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.
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