Weekly Comics - 04/25/2012

Flash#8 - Francis Manapul, Brian Buccellato/Francis Manapul

This issue really dives headfirst into the Speed Force problem that has been at the heart of this series since the start, as Barry gets a tour of the Force from an angry, deranged, time-displaced kook named Turbine and pages upon pages of astounding visuals roll by. Manapul and Buccelato continue to merge art and story with this issue in interesting ways. The Speed Force is comprised of a series of rock outcrops, which wind and twist across beautifully-designed splash pages. Turbine falls from one panel's rock and lands in another's. He and Barry walk across winding rocks, through purple and blue hazy memories of Barry's life. The wonder and danger of the Force is bewildering for the reader, and helps explain Turbine's alternately angry and amazed behaviour. Turbine provides some exposition to explain how the time disturbances, EMP pulses, displaced objects, and displaced people have been occurring, as well as he and Barry's respective roles in these problems. The explanations fit together quite well and it's all very interesting. I'm a bit hesitant about how neatly it all comes together, but I'm willing to see where it goes. There are also some beautiful full-on fight pages in this issue, where Manapul plays with the speed lines of both characters and Buccellato throws in vibrant reds and yellows to create some fantastic images. The subplot material is of varying quality. I'm getting a little tired of Patty's rallying against the Flash as a menace. It feels a little abrupt and laid on thick at the moment. However, the Gorilla Grodd stuff is golden. I'm not a long-time DC fan, although I know he has a big following. His introductory scene here is highly entertaining, and I can't wait to see where this issue's cliffhanger takes it. This is another beautifully-rendered, exciting issue. Despite the odd kink here or there, this title is never less than great.

 

Uncanny X-Men#11 - Kieron Gillen/Greg Land

I have not been a fan of this relaunched Uncanny. I have never been a fan of Marvel's contrived, all-consuming events. And I hated every single page of this issue. I've spewed enough bile at this title already that I don't even know if I have much to say. It's not that I have critiques of specific plot points. I just hated everything this issue was. The shifting narration (from Namor, to Colossus, to Hope), meant to be insightful and provide variety, fell completely flat for me and provided nothing of value. Namor's scene had no purpose beyond giving him more pompous, obnoxious dialogue. Colossus' scenes could have been a good opportunity to explore his Cyttorak problems (something that, frankly, should have been addressed already). Instead, they were a confusing mess of conflicting statements and hollow dialogue. Hope's scenes were basically a recap of her character and crises. Great. The ending, with Cyclops' PR person sending out a mass letter, was really an abomination. In parts, the letter seems like a trite attempt to get sympathy. Then it becomes a threat to the world. It was just so mind-numbingly stupid, I had trouble finishing it (not unlike this comic). Whoever gave the order, years back, to turn Cyclops' character into a completely irrational fascist asshole needs some warm milk before bed. All of this garbage is drawn by Greg Land, who hasn't drawn a good issue of this title since he joined it in 2008 (technically, he hasn't actually drawn, so much as traced, for almost 10 years now). I have never not purchased an issue of Uncanny X-Men, but I don't know if I can handle all these AvX crossover issues.

X-Men: Legacy#265 - Christos Gage/Rafa Sandoval

More fun with the Mimic and Michael Pointer... In all seriousness, this is a decent comic, I just could not care less about those two guest stars, and they take a lead role in the issue. This is another issue of Rogue and friends trying to solve Michael's energy absorption problem while the Mimic mopes in the background about losing his best friend. I'm not engaged by these characters, I don't find their story interesting, and I had a hard time getting through parts of this issue. And yet, the rest of it was perfectly good. I've complained that Gage lays it on thick with the character interactions (in stark contrast to Mike Carey's approach), but those scenes worked here. Rogue and Toad discuss their dependency on Magneto, and Rogue and Mimic discuss living a life defined by taking from others. And both conversation scenes worked very well. There were smaller character moments that succeeded as well - the growing mystery of Husk's condition, Rachel's hesitancy in using her powers, and Rogue inviting Mimic to stay at the school. The art was also very strong. I like Sandoval's style - the lines are rounded and lush, but the characters still have a unique look to them. And the splash pages are usually powerful images. So yes, the lead plot itself isn't wholly engaging (unless you love the two guest stars), and boy is it dialogue heavy. But, around the edges, Gage seems to be getting a handle on the cast and pacing. A good issue.

