but there's no oomph to it and even Magneto seems a little bored by it. I also don't like shoehorning Iron Man and Captain America into this. Marvel is intent on forcing the X-Men out of the little world they've occupied for almost 50 years, and it annoys me. For all the strong dialogue in that scene, the Avengers' involvement feels forced. Still, there is a lot to like here. The twist ending plays right into the hands of a 90s X-Men zombie like myself and Young presents his vision of Magneto with conviction. The plotting just needs some sharpening.

The only comic I own two copies of..

..is Rogue (vol.1)#2. A somewhat random choice, but there's a reason why.

I recently bought the four-issue Rogue mini-series from late-1994/early-1995, after years of hearing mediocre-to-bad reviews of it. It was one of those days where my X-Men completist guilt kicked in, and I got a cheap copy of the mini on eBay. It's nothing special. It's essentially a sequel to the Gambit mini-series from a year before, which was also a middling affair. This one is a Gambit story (replete with Guilds, Assassins, Externals, and all that other boring stuff), with Rogue playing a larger role than Gambit. Anyone looking for greater insight into Rogue's character or past better turn away. Now, there are some half-decent moments between she and Gambit, and Mike Weiringo's art is nice (even if it's not really suited to a story like this), but that's about it. I recently re-read it and struggled to get through it (which is more than can be said for the Gambit mini, where I resorted to flipping through the last two issues out of boredom).

So how do I end up with a second copy of issue 2? Well, back in late late 1994, when it was released, I bought a copy from the variety store at the top of my grandparents' street. They didn't have much of a selection, and I was hungry for any comic I could get my hands on (especially an X-book), so I got it. I'm sure I enjoyed the story, but what got me was the X-Facts page at the end. It laid out the changes coming in the January 1995 releases - the Age of Apocalypse story was starting, all X-titles were being canceled and renamed for four issues, and an entire new universe was starting. There was also a tiny promo shot of X-Men: Alpha, the one-shot that started the AoA story. I poured over this article, taking in every detail of this new story and brimming with excitement over what was coming and what it all meant. Of course, Age of Apocalypse was a runaway success - a 1990s Marvel event that excited the fanbase while telling a solid story. Due to childhood budegtary constraints, I only bought about a dozen AoA issues when they were actually released, and took years to collect all of it, but it remains a cherished story for me.

So that's why I can't get rid of my original copy of Rogue#2. It's pure comic fanboy sentimentalism, but I love when I can associated specific memories with the day I bought a certain comic. And I'll never forget that afternoon that I discovered the Age of Apocalypse. So a second copy of Rogue#2 sits behind my copy of X-Men: Alpha, and has been since I bought that comic a couple weeks later. And they've both been sitting in the same ratty old plastic sleeve since January of 1995.

DC and More - Month 3

Stormwatch#3 - Paul Cornell/Miguel Sepulveda

This book still has some kinks to work out, but as Cornell brings the whole group together for their first mission, the issue gets a real sense of momentum and energy. The high concept behind the villain is shaping up to be quite strong, paired with the idea that "cities" exist underneath our accepted map of the world, and that the being sent from the moon is trying to access one under rural Colorado. This leads to a great scene, where Jack Hawksmoor speaks to the spirits of different cities (represented by deity-like beings) about what is going on. There are other great displays of power here, including Projectionist preventing any media coverage, from news media to blogs, from discussing Stormwatch's activities as they fight the moon. There is a an energy to the proceedings, all leading to a strong ending, and I like having the team assembled around a common threat. If there's one area that is still being worked out, it's the characters. For every character that is being fleshed out, there's another that hasn't much space devoted to them yet. The book has been moving fast, and covering a lot of bases, since #1, and this is the result. Still, we're getting a fun sense of how Adam treats his team, and fun moments of team interaction throughout. Apollo has wisely been cast as the point of view character, struggling to accept that his hero status has been elevated to this superhuman police force and doubting his abilities as he flies off solo to combat the moon. It's a wise choice to have one member of this group be not completely acclimated to life as an untouchable superhero yet. Miguel Sepulveda is back to providing full pencils, and I'm still warming to his style. His otherworldly threats look great and his human figures are taking shape. I think the only issue is that they don't always come together on the page for me. The darker colour palette may contribute to that. Still, it's an enjoyable book. Cornell is finding his feet more with each issue and the pace and momentum help create a strong read.

