Stellar, once again. Snyder and Capullo are crafting a comic that is perfect in every way. This issue ups the quality even further with a haunting flashback to Bruce's youth. The story continues to grow around Bruce struggling to accept the existence of the Court of Owls. The master detective has doubts that stem from intuition and a lack of facts, and here we get greater insight into why he doesn't believe in the
Court of Owls. The centrepiece of the issue is a flashback to Bruce's youth, where he followed a hunch that led to a full blown investigation tying the Court to his parents' murder. To assuage fans' doubts, it doesn't seem as if Snyder is trying to re-write the murder of the Waynes, as young Bruce's relentless detective work does not lead to any answers. Instead, what awaits young Bruce in an empty attic is a chilling fate. The flashback sequence is utterly captivating. Snyder shows us the dangerous path that the search for answers can take one down, while Capullo dazzles on the art. A series of horizontal panels, shaded in faded reds and blacks, depict the flashback, creating a strong atmosphere. The rest of the issue is up to this creative team's high standards. I love the space Snyder gives to Bruce and Dick's interactions. It's wrapped around a discussion of the Court and Bruce's family, but shows off their dynamic and reationship, particularly in how Dick tries to curb Bruce's more stubborn behaviour. Snyder also creates a great sense of dread around the book. From the opening explosion scene, overlaid with Batman's narration on the Court, to the haunting attack at the end, the Court of Owls feel truly dangerous. I'll admit that I got so wrapped up in Bruce's reasoning for why the Court couldn't exist from the flashback scene that the final attack surprised me. The artwork remains top-notch, with an exciting opening explosion scene and a chilling underground investigation at the end. I'm loving impossibly sqaure-jawed Bruce and his imposing appearance, which, to Capullo's credit, is looking a little more wearied with every issue. And, however overused it is, I'm a sucker for the "Alas, poor Yorick" man-holding-skull shot Capullo works in here. Overall, it's just an excellent comic. Everyone involved is putting their all in, and creating a must-read title. DC Universe Presents#4 - Paul Jenkins/Bernard Chang
Never let it be said that Paul Jenkins isn't trying different things with this story. Deadman's quest for answers takes him to the Son of Mourning, a fallen devil who masquerades as a carny, and who, unlike most godly beings, sees humans as noble and interesting. In this issue, Deadman learns the true reason behind his possession of other people's lives and the games Rama has been playing with him, while taking a rollercaster ride with the Son. It's thoughtful, illuminating, humourous, text-heavy, and exhilarating. Similar to previous
issues, through the twists of the plot, Deadman's story remains compelling because of the thoughtful, reflective voice Jenkins gives the character. Here, he learns that the reason he possesses people is not to learn the answers to life's questions, but to give context to those questions through their human experience. There is a wonderful element here of godly beings learning that humans possess profound insight through their capacity to feel and experience things. Deadman is Rama's link to the human experience, and he learns how he can use this to his advantage. Jenkins goes for profound and thoughtful here, and he succeeds. Deadman flashes back to the problems faced by his various host bodies, and their pain strongly resonates in these short scenes, played out in the grid of the rollercoaster. There's also a great scene where Deadman rapid-fire questions the Son with existential questions on the meaning of life, receiving a number of playful, deadpan answers from him. Actually, much of their issue-long conversation has a humourous aspect to it, and it helps what could have been a heavy-handed comic come alive. Chang's artwork captures the wonder and pain at the heart of Deadman's journey for answers, and has fun with the rollercoaster setting. His Deadman is stoic and pained in the face of getting the answers he has long looked for. The unpredictable nature of this story has been a great strength. Deadman is armed with his answers, and heading into next issue's confrontation with Rama, I don't know where it's going to go - A big fight? An existential war of words? A rollercoaster ride through the cosmos? I have faith Jenkins will take it somewhere interesting.Wonder Woman#4 - Brian Azzarello/Cliff Chiang
Baby-daddy drama, played out on an epic, godly scale. The entire community of gods is dealing with the fallout of Hippoltya's revelation about Wonder Woman's father, and, as usual, the pathos, pain, and anger feel in epic in scope and quality. Diana tries to unwind in a club in London, with normal people, accompanied by her entourage of Hermes, Zola, and the meddling Strife. Like last issue, Strife's inteference is a treat, and Diana's dispatching of her is swift, brutal, and well-deserved. The drama on Paradise Island plays further with the epic,
godly traditional, as Hera confronts Hippoltya for sleeping with her husband. Set against a storm, with Hera in a striking cloak of feathers blowing in the wind, this Maury Povich-style conflict feels inhumanly grand, and the severed ties and retribution it has led to feel devastating. Azzarello is playing with the godly tradition here. No hurt feeling or spurned advance is ignored. They are amplified, treated as a terrible affront, and fought over. The pain and sense of betrayal on Paradise Island comes through in every panel, but, at the same time, the Amazons still come to Hippoltya's defense. Despite what has happened, she is still their queen, who they will protect to the death. The characters operate on a different plane than normal people, which is nicely seen when Zola and Diana decompress and talk through their recent problems together. Diana is humanized, empathizing with Zola's sense of loss.The ending swings things back to the epic, with Diana's dramatic discovery of how Hera took retribution on her mother, a stunning closing. This title remains fantastic. The writing is sharp and purposeful, the storytelling embraces the drama inherent in the relationships of the gods, and the artwork is a wonderful fit. Even in exile, Diana is commanding and confident. Chiang figures and designs are crisp, clear, and powerful, but still full of character. They look like gods, but still emote and express. The page layouts and storytelling are as clear and direct as the writing. It's a great package.Birds of Prey#4 - Duane Swierczynski/Jesus Saiz