Astonishing X-Men#49 - Marjorie Liu/Mike Perkins

This is Marjorie Liu's second issue, like her first one, it’s a mixed bag. Gone are the leisurely conversation scenes, with the X-Men hanging around their apartments. This issue dives headfirst into a street fight with a group of mind-controlled Marauders, led by Chimera. There's really nothing here, plot-wise, until Chimera reveals that the villains were mind-controlled. The light, fun characterization Northstar, Gambit, and Cecilia Reyes received in the previous issue isn't on display here. Every X-Man, with the exception of Wolverine and Northstar, is a cipher. Karma appears out of nowhere, and is treated as if she was there all along, but doesn't contribute much. I will give the fight scene credit for having a speed and brutal efficiency to it. I was definitely drawn into it, even if there is no compelling story supporting it. The centerpiece of the issue is a fight between Northstar and his boyfriend, Kyle, arguing about the former's superhero life and what role Kyle has in it. Liu wavers here in the dialogue, between being trite and genuinely effective. Like the issue, the scene a mixed bag. And it clearly will be taking centre stage, as a wedding is approaching in this title. I think that will be my only reason for giving the book another issue - I feel like something big is around the corner, even if the current story is non-existent. Mike Perkins remains passable on art. For every strong action panel, there's an overly rendered face or piece of body language. The colouring and finishes are working double-time to make this book look 'realistic,' and it's hurting Perkins' style. I've dropped Astonishing in past arcs for lesser offences than this issue. Those stories usually bored me. This one isn't, even though it has problems, so I'm sticking it out for now.

The New Deadwardians#2 (of 8) - Dan Abnett/I.N.J. Culbard

This mini-series remains a complete delight in its second issue. Everything is controlled and perfectly-paced - the tone, the plot movements, the characterization - mirroring the society the story takes place it. And yet the story still feels fun and vibrant within that constrained structure and environment. The opening autopsy scene is claustrophobic. The details of the crime and victim are grim, and presented to the reader in a very confined setting. The plot moves swiftly through a series of police procedural and investigative scenes that do much to reveal character, the history of this world, and the nature of this new British society. In fact, every scene makes an effort to naturally let us know more about how British society has adapted to a zombie outbreak, and it makes the world-building feel vital and interesting. There is brief exposition regarding the zombie outbreak, but it feels like natural reflections on the part of our lead character, not an exposition dump, and works very well. Almost every scene touches on issues of social class as well, and the role it has played in shaping British society. Abnett is creating a very strong world for his story to play out in, and has put a lot of effort into controlling the pace and tone of the story. There is actually a fair amount of plot movement here, as a number of details about the murdered vampire are discovered by our Chief Inspector. The interrogation scene at the end is a tense, engaging series of revelations, and the story takes a strong turn. Culbard remains a strong partner for Abnett in fleshing out this world. The panel structures are typically fairly simple, and the images within are as well. But there is immense skill on display here - he matches Anett's controlled pace and structure perfectly. With simple, clean lines, he conveys the rigidity and restraint of this society, and how it is on the verge of falling apart.There's a tension and unease in every scene, hinting at how these people are struggling to keep the facade together, and the art captures that very well. A really ingenious book, that is very well executed.

