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.

Weekly Comics - 03/07/2012

Action Comics#7 - Grant Morrison/Rags Morales, Sholly Fisch/Brad Walker

After a flashback story that was equal parts thrilling and confusing, in good measure, Morrison and Morales are back to the story of Braniac's assault on Earth. It's here that the true scope and scale of Morrison's story is starting to emerge, as Brainiac's plan hints at the threats Superman will have to face. It's a great issue, full of the big high concept ideas any good Morrison story needs. In this case, Brainiac's people are here to collect a bottle city of Earth, just as they have of Krypton and many other worlds, because that is what they do when a planet is dying. For each of these worlds, they have gathered knowledge of the planet before attacking. On Earth, they took the form of the internet to do so. And they are desperate for more information on Superman. The concept is wonderfully brought to life. It's so simple and well-thought out, and Morrison parses its details out nicely, so that this still feels like an exciting action issue, wrapped around some great concepts. This is also an issue of the young Superman's heroic efforts and trials being put on full display for the inhabitants of Metropolis. The opening scene is excellent, with Morales bringing a vibrant energy to Superman taking off into space for the first time. The mostly wordless pages are exciting, but retain the book's low-tech vibe - the soles of his shoes rip away, there's a bit of fear on his face, and his oxygen tank is decidely primative. There's a lot of fun had in the bottle city, where Lois, Jimmy, and Lex snipe at each other and Lex slowly realizes he's been conned by the aliens. And the action and pacing build nicely, as Superman is bewildered by what he learns from the aliens, only to have to make an important choice at the story's end. Morales' art is a big part of this issue's momentum and energy. His work on facial expressions and character acting have gotten much better and his young Superman, in tattered jeans and a tshirt, exudes charm and energy, even in a weakened state.

The back-up, by Fisch and Walker, is less ambitious than the main story, or the other back-ups. It's the story of John Henry Irons (Steel) performing rescue work in the devastated Metropolis. It's building his character nicely, from interacting with his niece to watching his bravery grow. It also deals with the practical realities of what has happened nicely - namely, what would happen if a huge chunk of the middle of a city just disappeared. And Walker's art is quite good, with sharply drawn figures and faces, but also a soft, pleasant look to it. But, at the end of the day, it's just a rescue story. A nice little character piece, but not up to the level of previous back-ups. Still, the lead story is a thrilling piece of writing and art, and this is a nice supplement to that.

Stormwatch#7 - Paul Jenkins/Ignaco Calero

Paul Jenkins steps in following Paul Cornell’s departure to pen a two-part guest arc, before Peter Milligan takes over as writer with #9. And, unfortunately, I think I’m going to skip out on #8. That’s not to say this is bad – it’s perfectly competent, it just didn’t set the world on fire. The story follows Stormwatch settling in to their new status quo following Harry Tanner’s departure. Midnighter and Apollo take the lead on a nuclear disaster, one which is tied to Martian Manhunter’s past. The story is fine, it just feels like a placeholder story, and it is. The changes Cornell introduced in his final issue are just only touched on and any forward movement on the big mission Stormwatch undertook at last issue’s conclusion is put on hold (presumably until Milligan takes over). The character dynamics are ok – there’s a good clip to the dialogue, but Jenkins replaces Cornell’s effective coldness with some cutesy moments. Doesn’t quite work. Still, there are good things here – particularly the Engineer settling in as leader and Jack Hawksmoor meeting with the city beneath the nuclear disaster. Calero’s art is a bit too busy for me, both in backgrounds and character depictions, but it does the job. This is an ok issue, but given my comics load, I’m fine taking the next issue off before Milligan comes on with #9.

