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 - 03/28/2012

Flash#7 - Francis Manapul, Brian Buccelato/Francis Manapul

This issue wraps up the Flash’s fight with Captain Cold, while swiftly moving into the hero’s next conflict, all of which is tied to his growing problems with the Speed Force. The story flows into its next movement quite naturally, making the fact that the Cold battle wraps up in the middle of the issue less noticeable. The battle scenes are sold on their visuals and sheer energy. Manapul and Buccelato have an endless array of visual and storytelling innovations – Flash rushing to save Patty as the debris forms the “DC Producly Presents” logo, the breakdown of Flash’s actions by the second, the opening splash of Patty falling. The action is frenetic and fun. I also love the colouring – the book has embraced brown and yellow hues, but Buccelato throws in a crisp blue sky to contrast with the red costume and columns of snow, and it looks radiant. The story swiftly moves into Flash trying to get into the Speed Force, as his misdeeds with it caused Iris to disappear during the fight. I like the stakes here – Barry’s making mistakes that innocents pay for. His troubles with the Speed Force aren’t surmountable. In fact, trying to fix them only gets him into more trouble in this issue. Flash’s trip into the Speed Force is a dazzling visual segment, with a series of circular flashbacks and softer colours. This sequence starts off more reflective and takes a turn with a dangerous cliffhanger, and I loved the contrast. I was caught off guard and thought the final page really worked. The only element I’m less convinced of is Patty’s turn against superheroes, after the Flash saved her. I’m willing to see where it goes, but it seems a little fast here. Regardless of that, this is another great issue. Full of energy and exciting on every page.

Justice League Dark#7 - Peter Milligan/Admira Wijaya, Daniel Sampere

I planned on buying I, Vampire#7, the next part of a crossover that starts in this issue, but it was sold out at my store. I’m kind of happy that happened, because I think I’m going to just sit this story out until Jeff Lemire joins with #9. This isn’t a slight on Peter Milligan at all. He has built an interesting world for these characters in the first six issues. This issue just doesn’t fit that vibe though – the team is acting too much like a team and the mission they go on for the purposes of the crossover does feel forced. I think the problem is that I don’t see this group as one that charges off on to missions. The other issues of this title have felt methodical in their pacing, and this one is an action issue with less of that nuance. Guest appearances from Batgirl and Batman in the midst of the action don't really help that feeling. And I can't help but feel that something is lost in the team dynamic this issue. That doesn't mean there aren't strong points - this may be the best issue for John Constantine, who defies the magic used by the other characters, and just goes at the vampires with an axe. This is particularly funny when Zatanna is concerned her magic isn't working, and Constantine just throws an axe at a flying vampire from off-panel. But overall, I just didn't find this issue as compelling as the rest. The vampire conflict wasn't interesting - an army of vampires are attacking Gotham. It just doesn't have the softer quality of the book's other issues. I will say the events of I,Vampire were easy to follow here, even if I'm not as interesting in them. Two artists pitch in for Mikel Janin here, both attempting to ape his style, but not really reaching the heights he does. The book looks good overall, but it lacks the sharpness of Janin’s visuals. There are many times when the figures look good, but they also appear a bit static on the page. I do feel bad laying in to this issue. I have generally really liked this title. But I think I'll wait for this crossover to end before returning to the book.

FF#16 - Jonathan Hickman/Nick Dragotta, Steve Epting

And so this marks the end of my time with Jonathan Hickman’s Fantastic Four. I know he has a handful of issues left, but, for all intents and purposes, the big story he came on to tell is over. It looks like the coming issues will deal with loose ends and some fun side plots. I’m sure they will be enjoyable, but I’m reading enough these days and I do feel like the story I invested in has ended. This issue acts as an epilogue to the concluding chapter, and it’s perfectly good stuff. It dwells on the end of the conflict and lightly teases at the loose ends that remain. It's divided into two chapters, with the bulk of the issue focusing on clean up from the battle, told from Valeria's perspective. It's fitting Hickman focus in on her, as she has been at the centre of many of his stories. Her portrayal here is fun - completely disaffected and cynical about everything going on around her. She hates the future Val, she hates that her room has been destroyed again (and all of her possessions lost), and she is generally bored and annoyed when the family tries to talk to her about all of the trouble she caused. Hickman brings some fun concepts in here, most notably the human toll that having your home destroyed so many times would take. For all that, this opening section is fluff through and through - the team get new uniforms and space hq, and a couple minor subplots are touched on (future Franklin and his Galactus, Johnny and Spider-Man move in together). It feels like things are winding down, and I'm ok leaving here. There is an epilogue showing what happened to Doom, drawn by Steve Epting, that is a bit out of place. I have a feeling it was intended for the previous issue's extra-sized conclusion. Nick Dragotta handles most of the art here, and remains a strong fit for the book. He captures the youthful energy and wonder of the main cast. He really draws on Kirby and Buscema's influences, to great effect. Epting’s pages are up to his usual strengths, full of darkness and grime, even if the tonal disconnect with Dragotta’s pages is high. It's a fun issue. I feel a bit sad to be leaving, but I didn't see a huge hook here to keep going. I feel like Hickman's big story is over. I enjoyed it while it lasted, and this feels like the right time to stop.

X-Men: Legacy#264 - Christos Gage/Rafa Sandoval

If the current story in Uncanny X-Men feels like blatant filler to help lead in to AvX (Avengers and X-Men team up), this story appears to just be plain old filler before that crossover. Mimic crashlands in Westchester with Michael Pointer, who is overloaded with energy and on the verge of death. Rogue’s team proceeds to help. I can’t say I have much interest in this issue’s guest stars, and the repeated references to the dreadful Dark X-Men story doesn’t bring back good memories of them. On the whole, this is a decent issue, and Gage seems to be working out the tonal problems, but it doesn’t exactly excite. Subdued character moments were what Mike Carey brought to this book. Gage is still struggling with that. The opening scene with Cannonball and Rogue has its heart in the right place, but I can't help but prefer a discussion that is a bit more subtle. Gage throws everything on the table. Still, it's better than a later scene where Rogue reaches out to Gambit at the first sign of crisis. The strongest character-based scene is an amusing one of Chamber teaching a class. The rest of the issue is filled with the team dealing with Pointer's crisis, wrapped around a few fight scenes as his powers go out of control. The ideas introduced here are interesting, but I had trouble getting invested in the story. I don't care for Pointer or Mimic and a whole issue devoted to the X-Men struggling to help them wasn't hugely engaging for me. It feels like a two-part filler story before a crossover, because these guest stars come out of nowhere. Still, this is a better issue than Gage's last few. There are no egregious character moments. It's just that the plot needed to be stronger. On the art side, I actually really like Sandoval’s work. There are moments of unevenness, but, on the strongest pages, the figures are crisp and powerful. He is expressive and dynamic on most scenes, and, overall, the book looks sharp. It's a decent issue. I'm still looking for Gage to take this title to the next level, though.

