Weekly Comics - 04/25/2012

Flash#8 - Francis Manapul, Brian Buccellato/Francis Manapul

This issue really dives headfirst into the Speed Force problem that has been at the heart of this series since the start, as Barry gets a tour of the Force from an angry, deranged, time-displaced kook named Turbine and pages upon pages of astounding visuals roll by. Manapul and Buccelato continue to merge art and story with this issue in interesting ways. The Speed Force is comprised of a series of rock outcrops, which wind and twist across beautifully-designed splash pages. Turbine falls from one panel's rock and lands in another's. He and Barry walk across winding rocks, through purple and blue hazy memories of Barry's life. The wonder and danger of the Force is bewildering for the reader, and helps explain Turbine's alternately angry and amazed behaviour. Turbine provides some exposition to explain how the time disturbances, EMP pulses, displaced objects, and displaced people have been occurring, as well as he and Barry's respective roles in these problems. The explanations fit together quite well and it's all very interesting. I'm a bit hesitant about how neatly it all comes together, but I'm willing to see where it goes. There are also some beautiful full-on fight pages in this issue, where Manapul plays with the speed lines of both characters and Buccellato throws in vibrant reds and yellows to create some fantastic images. The subplot material is of varying quality. I'm getting a little tired of Patty's rallying against the Flash as a menace. It feels a little abrupt and laid on thick at the moment. However, the Gorilla Grodd stuff is golden. I'm not a long-time DC fan, although I know he has a big following. His introductory scene here is highly entertaining, and I can't wait to see where this issue's cliffhanger takes it. This is another beautifully-rendered, exciting issue. Despite the odd kink here or there, this title is never less than great.

 

Uncanny X-Men#11 - Kieron Gillen/Greg Land

I have not been a fan of this relaunched Uncanny. I have never been a fan of Marvel's contrived, all-consuming events. And I hated every single page of this issue. I've spewed enough bile at this title already that I don't even know if I have much to say. It's not that I have critiques of specific plot points. I just hated everything this issue was. The shifting narration (from Namor, to Colossus, to Hope), meant to be insightful and provide variety, fell completely flat for me and provided nothing of value. Namor's scene had no purpose beyond giving him more pompous, obnoxious dialogue. Colossus' scenes could have been a good opportunity to explore his Cyttorak problems (something that, frankly, should have been addressed already). Instead, they were a confusing mess of conflicting statements and hollow dialogue. Hope's scenes were basically a recap of her character and crises. Great. The ending, with Cyclops' PR person sending out a mass letter, was really an abomination. In parts, the letter seems like a trite attempt to get sympathy. Then it becomes a threat to the world. It was just so mind-numbingly stupid, I had trouble finishing it (not unlike this comic). Whoever gave the order, years back, to turn Cyclops' character into a completely irrational fascist asshole needs some warm milk before bed. All of this garbage is drawn by Greg Land, who hasn't drawn a good issue of this title since he joined it in 2008 (technically, he hasn't actually drawn, so much as traced, for almost 10 years now). I have never not purchased an issue of Uncanny X-Men, but I don't know if I can handle all these AvX crossover issues.

X-Men: Legacy#265 - Christos Gage/Rafa Sandoval

More fun with the Mimic and Michael Pointer... In all seriousness, this is a decent comic, I just could not care less about those two guest stars, and they take a lead role in the issue. This is another issue of Rogue and friends trying to solve Michael's energy absorption problem while the Mimic mopes in the background about losing his best friend. I'm not engaged by these characters, I don't find their story interesting, and I had a hard time getting through parts of this issue. And yet, the rest of it was perfectly good. I've complained that Gage lays it on thick with the character interactions (in stark contrast to Mike Carey's approach), but those scenes worked here. Rogue and Toad discuss their dependency on Magneto, and Rogue and Mimic discuss living a life defined by taking from others. And both conversation scenes worked very well. There were smaller character moments that succeeded as well - the growing mystery of Husk's condition, Rachel's hesitancy in using her powers, and Rogue inviting Mimic to stay at the school. The art was also very strong. I like Sandoval's style - the lines are rounded and lush, but the characters still have a unique look to them. And the splash pages are usually powerful images. So yes, the lead plot itself isn't wholly engaging (unless you love the two guest stars), and boy is it dialogue heavy. But, around the edges, Gage seems to be getting a handle on the cast and pacing. A good issue.

Astonishing X-Men#49 - Marjorie Liu/Mike Perkins

This is Marjorie Liu's second issue, like her first one, it’s a mixed bag. Gone are the leisurely conversation scenes, with the X-Men hanging around their apartments. This issue dives headfirst into a street fight with a group of mind-controlled Marauders, led by Chimera. There's really nothing here, plot-wise, until Chimera reveals that the villains were mind-controlled. The light, fun characterization Northstar, Gambit, and Cecilia Reyes received in the previous issue isn't on display here. Every X-Man, with the exception of Wolverine and Northstar, is a cipher. Karma appears out of nowhere, and is treated as if she was there all along, but doesn't contribute much. I will give the fight scene credit for having a speed and brutal efficiency to it. I was definitely drawn into it, even if there is no compelling story supporting it. The centerpiece of the issue is a fight between Northstar and his boyfriend, Kyle, arguing about the former's superhero life and what role Kyle has in it. Liu wavers here in the dialogue, between being trite and genuinely effective. Like the issue, the scene a mixed bag. And it clearly will be taking centre stage, as a wedding is approaching in this title. I think that will be my only reason for giving the book another issue - I feel like something big is around the corner, even if the current story is non-existent. Mike Perkins remains passable on art. For every strong action panel, there's an overly rendered face or piece of body language. The colouring and finishes are working double-time to make this book look 'realistic,' and it's hurting Perkins' style. I've dropped Astonishing in past arcs for lesser offences than this issue. Those stories usually bored me. This one isn't, even though it has problems, so I'm sticking it out for now.