Animal Man#7 - Jeff Lemire/Travel Foreman, Steve Pugh

After a one issue interlude, Animal Man returns to Buddy Baker's flight from the Rot, in an RV with his family. It's another great issue, and the strength here is Lemire's balancing of the family dynamic with the more gruesome aspects of the Rot's rampage. The focus is put more on Buddy's son Cliff, who feels left out of the superheroic fun Buddy and Maxine have gotten up to. Lemire does a good job balancing Cliff's bratty disdain for everything with his desire to be closer to his dad. There's a lot of fun in their interaction, especially when Cliff later tries to impress two disbelieving girls by bragging that his dad is Animal Man. But Lemire also nails the portrayal of the female characters - everything from Ellen being sick of junk food to the grandmother breaking down over what is happening, to a game of Go Fish with Maxine. There is a playful balance of the horror of the ongoing story with the mundane aspects of family life that works perfectly. Everyone just seems a little weary after their journey, and it feels realistic. And, of course, Socks the cat gets a few jokes in. There's is also a lengthy dream sequence here where Buddy is alerted to the dangers of the Rot that works very well. Lemire again balances the tone here - for as shocking as Maxine's possession by the Rot is, there are humourous appearances from John Constantine and a gun-totting grandmother. Incoming artist Steve Pugh really lets loose here, matching the grotesque creatures and ruined landscapes that Travel Foreman and Swamp Thing's Yannick Paquette have pulled off for the Rot. Pugh also excels at the more human scenes of a tired, scared family interacting. It's another stellar issue of this title. Lemire has crafted something special in this world, and the connections to the events of Swamp Thing help to create a rich tapestry.

Swamp Thing#7 - Scott Snyder/Yanick Paquette

Wow, wow, wow. Another fantastic issue of this title. This is Alec Holland's transformation into Swamp Thing. It is a trial for him to be returned to that state, and it feels like it. This is a gruelling odyssey for the character, facing his own inner conflicts as his enemies grow in strength in the background. It's impossible to discuss why this issue is so impactful without mentioning the art first. Paquette's layouts for this book have always been impressive, with twisted fragments and shards making up the panels. The panels are just as distinctive here, but Paquette outdoes himself, with wild vines and plants shooting across the page, sometimes gracefully, sometimes violently, and setting the panel borders. It feels unruly, and sometimes non-linear, and contributes to the disorienting internal journey Alec is on to become Swamp Thing again. As usual, Alec is depicted as a broken man, struggling to rebuild himself, with Paquette's typical strength. And the creatures of the Rot are as vile and unsettling as ever, particularly Abby, who has now grown into a molusk-style husk, carried around by a group of twisted-neck servants. It's a tragic image. The story here is tied to the visual journey, as Alec must convince the Parliament of the Trees that he is the worthy successor to the Green they pegged him as (before he ran from that fate), in order to have a chance at rescuing Abby. It's the strugle of one man to accept the horrifying things he has seen in the first six issues, and accept that he is the one who can do something about them. Alec must convince the Parliament that his personal qualities make him a worthy candidate to face the Rot. We have taken this journey with Alec, and it's great to see him accept his role and believe in himself. The transformation scene is a marvel, as Paquette's jagged images depicting various body parts and organs being invaded by vines and greenery, in rapid succession. In the end, a winged Swamp Thing takes flight to confront the Rot, confident he can defeat them because, this time, it was his choice to become Swamp Thing. A heroic and inspiring end to an incredible rollercoaster of an issue.

Uncanny X-Men#8 - Kieron Gillen/Greg Land

The Tabula Rasa story finally reaches its end and it's a triumph of character interaction over plotting. The story bores the tears out of me, and I can't believe it was stretched out to four issues. But Gillen seems to finally have found the right balance for this cast, and that side of the issue works nicely. The story of the two warring Apex brothers just kind of ends here before the issue gets started - all of a sudden, the conflict has ended, Tabula Rasa begins rebuilding, and the issue becomes a lot of denouement. Considering the fact that I have no interest in the story, I'm grateful for this turn. It's sloppy and abrupt, yes, but it leaves Gillen more space to do more interesting things with the characters. Hope and Namor's interaction is refined here, and is quite entertaining. Gillen handles her crush on him nicely, mainly because she never falls into fawning over him and keeps her wits about her. Colossus and Magik finally return to the spotlight, and get a nice scene where Illyana shows her support for her brother as he faces changes from the gem of Cyttorak. And Magneto and Psylocke get another good scene, discussing covering up for X-Force. Oh, and all these issues later, we finally learn what happened to Emma and her severed arm! Thank god for that. So it's an odd issue. The story is over by the second page (Cyclops declares the crsis averted at the bottom of the second page), then Gillen deals with the fallout for the rest of the issue. When the fallout deals with Tabula Rasa, I'm snoring, but when the spotlight is put on the characters, the scenes have life to them. This book is still a mess in terms of concept and execution, but definitely has its strengths.

