Weekly Comics - 04/11/2012

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

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

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

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

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

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

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

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

Saga#2 - Brian K. Vaughan/Fiona Staples

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

Saucer County#2 - Paul Cornell/Ryan Kelly

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

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

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

Secret#1 - Jonathan Hickman/Ryan Bodenheim

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

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 - 02/08/2012

Frankenstein: Agent of S.H.A.D.E.#6 - Jeff Lemire/Alberto Ponticelli

Lemire begins to bring this book into different territory in the sixth issue - he starts exploring Frankenstein's past while delving into the intrigue at S.H.A.D.E. It's a wise choice. For as great as the first arc was, it was a big fight book, with a lot of humour. It's nice to add some layers to the story. Here, we meet Frankenstein's team mate from the Vietnam War, Colonel Quantum, who defied his superiors and deserted the battlefield on a mission back then. Quantum is an interesting counterpoint to Frank. He feels bad for the deaths he caused and wants his suffering to end. In the face of Frank's stoic resolve to kill him, Quantum is a figure of pity, but one who retains dignity because he accepts his less-than-proud past. Frank's coldness here is an extreme take on his abrasive personality. In fact, of all the freakish lead cast members, Frank comes off the worst here, as even his team mates show some squeamishness at the thought of killing Quantum. Speaking of his team mates, Lemire continues to refine their interaction, with some truly cutting and funny moments as they travel through Vietnam. The action at S.H.A.D.E. hq is strong stuff as well - the Humanid servants we met at the start of the series have developed enough of a consciousness, thanks to Father Time’s mucking with Brother Eye last issue, to rebel. Lady Frankenstein is highly entertaining here, but, even through the comedy, Lemire sells the danger of the situation. The end hints at more secrets from Frank's past coming out. Ponticelli continues to do great work on this book. His depiction of an aging, deformed Quantum is appropriately sad and Quantum's death scene is larger than life. I also really liked his work at S.H.A.D.E. hq, where he fused crazy machinery with some shadows and atmosphere. This issue isn't as overtly wild as previous ones have been. But I appreciate its efforts to show us another side of Frankenstein's past while starting some bigger stories. Another strong issue for this surprisingly compelling title.

Batgirl#6 - Gail Simone/Adrian Syaf

Gail Simone's curse on this title is to jam-pack each issue with too much content. This issue alone gives us Gretel's origin, wraps up her story, has Barbara reflect on her relationship with Batman while teaming up with him, features Barbara's mother trying to make amends, forwards Detective McKenna's story, and contains two lengthy battle scenes. This could be a mess, and it does often feel like a lot is going on, but I can't help but really enjoy it. It feels busy, but controlled, like Simone is doling out her plot elements as she sees fit. It is also always held together by Barbara's narration, which is full of life, even when reflecting on the pain and loss she has faced. And just when it feels like the book’s events are chaotic, Simone throws in a moment of true clarity and tenderness. A standout one here is Barbara reflecting on how Batman comforted her after her accident. The Batgirl/Batman relationship is really well-handled here. Simone gives Barbara her own unique connection to Bruce, and their interaction has both a familiarity and a standoffish quality to it. The story of Gretel is also very well done. The cut away to Gretel reflecting on her past doesn't feel out of place at all. Instead, it's a fairly gripping origin that drew me in right away. Simone once again parallels Batgirl with her foe, but it doesn't feel overdone. Both Barbara and Gretel have been left for dead by ruthless criminals, and Gretel’s journey to move on from an incident like that doesn't end up as well as Barbara's did. The use of Barbara's mother is much better here as well. Again, Simone seems to be telling this story at her own pace, and the snippet here is quite humorous (particularly in how Barbara sneaks two of her mother's baked goods after rebuking them). Syaf's art occasionally falls victim to the weight of the content - at times, his figures are a little cramped. But, in general, his faces and action scenes have life and movement to them, and he seems a strong fit for Simone's sensibilities. I would usually rally against a script this busy, but against all odds, this book is working. The key to it all is the strength of Barbara's portrayal. Good stuff.

Batwoman#6 - J.H. Williams III, W. Haden Blackman/Amy Reeder

This is it. The big one. J.H. Williams steps back as artist for this arc, and Amy Reeder joins the book to draw the current story. This character's entire world has been defined by such a unique, strong visual sense. How will it hold up as drawn by another artist? It turns out Reeder isn't here to emulate Williams' style or even his general aesthetic. She boldly brings her own sensibilities to the book. Pages live and breathe in completely different ways than Williams would have depicted them. Characters emote and express themselves in a different way than Williams would have shown them, but no less distinct and visually interesting. Reeder plays with giant splash pages, as Williams does, but in her own way. Images don't dance across the splash page, but boldly or even angrily jump out. I think I was most pleasantly surprised with that harsher aspect of Reeder's style. Williams' world is softer and more graceful, but in Reeder's, the action and the emotion are a bit harder. I'm happy Reeder is experimenting with her style on the book. If another artist has to draw this title, it needed to be one who brought their own unique visual sense to the table.