All of the elements that have made this title a success so far are on display in #4 - a brisk pace, cracking dialogue, a fun group dynamic for the lead cast, and some great action. Jesus Saiz continues to impress on the art. In the action scenes that take up half the issue, he works with larger panels than normal, allowing his beautiful figures to run, jump, and punch across the pages in stunning fashion. He truly has
a way with female characters. He makes the lead females attractive and alluring, while they remain powerful. There are some truly great images here as well, including Poison Ivy stopping a train by creating a giant plant. Swierczynski's script is up to his usual level of quality, with a strong group dynamic, a perfect pace, and a hint of fun on every page. There is a level of mistrust amongst some of the members that makes this group interesting to read. Starling may be a new character, but Swierczynski clearly has affection for her, as she narrates much of the issue and has a dynamic, fun voice. Black Canary's attraction to her doctor continues, with some fun interplay as she tries to hide her double life from him. Batgirl joins the team as they investigate their opponants at the end. It's a brief appearance, but knowing the emnity between she and Canary, I'm excited to see where it goes. As for the plot itself, the girls learn more about their opponents. It's still a bit vague, but perfectly good stuff, if a bit standard. It's in the execution that this book shines - the pacing, the action, the cast, and the beautiful artwork. Quiet and unassuming, this book has become something special. (But can we get rid of these Dave Finch covers?)Fantastic Four#601 - Jonathan Hickman/Steve Epting
Hickman marches on with "Forever," this title's contribution to the conclusion of his mega-story (while FF runs "All Hope Lies in Doom"), and it's another action issue. This one adds a layer, as the team is reunited with the Human Torch, providing an important dramatic thrust for the story. It's great to have Hickman finally write the banter between the Torch and Spider-Man, ribbing each other about who looks
better in the midst of a devastated New York. And, of course, the moment where Johnny creates a flaming 4 in the sky is a great one. But it's the changes to Johnny's character that are the most interesting. He possesses the Cosmic Control rod, weilding an armada of Negative Zone troops, a chained Annihulus, and a squad of loyal aliens at his side. As Reed points out, two years have passed for Johnny, and it really feels like he has experienced much in that time. There's a confidence to him, but it's also a bit unsettling, a side that the other heroes feel. Johnny's return adds a few twists to the ongoing Kree/Inhumans/Negative Zone battle, but it's fairly familiar besides that. The action is well-done and the danger feels real. But I have to admit I'm more interested in the plots Hickman has shifted to FF - the alternate Reeds, Doom, the future warnings, the children, Nathaniel's plotting. Those are the plots he has been building since the start of his time on the title, and they are more dynamic and engaging for me. The Kree/Inhuman war stuff that has overtaken this book has cropped up much more recently, and, to be honest, feels a bit shoe-horned in. So while the execution is top-notch, and everything to do with Johnny is great, this book houses the less-engaging plotlines, for me. Still, it's a strong issue with great art. Epting is chanelling John Buscema with many of his faces and bodies, which is always a good thing, and he takes great effort to make Manhatten feel ravaged and destroyed.Wolverine and the X-Men#3 - Jason Aaron/Chris Bachalo, Duncan Rouleau, Matteo Scalera
Jason Aaron's first story wraps up, and it's as fun, quirky, and jam-packed as the first two issues. Much of the focus is placed on Quentin Quire, who steps into the battle with Krakoa to solve the problem, without any of the X-Men knowing about it. Aaron is clearly enjoying
writing this character. There's so much fun in his portrayal - his constant jabs at Wolverine about the school, his desperate annoyance that the younger students don't know who he is, his general dislike of all of the X-Men, and a perfectly timed joke between he and Idie about Schism. It's a blast to read. Aaron also uses Quire to explore some of the newer characters, like Idie, Broo, and Kid Gladiator. Outside of the opening flashback, Wolverine and the team barely appear until mid-way through. The opening is a showcase for Quire and the younger students, and it's incredible fun, packed with little jabs and jokes and expressive artwork to convey the humour. I love how Quire eventually reaches out to Krakoa (actually, Krakoa's grandchild) to end its rampage by playing on its desire to be accepted. It shows us this side may also exist within Quire, while providing an effective resolution to the story. The rest of the X-Men run around wonderng how Krakoa was calmed down and cleaning up from the fight - Kade Kilgore is served with a property damage lawsuit, Kitty runs when Bobby wants to discuss their kiss, and Beast erases the memories of the school board administrators, who leave in a fit of laughter. All of this is incredibly fun, with rapid-fire scene changes and gags, all wrapped around a strong portrayal of Wolverine and Kitty. Bachalo handles most of the art, and his style is perfectly suited to the nature and pace of this book. Scalera handles some scenes, aping Bachalo's style. It works fine, but is a bit looser than Bachalo's art. And a personal favourite of mine, Duncan Rouleau, handles the opening flashback. He and Bachalo both use exagerration and humour in similar ways, even if their styles are different. He's a good fit for this book, and I'd love to see him back. Another fun issue, and I still can't get over how dense this book is, overflowing with small character moments and jokes throughout.
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