iZombie#23 - Chris Roberson/Mike Allred

I read and enjoy this Vertigo title every month, but don't typically review it (as it can be hard to discuss Vertigo books in single issue format), but I had to bring this one up. All of a sudden, it feels like this title is building to a big climax. Now, given Roberson's style of pacing, this conclusion could go on for another 20 issues, but I definitely am getting a sense of the big conflict coming together here. I think the change from the zombie attack on Eugene (the first big conflict), is that now all (or most) of the players know each other and vaguely understand what is at stake (and this includes the readers). There's a familiarity now. It's not so much random scenes of characters going about their business. Each of the scenes feel like they are contributing to the bigger story of Xitalu's attack. And, with that true sense of what is at stake, there is real tension and excitement built in this issue. Roberson builds to the great final page from pages earlier. I knew something good was coming and couldn't wait. All along, the dialogue remains charming and fun, even with the heightened pace of the issue. Mike and Laura Allred do their typically strong work here. From the humourous cover to the assortment of characters and creatures within, the pages are brimming with personality and charm. Allred nicely balances the serene qualities of life in Eugene, Oregon with the more wild events depicted here. This book has its own tone and it owns it. I'm sure it reads well in trade, but I love getting my monthly installment of the goings-on in Eugene.

Weekly Comics - 02/01/2012

Action Comics#6 - Grant Morrison/Andy Kubert, Sholly Fisch/ChrisCross

This is for a sure a love it or hate it book. I don't have much of a connection to Superman, so I can come into it a bit fresher, but I can imagine purists not loving this unconventional telling of Superman's modified origin. It jumps around in time and space and doesn't hold the readers hand through it's narrative. It also does a lot with the Legion of Superheroes. This is a touchy subject in Superman's origin for die-hard fans. As I'm not one of them, I can only judge but what I see in this issue. What I got was a vibrant, compelling look at Superman's youth told through a conflict his future self faces which was exciting, interesting, and, at times, confusing, with wonderful artwork. The figures that appeared on last issue's final page become clear immediately - it is the future (adult) Superman and the Legion of Superheroes. The Legion must get into Superman's head to retrieve the Kryptonite that powers his rocket ship, which has been shrunken down for a negotiation session between the Anti-Superman army inside Supes' brain. All the while, he must fight his former friend Erik (no clue who this is), who is mutating into a variety of forms and was involved in the Kryptonite theft. Oh yeah, add in a number of flashbacks to Clark's childhood and his first meeting with the Legion as children. This issue requires patience along with an understanding that it's more frenetic plot elements may become clearer in the future. Once you get in that mindset, it is a wild ride, but one that never loses an inspiring sense of heart. The Legion really come on strong here. I like their unwavering confidence and intelligence and how Superman must struggle to keep up with them. He feels out of his depth in this crisis, and it makes his struggle against Erik feel more personal. The sense of friendship amongst the heroes creates some nice moments, particularly the ending, where the Legion balance their disappointment in Superman with his excitement when he met them as a child. Morrison is toying with some great ideas here - the Anti-Superman army negotiation session, the fact that it's going on in Superman's brain, and the interesting idea of the rocketship needing to be in balance. It has slowly grown to become a key concept in his run, and here there is this great feeling that, if it is not whole, bigger problems will arise. There is a lot packed in here, and perhaps Morrison could have spaced out the issue's contents. The flashbacks to Clark's childhood could definitely use more space, but they capture his desire to connect with other superpowered beings and his relationship with his father well. Andy Kubert's art has done wonders for Morrison's unconventional origin story. It never loses step with his wild plotting and temporal shifts, retaining an energy throughout. At the same time, Kubert emphasizes wonder, fear, and worry in Superman's face at the right moments, humanizing this otherworldly time travel story.