Glory#23 - Joe Keatinge/Ross Campbell

I decided to try something different this week, and was lucky to find a copy of this, the first issue of the relaunched Glory series. I have no knowledge of the character, but I have heard nothing but good things about this. Wow, was it great. The ideas are fresh, interesting, and presented with confidence. The execution is wonderful - there's variety to the different lead characters, their voices, and the tone and feel of their scenes and environments. I had read reviews commenting on how much exposition was here and I didn't see any problem with it. A few simple scenes are used to provide the background on Glory, but otherwise, the pages glide along through a variety of settings and perspective characters, building an interesting world and a fascinating mystery behind Glory. Ross Campbell's art kills it - the superhero characters have a very deliberate childlike look to them, with unique features and body language. The lines are clean and powerful, but turn to violence and to brutal detail with ease. The book is really different looking, but, like the script, Campbell presents his style and redesigns with confidence. This book was a breath of fresh air - an enthralling mystery, an interesting set of characters, a great visual look. I will definitely continue with it, most likely digitally. Reading this and the New Deadwardians, in contrast to three mediocre-to-bad X-books, and I'm beginning to question my comic spending habits.

Weekly Comics - 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 - 03/21/2012

Batman#7 – Scott Snyder/Greg Capullo

Batman has finally escaped the clutches of the Court of Owls, and this issue acts as a breather, even as the stakes of the next conflict grow to a fever pitch. The issue opens with an homage to Batman: Year One, albeit one where a giant owl kills a flying bat. Capullo has never been better than this scene - the shadows are placed perfectly, the images are menacing, and the splash page of the kill is a glory to behold. This issue continues the theme of Bruce Wayne learning that his Gotham has indeed been in the control of the Court of Owls all along. The lengthy middle portion of the book presents a Bruce almost unhinged - so frightened by his captors that his reactions are violent. The very image of Talon's costume brings fear to him. His lengthy discussion with Nightwing shows a man who is so determined to overcome his opponents, and so unhinged by what they did to him, that he almost overcompensates with his detective and science skills. He is abrasive and angry with Nightwing, so determined to prove his theories on the Court, that at times he sounds a little crazy. The theories he presents to Dick have scientific logic behind them, but could also have been completely fabricated so that Bruce feels he has control over the situation. Back in the earliest issues, Bruce struggled to accept the existence of the Court. Now, he is creating a narrative of their existence so that he can gain a degree of control over the things. It's a fascinating take on the character that feels completely believable given what he has gone through. Bruce presents a theory, explaining why Dick was targeted in #1, hinting at his ties to the Court. It's interesting stuff, but I like Dick's reactions of angrily not caring, almost to snap Bruce out of his state of mind. It's an exposition-heavy scene, but similar to Swamp Thing, Snyder makes the exposition feel economical and elegant. Capullo does a great job on this talky segment, because he charges it with the feelings behind these two men, a father and son at a tense point in their relationship. The issue is also interspersed with scenes of the Court preparing for their next attack, and finally launching it on the final page. Capullo's art is haunting and dynamic here, but FCO's colours are just as strong, with a reddish hue over Gotham's skyline. I wouldn't expect a Scott Snyder comic to do a full-on breather issue. This is a deep, exciting comic that explores the psyche of a broken man, while ramping up for the next stage of the conflict. Another excellent issue from potentially the best creative team in comics.

Birds of Prey#7 – Duane Swierczynski/Jesus Saiz

Swierczynski somewhat wraps up the title’s first arc, with more questions left unanswered than answered. Granted, the frenetic pace of this title does not lend it to a villain delivering an exposition-filled monologue explaining his plan. And we don’t get that here – some fights lead the Birds to discover Choke’s identity. They confront him, and, in the struggle for answers and team squabbles, Katana chops his head off. If you enjoy the high adventure, black ops feel of this book, you’ll enjoy this route. The story is still open, as later events in the issue hint at, but the book can move on from here as well. The action and intrigue is as fun as ever here – Choke turns his mental thrall on a few of the Birds, and the resulting action is great stuff, played out in dark basements and tunnels. The creative team use Choke’s mental suggestion sound effects to great effect as the action plays out. He feels menacing in the way he has turned the group against each other. There is a lot of great character work here too – Choke reveals whose murder Black Canary is wanted for, Ivy and Katana both see how much faith the others have in them, and Swierczynski does wonders for the Canary and Batgirl relationship. Each of these women are becoming well-rounded characters. Canary, in particular, is great – crumbling as she struggles to hold together this operation and her personal secrets. Her friendship with Batgirl is understated, but poignant. Saiz is back on the art, bringing a rich, rounded look to the characters, with dynamic splash pages and great fluid action. His work has depth to it, but is perfectly suited to the intrigue and action of this series. This series remains a treat for me. This issue glides more on energy than solid plot construction, but that energy is what keeps me coming back.