Swamp Thing#3 - Scott Snyder/Yanick Paquette, Victor Ibanez

Snyder sneaks in with my favourite of the week. What an excellent little comic this was. Snyder tells two intertwined tales. In one, Abigail Arcane kidnaps Alec, and ultimately reveals that she needs his help to fight the rot (or the Black), the element that has trailed her family for generations, and the threat the Green told Alec about last issue. Snyder nails the pitch here; just as the tension rises to its highest point, he cuts to a fantastic one-page, silent shot of the skeleton of a young girl, surrounded by black. It's meant to be the moment Alec demonstrates to Abigail that he has powers, and it is the perfect catharsis, and also a stunning and disturbing image to propel the issue. There is some exposition here, but it's much smoother than the previous issue's. Abby explains her family's connection to the rot and how Swamp Thing protected her from it until he disappeared. She's a great character, with a hard edge, but also a very engaging strength and drive. Paquette also expertly lays out the two pages of exposition, so that we read Abby's story literally around the image of her body cowering in pain. These scenes are juxtaposed (perfectly, I might add) with the story of a young bubble boy named William who discovers his true abilities and turns on his doctors and fellow patients. He is Abby's half-brother, who can access the rot and turn it on others. Cue a series of increasingly horrifying shots of distorted body parts that make last issue's similar scenes look quaint in comparison (the man with the giant tongue, who can barely stand up, is the kicker). Again, the pacing is expert here. We feel for this boy's plight, and just as we are drawn in, he hears the voice of a dead fish on a placard on the wall talk to him. His attacks are great scenes and the end, where the two plot lines intertwine and we learn the full stakes, is a great moment. But I like how Snyder didn't leave the revelations until the very end. Due to Abby's narration, we have an idea what powers the boy wields and taps into and what is going to happen. His story isn't an isolated vignette that ties into the main narrative at the end. It is integral to understanding the narrative. Victor Ibanez actually draws all of young William's scenes, which I didn't realize until the end. Paquette's images are just slightly more powerful, and his page layouts continue to dazzle, but Ibanez really holds his own. He tells us the story of young, frightened, marginalized William through images, and his later outbursts feel terrible and violent thanks to the pencils. It's a very strong mixing of artistic styles. This is such stuff as dreams are made on. A really fantastic comic.

Action Comics#3 - Grant Morrison/Rags Morales, Gene Ha

Morrison is certainly charging ahead with his brave new version of Superman, as the plot takes big strides in several directions here. The issue opens with a flashback to the last days of Krypton, as drawn by Gene Ha, and it is different than any depiction we've seen before. It's a high society, and Jor-El's claims of the planet's destruction are doing nothing but disrupting parties and social plans. There are some interesting elements woven in here that make their way into developments in the present, where Morrison ties them into Lex's interstellar confidant from the previous issue. With all of that happening, the focus is still squarely on Clark, as he struggles to navigate the corruption in Metropolis and earn allies as both himself and Superman. There is maybe a touch too much happening in these scenes, but, at the same time, the fast pace is exciting and the montage of scenes works. I'm liking Clark's interaction with Jimmy and Lois, friendly rivalries that have plenty of room to continue growing. There are interesting areas explored here, with Clark's fight for the little guy getting a reality check. Jimmy is unconvinced by of it and Clark learns not everyone is happy with Superman. A group of squatters had their construction-site home destroyed in one of his battles. The two conclusions nicely tie what we saw on Krypton into the forces mounting against Superman in the present. Morales is proving to be the right choice for this book. He is completely creating and owning the dirty, busy, lived-in Metropolis this Superman is fighting for. The pages are high energy. And this Clark genuinely looks like a young guy, living on his own for the first time. This book is brimming with potential and ideas, so much so that perhaps a bit too much is happening in one issue. But it's a thrill ride nonetheless. Like Clark, Morrison is convinced of this Superman's mission and beliefs and he sells it. It also helps that the villainous plots are really starting to heat up.