The backup continues to explore Clark's time in Smallville, with this one focus on him leaving after his parents' deaths. This one is subtle and touching, as Clark reflects on his childhood when moving out of the family home. There also nice moments with Lana Lang and Pete Ross, exploring the deeper friendships Clark left behind. I remain impressed with how Chriscross has adjusted his style for these stripped-back, personal stories. He has brought a whole new expressive look to his characters, emphasizing their youth and inexperience, but also their earnest and true feelings. The colours are nicely washed out, lending an appropriate look to the flashbacks. There's always something interesting to be found in these backups. Sholly Fisch has a talent for these smaller, personal stories and I'd like to see more of them here.

Animal Man#6 - Jeff Lemire/John Paul Leon, Travel Foreman

Animal Man takes a breather issue, as Buddy's son Cliff watches the movie his father starred in (mentioned in #1) on his phone while the family continues to drive away from the Rot. I think a breather at this point is perfectly fine, and Lemire takes the opportunity to tell a creative story set within the backdrop he has already created for this book. The movie segment takes up the entire issue, outside of the last three pages. Drawn in a heavily moody, but stark, style by John Paul Leon it presents a look at a retired superhero at the end of his ropes, trying to move on in life. The story nicely parallels Buddy's situation when the series began, without ever going to overboard with the in-jokes or meta-commentary. Instead, the story of the movie character is told in a pretty straight style. It's a stark, depressing portrait of a hopeless man, but told with respect and tenderness. There are strong parallels (the headstrong, somewhat rude, but ultimately caring, wife, the disinterested children), but they work to highlight what Buddy's life was like when he chose to take on this role as an actor. I was surprised at how much I was drawn in to the movie character's story, particularly in trying to connect with his son. Lemire treats the character with respect and the tragedy of his situation really comes through. It's the kind of softer storytelling Lemire brings to Sweet Tooth. I've always loved John Paul Leon, and am happy to see him as guest artist. His strong brushstrokes create a great mood and his characters are real and vulnerable. There are some in-jokes here (Cliff's phone buffering at one point, "A Ryan Daranovsky film"), but, as mentioned, the reader is not inundated with them and they are well-timed. The final three pages catch up with the family, and are illustrated by Foreman. The sense of dread and anguish the family faces are palpable, a joke between Buddy and Cliff is perfectly placed, and the final page is a chilling end. All in all, a great little experiment of an issue. If more breather issues had this level of creativity and substance put into them, I'd be happy.

Stormwatch#6 - Paul Cornell/Miguel Sepulveda

And here, in Paul Cornell's final issue as writer, things really come together. This book has at times felt like organized chaos and at others a little too full for its own good. Here, the characters and storylines are put in place to provide a streamlined roster, a mission statement, and an antagonist for the book, while keeping the frenetic pace and tone. To start with, the initial bloated 9-person roster is down to a manageable 6, each with personalities that are starting to get more defined and a group dynamic that is shaping up nicely. The lost team members still exist as part of the larger story, with Harry Tanner's betrayal providing the book with a major antagonist and Adam One's hidden secrets providing a new mission for the group. And while Jenny is still a blank slate, the other five team members get a fair amount of page time here, fleshing out their motivations and reactions to this crisis. Cornell is unafraid to jump right into Apollo and Midnighter's mutual attraction. It's nothing more than an attraction right now, but it's enough to drive both men to stay on the team. The sense of tradition behind the team is played with in interesting ways here. With the Shadow Lords mysteriously not chiming in on finding a new leader for the group, they violate that tradition to find their own. Meanwhile, Jack uses his knowledge of Daemonite culture and physiology (they can't refuse a good deal) to repair Stormwatch's ship and keep everyone alive. This is a great sequence, with a very clever hook to it. It also sets up another potential long-term development for the work. The pacing is also quite good here. Cornell creates a sense of chaos around the destruction of the team's shape, as the various members work to stay alive and fix it. The intercutting between scenes is fun and exciting, and there is a lot of room for character interaction. Sepulveda's art is also strong. His figure work improves with each issue and he captures the action well. The fake space backgrounds get distracting, but when those effects are toned down, strong art emerges. I can comfortably say all of the pieces are in place for a solid book now. It's a shame Cornell won't be here to explore the new status quo, but I have hopes the book can go to good places from here.