Astonishing X-Men#48 - Marjorie Liu/Mike Perkins

As usual with Astonishing, I give each new creative team at least one issue before deciding if I'm sticking around for their tenure. So far, everyone since Warren Ellis (who didn't exactly do such a great job, but I was more loyal then) has flunked that test. But I saw some promise in this new creative team. Liu has always had good buzz around her, and the cast selected seemed interesting. I still see absolutely no purpose for this book to still exist, particularly at the $3.99 price point, and don’t think so many “core” X-books are needed, but I enjoyed this issue. It didn’t blow me away, and certainly had its problems, but it was also kind of fun. The drawback here is that nothing happens. There are a few fun scenes of very natural character interaction, then a hasty battle scene begins. No big story gets underway (we don't even get a hint as to why the villains are attacking) and it contributes to this title still feeling like an unimportant side project. But Liu gets points for what she tries to do with the characters. She tries to completely remove Northstar, his boyfriend Kyle, Gambit, and Cecilia Reyes from the X-Men world and have them speak about their lives and relationships naturally. The scenes work well, even if they have their annoyances (Gambit and Cecilia, good friends? Cecilia's never-ending griping about the X-Men). The gathering of characters is good - Gambit has been sorely underused lately, Northstar and Kyle's relationship is treated realistically, and Cecilia is a fan-favourite. However fun their scenes are, they do contribute to the book feeling thin, as no story gets started until the very end. Wolverine, Iceman, and Warbird enter into these domestic situations and disrupt them with a battle against helicopters and Chimera. I have no idea what the potential of this story is because nothing resembling a real story gets underway here. Mike Perkins is the artist for this issue, and I'm not really sold on his art. There’s a photorealistic element to the people that he never quite pulls off. As a result, the faces and body language don’t click. In a conversation-heavy issue, the acting doesn't really work. I can't help but think what a simpler style could have accomplished with those scenes. The issue, on the whole, is too dark, as well. To Perkins' credit, he is much better on the action scenes, depicting the destruction and helicopter fights quite well. The big problem with the issue is the number of times Northstar (Jean-Paul Beaubier) is referred to as Jean-Claude. He goes by both names in the issue and it's a big editorial flop. Still, I can overlook that. Liu put enough here to get me to try out the next issue. Don't know if I'm in for the long haul, but I enjoyed her approach to this issue.

The New Deadwardians#1 (of 8) - Dan Abnett/I.N.J. Culbard

I decided to pick up this new Vertigo mini series on a lark, having read a recent interview where the premise sounded quite fun. I’m happy I did. This one moves at its own pace – leisurely, thoughtful, with bits of humour sprinkled through the dialogue. The premise has a great hook to it as well. It's certainly a fresh take on vampires and zombies. Both concepts are squarely set in this world of England in 1910, with rules, societal conventions, and issues of social class tied to their use here. It's a premise that has the potential for depth, but Abnett knows how to play it a bit lighter in this issue. The class issues are touched on here in an intelligent way, never thrown out too blatantly for the reader, making me excited to see how Abnett continues to explore them. There's an array of characters introduced here, from co-workers to domestic servants of our lead character, Detective Suttle. Even in their brief appearances, Abnett sketches each of them out quite well and adds humour to their appearances. Suttle himself is an engaging character, one who is fairly dour in his approach to attacking zombies and solving murders. And I like the hook of the murder case he is investigating - in a world of undead zombies and vampires, how has a conventional murder been committed? On the art side, I.N.J. Culbard is a name I’m completely unfamiliar with, but his sparse, strong style is a great fit for this story’s tone. He has elements of Dave Lapham and even Paul Smith to his minimal lines, but also brings the appropriate grit and supernatural elements to the story. This is a comic depicting a very restrictive culture, one that has become more and more restrained in an effort to protect itself from the looming threat. Culbard creates a very strict, restrictive society for the lead character to navigate through, but brings in more grisly moments and visuals as appropriate. The art reflects the pace and story beats of this world very well. This was a great start for a new mini series - funny, smart, and engaging, while developing a tone and a pace all its own. I'm in.

Weekly Comics - 03/14/2012

Saucer County#1 - Paul Cornell/Ryan Kelly

Saga may have been the big debut of the week, but I was equally looking forward to this new Vertigo title. I think it's long past time Paul Cornell worked on a creator-owned book, and I couldn't have been happier to see Ryan Kelly announced as its artist. So I was looking forward to this, and found it to be a stellar debut. Cornell pulls off an introduction to lead character Arcadia Alvarado, an unsettling tone, and a great conclusion in this issue's twenty pages. The lead character is sharply drawn here, and it's an engaging portrayal. There's a good balance between her political ambitions and relationship troubles, with a her personal strengths and weaknesses shining through both sides of her life strongly. Arcadia has agency as a lead character, even through her professional and personal lives have aspects dictated by others. The political side of the book nicely meshes with her character. There are scenes of political maneuverings and campaign strategy throughout the issue, including a great speech at the end in which Arcadia announces her bid to run for President. Cornell makes these elements of the book feel natural, as Arcadia and her supporting cast have fresh voices and fairly interesting personalities. The issues they discuss, in regards to campaign strategy, are pretty engaging and thoughtful, as well. For as sharp as the writing is, the issue opens with a handful of scenes that are somewhat disjointed, in a good way. Arcadia and her ex-husband Michael awaken in their car, off the beaten path, with minor injuries, and the following scenes maintain this unsettling tone, particularly when introducing a disturbed professor at Harvard and exploring Michael's life. The contrast between these scenes (which persist into Arcadia's later scenes by herself) and the sharp political dialogues really works. All of this leads to a closing page that is no surprise to readers who have read promos for the book, but still manages to announce both this book's premise and Arcadia's resolute, strong personality with force and intensity. It's a simple moment, because the book's premise has been so well-known already, but it feels like Cornell is throwing down the gauntlet and announcing this new title's premise. The art by Ryan Kelly is a real treat. He excels at this collection of people, displaying expressions ranging from soft, emotional, driven, and pained. The book feels grounded, but very emotive and sharp looking. Kelly also does well when the science fiction aspects of the plot creep in, including the glimpses of aliens and Arcadia's nighttime episodes. The colour palette for the book is also quite good, with an emphasis on yellows, browns, and oranges that emphasize the desert setting. I really liked this opening issue - it was bold, intelligent, and also quite tender and thoughtful. A very promising start.