The New Deadwardians#2 (of 8) - Dan Abnett/I.N.J. Culbard

This mini-series remains a complete delight in its second issue. Everything is controlled and perfectly-paced - the tone, the plot movements, the characterization - mirroring the society the story takes place it. And yet the story still feels fun and vibrant within that constrained structure and environment. The opening autopsy scene is claustrophobic. The details of the crime and victim are grim, and presented to the reader in a very confined setting. The plot moves swiftly through a series of police procedural and investigative scenes that do much to reveal character, the history of this world, and the nature of this new British society. In fact, every scene makes an effort to naturally let us know more about how British society has adapted to a zombie outbreak, and it makes the world-building feel vital and interesting. There is brief exposition regarding the zombie outbreak, but it feels like natural reflections on the part of our lead character, not an exposition dump, and works very well. Almost every scene touches on issues of social class as well, and the role it has played in shaping British society. Abnett is creating a very strong world for his story to play out in, and has put a lot of effort into controlling the pace and tone of the story. There is actually a fair amount of plot movement here, as a number of details about the murdered vampire are discovered by our Chief Inspector. The interrogation scene at the end is a tense, engaging series of revelations, and the story takes a strong turn. Culbard remains a strong partner for Abnett in fleshing out this world. The panel structures are typically fairly simple, and the images within are as well. But there is immense skill on display here - he matches Anett's controlled pace and structure perfectly. With simple, clean lines, he conveys the rigidity and restraint of this society, and how it is on the verge of falling apart.There's a tension and unease in every scene, hinting at how these people are struggling to keep the facade together, and the art captures that very well. A really ingenious book, that is very well executed.

Glory#23 - Joe Keatinge/Ross Campbell

I decided to try something different this week, and was lucky to find a copy of this, the first issue of the relaunched Glory series. I have no knowledge of the character, but I have heard nothing but good things about this. Wow, was it great. The ideas are fresh, interesting, and presented with confidence. The execution is wonderful - there's variety to the different lead characters, their voices, and the tone and feel of their scenes and environments. I had read reviews commenting on how much exposition was here and I didn't see any problem with it. A few simple scenes are used to provide the background on Glory, but otherwise, the pages glide along through a variety of settings and perspective characters, building an interesting world and a fascinating mystery behind Glory. Ross Campbell's art kills it - the superhero characters have a very deliberate childlike look to them, with unique features and body language. The lines are clean and powerful, but turn to violence and to brutal detail with ease. The book is really different looking, but, like the script, Campbell presents his style and redesigns with confidence. This book was a breath of fresh air - an enthralling mystery, an interesting set of characters, a great visual look. I will definitely continue with it, most likely digitally. Reading this and the New Deadwardians, in contrast to three mediocre-to-bad X-books, and I'm beginning to question my comic spending habits.

Weekly Comics - 04/18/2012

Batman#8 – Scott Snyder/Greg Capullo (lead story) Scott Snyder, James Tynion IV/Rafael Albuquerque (back-up story)

The Court of Owls make their big strike here, invading Wayne Manor and entrapping Bruce and Alfred in a chapter that is chilling and riveting in its suspense and battle sequences. I love how fast Snyder jumps into the home invasion, with a few pages of poignant discussion leading right into a wordless scene of Bruce and Alfred preparing to protect themselves. That opening discussion is a great scene, though, with Bruce reflecting that perhaps he was too close to the dangers of Gotham's streets to take a higher-level view of the city. The image of him standing over a replica of the city, shrouded in darkness, is fantastic. In fact, Capullo does his typically excellent job on the battle with the Court in Wayne Manor. For every stunning splash page of violence, Capullo presents pages of smaller panels, emphasizing the cramped, closed quarters that Bruce is fighting in. His shots of Bruce in action are fantastic. Robed and bandaged, he volleys across the page in a lithe manner, outrunning and outmanoeuvring his opponents. The Court may be a frightening foe, but, through visuals alone, Capullo sells us on Bruce's superior battle skills. Snyder writes a tense, suspenseful script, and it truly feels at times like Bruce may be overtaken on his home territory. The home invasion aspect of the Court's attack truly feels invasive and scary. There is also a lot of screen time for Alfred, who excels as a partner and equal of Bruce's. Rarely losing his calm, even when surrounded by the Owls, he has some great moments here. The battle culminates with Bruce and Alfred locking themselves even deeper into Wayne Manor, emphasizing the claustrophobic feel of the issue, only for Bruce to emerge in a comically oversized suit of Bat-armour, reminiscent of Iron Man's original armour. This moment of almost absurd action works perfectly - it's a great cliffhanger and a fun finish. This story overall has been large in scope, but I was surprised how well this intimate attack on Wayne Manor worked. Snyder and Capullo perfectly captured the fears around having one's foes infiltrate their home. Special mention must go to FCO's colours. Always a strong aspect of this book, they are truly excellent here, setting the shadows and night time lighting for this dark issue perfectly, and casting a perfect blue-grey shade onto everyone's face and clothing.

This issue is the first to feature a back-up strip. I had heard these were intended to flesh out the Court of Owls' origin, but this issue's instalment acts as a continuation of the lead story. It has Alfred basically discover the premise of the "Night of the Owls" crossover and get the message out to Gotham's defenders, while armoured-up Bruce fights the Owls. It's an effective piece that sets up the crossover well and continues to give Alfred some worthwhile screen time. I don't know how they got Albuquerque to draw this in addition to American Vampire, but what a gift he is for this book. His style couldn't be more different than Capullo's, but it has such a unique energy to it. His people are expressive and quirky, and he knows how to convey grit and horror through his work. He also has fun with the Bat-armour's bulky look. Nathan Fairburn colours this back-up, and plays with a different palette than FCO. The main shade here is the neon green computer screen Alfred is reading, and it bathes the pages in a creepy, sterile light. Overall, this is another excellent issue of what is probably the best monthly title being published right now.