Swamp Thing#6 - Scott Snyder/Marco Rudy

Scott Snyder plows along with his Swamp Thing epic. I feel like, plot wise, this may be one of the lighter issues, but when it comes to creepy visuals, fast-paced chases, and dramatic story turns, it packs a whallop. It seems like Snyder may have written parts of this directly for guest artist Marco Rudy's style. Rudy's work on the human characters is in keeping with the look Yanique Paquette has created for the book, and is very good, But his scratchier, looser style comes to life in the burning of the Parliament of Trees in Brazil, where Rudy emulates Paquette's panel structure but fills the pages with an angrier look that is wholly is own. Same goes for the vision of a world overtaken by the Rot. Snyder seems to provide these opportunities for Rudy to really let loose with his style. The visual of Abby merged to the Rot, the key figure of the issue, is a haunting mass of sinews, blood, and veins, with one pained human face struggling to break free, and it is a great piece of work. The extended chase sequence is excellent as well, with a terrified Alec, having lost his only ally, riding off as horrific undead vultures pursue him. Both writer and artist are at their best here. These events are wrapped around the revelation that the Rot want Abby, not her brother, as its host. Snyder does a great job conveying Alec's pain at losing the only person he has connected with, in Abby,and his fear at facing the challenges ahead. The ending has Alec returning to the Green, volunteering to become Swamp Thing to fix things. It's haunting and tragic, complemented by Rudy's swirling panels and some muted colours. This book continues to be one of DC's best. This issue is a bit light on plot, but rides on the energy and strength of its characters, high intensity action, and fantastic visuals. Every issue is exhilarating and a true page turner. A must read.

Uncanny X-Men#6 - Kieron Gillen/Greg Land

This is leagues better than this title's first arc, but I'm not fully drawn in to it. It just feels a bit too much like a mission this team has undertaken. The personal connection to it is not there, and so I feel a little removed from the story. Last issue's compelling look at Psylocke's guilt over causing Tabula Rasa is ignored here in favour of the internal politics within that enclosed world. Granted, Gillen is putting a lot of effort in to exploring what such an advanced world would be like, and it is well thought-out and interesting. I'm just not that drawn in by it. It just sits there as some good ideas but doesn't grab me. But I do like the concepts about evolution played with here. The underwater scene in particular is strong, as Namor discusses how the sea creatures have no concept of moving water and aren't equipped to deal with currents. One thing working in Gillen's favour is the pacing. There is a lot going on here, and Gillen deftly moves through the various scenes, touching in on the various characters, and slowly providing a bigger picture of what is going on here. The character interaction is also shaping up to be much better than it was in the first arc. The characters finally have some chemistry on panel together, and Gillen knows how to play it subtle. Psylocke has added a lot to the book, and her interaction with Magneto is good stuff. And I'd be remiss in not mentioning the moment where Magneto, looking for a quick weapon, turns his helmet into blades of metal. Sublime. So I'm not drawn in by the main story, but there is still a lot of good here and Gillen is finding his footing after some rocky opening issues. (Note: Until Greg Land starts drawing and stops tracing, I can't discuss his art.)

I also read Fatale#2 (Ed Brubaker/Sean Phillips), but I'm going to hold on comment until I have a few more issues.