Batgirl#7 - Gail Simone/Adrian Syaf, Alitha Martinez

I have both praised and criticized this title for the busy, jam-packed nature of it's plotting, but I have come around to Simone's eclectic approach to storytelling. And, on the heels of that comes this, the most streamlined, straightforward narrative she has told yet. And it was a great issue. As usual, the issue is held together by Barbara Gordron's narration and portrayal. Simone has a love for the character, and she shines as a vibrant mix of hopes, fears, and insecurities, with a snarky sense of humour. The bulk of this issue is a flashback to Barbara reaching out to Black Canary to help her get out of her funk and back into fighting shape. Their interaction is fresh, natural, and fun. It sounds like two old friends who have slightly lost touch. Simone draws on Barbara's accident in almost every issue, but it isn't getting tired - it feels realistic and painful each time. It is never unnecessarily dwelt on, instead serving as a wonderful starting point for Barbara's character. And Barbara's struggle to move on has been a great character arc. The accident is at the core of the scenes with Black Canary, and they have some strong scripting from Simone. The rest of the issue contains present-day scenes in which Batgirl pursues Grotesque, a foe Black Canary asked her to trail. Grotesque is in the mold of the other quirky villains Simone has brought to the book, and these scenes are a good mix of fun and gravity. Barbara's narration is always laced with her sense of humour, but the fights bring her back to a painful time in her life. Adrian Syaf's present-day scenes are excellent, with very fluid, exciting action scenes. Alitha Martinez handles the flashbacks. They nicely stay within the look Syaf has established for the book, even if there are a couple of wonky facial expressions. That aside, I really liked this issue. Barbara Gordon's character sits front and centre in a fairly unique, brave comic.

Batwoman#7 - J.H. Williams III, W. Haden Blackman/Amy Reeder

This issue grabbed me in the first scene - when Batwoman removed the hand of the man who almost killed Bette in the previous story. The New 52 have been criticized for graphic violence, but this was an arresting scene. I felt Kate's pain and her harsh retaliation against her cousin's attack felt real. This issue continues the series of vignettes, checking in on the cast at various points in their recent history. It's the personal scenes, focusing on character moments, that really excel. Jacob's visit with comatose Bette at the hospital is incredibly touching, as he describes the differences between his two twin daughters and hopes for Bette's recovery. Kate and Maggie's relationship continues to develop nicely. I also like Batwoman's continued servitude under the D.E.O., and her interaction with Cameron Chase. This issue contains a lot of progress on the villain front, and that's where it lost me just a little. Progress is made with Falchion, Medusa, Maro, and Killer Croc. There's a lot of players on the board, and I'm not sure how they all fit together, particularly in relation to the missing children from the first arc. I'm sure the writing team will get to this, but it's a bit jumbled in its presentation here. The art by Amy Reeder is unfortunately not as strong as her debut. The opening scenes employ the creative panel layouts she displayed last issue, displaying both Batwoman in action and Jacob's concern for Bette. After that, the visual storytelling becomes quite conventional. The figures have a rough, angry look to them, which I do like. I like that Reeder isn't aping Williams' style. But the book also doesn't have the distinct visual flair he brings to it. It's a nice looking comic, but not up to this title's usual standards. This new arc is still finding its feet, but some poignant moment prove this title's strengths still remain.

Superboy#7 - Scott Lobdell, Tom DeFalco/R.B. Silva, Iban Coello

If Tom DeFalco is going to keep scripting this title, I may be out soon. I always considered dropping this when it became too intertwined with Teen Titans, as the solitary, laboratory setting was much more interesting to me, and with this issue's cliffhanger and the upcoming crossover, that point is coming soon. But DeFalco's scripting is sucking the life out of this book. Superboy has gone from a thoughtful, nuanced portagonist to a literal, angry, character. The unique, fun aspects of him finding his place in the world have been replaced by some very genertic qualities, and I lay blame on the safe script. That said, the story is moving ahead in this issue, and the action is quite good. Superboy's battle with Rose Wilson is a long time coming, and moves at a great clip through the N.O.W.H.E.R.E. headquarters. It's just that Rose has gone from an intriguing supporting character to a generic angry woman and Superboy's narration, one of Lobdell's strengths, has lost all unique and intriguing qualities. I lay blame for this on DeFalco's script. There is an interesting plot point introduced here regarding Superboy's origin, but DeFalco is so literal in its presentation that it loses its potential mystique. All this said, R.B. Silva's art makes the battle scenes come to life. Superboy and Rose move swiftly and fluidly through a series of blue and grey chambers in the lab, with dizzying speed and energy. The acrobatics and character movements are superb, and Silva is equally strong on page layouts and character designs. The issue looks great. Iban Coello pencils three inserted pages, all of which look fine, but feel like complete intrusions into the story. The second scene in particular, in which Red awakens at a friend of Superboy's apartment (all based on the comment that he spent a lot of time in the library in #4; apparently he met this friend there) is the definition of clunky. So this title is in flux at the moment, as is my devotion to it. A shame, because it had such a strong voice and tone, and the new scripter hasn't been able to maintain them.

Frankenstein: Agent of S.H.A.D.E.#7 - Jeff Lemire/Alberto Ponticelli

The plot thickens at S.H.A.D.E City in this latest issue, which continues this series' tradition of wild action and adventure with a fun, cutting group dynamic. This is a full-on action issue, but the cast is also on full display the whole time, which each of them getting more than their moment to shine, and it shows the strength of this series. Lemire has built a fun cast of quirky characters, and established a great group dynamic amongst them. An action issue becomes so much more enjoyable when laced with humourous dialogue from a well-established, fun cast. In this issue, the cast faces down the original Creatures Commandos, escaped from captivity, and renegade Humanids, while a bigger threat is unleashed in the background. The action and character moments are pure fun - Frankenstein's constant groaning and grumbling, Father Time's indignant anger, Lady Frankenstein's detatched boredom, Nina's fear. Ray Palmer finally gets to show off his Atom shrinking powers, adding another layer to the S.H.A.D.E. tapestry and serving as a great moment. There are also solo scenes for the less-developed cast members that are quite fun. And I like how the foes the team face here are internal to the series' machinery and concepts. And the new foe Time hints at further grows out of the cast and their past. The only thing that gave me pause here was the art. I've been a staunch fan of Ponticelli's, but this issue looks different than the first six. At first I thought he may have been rushed, but the general design sense and expressiveness of the layouts, characters, and fight scenes are still there. Whether done by Ponticelli or inker Walden Wong, the art is much cleaner and smooher, losing the ropey, messy look Ponticelli typically brings. It all looks good and is an interesting new take, even if I prefer his other style. However, even with that, this is yet another stellar issue of this consistently great book.