As for the story, it jumps around, both in time and character point of view, to catch us up on all the players in Kate Kane's world, after the brutal twist of events in the previous issue. All of the individual scenes here are strong. And while I applaud the writers once again trying something different, I don't know if the narrative trick really worked to produce a complete issue. I felt like this was a 'catching up with each character' issue, not part one of a new arc, which it is. Now, every scene here is great, I just prefer the less obvious way they have jumped between characters and stories in the past. The highlight here is how the writers continue to develop the world around Kate. Maggie is an interesting love interest because she challenges and questions Kate in ways this closed-off woman usually tries to avoid. I also like the hint of a troubled past they introduce for her here. Kate's father takes a larger role, in a touching scene where he visits Bette in the hospital. The Weeping Woman story is also being fleshed out into a lengthy story, with hints of a back story provided and intrigue in the present explored. I loved the fight scene Batwoman and Chase embark on. Where, last issue, it seemed like Chase trapped Kate, here, Kate is so brazen in her crime-fighting tactics, that Chase is frightened and off-guard the whole time. Kate seems to be subverting her captor by being so outlandish on the battlefield, and it's a great reversion. It's also a stunning-looking fight scene, with Reeder's most dynamic pages. Barring a storytelling experiment that didn't fully come together, the individual pieces here are as strong as ever, and the art brings a bold new voice to the book.

Superboy#6 - Scott Lobdell, Tom DeFalco/R.B. Silva

The first thing I noticed here is that Bob Harras has brought another 90s Marvel staffer, Tom DeFalco, in to script this issue over Scott Lobdell's plot. And, to be honest, it's the kind of script I would have expected from Lobdell before this book started. Instead, he has been understated, intelligent, atmospheric, and somewhat insightful. The quieter, introspective scenes Lobdell has brought to the lead character are all laid on the table here - instead of having pondering his free will and the nature of human suffering, DeFalco has Superboy literally asks these questions. Lobdell has crafted some great inner monologues that touched on deeper issues, but DeFalco loses all sense of subtlety or elegance in his dialogue. The script in general is weaker here. Superboy's meeting with Supergirl should have been disquieting and interesting. Instead, every thought and problem is laid bare and the interaction between them is wooden as a result. This isn't even a bad issue, I was just surprised how much it stumbled without Lobdell's script. The events of the issue are all good - the fight with the Teen Titans was enjoyable, given that I don't read their title. And the meeting with Supergirl yields some interesting revelations about Superboy, causing him to attack N.O.W.H.E.R.E. And Superboy remains likable in his earnest desire to understand his life and the choices he faces. R.B. Silva's art is as good as ever. His lines are crisp and clean, and his characters fluid and energetic. The page designs are always sharp, drawing us in to the attractive figures. I just wish Lobdell had scripted this issue. He has brought a cold, antiseptic sense of atmosphere to this book that really worked, as well as surprisingly strong scripting. DeFalco's script doesn't have any life to it, and loses the book's typical nuance by being too literal. A bit of a misstep, but hopefully a one-off mistake.

Wolverine and the X-Men#5 - Jason Aaron/Nick Bradshaw

Jason Aaron ostensibly starts a new arc here, with the invasion of Brood aliens via Kitty's pregnancy. But, really, that is just one of many plotlines running though this issue, which once again has a large number of things happening, most of them highly amusing and entertaining. The high point of the issue is probably Beast leading the students through a tour of Toad's stomach. It's funny and inventive, and the dynamic amongst the student body is refined more and more with each issue. Aaron takes this group dynamic and brings it into many other scenes. In fact, the student interaction is really the highlight of the issue, particularly Quentin's insults towards Broo. But there's a lot going on here - Kitty is pregnant with invading Brood aliens, Angel is stripped of his finances, Wolverine goes off in search of funding, and a wider alien threat emerges. Aaron has a talent from cramming each issue with tons of jokes, little character moments, and details around the school. This approach is really working for the book. It feels different from other Marvel titles. I know I can count on it to deliver a quality read that goes above and beyond to entertain. Nick Bradhsaw continues to grow in his role as artist. The whole package is a bit less visually exciting than it was under Chris Bachalo's pencils, but Bradshaw has his own unique, quirky style that suits the tone of the book. His depiction of Toad's insides captures the wonder and humour of the scene perfectly. This is another strong issue. It's a set up issue for a new story, but it is full of so many small moments of character and humour that it feels like a substantial read.

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.