Weekly Comics - 01/04/2012

Fatale#1 – Ed Brubaker/Sean Phillips

I decided to pick up this debut issue. I’m a big fan of Brubaker and Phillips’ collaborations, although I usually follow them in trade. With their first project for Image, I wanted to show it some support in single issues and I’m happy I did. This is very similar to Criminal in that it’s grounded in noir tropes, but with a touch of the occult coming in around the fringes. I like that Brubaker didn’t hit us over the head with that aspect of the story. This reads like a crime book, but with some intriguing supernatural elements playing an undefined role thus far. The book is divided in two, with a prologue that is a bit of an homage to North by Northwest. We meet our protagonist, Josephine, in the present day, and an unsuspecting man becomes the victim of a hit, replete with an attacking plane on a winding mountain-top highway. This is much darker than the Hitchcock movie, though, and the story ends on a fairly somber note. From there, the creators segue decades into the past, where a still young-looking Josephine is entangled in a relationship with a corrupt cop, some strange occult doings, and a reporter who is trying to help her. Brubaker elegantly introduces us to all of the players and conflicts in this time period, with brief, effective scenes that nicely transition from one to the next. At the same time, there’s an air of mystery to all of this; so while the stories were clearly laid-out, they were all shrouded in intrigue. Both creators effectively capture the time period through the dialogue and locations. The reporter’s kitchen is a dead ringer for the Draper kitchen in Mad Men, and it comes off as a sly homage (completely the opposite of how I feel about the celebrity faces used as character references these days). It’s a perfectly constructed and paced book, it plays up its noir tropes without overdoing it, it’s nicely building up a number of mysteries, and the art is great. Phillips nails the dark edges of this story within the confines of some fairly conventional layouts. I also really appreciated the back matter, as I don’t get to see it, reading Brubaker/Phillips’ stories only in trade. A write-up from Brubaker and a short essay on H.P. Lovecraft’s contribution to the horror genre rounded out this package very nicely. Stellar.

Action Comics#5 - Grant Morrison/Andy Kubert, Sholly Fisch/ChrisCross

Even though this is an origin story that puts the ongoing narrative on hold for two issues, it feels like this is where Morrison kicks things into high gear. The origin neatly ties back into what we have already seen at several points. It's also chaotic, full of energy, beautifully illustrated, and brimming with interesting takes on Superman and his mythos. Large parts of the issue are narrated by the rocketship that brought Kal-El from Krypton to Earth and it's full of personality. The ship's narration is alternately heartfelt, exciting, and incomprehensible. There's a great moment where it laments landing on Earth, a place where the other machines can't talk like it can. The issue opens with Kal-El's parents sending him off Krypton as it falls apart around them. There's a lot here - a quick introduction to the Phantom Zone, Krypto the super dog in action, and a great presentation of Jor-El and Lara. It feels jam-packed and chaotic, which works for a scene where the world is ending. A large chunk of the issue is devoted to Morrison's reimagining of Jonathan and Martha Kent's discovery of the rocketship and the baby within. Coupled with the backup story (more in a moment), it works very well. There's a desperation and sadness to their desire for a child. The twist on what they find at the spaceship, and give to the military, calls back to a great moment in #2 and it's quite clever. The issue ends with a scene that did nothing but confuse me, but in an exciting way. A mysterious, shadowed group (later dubbed the Anti-Superman army) steal the Kyprtonite engine from the rocketship (I'm not sure where the ship is located at this point) and then four seemingly heroic figures (one of whom is identical to Superman) lament what has happened. The segue to this sequence is a little jarring, but it's part of this issue's charm, as it intentionally jumps around throughout. It's certainly interesting stuff, even if I can't fully make sense of it now. It feels like Morrison is adding to his Superman world by throwing a lot of elements into it in this issue. It feels energetic and chaotic and I really like it. Andy Kubert's artwork contributes to that feeling. The figures and faces are expressive and interesting looking. He plays around with perspective as well, so the destruction of Krypton feels frantic. The final sequence is deliberately obscured, adding more confusion to what exactly is happening. But its very energetic and suits the mad cap story quite well.