Birds of Prey#8 – Duane Swierczynski/Jesus Saiz, Javier Pina (finishes)

Swierczynski tackles one of the mysteries that has been hinted at since #1 - Black Canary's murder of her husband. The players involved and details are left opaque. So if that approach to the Choke storyline didn't thrill you, it may not here. But, if you're looking for another sharp, high-action issue, with beautiful art, this hits the spot. Swierczynski effectively jumps around in time and place, lending the action a lot of energy. The roles of these villains might be obscured, but their motivations are quite interesting - their powers are meant to counter the Birds' tactics and they seem to have personal vendettas against the women. As usual, the action scenes are superb, in no small part thanks to Saiz's dynamic layouts. But the script is equally strong. With minimal dialogue, Swierczynski continues to develop each of the characters and mold them into a team. Black Canary, typically calm and cool, is on guard and weakened in this issue, crippled by her secret and unable to use her powers. It's an interesting predicament that lets us see how the other team members unite to support her. The battle scenes let each character show off a lot of personality. All of this builds around Starling's discovery of Canary's crime, and a gut punch of a final page. This issue is the last for Saiz and Pina, with Travel Foreman’s style sure to bring a shift to the book next month. The two go out with a bang. The art is always a little less lush when Pina finishes over Saiz’s pencils, but it hardly matters when the panel work on the action scenes is this strong. The characters are attractive and dynamic on the page, and there is some great choreography on the action. These two artists fit perfectly with the high-octane pace Swierczynski brings to the book. Foreman should certainly be a change of pace, but he’s a talented artist in his own right, so I look forward to his work. My only hesitation with this issue is that all of this build up, which Swierczynski has been seeding through the book from the start, may have to go on hold. Next issue crossover over with "Night of the Owls" - I'm sure that will be great, but I'd much rather see this issue's cliffhanger play out in full.

Wonder Woman#8 – Brian Azzarello/Cliff Chiang

This is another fantastic issue. Wonder Woman and Hermes venture into the underworld to rescue Zola, and Azzarello displays his gift for taking a mythological concept, distilling it to its central element, and presenting it in a bold, new way. In this case, it's that the ground, the buildings, and the very fabric of the underworld are made up of the bodies and spirits of dead mortals. And, as mortals, whose lives have ended, they are happy to be able to continue their existence in this way. This is mere pages into the heroes' journey in the underworld, and it sets and unsettling tone for their adventure. The action begins quite quickly, when a horrific soldier on a horse attacks the duo, and doesn't let up. Azzarello and Chiang work in deft precision through these action scenes. The fight choreography, movement of characters across panels, and swift brutality come together perfectly. The pages are a joy to read and are very well-composed, creating an effective battle scene. The duo's reunion with Zola is a story turn straight out of a Vertigo series - this innocent, optimistic woman has been ravaged by her time in the underworld, lonely and forlorn, but overjoyed to see her rescuers. The thought of what she has experienced, particularly in her pregnant condition, is scary and Chiang does a great job with this darker version of her house. The confrontation in the final sequence plays out with the epic scale of most interactions in this book - characters must answer for broken promises and the stakes are always of godlike proportions. The final shot fired is a shocking moment, depicted with real power by Chiang. A further note on the art - the colouring is perfect. The blacks and reds used to add atmosphere to the underworld give it a sense of dread that really sets the tone. This remains a wonderful title - confidant in its simple reimaginings of these characters and telling a story with true weight and stakes. This is family drama played out with the gods, and it feels like it. Definitely the best of the week.

Wolverine and the X-Men#9 – Jason Aaron/Chris Bachalo

This issue is the first to crossover with Avengers vs. X-Men. I should preface that I'm not actually reading that series - I've grown more than a little weary of Marvel’s events and haven't read one since World War Hulk. I'm also a little resentful my X-books are being pulled into an event. For so long, Marvel have been content to let them sit on the side, and now they're being dragged into this tired Phoenix/Hope story, written by a committee, that I have no interest in reading. AvX will tie in to multiple issues of this title, Uncanny, and Legacy, and I'm not sure if I'll get all of them.

This was the first taste of what I may be in for with these crossover issues, and it was actually pretty good. It was good because the tone, style, and general subplots of this book continued brewing in the foreground, while the crossover stuff happened on the side. The crossover element that I cannot stand, and that I find to be the definition of contrived, is that Wolverine sides with the Avengers. Compounded by the fact that the Schism itself was contrived and forced, this decision solely exists because a) the Avengers are the perceived hotter property and b) they have a movie out and c) this will be "controversial." Ooooo, wake me up when it's done.

Getting to the good stuff, this was actually a fun issue. It felt like a regular issue of this title, full of humourous exchanges, little jokes crammed into the pages, and much stronger visuals than Bachalo provided in the previous issue. Even those jokes that tangentially tied in to AvX stood on their own - like, the intergalactic betting on Phoenix's planetary destruction, or when Quentin was rescued from falling. The big moments, like Rachel and Quentin's encounter with the Phoenix Force, legitimately work. Equal parts dramatic, humourous, and visually strong. There's a lot of great stuff here that has nothing to do with the crossover - Idie's growing comfort at the school, problems with Husk's powers, Husk and Toad's growing crush, Doop as a receptionist. These are the moments that made the issue a winner for me. I also like the Shi'ar plotline. Kid Gladiator and Warbird have been smaller players (albeit, receiving top billing) in this book, and AvX is providing a opportunity to put them in the spotlight. I'm all for these crossover issues being used to spotlight them. So, I'm cautiously optimistic. Despite the crossover element I hate, this book otherwise retained its visual and tonal style and ongoing subplots, and that's what made it enjoyable.

