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.
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.
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.
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