Wonder Woman#7 – Brian Azzarello/Cliff Chiang

There has been some kerfuffle about this issue and its reworking of the Wonder Woman mythos and I honestly don't understand why. If you're a fan of good storytelling, this is a fantastic comic. I couldn't care less what twists it places on Wonder Woman's origins, because it is so good. The conceit here is that the Amazons, a tribe living on an island full of women, must have given birth to a male child at some point, no? In stark, haunting detail, Azzarello and Chiang present the Amazons method of conceiving children, disposing of the children's fathers, and further disposing of any male offspring born nine months later. It is such a simple, stark portrayal that it is incredible effective. It is also a wildly imaginative and exciting take on the mythos, distilling a mythological concept to its core element and exploring a new avenue of it. Azzarello is taking ancient concepts and running free with them. But everything still feels epic, including the characters' reactions to the drama unfolding. This issue sees Wonder Woman and crew track down Eros and Hephaestus in their quest to rescue Zola from Hell. The creative team's re-imagining of these two is in line with their work thus far – great designs, bold, powerful dialogue, and a strong new take on the character. The interaction between this collection of godly characters is stellar - the dialogue rings with clarity and power and the stakes of each conversation feel high, but there is still room for some levity and playful teasing. The scene in which Diana implores her newfound brothers (the male Amazon offspring) to come with her is heartbreaking - Diana is trying to reach out to the growing family she is learning she has and they do not want to leave Hephaestus, who saved them from death and gave them a home. In having Diana learn about her new family members in each issue, Azzarello has made a godly character seem humble. She is struggling to find the strength and sense of community she had on Paradise Island, and failing at every turn. Her defeated visage on the final page is tragic. Chiang is certainly no slouch in the art department. As mentioned, the new characters look great. A brief action scene in the middle almost evokes Kirby's style, as the bulky Hephaestus jumps into battle. Chiang's lines are clean and bold, so images of Diana's sadness have a real resonance. The flashback to the Amazons’ courting of men is bathed in darkness, and perfectly evokes the dark deeds. This is a wonderful single issue - equal parts imaginative and creative, as well as powerful and resonant. Azzarello and Chiang should be applauded for the bold choices they make here.

Uncanny X-Men#9 – Kieron Gillen/Carlos Pacheco

Some time killing before Avengers vs. X-Men – it’s perfectly passable, but pretty blatant in what it’s trying to do. On the plus side, Gillen seems to realize that he neglected the characters for too long. The issue opens with a number of strong character scenes – Danger analyzing Illyana’s current predicament (since when has Danger contributed anything to the book?), Colossus speaking in defence of his sister, Emma regaining strength after recent injuries. We have yet to get a sense of these characters’ lives on Utopia, and Gillen makes an effort to do that here. He also brings in what have to be pet characters for him – the cast of his short-lived S.W.O.R.D. series. They provide the catalyst for the X-Men current mission, and Gillen has fun with them. He doesn’t write them with the reckless abandon he did in their own series, but it’s fun nonetheless. The mission brings the X-Men alongside the Avengers, cleaning up after escaped aliens from S.W.O.R.D. hq. I’m sorry but this just feels like blatant string-pulling before AvX starts. How often do the Avengers get involved in X-Men conflicts (or vice-versa)? Never? So let’s get them all working together before the big summer crossover where they fight. Snore. I stopped getting excited for such gags at age 8. The moment that proves how forced and contrived this all is happens when Cyclops and Wolverine cross paths in this team-up – a silent panel, not a word said and nothing done to deal with the schism. Proves to me this team-up only exists to serve as tepid ‘lead-in’ to the crossover. They didn’t have the guts to address that here because this is just a filler story before the crossover. The Avengers have no reason to be here and are dull as dishwater throughout. Pacheco is back on art, and it’s still his new, smoothed out style. It’s certainly pleasing on the eye, but the artist I loved is effectively gone. His unique style has been lost. This is a decent issue. The plotting stinks, but the character material is worthwhile.