The backup story slows things down considerably, and I found myself drawn right into it. It chronicles the Kents' quest to have a child after their marriage. I enjoyed that it wasn't cliche or sappy - their pain and desire felt real. Sholly Fisch's script did its job well. I felt like they really drew strength from each other with each failed attempt. It also fits nicely in with the lead story, filling gaps and expanding on the Kents' scene there. It felt sincere and heartfelt, and made a nice counterpoint to the wild opening story. I've never seen ChrisCross drawn normal people to this extent, but it was really good. His focus on faces and body language really sold these characters' sadness and inner strength. I like the variety in these backups, too. Last issue was more of a straight-up origin (alberit well-done), and this was an emotional character piece.

Stormwatch#5 - Paul Cornell/Miguel Sepulveda

The best issue of this title yet, so it's a shame Paul Cornell is leaving after #6. Things are certainly hitting their stride here. There's less of a focus on world-ending threats, as the cast take centre stage. And the mix between softer characterization and squabbles between cast members is nicely balanced. Midnighter and Apollo have an extended sequence to themselves, with Cornell playing up their attraction in a subtle way, while also having them wonder whether the public could embrace them as gay superheroes. I also like how they haven't been officially added to the team yet. They're still weighing the benefits of sticking around or breaking off to form their own team. There's a lot of interaction amongst the rest of the group as the Shadow Cabinet elects a new leader, after Adam One’s failure to lead in the previous issue. Most of this intrigue is fun, and gives attention to the wider cast. We’re also getting a good sense of Stormwatch as an organization, after the initial issues dumped us into their conflicts. Here, for example, we learn their headquarters has features of a city, as Jack can only live in cities. Sepulveda’s art is also showing growth, particularly with faces and normal people. There is a lot of standing around and talking here, and he pulls it off for the most part. The issue ends with Midnighter discovering Henry’s treachery, and an ensuing fight, and it’s effective. I feel like I know the team better now and this sort of conflict holds weight. The lead up to the finale is exciting and tense, and the issue on the whole is a success. Where it goes after Cornell leaves remains to be seen.

Animal Man#5 - Jeff Lemire/Travel Foreman, Steve Pugh

Buddy Baker's fight against the Rot continues in this issue, as he, Maxine, and talking cat Socks race across country to save his family. Imagine a horror movie centered around a tortured family, like Amityville, but one that doesn't suck. This is a thrill-a-minute fight against ruthless, grotesque creatures in a forest, with the stakes being the survival of a family. Sure, this is pitched as a conflict that will affect all life on Earth, but, reading this, all you care about is how Buddy, Cliff, and Maxine are going to safely make it through the fight. It's a gripping page-turner of a fight, and there are a number of contributions to the bigger story as well. Maxine is learning the extent of her powers and Buddy learns how the Rot plans to corrupt her. But it is all about the characters and the family dynamic ultimately. When Ellen's mother cries about her dead dog as the family escapes by car, her sadness resonates. The fear and anger Buddy and Ellen feel with the children in danger cuts right to the bone. And, as usual, Lemire is still throwing humour in, as the book has a quirky voice to it. Travel Foreman handles most of the art, and it's up to his usual standards.The creatures from the Rot are disturbing and all-encompassing, the characters emote and react in believable ways, and Buddy is once again the victim of some horrific physical distortion. He also does a great job with the forest setting, knowing when to pull back from the dense forest and let and empty space, populated by these striking figures, tell the story. Steve Pugh draws the final pages, and brings a quirky and expressive look to the characters that is right at home on this title. It's another triumph for this book, ending with Socks saying "Only Swamp Thing can save us now!" Can it get any better?