Fantastic Four#604 - Jonathan Hickman/Steve Epting

Jonathan Hickman concludes the mega-story he started back in August 2009 (or, some would say, in the Fantastic Four: Dark Reign mini-series that preceeded that) and it's a fitting conclusion. I will admit it took me a second read-through to really see the light on this. I was satisfied, but a little underwhelmed, at first. This issue takes some of the biggest concepts Hickman played with all of this time - the Council of Reeds, the Mad Celestials, the future Franklin and Val, Nathaniel - and ties a nice, big bow around them in a series of powerful and dramatic scenes. There is true energy and power as the elements of the story come together and the big conclusion is reached. The individual members of the team kind of just stand back and watch here, but isn't that ok? They have played so many roles throughout this mega-story that I didn't feel they were shortchanged. Instead, there was true emotion in them watching the future Franklin and Val reunite with Nathaniel and perform their roles in ending the conflict. I actually really liked how Hickman and Epting played this issue - instead of spelling out the entire conflic for us, opaque narration overlays fantastic visuals of future Franklin fighting the Celestials and ressurecting Galactus. It's much more elegant and powerful than having this play out as a traditional action issue and it's a fitting approach for a big conclusion. The big moment with Franklin ressurecting Galactus is a great twist and climax to the story. The final scene calls back to Hickman's very first issue in a beautiful way, and is a touching coda to the parent-child relationships he has explored throughout his run. I can't help but be struck in this final issue by how much Hickman's mega-story was rooted in the concepts and stories he explored in his earliest stories - it makes me realize how many unnecessary detours (the Kree/Inhumans stuff mostly) were taken along the way.

And with that, this is my final issue of Fantastic Four. I know Hickman is on both this and FF for another six months, but this is the end of the story he came on to tell. I will buy the next issue of FF, an epilogue to this story, then I'm off. There are a lot of loose ends to this story, and from solicits and preview images, it looks like Hickman will explore them, along with other concepts. I'm sure they'll be enjoyable comics, and I may pick them up if reviews are strong enough, but I'm buying too much right now and I basically committed to this big story. To keep Hickman on longer is slight overkill to me and I don't want to read his run potentially peter out after this conclusion. Plus, I'm just buying too much, and this is a natural end point.

Wolverine and the X-Men#7 - Jason Aaron/Nick Bradshaw

The Brood/intergalatic casino story wraps up here, and it's another strong issue, even if, at time,s it feels like so much is happening. The Broo vs. attacking Brood soldier story ends up having a much more interesting premise than it originally seemed it was going too. It turns out Broo has been targeted for death because he is a genetic misstep in the Brood line - a kind, thoughtful alien who won't kill. It's a clever twist, and a compelling hook that I wasn't expecting from what was looking like a route action story. It leads to some exciting chase and battle scenes and a climax that is far more human and unsettling than it has any right to be. Outside of that story, this issue is business as usual, albeit fun stuff. The fight in Kitty's stomach proceeds apace, with fun moments throughout. And Wolverine and Quentin's casino scamming is equally fun, especially watching Quentin's character grow. Aaron jumps between the three story threads to keep the story exciting, but at times it feels like too much is going on. I appreciate the energy and fullness of this book, but it may be helpful to dial it back at times. Bradshaw's art is strong here - the figures and setting remains quirky, fun, and lively - but he too seems to struggle with the boundless pace of the issue. I don't know how much of an action artist he is, and this is a heavy action issue, with tons going on. His depiction of the Brood isn't his strongest quality, so that too is a detriment. I did enjoy this issue, and the wider story. I'm happy to see the back end of it, and the next story in this title (that is, until it gets dragged into a crossover).

X-Men: Legacy#263 - Christos Gage/David Baldeon

The Exodus story wraps up here a bizarre way. The assembled X-Men and X-kids defeat him in the opening half, and the rest of the issue is spent on extended decompressing back at the school. This is typically a great structure for the soap opera-heavy X-Men. We need the decompression scenes. But here, the two halves of the issue are equally problematic, and I'm left concerned about Gage's direction for the book. The strength of the Exodus fight is in the execution of the battle. It has an energy and speed to it, and Baldeon excels at the big action shots. It looks great. Unfortunately, defeating Exodus isn't a suitable ending to this particular story. The fight with him arose because of a view he held of mutant relations that is not resolved, or even touched on in a meangingful way, in the story's conclusion. A big slugfest with him isn't an adequate way to work through the problem he raised. I also have trouble believing this ranting lunatic Exodus would even care about uniting the mutant race. He is such a crazy villain that pacifist views like that seem completely at odds with his behaviour here. I can't help but feel Mike Carey so elegantly introduced a wonderful concept in #225 for Exodus and other followers of Magneto, and Gage has simplified it so much that it lost its teeth in this story. The scenes after the battle verge on painful. I hate to again compare to Carey, but he set up a realistic dynamic where Cyclops mistrusted Rogue for some of her leadership decisions, but trusted in her abilities and qualities, and worked with her to capitalize on her strengths. Gage seems to want the same dynamic between Rogue on Wolverine, but proceeds with it in the most ham-fisted way. Wolverine's anger is so irrational and short-sighted, it seems misplaced. The whole story seems forced for dramatic effect, and it doesn't work. Then Rachel confronts Rogue about her relationship with Magneto, and that they need to resolve it for the sake of the team soon. Reducing Rogue's actions to some lovesick pining seems insulting, and this discussion is again forced and hammy. Gage seems to want Rogue to be a certain person and it's not working. I don't understand this interpretation at all - Wolverine yells at her, and she goes off and sulks, Rachel chastises her and she barely gets a word in. She is coming off as weak and pathetic, and I don't understand the in-story reason. Yes, Carey certainly softened her, sometimes too much, but she was never a pathetic whelp like she is here. I have certainly changed my opinion on Baldeon's art - he is more impressive with every issue - but I have not come onboard with Gage's direction for the book.

And, of course, I loved Saga#1 ...

Weekly Comics - 02/22/2012

Flash#6 - Francis Manapul, Brian Buccelato, Franic Manapul

The creative team begins a new story with this issue, where the ramifications of the Flash's actions in the first story lead to an attack from Captain Cold. The conflict is essentially pretty simple, but the issue works well as a way to continue building the Flash's world while launching him into another visually interesting fight sequence. I like how the writers are building off of what has come before. Barry has been learning about the time travel effects of tapping into the Speed Force. Not only does he work with a solution to that problem here, but, in causing the EMP burst in the previous story, he's caused Captain Cold's attack. Instead of just presenting new angles on Barry's powers, the writing team are building this angle into their ongoing story progression. This issue plays around with time, as the narrative jumps around from Cold's climatic attack to the events leading up to it. I like the approach - the non-costumed scenes of Barry, Patty, and Iris become much more interesting when juxtaposed with the later action. The first story lost track of Barry's civilian life, so it's nice to see his relationship with Patty, his job, and the love triangle with Iris delved into here. Captain Cold gets some page time as well, as we learn his motivations in going after the Flash, tied to his terminally ill sister and the EMP blast. I'm not completely sold on him as a villain - I like his motivation and the destruction he causes is a sight to behold, but his personality is a bit one-note at this point. However, there's still time for that to change. The battle scenes are a marvel to behold. Buccelato brightens up the book's traditional colour scheme, letting the Flash's red outfit contrast with the crisp blue sky and the white of snow and ice. The book feels vibrant and lively. Manapul once again does wonderful things here, playing with panel arrangement and visual sound effects to tell the story. The image of the boats, raised by columns of ice, is fantastic, and Manapul does interesting things with it. The page layouts are generally very fun and the action looks great. In the non-costumed scenes, the characters have a strong, expressive look to them, as Manapul uses his cartoony style with confidence. It's another strong issue - a fantastic looking comic with a fun, upbeat story that also has some depth to it.

