Weekly Comics - 04/11/2012

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

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

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

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

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

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

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

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

Saga#2 - Brian K. Vaughan/Fiona Staples

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

Saucer County#2 - Paul Cornell/Ryan Kelly

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

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

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

Secret#1 - Jonathan Hickman/Ryan Bodenheim

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

Weekly Comics - 03/14/2012

Saucer County#1 - Paul Cornell/Ryan Kelly

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

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

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

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

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

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

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

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

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

Fantastic Four#604 - Jonathan Hickman/Steve Epting

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

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

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

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

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

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

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

Weekly Comics - 02/01/2012

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

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

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

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

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

Stormwatch#6 - Paul Cornell/Miguel Sepulveda

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

Swamp Thing#6 - Scott Snyder/Marco Rudy

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

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

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

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

Weekly Comics - 01/04/2012

Fatale#1 – Ed Brubaker/Sean Phillips

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

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

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

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

Stormwatch#5 - Paul Cornell/Miguel Sepulveda

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

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

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

Swamp Thing#5 - Scott Snyder/Yanick Paquette

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

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

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