Weekly Comics 12/14/11

Batgirl#4 - Gail Simone/Adrian Syaf

Simone wraps up her first storyline, with Batgirl defeating Mirror, but, like the previous issue, there is a lot more than that going on here. The compelling part of this series remains Barbara's personal struggle in the wake of regaining the use of her legs. She struggles to open up to those close to her. In a touching scene here, she begins to relate some of her past to her new roommate, a virtual stranger. With two characters sitting on the floor, talking under the lights of a Christmas tree, it's a powerful scene. She struggles to understand Mirror's motivations of punishing people who should have died, as she herself was the recipient of a second chance. Simone is at her best in her portrayal of Barbara. For a seemingly bright and exuberant woman and superhero, she is full of darkness and sadness, and it makes this title much more than a typical superhero book. Even her attack on some back alley thugs has a strong intensity and anger to it. The resolution of the Mirror storyline is a bit less successful. Simone is certainly refining her battle scenes, as the narration is well-placed here, not overpowering the action. And the comparison of Mirror and Barbara's personal issues is well-conveyed. I just don't know if, as a plot, this reached a strong conclusion. Yes, Batgirl defeats him, but was there any more to his story than that? His defeat marks the end of the story, and I just felt like there should have been a bit more to it. Syaf's pencils remain dynamic and energetic, nailing the numerous action scenes along with the quieter moments very well. It's a strong title that is still going through a bit of growing pains - fantastic character work, but plotting and pacing that still have a few issues to iron out.

Frankenstein: Agent of S.H.A.D.E.#4 - Jeff Lemire/Alberto Ponticelli

This issue wraps up the first story, and it's doing what the series does best - over-the-top action scenes involving bizarre creatures and brutal tactics, with a tongue-in-cheek sense of humour and fantastic artwork. Lemire has the action unfolding on two fronts. Lady Frankentstein leads some of the monsters in a land assault, while Frankenstein and Dr. Mazursky again take to the oceans. Lemire wonderfully paces the scenes that flip between these two groups, as well as those of the S.H.A.D.E. executives monitoring everything, for maximum humour potential. The underwater scenes in particular are great, with Mazursky developing a connection to the parentless sea creatures and Ponticelli slaying on the visuals. On land, Lady Frankenstein is developing into a fun character, tearing into her underlings at every opportunity. This book is just pure fun through and through, and embraces a wild tone and pace. Multiple times in this issue, a splash page of one of the hideous parent monsters is used as a big reveal. Lemire seems to be consciously using the same tactic, but it works every time, due to the gritty, wild visuals and the self-aware humour behind it. The team dynamic remains a highlight of the book, as does Frankenstein's personality. He is gruff and unimpressed with almost everything. And instead of looking further into a problem, he'd rather just stab someone or pull out one of their organs and move on. All of this is treated in such a deadpan manner, that it can't help but be funny. I will say that after such a big action issue, I'm ready for a bit of a change of pace or a bit more depth to be added. As long as Lemire keeps this book's distinctive sense of humour intact, I can't see how he could go wrong taking the story in different directions. A stellar book.

Grifter#4 - Nathan Edmondson/Scott Clark

From solicitations, it appears artists CAFU has moved off this title, replaced by Scott Clark. With all due respect, it is a step down in visual quality. I wouldn't usually give the art such prominence, but this such a major shift that it changed the whole reading experience. Gone are CAFU's crisp figures, strong panel arrangements, great story flow, and simple backgrounds and settings. Replacing them are an Image style that never left the 90s, ugly figures, hideous and distracting computer-generated backgrounds that look 15 years old, and a loss of any distinctive visual tone for the book. I really hope another artist can be brought in, because I'm still enjoying the story here. Edmondson has the ability to craft a fast-paced thriller, with the right amount of double-crossing and action scenes, and I'm genuinely interested in the story. Cole Cash is an enjoyable protagonist, confident and capable, but still struggling to make sense of the alien conspiracy he's been dragged into. And the involvement of Green Arrow here is surprisingly natural, with one of the aliens leading Cash to GA's company. Their interaction works well. The story, pacing, and mystery elements are all good, but Edmondson is not being met by a capable-enough artist. I wouldn't be harping on this if it was a guest artist, but it appears Clark is here for the foreseeable future.