Justice League Dark#6 - Peter Milligan/Mikel Janin

The team's first antagonist is defeated, they angrily went their separate ways. So where does the book go from here? Milligan has the core cast drawn back to Madame Zanadu to find an explanation for their distressing nightmares, and it's surprisingly effective stuff. I'll give Milligan credit - he drew me right in, with engaging characters and disturbing dream sequences. As usual with an issue of this nature, when the plot actually has to get going in the final pages, and a real narrative has to begin, things become less graceful and engaging, but Milligan has a sure hand with the cast and tone of this book. I'm no fan of lengthy dreams in comics, but the four presented here are directly tied to the personal problems and neuroses of Deadman, Zatanna, Constantine, and Shade, even looking back to the fight with the Enchantress in the opening arc. That's what drew me in. It helps that they were also genuinely creepy sequences, presented in a very deliberate, haunting manner, with stunning art. Zatanna's fears of half-dead creatures stuffing fingers down her mouth, Shade's horrific efforts to ressurect Kathy, Deadman facing the result of his impulsive behaviour towards June Moon - these dreams resonated with me because they drew on events from the opening arc, while reaching to the core of each character. Once the group reunites at Xanadu's house, their dynamic is right on point. Constantine and Deadman's disdain for each other, Shade's slightly unbalanced reaction to everything, Zatanna's desperation for answers. Milligan gets his cast very well. Not a panel is wasted and the scene comes together very well. It's the very very end that is less engaging than all of this - Xanadu decrees that the dreams are portents of bad things to come if the group separates. Is it the strongest hook for the series? No. Would I prefer this group of misfits to continue to randomly cross paths? Absolutely. But something must exist to propel this book forward as an ongoing series, and this simple premise should work just fine. The issue ends with a very abrupt transition into the upcoming crossover with I, Vampire. It's meant to feel abrupt, so we'll see how well that title integrates with this one. Janin's art remains beautiful. Even when his figures look a little too posed, they are so attractive, and the settings they are thrown into so vividly created and detailed. It's a great looking book. This book is still finding its feet, narrative wise. But in terms of tone, pace, and characters, it is A-list.

Fantastic Four#603 - Jonathan Hickman/Barry Kitson

Hickman's Fantastic Four mega story continues to move towards its conclusion, as more pieces and players' roles in the big plan are revealed. On the one hand, it's exhilirating to see some of this coming together. On the other hand, in spots it does feel like a collection of moments; a checklist of plot elements that need to be re-introduced and resolved. There's still a lot of good here - the team dynamic is always strong, and there are nice moments when the kids are reunited with Uncle Johnny. Galactus' space battle with the Celestials is incredible stuff, drawn with real scale and energy by Kitson. And the action and intrigue build with real tension and excitement towards a final page that brings back two players from very early in Hickman's run for their big moment. I love the scope of the planning Hickman has put into this title and I really do like how all of this mega story fits together. There is that slight 'checklist of events' feel to the proceedings, but when it's all so meticuolously plotted out, it can't help but work. However, there is one massive clunker in all of this - the Inhumans/Kree war. I always felt this story came out of nowhere and didn't fit in at all with the Council of Reed-Nathaniel-Doom-time travel plotlines that Hickman had been building since his earliest issues. I guess I was right. I one hideously clunky page, Hickman dismisses the whole plot. The Kree fly off, the Inhumans follow them, and suddenly our heroes no longer have to worry about them. Talk about deflating. It makes me feel that the whole story may have been an editorial remit to stretch out Hickman's mega story. Because they sure don't have anything to do with that mega story. Kitson remains an asset to the book, with clear, clean faces and expressions, and strong settings and action shots that sell the big moments. His style is exacting, but there's a softness to his people and their faces. Makes for a very nice reading experience. So this one has one major hiccup, but it's still another strong chapter in the race to the finish.

Wolverine and the X-Men#6 - Jason Aaron/Nick Bradshaw

This title continues to be a ton of fun, although I would say this issue was the least engaging so far. Aaron presents two different stories, running in parallel - Wolverine and Quentin trying to win money for the school at an intergalatic casion and the X-Men and students fighting off a Brood invasion (both in Kitty's body and on the school grounds). The former is more in keeping with the playful, creative vein of this title. Aaron has developed a great dynamic between Wolverine and Quentin. There's an understanding tone to Wolverine's voice with him, not just an authoritative one. Many alien jokes are thrown in and it's great fun to watch them navigate through alien blackjack tables. The mansion stuff ran hot and cold for me. I like that Aaron is injecting a more serious tone in these scenes. The Brood invasion has moments of tension, particularly for Kitty and Broo, but they are always balanced with Aaron's typical barbs and jokes. The rest of the team, shrunk down in Kitty's stomach, get some fun moments as well. But I kind of lost sight of the conflict - who are these additional Brood, arriving from space, and what are their goals? Their attack on the mansion causes a lot to be happening here, and unlike the book's earliest issues, it doesn't feel like organized chaos. It just feels too busy. It doesn't help that Nick Bradshaw is clearly having trouble keeping up with everything going on. The art gets slightly rushed in some panels and it's clear there is just too much happening. Bradshaw's designs for the Brood also lack any visual punch, particularly the generic main antagonist. The art is still fun, with a lot of energy and humour to the characters, but Bradshaw does struggle in spots. So it's a fun comic, but not this title's best yet.

X-Men: Legacy#262 - Christos Gage/David Baldeon

Don't be fooled by the excellent, gritty cover - this issue, while competently done, has as much bite as a kitty cat. It's an issue-long fight scene, as the Rogue's team chases Exodus cross-country, in hopes of preventing him from attacking Cyclops for splitting up the X-Men. On that level, it works quite well. The action is where the issue succeeds. It's fast-paced, each character gets at least one moment to shine, and there's a real effort to mix characterization into the fight scenes. Gage wisely trades on Frenzy and Exodus' lengthy past together as they fight, and there's a good team dynamic at play during the fight. Baldeon is at his strongest here, with some great splash pages and expansive panels of action that transcend some of the weaknesses of his style. I also like that Gage is playing with Jason Aaron's experimentations with Iceman's powers, having him enter the fight as a giant, lumbering ice creature. The issue has its problems, though. Exodus has no teeth has a villain. He's just become a ranting madman. The intelligent Mike Carey story upon which his anger here is derived from doesn't shine through anymore. There's also some character problems, namely Wolverine lashing out at Rogue multiple times. It's all very out of character, an effort to create group tension where none exists. There was an element in the previous run of Cyclops disliking Rogue's tactics as a leader, and this is a lame attempt to repeat that. Wolverine's anger towards is so over the top and unfounded. The tension between them doesn't work at all and feels very forced. And the promised reunion of X-teams doesn't happen here - it's a cross-country fight issue, not a team reunion on Utopia. And, when Utopia characters do intervene, it's Hope's team of young mutants. I did think it was too early to reunite the X-Men, but this option is just deflating. Baldeon's art is quite good on the action, but he is still struggling with cartoony and less sophisticated faces. This book is still struggling to define itself post-Carey. It's almost deliberately less understated and intelligent than his work, but hasn't filled the void with anything other than a standard team book. An ok issue, but I'm ready for more.