Animal Man#3 - Jeff Lemire/Travel Foreman

The quirky, odd humour of the previous issues mutates further, as Buddy and Maxine descend fully into the Red and artist Travel Foreman gets to show off. The big revelation here is that Buddy did not get his Animal Man powers for any reason beyond the Red creatures wanting to get closer to Maxine, who is apparently an 'avatar' of some sort for them. Foreman excels on these scenes, with Buddy and Maxine in free-float as the former's body and face distort to horrifying levels and a variety of bizarre creatures taunt and threaten them. The details of their plan are still a bit murky right now, so it's up to Foreman to present this frightening world. And, typical of his style, he mixes stunning and detailed images of these creatures with stark, plain backgrounds (bathed in deep red), creating a great emphasis. As a plot thread, this story is still brewing, but it's a visual feast that conveys the danger the Baker family is in. Back at home, Lemire is in familiar territory in regards to the twisted family humour. With her husband off to God knows where and her son playfighting with skeleton animals, Ellen can't help but he taken aback by her son's violent videogame. Lemire masterfully plays with suspense and tension as Ellen and her son are attacked at home by a different creature from the Red (accompanied by another chilling visual). The whole thing plays like Poltergeist with a twisted sense of humour and perfect pace and pitch. Foreman's presentation of the Baker household is so clean and sparse that it truly feels like terror has come to the home. These creatures can't help but stand out against the sparse house. The final cliffhanger is great and the whole package just works. It revels in its dirty underside and both the writing and the art are unafraid to be ugly and disturbing. At the same time, it's darkly funny, with four well-sketched out lead characters. The danger also feels real - I was genuinely worried for Ellen's predicament. This continues to be a wonderful title.

Finally, Marvel has relaunched Uncanny X-Men (Kieron Gillen/Carlos Pacheco) this week, to coincide with Wolverine and the X-Men#1. And although I'm a fan of Kieron Gillen, saw a lot of potential in his take on the team, and have enjoyed the 'mutant politics' angle this book has taken on in recent years, this issue was surprisingly muted for me. It's hard not to feel like this flagship book isn't the bum team - nobody seems to have wanted to stay with Scott, they have to be flagrantly persuaded of his mission statement, and they're frankly not as "cool" as Wolverine's squad. This cast may have played a more prominent role in recent years, and be nominally more 'important,' but they can't compete with the sheer fun of Wolverine, Shadowcat, Beast, Iceman, Rogue, et al. I feel odd saying this, because if I had to pick a 'side' coming out of Schism, it would no doubt have been Cyclops' (No offense to those behind Schism, but Wolverine's position didn't make a lot of sense. Or, any sense). But this book feels like it's fighting for readers to see its mission statement as important, not ascending as the flagship X-book by right (as it should be). The cast dynamic is unpleasant, the characters all don't seem like they want to be there, and I don't blame them. If I was stuck with this lot and knew how much fun Wolverine's group was having in Westchester, I'd be out of there. There is promise here; there are some good characters (Hope, Magik, Colossus) in the mix. And if Gillen can really play up the mutant politics stuff and this team's role as ambassadors for the mutant race, it will help this book. Because, honestly, once the team goes out into the field to fight Mr. Sinister and the Dreaming Celestial, this becomes a lame duck. Pacheco's art is also borderline unrecognizable. When this man drew X-Men in the late 90s, I was riveted. His angular style and unique compositions wowed me and I still wish he had stayed on longer. Any angular or unique aspects are washed away here - every face is rounded to perfection, every angle is completely smoothed out, and any unique energy is wrenched from his art. It looks good but it has no life to it. Pacheco has such a distinct, attractive style, and seems to have chosen to get rid of it in favour of this posed, poised look. Snore. Gillen is better than this. He has been better than this on Uncanny. Last month's "final issue" (#544) was outstanding compared to this, brimming with life and feeling. This feels like a bland mission statement and a tacked on battle scene, full of lifeless characters. Not what I was expecting.