Weekly Comics - 03/07/2012

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

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

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

Stormwatch#7 - Paul Jenkins/Ignaco Calero

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

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

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

Swamp Thing#7 - Scott Snyder/Yanick Paquette

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

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

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

iZombie#23 - Chris Roberson/Mike Allred

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

Weekly Comics - 02/15/2012

DC Universe Presents#6 - Dan Didio, Jerry Ordway/Jerry Ordway

I thought I’d give this new arc a try, given that the title’s first story was a pleasant surprise and I’ve never read anything by the infamous Dan Didio. OMAC has been getting great buzz, so maybe his re-imagining the Challengers of the Unknown held similar promise? No such luck. This was fairly lifeless from start to finish. The Challengers are re-imagined as the crew and celebrity cast of a Survivor-style reality show, whose plane crashes in the Himalayas. They awaken in Nanda Parbat, and the quest for a mysterious artefact behind their troubles begins. There’s some effort here to play around with timeframes, reminding me of what Duane Swierczynski did a couple issues back in Birds of Prey, when the cast awoke to find themselves displaced from where they had been, with hazy memories of it. Needless to say, the trick is pulled off with less style here. The issue just feels clunky – outside of a couple of personalities, the cast members are ciphers, the introduction of Nanda Parbat and the threat aren’t very engaging, and there is a lot of talking heads. For a concept that I assumed would be about high-adventure and espionage, we get a lot of sitting around and talking, by some fairly dull characters. The lead female character is at least slightly interesting, and her reaction to the loss of her boyfriend in the plane crash provides some emotional hook for the story. But that’s about as deep as this one gets. The art by Jerry Ordway is old-fashioned, but fun, with some strong visuals in the few action scenes. There are a lot of talking heads scenes here, though, so I wish he got more interesting things to draw. The opening Deadman story was a treat, so this issue is a disappointment. I may be back for James Robinson’s Vandal Savage story in #9, but I’m going to skip the rest of the Challengers arc.

Batman#6 - Scott Snyder/Greg Capullo

This is the issue after the infamous hold-the-book-upside down issue. It's not as audacious, but it's equally excellent. Batman is still stuck in the Court of Owls' maze-like tomb, but instead of focusing on his disorientation, this issue deals with his efforts to regain self-control and overcome his opponents. It's the story of a man struggling to find that one piece inside himself that will give him the strength to persevere. This issue goes for some big moments and bizarre visuals that obviously are occurring somewhere in Bruce's rattled head as much as they are in reality, and it works. Snyder sucks us right into Batman's mindset, so that when he does lash out and have his moment of lunacy, we are right there, buying in to the wild visuals. Snyder and Capullo work together to create an unhinged Batman, determined to beat his oppressors. Their deranged, fanged Batman works perfectly, and it's just "out there" enough to sell the intense action scene that follows. The splash page of a snarling Batman, swatting away the Court members pawing at him, is truly a highlight for this run so far. I loved the culmination of Batman's battle with Talon, where he so desperately wants to reassert himself as a master tactician. He pulls that off, but his need to explain why his plan was so successful to Talon really shows the fear and insecurity he's feeling (especially given the haunting fate he later faces). Snyder also gives us a lot more insight into the Court in this issue, with a chilling portrayal of their society, their rules, and their means of operating. Capullo is in lock step for this, portraying a deranged, maniacal society of mask-wearing evil creatures. From the old woman in the wheelchair to the bloodthirsty young girl, we're now seeing more of the Court beyond just Talon, and it is a vivid and frightening world. This title is the story of two creators working in tandem to create something special. The two have created a world that is visually stunning, dark, violent, and unsettling, while telling the story of one hero trying to navigate it. Excellent stuff, once again.