Weekly Comics - 04/11/2012

Batgirl#8 - Gail Simone/Adrian Syaf, Alitha Martinez, Vicente Cifuentes

I continue to like this book and more with each issue. Simone packs these twenty pages full every month, but she's worked out a delicate balance so that it doesn't feel cramped. The numerous plot threads are vibrant and exciting, and the narration from Barbara Gordon connects the various scenes together organically. This issue delves deeper into Barbara's childhood and the accident that left her crippled. The focus is on big revelations but Simone handles them with grace and not bombast. Barbara learns why her mother walked out on their family - it's a chilling flashback and the narration really works. But I like how Simone keeps the issue open. Barbara doesn't believe she's heard the whole story, and I like how Simone handles the lingering mystery. The other revelation centers around Barbara confronting one of Grotesque's enforcers, whom she recognized last issue as being with the Joker when she was shot. This sequence could easily have gone way over the top, but was fairly restrained and natural. The dialogue between the two characters dances around the issue in an engaging way, before hitting the reader with some strong emotional moments. Set in the rain, this sequence has real drama to it, while still staying grounded. Simone has mined Barbara's paralysis for a lot of material, and it's always been done with subtlety and intelligence. This is another strong exploration of her injuries. Simone continues to play up Barbara as angry and damaged due to what she went through - the moment where she lashes out at her opponents and realizes she has gone too far is excellent. In addition to these storylines, Simone brings an old foe back into the story, through his encounter with Alysia. It's a great ending scene. I also like the book's sense of humour. Grotesque chews the scenery like no other, and when the scene switches to his hideout, it's labelled as his "Elaborate Penthouse." Tongue is in cheek, and this book is stronger for it. The art is handled by three pencillers, but I can only distinguish Syaf's pages. The styles flow together fairly seamlessly, and are consistent with this book's general look. Syaf really excels on the action scenes. He nails the bottled anger within Barbara as she lets loose on her foes. There's emotion to the faces and a nice, soft look in the quieter scenes. This book thrives on its eclectic nature. I always know I'm going to get a lot out of it, and am rarely disappointed.

Batwoman#8 - J.H. Williams III, W. Haden Blackman/Amy Reeder

It pains me to write this, but this book is struggling right now. A lot of it does come down to the art. After a strong debut, Amy Reeder hasn't delivered on her promise. Instead of standing strong, most of the characters look a little sketchy and hesitant on the page. They occasionally seem packed into the panels. On those pages with fewer panels and a stronger design sense, figures do look more powerful, but it's not always consistent. Reeder does pull off some Williams' stylish splash pages here, which stand out amidst the weaker pages. I also think the colours aren't holding up their end of the bargain. In Williams' issues, the colours were a huge component of the book's visual style. They aren't anymore, and the overuse of oranges and yellows have taken away from the book's unique look. The writing is also a bit shaky. I have lost track of the villainous element of the story. There are too many people running around right now, and they all seem to have entered the story at random, only to become major figures in the Weeping Woman story. There isn't really an effort made to step back and explain the significance of these many players, either. And I have no clue who Sune is and why a final page splash of her arrival is meant to be important. The strongest scenes still center around the characters - Kate struggling with the DEO, Kate and Maggie's growing relationship, the conflict their professional roles come into, and Jacob comforting Bette. These moments have power to them, and it's the wider plot that is struggling for clarity. It's a shame to be writing this, but this book has struggled since the artistic shift, and I'm concerned for where things are going.

Frankenstein: Agent of S.H.A.D.E.#8 - Jeff Lemire/Alberto Ponticelli

This is probably the most underrated comic I'm reading. It's definitelythe most fun, but also capable of great pathos and emotion. This is an excellent issue, possibly the best I read this week. Frankenstein and his ex-wife go off in search of their lost offspring, bringing back a wealth of emotions never properly dealt with and delving deeper into the secrets of S.H.A.D.E. With a sparing use of dialogue for the lead character, Lemire is able to convey real depth and pain. The repeated use of 'M'Lady' hints at a respect for his ex-wife that his typically gruff demeanour hasn't shown so far. The story is also presented in a pretty sparing style, creating maximum impact for the emotion as Frankenstein and Lady Frankenstein delve into their shared history while wandering an Arctic wasteland. Lady Frankenstein is a great character, driven to end her victim status and still dealing with the pain of her past. The actual story of the Franks' offspring is played as tragic, with a yearning in both parents' voices to save their child. Lemire is able to wring out true despair from Frankenstein's very minimal dialogue in the final pages, and it's a testament to the world he's created in this book that it works so well. There are several scenes here hinting at Father Time and Roy Palmer's roles as the corruption within S.H.A.D.E. becomes a larger plot thread. It's woven right into the drama of the lead story, and works as effective build-up. Ponticelli also shines here. His work is less ropey and wild now that Walden Wong is inking it, but no less strong. This bizarre cast of characters come to life under his pencils, emoting and reacting to the events going on around them. The two brief action scenes have the wild energy and inventive layouts he is known for, along with a strong design for the Franks' offspring. The book's visuals are as strong as its unique writing style. This is an excellent series, and always has been. This issue explores characters without being heavy-handed or obvious, and tells a tragic story in doing so.

Superboy#8 - Scott Lobdell, Tom DeFalco/Iban Coello, R.B. Silva

I think this is my off-ramp point with Superboy. I knew this day would come. I loved the initial laboratory setting, but I knew this title would continue to get more and more intertwined with Teen Titans. It's gotten to the point where major events are occurring in that title and picked up on here every month. The upcoming crossover, and the wider "young heroes" world DC is building is of less interest to me than the story of this strange young man finding his place in the world. This issue exemplifies why I'm not sticking around - the issue opens with an in-progress fight with Grunge. Grunge is never properly introduced, and constantly references events and characters to be dealt with in the upcoming "The Culling" crossover. All of this picks up from events in Teen Titans#7, with a number of those characters running around, and continues in that series. There are just too many extra characters here, and the interesting story of Superboy, Rose Wilson, and Caitlin Fairchild has gotten lost in the shuffle. DeFalco's scripting doesn't help either. I was drawn to the unfriendly, cold tone of the book, exemplified in Superboy's isolation and disaffected dialogue and narration. DeFalco has striped all personality from the script. It's perfunctory now, and lost the unique tone Lobdell's script brought to it. I'm really sorry to leave now, though, as the art is just stellar this month. Coello draws the battle with Grunge, and is leagues better than last issue. Yes, he's clearly mimicing Silva's style and energy, but it works. The fight moves and glides along the page with a great choreography and the characters look crisp. Silva handles all of the subplot scenes, and is up to his usual excellent quality. I'm sad to be leaving, but I knew it wouldn't last forever. Perhaps when the book gets back to a more solo focus on its lead character, I'll try it out again.