Ultimate Spider V.9 (#46, Ultimate Six#1-7) - Ultimate Six

Brian Michael Bendis/Trevor Hairsine (Ultimate Six), Mark Bagley (#46), with Joe Quesada

This collection takes a break from the ongoing title to collect the seven-issue Ultimate Six mini-series, a take-off on Spider-Man’s traditional fights against the Sinister Six. Going in expecting something similar to that would be foolish, though. I remember this getting lukewarm reviews when it came out, but maybe it helps to read it all in one setting, because I really liked it. I can imagine the monthly installments felt slow, as there are some thin chapters. Reading it in one go, it’s an exciting story that really brings some new dimensions to the Ultimate Spider-Man world and a nice variety in story, tone, and character focus.

In fact the Ultimate Spider-Man issue that opens the collection is the weakest part of it. It’s a flashback story where SHIELD Agent Sharon Carter participates in a raid on Justin Hammer’s facility after the Doctor Octopus battle from volume 3. She finds Sandman, another human experimented on by Hammer. The whole set up is a bit of a rush job. I just don’t like this Carter character – there’s no flair or energy to her tough spy act. She’s just a dull, angry character. It seems like the whole issue is done to get another villain into the mix to fulfill the “Sinister Six” numerical requirement, and it’s rushed in doing so. However, there is a fantastic battle sequence here, with Spider-Man fighting Sandman. Bagely pulls off a great display of the latter’s powers and some striking panels of his face when powered-up. It does feel like a perfunctory set up issue to get one more player onto the board, but it’s an opportunity for Bendis to continue to build the tapestry of the Ultimate Universe (as Hammer’s experiments were competing for the same government contract to recreate the Super Soldier formula that Norman Osborn and Dr. Octopus were) and the battle scene is stellar.

We then move onto the seven-issue mini. It opens with a short piece that I guess may have been promotional material. Joe Quesada draws it, and it features Electro awakening in a hospital after the fight in volume 2, attempting to escape, and being recaptured by The Ultimates. I liked it. Quesada does a good job conveying Electro’s disorientation upon awakening and his unique style is a treat to see.

The mini-series then properly begins, and the first two issues are centered around an idea that is executed to near-perfection. SHIELD and Henry Pym have five villains hostage on the Triskelion – Doctor Octopus, Electro, the Sandman, Kraven, and Norman Osborn. In an effort to rehabilitate them, there is an experiment being conducted where they are trapped in a giant energy sphere and led through group therapy sessions. Some of them break down and show emotion, while Osborn tries to remain above it all. There is a wonderful atmosphere of oppressive captivity, with the tables turned on the villains, who are powerless in this set up and reminded of it regularly.

Their crimes relate less to their violent public attacks and more to the genetic experimentation they all participated in. It’s all tied to the US government’s bid to recreate the Super Soldier formula that created Captain America in the 1940s. Both Osborn (working with Ock) and Justin Hammer were working to win this government contract, experimenting on people (and, in Osborn’s case, on himself). There’s almost a hint of jealousy or anger in Nick Fury’s attitude towards this – a sense that he let this get out of government control and now has to clean up a mess he’s partly responsible for commissioning. The crime isn’t because these men are super villains, per se, but because they performed genetic experimentation on themselves and others. It’s very interesting territory to get into.