Birds of Prey#6 - Duane Swierczynski/Javier Pina

Swierczynski plows along with the Choke story. Everything that makes this book enjoyable is in full force – fast-paced action and intrigue, exacting portrayals of the lead characters, and a dark, exciting vibe to the proceedings. My one reservation is the length of this story. After this issue, we will be entering the seventh chapter of a story where the antagonist has been kept deliberately vague, and his goals equally unknown. Some of that is coming into focus now, but I do think this may be stretching on a little longer than it should. Thankfully, Swierczynski always keeps it interesting and exciting, maintaining the quick pace, fun action, and attitude of the Birds in action. That is the draw of the book, along with the increasingly deep portrayals of Black Canary and Starling. The action also jumps ahead here, with the Birds back on top of their opponent after last issue’s mind games. There’s a jump in time – the team has made some big strides and regained their momentum against Choke. Some may find it jumpy, but it feels like Swierczynski planned this as the next beat in the story and it works dramatically. The jump in the action fits right in to the tone and pace of the book. Javier Pina does full pencils this time, and his style is remarkably close to Jesus Saiz’s. A bit less rounded and soft in spots, but he maintains a consistent look for the characters and action and the book looks good. So while I have reservations on the length of this particular story, this issue maintains the tone, pace, fun, and great characters the book is known for.

Wonder Woman#6 - Brian Azzarello/Tony Akins

This issue continues the machinations of the gods in the wake of Zeus' disappearance. I think it is this title's least gripping issue so far, but it makes great strides in the plot while telling an engaging action story. This issue is the first time Diana has taken an active role in the familial drama unfolding around her, rather than waiting to act, and it's great fun. Watch her navigate promises to Poseidon, while fighting him, watching out for Zola, and keeping tabs on Lennox's activities, makes for a great read. Akins handles the action well, particularly the wordless scenes as Diana volleys around to keep Zola safe. It's fun to get some greater focus on the desires and goals of the other gods. Each of them have such strongly defined personalities and visual looks. Hades proves himself to be nothing but trouble, Poseidon is still over-the-top, and Hera's confrontation with Diana is appropriately epic. Lennox is also a fun character, a clear John Constantine take-off, but a welcome voice in the parade of godly characters. If there's one failing to the story, it's that the mechanics of Diana's trickery get a little lost at the end - too much happens too quickly, and I wasn't sure exactly how it was all accomplished. Still, the issue is enjoyable, with a fun, fast pace and strong character portrayals. Akins does a great job here, but I wish we got some of the bigger panels we did last time. Part of the reason the action at the end is a little confused is because of his smaller panels. Still the character acting is strong and the look he brings to the title is unique. This is another strong issue; perhaps not quite the gut punch earlier chapters have been, but a strong piece in the larger story Azzarello is telling.

Uncanny X-Men#7 - Kieron Gillen/Greg Land

Erghh. This is not doing it for me. The characters have essentially been stripped out of the story, and I’m left with the in-depth conflict of two advanced creatures at war with each other. I’m just not engaged with the concept of this Tabula Rasa story at all, and it feels like the X-Men are so removed from it. It started out as a problem Psylocke needed to resolve, and that was the character hook of the story. But she appears for two pages here before being knocked out. Colossus and Magik are absent, and Magneto is wallpaper, so all the interesting characters are off the table. What we’re left with is a fairly detailed exploration of the conflict between two characters from Tabula Rasa, with the X-Men following around trying to keep up. It’s just not engaging to me at all, which is disappointing, as the first two issues tried to bring the X-Men in to spice up the story. They’re absent in any significant way here. Also, there’s another issue of this story left! Talk about dragged out. I think this title could use some subplots – Wolverine and the X-Men is brimming with little side stories and character moments. You could argue that’s what comprises every issue. And it feels lively and full of character. This book has nine lead cast members and they all mainly sit there as blank ciphers. And the book is badly suffering because of it, because these stories don’t have enough to keep my interesting.

Weekly Comics - 02/01/2012

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

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

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

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

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

Stormwatch#6 - Paul Cornell/Miguel Sepulveda

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

Swamp Thing#6 - Scott Snyder/Marco Rudy

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

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

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

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