Saga#2 - Brian K. Vaughan/Fiona Staples

The most striking sequence in this second issue is the debut of The Stalk and her attack on Marko and Alanna. Staples' visual for the character is haunting, and she appears out of nowhere, in a beautiful splash page, shocking the reader and the characters. The character's design expands, to include multiple limbs. Her attack on the lead characters is shocking in its swiftness and brutality. It's a powerful closing scene to end this second issue on. The rest of the comic continues to flesh out the wonderful lead characters while also providing some depth to their pursuers. The world Vaughan is creating here feels exciting, and I appreciate the effort put in to building up their pursuers as viable characters in their own right. Marko and Alanna continue to show us new sides as the struggle to protect their daughter intensifies. Staples' art is wonderful once again. Her lines are sharp and strong, but the emotion and the alien settings have a softness and inviting quality to them. Hazel's narration, written directly onto the page by Staples, remains a strong addition to the book. I feel like others could speak far more eloquently about what Vaughan is doing here, so I'll just say that I'm completely drawn into this story and loving it.

Saucer County#2 - Paul Cornell/Ryan Kelly

This book proceeds from #1's excellent cliffhanger, and it's clear there will be a lot more to the story than what pre-interviews revealed. Arcadia Alvarado is still the heart of the story, but a well-rounded supporting cast, each embroiled in their own struggles, is growing around her. Cornell has creating a commanding, engaging lead character in Arcadia. She communicates her goals with exacting precision, but still feels fear and uncertainty about what has happened to her and her course of action. The character's interests lie on multiple fronts - representing fellow immigrants, representing women, and understanding the new alien problem she has encountered. Her resolve gives this series a very strong voice. Her reaction to an alien invasion feels realistic, expressing the same fears any normal person would have, but still believe what happened to her is true. The political discourse in this book remains a highlight. Cornell is very precise in the dialogue in these scenes, as well. The tone is strong, the dialogue is intelligent, and the interplay between characters adds dimension to the issues being discussed. The story does a lot with the supporting characters, namely Arcadia's ex-husband Michael and the unhinged Professor Kidd. This is where my only hesitation with the book comes in. It still feels like the tone is being worked out, as the kookier aspects of Kidd's story and the loopier aspects of Michael's journey sit side by side with the political intrigue. All of this is highly entertaining, particularly Kidd's interaction with two transparent miniature people. I appreciate the variety in this book, even if the tones don't always mesh fully. The alien material is also being teased at an appropriate rate - Michael's vision on the final page and what Kidd sees on the plane trickle out to add an element of fright to the story that is really exciting. Ryan Kelly is a great match for the book. Much of the story centers around faces and conversation scenes, and Kelly creates a vivid world of expressive, interesting people. He also trickles in the alien aspects perfectly, as the brief glimpses of them we get add the right amount of excitement and intrigue to the story. This remains a smart, engaging title as Cornell and Kelly further develop their story. I'm excited for more.

Uncanny X-Men#10 - Kieron Gillen/Carlos Pacheco, Paco Diaz

So, this was all much ado about nothing. Like WXM and Legacy, this title is obviously in filler mode to kill time before the AvX crossover. Unlike those books, this does actually try to build to the crossover, albeit with a horribly contrived guest appearance from the Avengers. Otherwise, this is similar to the Tabula Rasa wrap up in #8 - suddenly, the fight with Unit just ends. The X-Men flail about fighting Unit, until Hope arrives on scene to stop the battle. It turns out Unit isn't a bad guy, he just wanted to talk to and meet more mutants. Um, okay? This is a conclusion? Yes, the final pages hint at more going on, but nothing of any interest. Gillen does do strong work with Cyclops and Agent Brand's negotiations. a decision made by Colossus, and some spotlight time for Danger, but this is yet another meh issue of the relaunched Uncanny. The battle scenes are poor, with the X-Men coming off as incompetent for page after page. The Avengers scenes are worse - the tension created between Cyclops and Captain America is the definition of fake and contrived. Pacheco's art, normally disappointing, is actually better here. The characters and settings are still lacking his familiar style, but the visuals are crisp and the fight scenes in the snow do look quite good. Diaz illustrates the closing pages, and does a good job mimicing Pacheco's style. Gillen is a good writer, but he seems content to just sit on his laurels with this book. Strong character moments are usually present, but if you're looking for a story with any energy, intrigue, or life to it, stay away.

Secret#1 - Jonathan Hickman/Ryan Bodenheim

I picked this up mainly because I was looking for the first issues of other recent Image launches (Manhattan Projects or Peter Panzerfaust), and they were long-sold out. This was just released, so, with no idea what the premise was, I gave it a shot, and I'm more than happy I did. With Hickman's big Fantastic Four story just having ended, I think, as a reader, I'm ready to see him tackle his own material. The story is certainly Hickman's in form. The pacing is so deliberate and controlled. A event happens to one character in the opening. That character interacts with a second person in the next scene. An event happens to the second person in the following scene. The second person encounters a third character in the next scene. And so on. A series of linked events and characters slowly builds, and a wider plot connecting it all becomes evident in the final pages. I have to say, I was pretty much captivated the whole time. And that's not easy with so many conversations scenes. Outside of a brutal home invasion in the first scene, the rest of these interconnected events are very slow, deliberate conversation scenes. But there is such an air of mystique to these events that I was engaged the whole time. The characters are interesting in these early glimpses. There are those who are cool, calm, and collected in all situations, and those who have had that confidence shaken. Roger is effectively unsettled and scared as he gets further into this world of private security and espionage. Gerry struggles to keep confidence as his company is exposed and his facade shaken. Grant Miller retains his cool, and becomes the issue's key figure, ultimately holding power over the others with the final page revelation. If this presentation sounds controlled, it is. The dialogue is heavy, but never reveals more about the plot than necessary. It delves into the characters, but leaves some story details obscured. I love this approach, and I love the feeling that Hickman has a long-term plan, and we are merely seeing the opening stages of it. Bodenheim's art is clean and crisp, with an extreme focus on faces, given the dialogue-heavy nature of the issue. He brings these faces through a range of emotions as power in the story shifts - from confident to concerned, from scared to slightly hopeful. The designs are strong and effective. The colours are used sparingly, with shades applied to scenes almost at random. I found it really worked to set mood without overdoing it. Colour me happy with this debut issue. It may not have been the first issue I was looking to buy, but I really liked it. I'm in for #2.

