Weekly Comics 12/14/11

Batgirl#4 - Gail Simone/Adrian Syaf

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

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

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

Grifter#4 - Nathan Edmondson/Scott Clark

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

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

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

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

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

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

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

DC New 52 Month 3

Frankenstein: Agent of S.H.A.D.E.#3 - Jeff Lemire/Alberto Ponticelli

This issue continues this title's weird, fun romp to an alien planet to fight creatures consuming human children on Earth. It's the storytelling, humour, and bizarre, over-the-top presentation that really sell this. Lemire and Ponticelli are working in unison here. Lemire has made the group interaction in Frankenstein's team both cutting and frivolous, and is really refining the cast dynamic. Adding to the team dynamic is Frankenstein and his estranged wife alternately defending and putting down each other and everyone barking at Father Time. This humourous tone makes the otherworldly settings and plot (as well as cast of monsters) a bit more relatable and keeps the book fun. A couple fantastic action scenes break out here, with the cast of freaks letting loose on some alien creatures, and Frank once more tearing out a vital organ to end a threat. There's a humour to how starkly some of these ridicuolous situations are presented, as well. At the same time, some ominous subplots at S.H.A.D.E are being set up and some of the characters are getting more depth to them. Ponticelli is a marvel on art, depicting every drop of saliva and tentacled limb on the aliens in messy detail. There's a frenetic quality to his art that makes the story feel like a wild ride. Three issues in, and this book is running high on its bombastic portrayal of the bizarre, it's comical depiction of bureaucracy, and the strange cast of characters it focuses on. It's highly fun stuff, with remarkable art, and a pleasure each month.


Batwoman#3 - J.H. Williams III, W. Haden Blackman/J.H. Williams III

Another excellent issue. Just as the writers build up the tapestry of Kate Kane's world, they tear down parts of it here, forcing her to confront her past and her poor decisions. Whereas previous issues set up and checked in on the various pieces in Kate's world, this one follows one narrative, and touches on each part of her world as that narrative unfolds. I'm continually impressed by these two new writers and what they are accomplishing on the storytelling side. The progression of the plot, and it's continually rising emotional stakes, works really well. Kate is brought through the wringer more than once, leading to a final scene where she finally breaks her facade in front on Maggie Sawyer. Maggie remains the top draw of the book, barely edging out the lead character. The slow development of her relationship with Kate is believable and compelling. Maggie is fighting to break down Kate's barriers, and it's very well-played. Cameron Chase remains a strong addition. She doesn't feel like a guest star or antagonist, but full member of the cast striving to prove herself through her investigation of Batwoman. And Bette Kane is playing a larger role, growing out of being her cousin's doormat. Kate herself remains interesting - strong, silent, and incredibly capable as Batwoman, and a mess of contradictions struggling to keep it together in her human guise. And into this is injected a male presence, as Kate's father returns to reflect on the state of his daughter's life. The Weeping Woman plot is barely a factor here. It contributes to a stunning opening, but it's a side element to the trauma of Kate's life. And, of course, the art is just as strong as the writing. Williams has created very distinct styles for the human and costumed sides of the book, and now he is experimenting with mixing them in scenes, such as when the painterly Chase interacts with other non-costumed figures (depicted in the more cartoony style). Once more, there is a bevy of stunning splash pages, with incredible design sense and a level of detail and expression unmatched in most comics. The book looks special. It feels like the reader is being taken into another world. The writing possesses an intensity and strength to match the feel of the art and the whole package is incredibly compelling.


Batgirl#3 - Gail Simone/Adrian Syaf

Simone seems to deliberately structure this issue in two parts. The first section is a fast-paced, dense action scene between Batgirl and the Black Mirror. It is better than last issue's action scenes, but still suffers from their main problem - too much narration and perhaps too much happening to be properly paced out Still, Syaf fits in some stunning splash pages and the desired effect of Barbara screwing up comes through. From there, the book slows down incredibly and becomes a character study of Barbara dealing with the changes to her life since regaining the use of her legs. It's all about the character fighting to open up to people, but wanting to prove she can do it on her own. I loved the scene with her father, where the words she wants to say become a half-hearted display of feelings when she actually says them. After this, it's an aerial volley with her former lover Nightwing for the rest of the issue. I kept expecting the plot to really pick up, and them to team-up for some fight, but it never happened. It really is one friend checking to see if another is ok. Can she really deal with the changes in her life as quickly as she has? It's really nice stuff, with some soft interaction between the two, who both struggle to say what they want to. Now, I do think Simone could have pulled back on Barbara's relentless narration on multiple occasions here. There's just too much of it, at points when the emotion of the scene was saying enough for me. But there is power here and Barbara's final rebuke of help from Nightwing has resonance. She wants to face her problems on her own, at her own pace. And I can't help but enjoy that Simone essentially puts the whole plot on hold for this sequence. It's a long scene of two old friends struggling to communicate with each other, and it works. An unconventional issue, but brave and powerful in its own way.


