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.
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