Counter X - X-Force Part 3

"Rage War" (X-Force#110-113) - Ian Edginton/Jorge Lucas

Ian Edginton takes over as full writer from Warren Ellis with this penultimate storyline, and boy does the title move into some weird places. I will give Edginton props for actually trying to DO something here - some of the characters have some personality, an interesting story starts emerging, and there are efforts made to connect past stories to a larger conspiracy. It becomes such a convoluted mess by the end that I can't help but feel Edginton isn't playing a joke on readers. It's a hugely flawed story, but it's never uninteresting, and I'll give credit to Edginton for adding some depth to this title.

The story starts off with a somewhat simple premise - the Russian government is checking in on sleeper agents planted across the US during the Cold War. These agents had been testing upon to release secondary mutantagenic traits locked within them. In the intervening decades, they have had children, and the KGB is here to recall them. From this straightforward idea, the story spirals off - X-Force is recruited by Nick Fury to find the true person behind this, Niles Roman, who murdered Pete Wisdom. When the team finds him, Roman proceeds to delivers a long speech portraying himself as the victim of a vast conspiracy that ties into all of X-Force's recent cases. When a mysterious figure at an unidentified facility decides all involved have learned too much, a switch is flipped and a bomb goes off on our protagonists. The end.

I think it's the unexpected nature of this story that really got me. It starts off fairly simple, as the collection of the mutated children plays out with a touch of strangeness to it. It's the type of plot at home in this revamped title, and the cryptic scenes of spontaneous mutations and violent deaths work well. Jorge Lucas' artwork is much different in the first two chapters than the last two - he draws meticulous detail into the mutated humans, and also brings that detail to the settings - rooms and cityscapes look grimy and filthy. It's very effective, and his style drastically shifts in the final two chapters. There's also some effort made with the characters. Proudstar and Bedlam are ciphers as usual, but Sam and Tabitha get a decent scene to reflect on recent events and find comfort with each other. It hasn't felt like human characters have been in these stories, so these softer scenes are appreciated. And, to Edginton's credit, the story has a nice plot twist, when the team learn Valentina, Pete Wisdom's friend from the first arc, is closer to this conflict than they expected. These are hardly perfect comics, but the first two chapters have potential.

Things take a massive shift as the story continues. The mutated children story is essentially dropped. It's still there, but only as background for the team to find Niles Roman. There's extended nonsense about Proudstar being injured and needing a cure - time-wasting to get us through part 3, and it's noticeable time-wasting. And SHIELD shows up so that Nick Fury can set the team's sights on Niles Roman, the man who killed their leader. The final issue is in large part a bloated battle scene, with the team invading Roman's headquarters, and a number of silent, or nearly wordless, pages. It's not great stuff, but at least it's a quick read. As mentioned, Lucas' art takes a big swerve in the final two issues. He goes for a massive Kirby homage. Gone is much of the detail, replaced with very heavy lines, and faces, expressions, page layouts, action scenes, and body language cribbed right from Kirby. That said, it doesn't look bad. It certainly livens up some weak comics and it's endearing to see how faithful Lucas is in every panel to Kirby's style.

In the end, the team find Roman, who proceeds to explain that he is the victim of a massive conspiracy involving aliens, a piece of moon rock that landed on Earth (and seems to be connected to Domino's back problems from the previous story), and anti-mutant scientific experiments. The bio-engine from the first story is connected to the KGB experiments from this story. Roman also explains how various governments have sought his death for thirty years, resulting in him hiding out. In the end, an unseen female decides all involved have heard too much and Valentina, revealed to be a robot, explodes, seemingly killing them all. I can't help but feel Edginton is playing a joke here - riffing on the 'evil villain reveals his plans in a speech' idea or even the notion that everything has to come together and fit into a nice whole. The speech Roman delivers is equal parts preposterous and well-planned out. It does provide a nice coherent narrative, but also goes off the deep end into complete madness. It's endearing to think such a wider-reaching conspiracy is playing out in this little, ignored book. Hey, if the readers don't find this book important, at least the writer should.

If somewhere were to write off the end of this troubled little story as completely stupid and insulting to the audience, I wouldn't blame them. I can't help but enjoy that Edginton tried something here, though. This book was lifeless in its first two arcs, and there is an energy and unique quality to this story, despite its faults and choppy focus. If Edginton had been allowed this free reign before, who knows what could have resulted. After this, the Counter X period of X-Force wraps up with a two-part story, and I'm actually interested in seeing what comes of that.

Weekly Comics - 04/04/2012

Action Comics#8 – Grant Morrison/Rags Morales, Brad Walker, Rick Bryant, Bob McLeod

Morrison has infused this book with a frenetic pace and mountain full of ideas since the start. And here, just maybe, the stress is starting to show a bit. The good things here center around the characters - the Lois/Lex/Jimmy interaction is a treat. It's great watching this young Superman grow in confidence in the battle, and grow to accept his alien heritage. And I love the twist with Lex's motivations. The denouement to the big battle scene works very well - perhaps because it's the time when we can breathe. Clark struggles with his future as a journalist, his secret identity, his mission as a hero, and where Clark Kent stops and Superman begins. Even the tease at the end for a crazed dinosaur bounty hunter going after Superman is so wacky, but played so straight, that it's fun. It's the battle scene itself that gets a bit messy. With Superman, John Corben, the talking rocketship, Glenmorgan, Lois, Lex, Brainiac, and a lot of robot voices, it gets hard to follow at times. The art doesn't help either. Morales produces some pages to his typically high standards, but there are an equal number that are rushed, unfinished, and lacking in detail. It doesn't help the general feeling that too much is happening here. Brad Walker, a reliably good artist, draws a late scene, awkwardly shoved between Morales' pages, and his manic grins removed me from the story a bit. There is no back-up story here - this is an extra-long issue. I appreciate that, I just wish the final product was more polished. This title is always brimming with potential, and is usually a thrill. This issue is a good one, but it succeeds it spite of its rushed qualities.