Grifter#3 - Nathan Edmondson/CAFU

The bigger picture of this series starts coming together with remarkable speed here. Not only is Cole Cash a con man on the run from aliens only he can see, he's also a fallen Special Ops soldier pursued by the organization, beginning with his brother, a fellow soldier. It helps to get a better view of the protagonist. He has been intentionally shrouded in mystery, a con man with a violent streak, but now we know the big secret from his past, and how it led him to where we found him in #1. It's a strong narrative turn for the series, and it keeps it in line with the action thriller this is turning in to. Readers learn the main character has a lot more to him than we've been led to believe, and it is an effective twist. The rest of this follows the formula of the first two issues - intense action scenes juxtaposed with cryptic subplot scenes (which are also becoming clearer). The formula works. The action scenes remain very grounded, despite the alien foes. They are paced like a great thriller, and CAFU frames them very well. His art remains clean and crisp, with sharply drawn figures inhabiting this world where danger lurks around every corner, from train stations to deserted roads. I'm enjoying reading a book that, even with the aliens, feels grounded in its threats and locales. The alien threat is also well-played, in my opinion. They feel natural in the grounded setting of this book, and their threat is relentless. This is unashamedly a Bourne tribute, with a touch of LOST. It is striving to replicate the tone and pacing of the former, with the mysterious element of the latter('s better days). I didn't expect to be liking a book with that combo, but so far, this has been entertaining.


Superboy #3- Scott Lobdell/R.B. Silva

This was a remarkably surprising issue. Yes, the first two issues (especially the first)were very good, but this was really enjoyable. I have years of experience with Lobdell from his time on the X-books. I certainly don't hate him like much of fandom, but I would never describe his writing style as more than conventional. This is the first thing I've read of his that strives for a different tone - an unusual tone, but also an introspective one. He is really pulling it off. Superboy narrates this issue and it is very strong work. The strength is in this character discovering himself, his powers, his purpose within N.O.W.H.E.R.E., and if he should be striving to see and experience more than that. At the same time, it's deliberately not too deep - we're kept at a slight distance from this inhuman character, and it contributes to the cold, unnatural tone of the comic. I have to commend Lobdell, because it's an effective package. And, at the same time, there is a lot more going on here. Rose Wilson and "Red" are both struggling to accept their attitudes towards Superboy. Make no mistake, the scenes with these characters are still cold and clinical, but Lobdell is parsing out the humanity at a controlled rate, and it's making these two women very interesting (and that's saying nothing about the final page revelation for Red). There's more to unpack here, with two mysterious forces closing in around Superboy and the character trying to interact with a young girl he meets. I also love the take on his powers, and the deliberate way he deduces what is going on with them. Add to this is a remarkable art style from Silva. It's cartoony and expressive (in a good way) throughout, but he is playing with design and presentation to just the right degree. Figures and faces look clean and expressive, and occupy some very creative and attractively-designed page layouts. And Superboy looks superb in the new costume. This is turning out to be a great title, almost because it can't be easily defined. There is a lot going on here, and it makes for an exciting, and surprisingly thoughtful, read.


I picked up Magneto: Not a Hero#1 (of 4) (Skottie Young/Clay Mann) for a couple reasons. Skottie Young, an incredibly talented artist, has written some impressive stories in X-Men anthologies in recent years, and I wanted to see how he did on a full-length story. Clay Mann has astounded me with his artwork on X-Men: Legacy. And, I've really enjoyed the portrayal of Magneto since he joined the X-Men on Utopia two years ago. Young hits all the right beats with his character - he's commanding thoughtful, doesn't suffer fools lightly, and possessing of the right amount of humility. There's also some good interaction on Utopia, where Magneto speaks with Emma to help solve his problems. And Mann's art dazzles. He has a talent for body language and expression and his regal depictions of both suit this book. The action scenes are presented with power and the characters live and breathe on the page. It's in the plotting that this falters - Magneto is out to prove that he is not responsible for killing a group of protesting mutant haters, despite video evidence to the contrary. It's perfectly fine, but there's no oomph to it and even Magneto seems a little bored by it. I also don't like shoehorning Iron Man and Captain America into this. Marvel is intent on forcing the X-Men out of the little world they've occupied for almost 50 years, and it annoys me. For all the strong dialogue in that scene, the Avengers' involvement feels forced. Still, there is a lot to like here. The twist ending plays right into the hands of a 90s X-Men zombie like myself and Young presents his vision of Magneto with conviction. The plotting just needs some sharpening.