Weekly Comics - 04/18/2012

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

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

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

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

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

Wonder Woman#8 – Brian Azzarello/Cliff Chiang

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

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

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

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

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

Weekly Comics - 04/04/2012

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 - 03/14/2012

Saucer County#1 - Paul Cornell/Ryan Kelly

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

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

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

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

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

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

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

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

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

Fantastic Four#604 - Jonathan Hickman/Steve Epting

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

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

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

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

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

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

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

Weekly Comics - 02/22/2012

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

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

Justice League Dark#6 - Peter Milligan/Mikel Janin

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

Fantastic Four#603 - Jonathan Hickman/Barry Kitson

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

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

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

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

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

Weekly Comics - 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.