Weekly Comics - 01/25/12

Justice League Dark#5 - Peter Milligan/Mikel Janin

Milligan notionally wraps up this title's first arc, as June Moon and the Enchantress are defeated and these disparate individuals have a discussion about teaming up. Granted, it doesn't go very well, as they angrily go their separate ways, but these characters have faced their first conflict as a group. This is the kind of story that I'd love to go back and re read in light of this issue's events - namely, that Madame Xanadu had more to do with causing the problem than solving it and that the Enchantress and June weren't nearly as sinister as Xanadu herself (despite her apparent best intentions). This issue is bigger on plot movement than most, as the group struggle amongst themselves to unite June and the Enchantress. It's laced with character conflict, as the pain and bitterness each character experienced individually in the first four issues is preventing them from coming together as a unit. Deadman, in particular, cannot bear to be around the others or help them against June. However Milligan plans to keep this group together, there is a great dynamic here, rooted in this anger and pain. It's to his credit that scenes of fantastical magical opponents are always grounded by these characters trying to reach out to each other. Zatanna kissing Shade to remind him what is real is particularly effective. Most the issue takes places in a mindscape, where the characters jump between scenes, appearing to help and antagonize each other, and it's a disorienting and effective set up. The final scene is also great, with the assembled characters confronting Xanadu about what she's done and leaving. There's a softness and vulnerability to her character, the supposed evil mastermind, and I can't wait to see where she goes from here. Janin continues to surprise on the art. His figures are soft and believable in their facial expressions and body language, but they are thrown into any number of horrific settings against different creatures. It's a very pretty book. Even the various creatures and mindscapes are meticulously rendered. At the end of this first story, I still don't necessarily know what the premise of this title is going to be. That said, Milligan has created a deep, interesting world, and a cast of fully realized characters, so I'm happy to keep following it.

Flash#5 - Francis Manapul, Brian Buccelato/Francis Manapul

Manapul and Buccelato continue to great work on this book. In one sense, they wrap up their first story, leaving dangling threads for future stories. And, in another, they use this story to continue to expand on the Flash's power set in innovative ways. The Manuel Lago story wraps up with this creative team's typical flair for high octane superheroics and startling artwork. The set piece here is an experiment run by Dr. Elias to correct the genetic imbalance in Manuel's clones, and Manapul uses it as an opportunity for some stunning visuals. Sound effects invade the very pacing and structure of the page, bringing an innovative look to the action. The climactic splash pages, where the Flash stops the experiment, are a beauty to behold, bathed in a pale green and mixing the right amount of pathos into these cartoony faces. The writers leave Manuel's story open ended - the threat has ended in tragedy, but the door is re-opened at the end for the returnof Mob Rule. I like how personally connected Barry has been to this fight. Last issue's flashbacks are built on, so that the friendship between Barry and Manuel is at the core of the heroic, but impulsive, choices Barry makes here. Events from this story directly lead to the bombshells of the final scene, where Barry learns how his powers are causing time travel incidents - the EMP blast that abruptly descended on the city in the first issue is traced to his actions here, among other incidents. There is a nice serendipity to this twist, explaining some random elements from previous issues with grace. At the same time, this wrinkle in Barry's powers is presented as a grave danger, surely a threat to be explored further. It's a paradigm shift for the book, and I was really grabbed by this twist. There's a lot more going on here - Iris' rescue from Iron Heights (a wonderful action scene as drawn by Manapul), Barry flirting with Patty and Iris in his two different guises, and the set up for a future opponent in Captain Cold. I do still think the writing team have some kinks to work out, albeit minor ones, but the final product is always great - fantastic, inventive artwork wrapped around energetic, fun stories.

Fantastic Four#602 - Jonathan Hickman/Barry Kitson

Wow. Hickman really ramps things up here. The previous issue of FF started to show how everything connected, and this one continues in that vein. But, at its core, this is a strong action issue with a lot of fun character work. I tend to find Hickman's action issues to be quick reads, but he peppers a lot of team interaction through this one. His run has been so focused on high concepts, that the characters can sometimes get a bit lost, particularly the fun team dynamic. Hickman rectifies that here, with a playfully scheming Reed and Sue planning a big move while their two team mates struggle to keep up with them. It's fun, while contributing to the bigger story. The action also moves along at a great pace, jumping between the different parties involved and keeping a wider story going in the background. But the big moment here is the final sequence with Galactus. I've previously said the Kree/Inhumans/Galactus elements felt out of place with the time travel/alternate Reeds/Nathaniel story Hickman had been building since his first issue. Here, Hickman shows how they are all connected, and, read in conjunction with FF#14, a wonderful tapestry is emerging. Galactus, particularly, seemed like a late-game addition to the big story, but his purpose is revealed here, and it's a great twist that makes perfect sense. Barry Kitson guest pencils the issue, and is typically excellent. His figures and faces are crisp and expressive, his action scenes are clear and powerful, and his style is a great match for the book. Things are coming together at a controlled pace here. At the same time, the action is big and fun. A really great issue.

FF#14 - Jonathan Hickman/Juan Bobillo

Hickman's also revealing more pieces of his grand plan in this issue. Namely, the role of the Celestials, more background on the alternate Reeds, just what Valeria and Nathaniel have been plotting, and what role Doom will play in everything. We're beginning to see how a number of Hickman's plot elements, going back almost three years, fit together into one sequence of events, all leading to this point. If this is what the payoff to a sometimes plodding long, long-term story feels like, it's worth it. The lengthy flashbacks to Nathaniel, Valeria, and Doom are great scenes, teasing at the big reveals without outright spelling everything out. It's enough for the reader to piece things together. As for the present day scenes, they retain the fun group dynamic of previous issues, while adding the gravity of the fight with the Celestials. There is weight to the proceedings here that makes the events feel as important as the war with the Kree in Fantastic Four. I also love Doom's role - I tend to like when he joins with the Fantastic Four as an ally, and his willpower and sense of sacrifice here adds an interesting layer to the story. Bobillo also continues to impress, with a great depiction of the children and an offbeat look for all of the deranged adults populating the book. The space battle looks great, and he continues to play with panel arrangement and blank space in effective ways. I don't think this one was quite as urgent as this week's Fantastic Four, but it was still a strong read that continues putting the pieces of a major story together.