Swamp Thing#8 – Scott Snyder/Yanick Paquette, Marco Rudy

After seven issues of build up, Alec Holland has finally taken up the mantle of Swamp Thing, and, here, Snyder has him launch into a desperate battle with the Rot. It's a different issue than the first seven - it still contains gruesome horror, but this is a fast-paced action issue. It's actually a nice piece of catharsis to have a brutal fight between the lead character and the forces of the Rot. Paquette is fantastic on the fight that takes up the second half of the book.The violence is rampant and vicious, and his signature panel arrangements are used to fantastic effect. And Paquette really outdoes himself with the hideous creatures of the Rot. Snyder writes an exciting action piece here, that builds to a tragic climax, when Abby emerges in her new form and attacks Alec. The first half of the issue captures the methodical, foreboding tone of the series to date. In a lengthy monologue, Alec learns to accept his new body, his connection to the Green, and his new capabilities. His voice feels vibrant and real, and it's great to explore this engaging lead character in a new way. Snyder opens the issue with the Rot's forces attacking normal people, and these scenes feel dangerous and tense. Marco Rudy draws the first half of the book, and is really growing more confident and comfortable on this title. He is working with unique panel layouts, and does a fine job with them. His depiction of the Rot is a bit sketchier than Paquette's, but no less effective. When Alec describes how Sethe breathes through his minions in the Rot, the art really shows that disgusting symbiotic relationship. His splash pages of the Rot's breeding grounds are fantastic. Overall, it's another excellent issue. The creators involved are putting their all into making each issue frightening and engaging. I've loved the ride so far.

Animal Man#8 – Jeff Lemire/Steve Pugh, Travel Foreman

Like this week's Swamp Thing, this issue is largely action-based, as the lead character battles the Rot. Buddy Baker faces a predicament on a different level than Alec Holland does, though. Both are fighting to protect the world, but Buddy's struggle feels personal. He is fighting for his family's safety just as much. The opening, nighttime fight outside the trailer is a terrifying sequence. The danger feels real, as we readers don't really have reason to believe Buddy is strong enough to get out of this. Steve Pugh brings some exciting layouts to the scene, and does a great job on the dogs and birds that attack the family. The threat to the Baker family feels viable, and it makes this segment harrowing. The reactions of Ellen and her mother, particularly to Maxine's resurrection, lend a realism to the fight. Maxine remains a great character, discovering the boundaries of her new powers with a pluck and enthusiasm that no one in her family has at this point. Buddy goes on to battle the Rot's forces on a city street, separate from his family. Alone, the character feels even more powerless. His somewhat limited power set shows its weakness. Pugh keeps the energy high on these pages, while still capturing Buddy's human qualities. This issue continues to ramp up the conflict with the Rot. The energy is not flagging as this story marches on. I credit Lemire for this, with his incredibly strong take on the Baker family giving this book a vitality and keeps such an otherworldly conflict right at home. The issue ends on a great cliffhanger, and I can't wait to see how this story continues.

iZombie#24 – Chris Roberson/Jim Rugg

My assumption that this title was reaching its end in my previous review proved to be right – as announced last weekend, it is ending with #28. It’s not a surprise, but, despite the creators’ claims to the contrary, I’m concerned this leisurely book might have to wrap up too quickly. This issue is another origin, this time focusing on one of the Dead Presidents, Agent Kennedy. It’s a fun issue, as she investigates a rock group channeling avatars of Xitalu, and nicely dovetails into the big story the book is (presumably) ending with. It does feel light though, given how soon the book is wrapping up. I can’t help but wish the origin issue was foregone in favour of continuing the ongoing story. It’s still good stuff though. I liked Jim Rugg’s guest art, which riffs on Allred’s style and adds a more detailed look to the characters faces. A good issue, I guess it’s just tainted by my disappointment with the book is getting cancelled.

Wolverine and the X-Men#8 – Jason Aaron/Chris Bachalo

I really wanted to love this issue. Unfortunately it is equal parts a joy and a mess. I have to lay blame for the latter at both Aaron and Bachalo’s feet. I have long heard complaints that Bachalo’s storytelling is hard to follow; I have tended to ignore that, as I love his style so much. I still do, but this issue was very hard to decipher in spots. Bachalo’s depiction of the action did not work. The images looked great, but, in some scenes, the panels didn’t flow and objects in view were deliberately presented askew. This was particularly noticeable for me in the space scenes. And Aaron didn’t help with this. This issue was too hyperactive. I love the general pace of this series, but there was just too much going on here. Sometimes there wasn’t space for Bachalo to set the scene properly because it was going to be changing in three panels. And I think Aaron is at fault for trying to tell too much story here. I know we have a crossover around the corner, but one issue for the Sabretooth battle (not to mention 30 other things) made this too compressed.

That said, this issue is still enjoyable. The book feels more stylish with Bachalo back. Aaron seems a bit more inspired to try out wacky gags as well. The interaction between the students is spot on. There are some great ideas as well – chief among them, Wolverine going around in a wheelchair, trying to fix his broken legs. I also like the spotlight on Beast – he has been a big presence in this book, but this issue put a real focus on his character. I just wish his story wasn’t so rushed. Everything going on with the Hellfire Club is also great. They represent an imposing threat. It’s too bad their story has to be shunted aside for a crossover, as their final target looks to be very interesting. And Bachalo shines in some scenes, chiefly the opening fight between Sabretooth and the Hellfire kid. Beautiful stuff, with small panels presented in a controlled manner. This issue is a lesson in restraint – when the writer and artist exercise it, the result is great. When they don’t, the issue became an exhausting mess. Still, it comes highly recommended.