Batwoman#4 - J.H. Williams III, W. Haden Blackman/J.H. Williams III

Williams and Blackman move forward with the Weeping Woman storyline, granting it more prominence than it has yet received in this title. Some of the character stories are put on the side for the sake of plot movement, but there is still ample characterization here along with some fairly harrowing plot developments. There is a stronger focus on Bette Kane, aka Flamebird, than we've had yet. She is desperate to prove her heroic prowess to Kate, leading to a stunning opening sequence. She takes on one of the Weeping Woman's cronies, only to fail brutally and be left for dead. As so rarely happens in comics, the danger and her injuries feel real. The shock and disbelief in her face about how poorly she did in battle feels real and sad. This battle is juxtaposed with photographic-style art of Kate and Maggie in bed together, evoking Ashley Wood's style, while remaining uniquely Williams' own. It's an excellent opening that sets a tone of unease for the rest of the issue. I like Batwoman finally taking charge on the Weeping Woman case. It has fallen to the side in the face of her personal problems, and, typical of Kate's desperation, it feels like her taking charge of it is a way of taking charge of her life. There's a wonderful splash, where Williams depicts her interrogating of one of the victims' parents through the jagged folds of her cape. In the midst of the investigations, we meet another interesting female character, a medical student who treats injured criminals for extra money. Chase's story continues here, dovetailing with Bette's injuries in scenes that show how cold and driven she is to find Batwoman. It's here that Bette's injuries feel truly real. Chase and her partner have brutally tied her up in a makeshift hospital room solely to get information on Batwoman out of her, and Bette looks near death. There's even a short scene here for Maggie and Kate's relationship to develop. It's another stunning issue, where William's style shifts from painterly, to tableaux, to lighter, cartoonier figures, to harrowing action scenes. The plot action overtakes the characters just slightly, but a compelling story is developing around this strong group of characters.

Superboy#4 - Scott Lobdell/R. B. Silva

This title remains a delight with every issue. The lead character is a great little oddity, struggling to understand the people around him, the conflicting impulses of good and bad within himself, and how to rely on himself. We start to get a lot more information on him from a man named Centerhall within N.O.W.H.E.R.E., learning about his lineage and the purpose behind his creation. Through all of this, the book's off-centre tone remains. Caitlin Fairchild is taken out of the proceedings so quickly, that you can't help but be suspicious about Centerhall and his benevolence towards Superboy. This leads to a sublime sequence in the middle of the book, where Superboy finds himself in the middle of New York during Christmas, completely at odds with the celebrations and merriment of the people around him. He lashes out with property damage, struggling to understand why he feels this way. The antagonists introduced last issue, a young couple given to wanton destruction, reappear her as nice counterparts to Superboy. Should he give into all of his negative, uncaring impulses, he could become them. Instead, he feels a desire to help people and defeats them. Like previous issues, we are kept at a distance from the protagonist, even as he is confronting personal feelings and impulses. For as relatable as some of his struggles may be, his tone is still different from the average person, and it keeps readers at a distance from him. So, even as the plot really begins picking up steam here, Lobdell is still creating an alienating effect between the reader and the characters. For me, it's a compelling, interesting direction that keeps me coming back. Silva's art is also helping in that regard. The characters are wonderfully rendered - quirky, expressive, comical, and attractive. Superboy's reactions to Christmas are wonderful. But the layouts are also strong, with a good emphasis placed on solitary figures and expressions for emphasis. This title continues to spin in interesting directions. It's certainly not what I thought Lobdell was capable of, but it's a fun surprise every month.

Magneto: Not a Hero#2 (of 4) - Skottie Young/Clay Mann, Gabriel Hernandez Walta

I was worried the first issue of this mini was a bit thin on plot, despite a strong portrayal of its lead character. Young adds some depth here, along with some subplots. The simple story of Magneto having to clear his name for crimes Joseph committed is just the backdrop for a more character-oriented story to play out over. That story involves Magneto having to justify his current stance of solidarity with the X-Men to radical villains who think he has wimped out. His speech to Joseph about the type of leader Cyclops has become, and the diminishing role he and Xavier play in the future of mutantkind, is a strong scene. We have heard glimmers of this type of stuff in the main X-books, but it's nice to have more page time and conversation devoted to it. This isn't a simple hero vs. villain story; yes, it becomes that when Joseph isn't satisfied with Magneto's reasons for allying with the X-Men, but the idea was that Magneto, Joseph, and Astra could work together to help mutantkind. There's a lengthy flashback to open the issue, in which Astra revives Joseph's consciousness in the Arctic, where he died. It's fast-paced, with a good flow to the minimal dialogue, and a good showcase for the artwork. Gabriel Hernandez Walta pencils this section, with widescreen panes and splash pages conveying the action with speed and intensity. His figures have some of the better aspects of Adam Kubert's style to them, as well. Clay Mann draws the rest of the issue, in his usually strong style. His expressions and body language are sharp and his closing action scene is kinetic and energetic. Young also adds a subplot, as mentioned, where mutant-hating humans try to fan the flames of hatred caused by Magneto's attack in the first issue. It's fairly standard, but adds another storytelling layer to the main conflict here. So I was pleasantly surprised with this. The first issue was enjoyable, if a bit thin in the story department, but this one explored some different avenues with strong results.