X-Men: Legacy#261 - Christos Gage/David Baldeon

Christos Gage properly gets his run underway after the Point 1 issue, picking up on some of Mike Carey's threads. And I can safely say it is coming off a lot more obvious than Carey would have handled it. I hate to be comparing Gage's tenure to Carey's but when he is drawing on Carey's stories and character arcs so strongly, it's hard not to. It starts with the characterization. From the opening scenes where Rachel and Rogue discuss the latter's relationship with Magneto and Frenzy and Gambit discuss their kiss, it is all just laid on the table. Carey was always a bit more opaque and subtle with his character work, and here it is all out there. It's fine stuff, it just lacks the layers and depth a more stripped back presentation would give it. Exodus' arrival draws on one of Carey's best issues, #225, where Xavier convinced Exodus and his followers that the dwindling number of mutants need to unite, not fight amongst themselves. It was a brilliant examination of the X-titles and a strong direction for their future. Here, Exodus arrives, angry at the schism in the X-Men, and Carey's earlier idea loses a lot of its subtlety and sharpness. Again, the conversations are laid right on the table, and the topic of mutant unity just becomes the backdrop for an enjoyable, but generic, fight scene. By the end of the issue, it seems the conflict is over, then Gage tacks on plot where Exodus will attack Cyclops for causing the schism. It's all nicely executed, and the fight scene is energetic, with artwork much improved by Baldeon, but it feels pedestrian compared to the depth Carey could bring to the book, even in a wordless scene. I hate to dump on this book in Gage's second issue. This is a good issue, but subtle it ain't, and the comic is weaker for that.

Weekly Comics - 01/11/12

Batgirl#5 - Gail Simone/Adrian Syaf

Simone starts a new story for Batgirl, and, once again, there is a lot going on here. It works for the book. I like the multiple plot elements. But sometimes there is even too much going on within a scene. In the opening action scene, there are so many players doing so many things at once, that it does get a bit cluttered, especially since these are all new characters. Now, this does work to replicate Batgirl's confusion at facing so much at once, and it certainly has impact once new opponent Gretel enters the scene, but there is a lot happening here. That said, the issue is still a strong one, and I do like the multiple events going on - Barbara tries to reconcile her differences with her mother, Detective McKenna's vendetta against Batgirl continues to build, there's some roommate bonding, and Gretel makes a second strike. I like the general randomness of Gretel and her motivations. By her second attack, Simone has smoothed it out. That sequence still feels chaotic, but more organized. The opener had Simone playing with too many ideas, while the chaos at the end is engaging. We feel as bewildered as Batgirl at the tactics of her opponents and the final page twist. Gretel is an interesting figure, standing around, seemingly in control, while a brutal fight wages around her. The characterization of Barbara remains strong, balancing anger, hopefulness, and a desire to move on. The roommate dynamic is also developing nicely. The scene with Barbara's mother isn't fully satisfying, and deliberately so. It touches on their issues, with Barbara's hard shell up the whole time. I suspect there's a lot more to come here, and for now it's a good start. Finally, Simone and Syaf work in a clever "Occupy Gotham" subplot (including some graffiti in an earlier scene), where citiziens of Gotham are protesting Bruce Wayne's philanthropic building plans (built up so favourably over in Batman). I love the willingness to play with this idea and present this title as coming from a different place than Batman. Syaf's art remains strong, and at it's best with bigger panels - Batgirl swooping through the skies, Gretel's first attack. When Simone is cramming a lot into a scene, and Syaf has to do the same, it shows. But the book still has a strong look to it. This remains a complicated book, overall. It is dealing with complicated issues surrounding its lead character, and still ironing out how to tell her story. Even with that, there's something special here. It's certainly always engaging.

Batwoman#5 - J.H. Williams III, W. Haden Blackman/J.H. Williams III

Utterly amazing in every way. In twenty pages, Williams and Blackman accomplish so much. And they do it with grace, skill, fluidity, and beautiful artwork. This issue shows that there is a big plan for this book. The Weeping Woman isn't just an opponant to be fought and defeated in this opening arc. She is a catalyst for a much bigger story and the drive that forces Kate to make tough decisions in this issue. There's a paradigm shift in the final pages of this book that is tense, disturbing, and dark, as Chase and Bones finally make their move. In order to protect the world she has created around herself, Kate makes a tough choice, and, like that, an already wonderful comic series is propelled into a bold new direction. This issue is forward thinking. It moves the story of Batwoman forward into dark new territory, hinting at the places her story can now go. But it also looks back to the character's past with skill. Kate's final confrontation with the Weeping Woman is a moment of terror for the character, where she is forced to confront her lost sister and the person she became. Kate makes her peace with her sister's fate, and, in a rare moment of serenity for Kate, resolves to move forward, using her sister's memory for strength. Then Chase and Bones arrive and Kate's life is thrown in another direction. The book moves wonderfully through it's various movements, from action to denouement to further horror, with ease. The opening page uses the typical expository text (a brief blurb on the Batwoman character), incorporates it into the text of the story, and makes it an integral part of the story. From the horror of Kate's new predicament, the final page then swings the mood of issue, showing us the strength and resolve of Kate's character that is still present, even in her current predicament. Outside of Chase, this issue strips back the supporting cast to focus on Kate and it's a great showcase for her. It goes without saying the Williams' art is fantastic. His depiction of the fight with the Weeping Woman brings that scene to life, with sweeping pages depicting the battle in watery images. It truly feels like Kate is fighting for her life in a very personal battle. He switches to the less painterly depiction of Kate at the right moments, in a way almost reflecting the layers of her character by presenting her in completely different ways throughout the issue. There are the typical innovative layouts, dazzling splash pages, and haunting depictions of people. This issue is a game changer that proves this title as a tour de force in both writing and art.