Counter X - X-Force Part 2

"Shockwave - Murder Ballads" (X-Force#106-109) - Warren Ellis (based on a story by), Ian Edginton (writer)/Whilce Portacio, Lan Medina, Ariel Olivetti, Enrique Breccia

For their second arc, each of the Counter X titles went back to explain how the Counter X status quo came to be, in four-part stories dubbed "Shockwave." Instead of doing on a full-on flashback, X-Force juxtaposes the flashback scenes with a present-day story in which the team reunites with Domino in the wake of Pete Wisdom's death and helps her combat a murderous pursuer. It's safe to say neither story sets the world on fire. There's definitely an effort to create a group dynamic for the cast, as well as attempts at starting ongoing mysteries, but uninspired plotting and action scenes, fairly lifeless characters, haphazard plot elements, and general malaise prevent this story from being any good.

As mentioned, the story follows two threads. In the past, Pete Wisdom recruits all willing members of X-Force to join him in combating wrongs perpetrated in the Black Ops community, and former team members depart in anger. He proceeds to teach the team new ways of accessing and expanding their powers, while indoctrinating them to his mission. In the present, the team mourn Wisdom's passing, and reunite with Domino, to help her combat Marcus Tsung, a mutant killer who is pursuing her, using 'virtual bullets' to kill his targets from afar. They also investigate an alien device implanted onto Domino's back, while Pete's sister Romany Wisdom hangs around the fringes of the story to hint at her brother's less than heroic past.

The flashback material is really thin here - to the point where, in the final issue, it gets all of one page. Unlike, say, Generation X, which devoted the full four Shockwave issues to flashbacks, this title intersperses a small number of flashback scenes with the Domino story. The only reason I can see for this is that there isn't much of a story to tell for X-Force. Outside of the old team splitting up, it's ground that we all covered in the previous story (in terms of Wisdom’s mission and the powers stuff). The break-up of the previous team is really contrived stuff. Domino and Moonstar have such an adverse reaction to Wisdom taking over and using the team for a bigger purpose, but it doesn't make much sense. Neither of them offer an alternative, and they agree that the team needs a purpose. So Edginton tries to create tension but having everyone yell a lot. Beyond this, the other scenes are fine. There is a nice idea behind expanding the team powers - the last story before Counter X saw the High Evolutionary wipe out the mutant gene. When it was returned, each mutant now had complete access to their full potential, hence, hence things like Proudstar flying. Beyond this, the flashback scenes are thin. The characterization doesn't really work in the break-up scene, and, beyond that, the team kind of just listens to Wisdom talk and shouts about their powers.

So it falls on the present-day scenes to carry the story. It's fairly uninspired on that front. The gist of that story is that Marcus Tsung is trying to kill Domino. Seems simple enough, but Edginton can't seem to decide what he wants the story to be about - is it about Tsung cutting a swath of destruction across America as he looks for her? There are a few simple scenes showing his cold bloodshed, and they are actually good. Unfortunately, the story is cluttered with a bunch of unnecessary crap - extended nonsense about a living alien device growing in Domino's back, the introduction of three Black Ops types to help determine what's going on with the device (all pointless characters, very quickly killed off), and the machinations of Romany Wisdom and her crew, who pop up when necessary. The problem is that the Tsung story doesn't have anything to it. Edginton tries to pad it out with his backstory, but that gets convoluted when we learn Domino has already encountered him and it resulted in this thing growing out of her back. Huh? That just seems to come out of nowhere, and I don't understand why she didn’t tell the team right away. Any intrigue surrounding Tsung’s character is ignored in the final issue, a big fight in the streets with helicopters and explosions. It looks dreadful, has no life to it, and removes any interest from this story. Tsung is also never given a proper motivation. He is killing all mercenaries hired for an old mission (of which Domino is one). Ok. For what reason? The final big fight doesn't even try to discuss that. By that point, we'd become so embroiled in the thing in Domino's back that it's possible Edginton hoped we forgot the villain had no motivation. I'm not even going to touch further on the crap with the three agents investigating Domino's back - what a pointless, waste of time.

The Romany Wisdom scenes are really the only ones of note. Her changing appearance (which I initially figured must have been an art error - I wouldn't put it past this book - until one of the characters mentions it), and general benevolence towards the team are interesting. We don't know where her loyalties lie, and that's potentially a good story here. She drops a bomb on the last page - that Pete himself used to perpetrate the same type of black ops crimes against mutants that he assembled this team to fight against. Yes, it's contrived, clunky, and presented to us as a big exposition dump on the final page - but it could potentially be an interesting story to pursue.

Unlike the first story, there was some effort at characterization here. Unfortunately, most of it is shrill and whiny. The bulk of it is built around the fact that the team went with Wisdom and not Domino, and now they've all got to work together. Most of it falls flat, because Edginton insists on having everyone gripe, bark, and shout at each other. Gone are the Cannonball and Proudstar of old, two sensitive, intelligent young men, or the energy and fun of Meltdown. They're all replaced by whiny kids who yell at each other, when Edginton even bothers to give them dialogue. There is also a lot of talk about how this group are the outsiders, marginalized by the rest of the mutant community. It's all talk, to make this an 'edgy' title, from what I can see. This group is deliberately cut off from the rest of the mutant world because the Counter X titles deliberately did that, not because of anything happening in the story. (Also, I have to mention the high rise tower the team now resides in ... actually, the less said about this twist the better).

It doesn't help the art is a haphazard mess - two issues co-drawn by Portacio and Lan Medina, one by Olivetti, and the final by Breccia. Olivetti actually does a great job, for the most part. His angular, expressive style is more in keeping with the tone of the book than Portacio's art has ever been. He makes use of open space nicely, as well. Medina's clean style does the job on his flashback scenes. The other two are terrible - Portacio has one good scene (when Tsung invades a birthday party and kills everyone). The rest is rushed and ugly. Breccia is perhaps the worst offender. His closing issue, the big fight scene, falls completely flat, with stiff figures, cramped settings, and ugly characters. The big fight was already a cop out from a story point of view, and the art certainly doesn't help it. The whole story feels rushed and ugly as a result of the changing art.

So, another story down for Counter X X-Force and nothing's changed. The plotting is completely uninspired, the characters are miserable to read about, and, with Ellis' influence diminishing, Edginton takes the story in completely unnecessary directions. With the rotating art teams, it makes the book feel like a rushed product, running to keep up.