Swamp Thing#5 - Scott Snyder/Yanick Paquette

Snyder jumps right into William Arcane's confrontation with Alec and Abby. I was certainly expecting this to be drawn out longer, which contributed to my surprise when I turned the page to see William and his army of reincarnated animal corpses. Like Animal Man, this is a gripping horror story, with protagonists struggling to come into their own and trust each other while facing a great menace. The actual fight sequence is great stuff, with hideous, frothing pigs and cows attacking Abby and Alec in Paquette's traditional series of jagged panels. The moment where Alec finally calls on the Green to help fight off the animals is successfully pulled off as a big moment for the series. I was riveted on those pages. But I remain happy that he hasn't fully transformed into Swamp Thing yet. His big moment of using his powers here amounts to calling on vines to tear apart the animals (which Paquette ensures is as horrific a series of images as possible). It's #5 and we have yet to see him as Swamp Thing yet. And I couldn't care less. I adore the journey of these two leads characters and want to see it keep going. Because, ultimately, this is their story, and defeating William (even temporarily) is a moment of triumph for their developing relationship and their trust in each other. We see that develop in a sweet early scene, before the fight, and later on, when Alec offers her a canned peach to calm her down. Snyder expands on the Swamp Thing mythos at the end, and keeps it firmly tied to their relationship. We learn of the connection both of them felt to the Green as children, and how they may have been reaching out to each other, culminating in an embrace that brings back the girl made of bones image from #3. There's also a subplot, tied back to William, of a man spreading the Rot in a Brazilian jungle, tied to the destruction of the Parliament of Trees, which should provide more interesting fodder for this book. This is just such an incredible comic series. I am blown away with each issue. Paquette's artwork is stellar - he alternates between beautiful, real people and images of death and horror with ease, uniting them in a very distinct visual world, made more distinct by his style of page layouts. It's a perfect complement to Snyder's writing. Like Animal Man, this book is just as focused on its characters as its overarching conflict, and their struggles breathe life into an already exciting story.

Uncanny X-Men#4 - Kieron Gillen/Brandon Peterson

After a fairly mundane (and at times outright bad) opening arc, Gillen and guest artist Brandon Peterson present a single issue tale that provides further background on Mr. Sinister's plans while telling the story of a captive alien Phalanx. The Phalanx's inner monologue, detailing its struggle to survive without the 'hive-mind' of its fellow aliens is at times elegant and haunting. It's certainly engaging, and takes up a large bulk of the issue. This portrayal of Sinister was interesting in the previous story. Here, Gillen dovetails Sinister’s recent plans to transfer his mind between clones of his body with the concept of the Phalanx's shared consciousness. It fits quite neatly, and nicely shows off Sinister as both eternally curious and a malevolent force. The alien's efforts to subsist after escaping captivity are quite good as well. He is compelled to reach out with his species, having lost the shared mental bond they previously had, and goes to great lengths to reconnect. His desperation and emptiness are conveyed through some strong narration from Gillen. The problem comes when the X-Men arrive towards the end. The alien decides to let himself die, and the team defeat him. The end. This is certainly Gillen's strongest script on the relaunched book, as he creates a vivid world for the helpless alien and nicely ties it into Sinister's ongoing plans. But, as usual, he struggles with the X-Men. They are supposed to be seen as a lean strike force, swooping in to defeat the alien, with very little in the way of any meaningful dialogue or contribution to the issue. There's a trite attempt on the last page to have Storm to express regret over killing the Phalanx, but it's a pretty hollow moment compared to the depth Gillen pulled off with the alien. I get that the X-Men aren't the focus of this issue, but I don't think Gillen has earned the right to do an issue like this yet. He has yet to satisfactorily establish this team as any sort of team, with any compelling character dynamics or relationships. To do an issue that emphasizes them as a strike force who just enter the story at the end to fight, and intentionally plays down any characterization, just brings to light how poor this has been as a team book so far. It certainly doesn't help the book to feel any brighter or less somber to have the team feel so distant from readers. Peterson does do a stellar job on visuals, with clean lines, a lot of detail, and a great portrayal of the shape-changing Phalanx. So that's all good. But this book is still struggling. I was really drawn in by the Phalanx alien's story. Then the X-Men had to show up and remind me why this book just hasn't clicked for me since it relaunched.