Frankenstein: Agent of S.H.A.D.E.#5 - Jeff Lemire/Alberto Ponticelli

I didn't know what to expect from this one, a crossover with OMAC#5 (which I didn't read). They said repeatedly in interviews that this was Frankenstein's take on the battle with OMAC, and that you didn't need to read both comics to get the whole story. They were right. I shoudn't have doubted Lemire. This is an incredibly fun comic, a great crossover issue, and a piece in the larger Frankenstein story. The premise is deceptively simple - Checkmate asks S.H.A.D.E. to capture OMAC for them. With all these super science underground groups running around the DC Universe, it's inevitable they'd cross paths at some point. Lemire plays this up for humour, with an antagonistic tone between the two groups, enhanced by the fact that S.H.A.D.E.'s representative (Father Time) is a young girl in a domino mask. Frank himself is at his surly and unimpressed best here, echoing the readers' sentiment that he knows nothing about the fight he is getting into and has no background information on his target. The SHADE.net narration is used to strong effect by Lemire, stepping in to illuminate the situation with deadpan humour numerous times. The actual battle with OMAC is a great showcase for Ponticelli's artwork. He experiments with panel layouts in new ways (removing them entirely on one page, so the fight just moves down the page) and has some great splash pages. The fight itself is right in line with this title's sense of humour - Frank's unimpressed demeanour juxtaposed with OMAC's Hulk-like phrases, as mass property damaged happens in their wake. It's a lot of fun, as is the end, where Frank loses an arm and later matter-of-factly gets it back. As mentioned, some ongoing threads from the title continue admidst the crossover - Father Time shows her truly devious side, outwitting Checkmate to get needed information, hints of an atraction are brewing between Frank and Agent Mazursky, and Frank hits a wall in his frustrations with S.H.A.D.E. The book looks great, as usual. Ponticelli has created a rough and nasty world full of exaggerated creatures. He helps develop the book's over the top nature and quirky charm while also creating some nice, quieter moments. It's another strong issue. The opening arc was a bit action heavy, and I worried how long the book could sustain that momentum. This one proves that not only is that formula a winner, but there is a lot more going on in this book. Great stuff

Superboy#5 - Scott Lobdell/R.B. Silva

This book continues to impress in its fifth issue. Lobdell is doing a lot of what he's done well so far - exploring the growth and maturity of a young boy who's been raised in a laboratory. Superboy isn't exactly mature at all times, but he's making decisions for himself and acts on his own impulses for the first time in his life. That's interesting to read about. Sometimes, his choices are intelligent and good-natured, and other times, he faces wrongdoers in a way most of us wish we could. His decision-making has a certain logic and process to it, but there also are base emotions and impulses driving his actions. Lobdell is also succeeding in building a fairly deep tapestry of characters and subplots within the metal and glass of the laboratory. There are now three "lab boss" type characters vying for Superboy's trust and loyalty - perhaps one too many, but it keeps things interesting. Meanwhile, Caitlin Fairchild's character has moved in a wholly unexpected direction, with increasing comments that she is only one of a group who may betray N.O.W.H.E.R.E. Rose Wilson has risen since Caitlin was captured. Here, she's alternately hard-edged and lonely. The shot of her slumping down against the metal walls of the facility captures the sterile, alienating feeling of this series perfectly. There are also numerous references to a bigger story developing, with the Culling Day mentioned more than once (including in the wonderful twist of the final scene). Silva's artwork remains a strong fit for the book. His figures and faces have enough expression and quirk to them that they keep the cold laboratory setting feeling lively. There's also a great rounded look to the characters. At the same times, his layouts are strong and occasionally creative. So there's a lot going on here and I remain entertained watching this lead character navigate the unsavoury world he has found himself in.

Wolverine and the X-Men#4 - Jason Aaron/Nick Bradshaw

This issue is certainly a breather after the opening story. It retains the title's dense feel (almost every page is packed with little character moments and jokes), but it's not the beginning of a new story. Similar to how last week's Uncanny X-Men#4 was a breather issue, this one is too. I still don't feel like either title earned a breather issue this early on. This title doesn't have a compelling plot hook outside of "Wolverine runs a school." Yes, that's fun and all, but I just think it's too early to take a break to explore that premise more. We've had a lot of that so far. That said, this is still a lot of fun throughout. It may seem hard to establish a group dynamic in such an eclectic book, but Aaron is sticking to a central cast (Wolverine, Iceman, Rachel, Kitty, Beast) and making them work as an overextended, exhausted faculty, cracking wise as they try and keep the school together. There's also a great effort to establish a student body - Kid Gladiator, Idie, Broo, Quentin Quire, and new additions Genesis and Angel. The classroom scenes, with Kitty trying to reign them in, are funny, and good example of Aaron cramming a lot onto each page. This is also the issue where Aaron makes explcit links to Uncanny X-Force - Genesis and the amnesiac Angel get lengthy introductions (along with Deathlok delivering humourous prophecies to the students). I don't read that book, but I had no trouble following these elements. In fact, they were quite compelling, particularly the visions of the future caused by Genesis and Iceman's pledge to stick by Angel and guide him through this difficult time. It just feels like these are meant to be big additions to the book. But the book is only on its fourth issue, still settling into its setting and cast, and to throw two elements from another book in with such a big introduction was a bit jarring for me. This issue also sees the addition of Nick Bradshaw as artist. Really, he's the only artist in the X-stable unique enough to take on this role, in my opinion. He's not aping Chris Bachalo's style at all. He's got a style all his own (ok, it's heavily influenced by Art Adams), with facial expressions and sense of humour to it that are right at home in this title. So it's another very strong issue, with Aaron's humour and approach to the book fully intact. On it's own merits, it's a great comic. I don't think it was the right time for a breather issue, so early on. And I'm a little concerned about the big role two characters from another book take immediately. But, with a cliffhanger ending so funny and a strong hand in guiding this book so far, I have faith in Aaron's direction for the book.

X-Men: Legacy#260.1 - Christos Gage/David Baldeon

Christos Gage takes over this title from longtime writer Mike Carey with a Point One issue that lays out the school setting, the main cast members, and the various relationships between them. It's a good comic and I like that Gage isn't afraid to begin developing the characters in a Point One issue. But it can't help but feel a little lightweight. Part of that is down to the nature of the threat. The main cast (Rogue, Rachel Summers, Gambit, Iceman, Frenzy) stumble upon the N'Garai cairn on the mansion grounds and accidentally open it. The issue covers their attempts to take down the creatures without involving the students or disrupting their school day. It's a cute premise (maybe too cutesy), but it touches on the thing that annoyed me most about the "Schism" that brought us to this point - the notion that Rogue and co. have to take down these creatures without involving the younger mutants or harming their innocence. Without forcing them to use their powers to fight. Keep in mind the mutant students in question have been to hell (literally) and back and used their powers to fight for their lives plenty of times before Schism. The premise of the split still grates on me. I'd much prefer it was just glossed over, as Wolverine and the X-Men has done. Still, the battle scenes are well done, with fun juxtaposition of what's happening inside the school. As mentioned, Gage is not afraid to get right into the character arcs he'll be exploring in his first issue. Gambit's unrequited feeligs for Rogue, Cannonball and Husk's struggle to reconnect as siblings, a budding romance for Frenzy, and surprisingly strong material for some of the students. That's what gets me excited for his tenure on the book - not these lightweight action scenes. Much to my surprise, I'm a little wary of David Baldeon's pencils. I've liked him on past projects, so I was surprised to find his work here was so cartoony. It's borderline Marvel Adventures, which is a departure for a mainstream X-Men book. It lends the book a very distinct tone, and was certainly part of the reason why this book felt light and cutesy at points. Seriously, it makes Mark Brooks' art look grim and gritty. Still, this was a good comic. I'm happy to see Gage has plans for the various cast members. It should provide a solid foundation for future stories.