The story alternately gets underway, and stalls, at the end of the second issue, when Ock deceives his captors, gets access to his mechanical arms, and uses them to free his fellow prisoners. The third issue is a tour de force, with the villains’ escape and Fury and The Ultimates reacting and trying to hold the situation together. Bendis shows these heroes as soldiers, with Fury commanding them and trying to control the problem. This is where Spider-Man enters the story. Osborn has been mentioning finding his “son,” assumed to be Harry, but revealed to be Peter, and Fury moves to protect him. Bendis achieves a sense of excitement, tempered by the danger of Osborn and what he might do to Aunt May and Mary Jane. The third issue is a taut, compelling thriller and all parties pull it off wonderfully.

The problem at this point is that the villains don’t really have a solid plan or motivation. They basically just want revenge on Fury for holding them hostage. Osborn and Ock want to acquire Peter as a sixth member, as they created him (but, acquire him for what purpose, I don’t know). The villains are just hiding out, making threatening phone calls to the president. This bit didn’t really work. While I love the idea of Fury having to answer for his actions (was the villains’ imprisonment, without trial, lawful whatsoever?), it feels a little unconnected from the main narrative. Bendis gets a lot of points for keeping the action moving, despite the fact that the villains have no motivation. There is genuine tension around the fact that the heroes have no idea where the villains area and the call between Peter and May is a touching moment that reinforces the danger he puts his loved ones into.

Once Osborn does capture Peter, some sort of master plan still doesn’t emerge. He blackmails Peter into helping him by threatening his aunt and girlfriend and that’s about it. They then attack the White House and, as soon as Peter finds out May is safe from Captain America, he joins the fight against the villains. So the plan basically amounts to fighting Fury/the President. It just doesn’t have the weight that Osborn has brought to his previous conflicts.

The last segment of the book is largely action-based, and, similar to the first Goblin fight and the main Venom fight, it’s where the narrative is kind of put on hold. The fight scenes, however well-drawn, just seem too thin to take up this many pages. Harry Osborn inexplicably shows up for the final issue to talk his dad out of fighting. Similar to his appearance in volume 4, he is wasted here. He makes a speech to his dad, the fight continues, the villains are defeated, and he disappears. The aftermath of the fight is rather good, though – each of the villains try and talk their way out of punishment, while Osborn lies half-alive. May and Peter are reunited, with her none the wiser as to what really happened.

The Ultimates make a strong showing here. I did feel like Bendis went too far trying to capture Mark Millar’s ‘kewl’ dialogue in some of the group scenes (like Janet casually mentioning her multiple doctorates), but the individual portrayals are largely strong. I like the use of Pym, at this point demonized in The Ultimates, trying to help SHIELD where he can. Cap and Fury have a strong scene where Cap reflects on his the Super Soldier serum in his veins that caused all of this trouble. This is ultimately more Nick Fury’s story than Spider-Man’s, and he holds it together well as the lead character.

Trevor Hairsine draws the mini and it’s certainly a departure from Mark Bagely. His figures resemble some other artists’ styles – Bryan Hitch, Whilce Portacio, Mike Deodato, even Greg Land’s tracing – but I liked the look overall. He created a lot more drama and grittiness than Bagely could have. The menace and tension as the villains escape and wreak havoc owe a lot to the mood and sense of danger his art creates. His faces and expressions are generally quite good. He makes the final action issues come to life, with expansive panels and splashes. It livens up those two thin issues and looks great.

Overall, Ultimate Six is a very worthwhile excursion from the main title. Even at seven issues, I still felt Bendis told a tight, exciting story, with tension and drama at the right points. I was expecting a mess due to the number of villains, which Bendis can struggle with, but that never happened. The lackeys are designated as such early on, and Osborn and Ock ascend as the main antagonists. There’s an odd bond between these long time friends that emerges in their quest to unite all genetically-modified people, and bring Peter, their joint son, into the fold. It is uncharted territory to position Spider-Man as the inadvertent creation of a much bigger project, but it allows him to interact with different corners of the Ultimate Universe in new ways. It’s an unlikely success from Bendis, and I hope some of the ideas here can make their way into the main series.