Oct. 30, 2013

With October being a five Wednesday month, this last week promises some incredible Annuals from DC, and that is NOT lip service.  Action Comics Annual #2 has been teased at with ridiculous shock endings to Superman #0 and Supergirl #0, put out over a year ago and left to simmer in reader’s minds.  Green Lantern Annual #2 promised to changed everything we know about Green Lantern books and with the past three months of developments that is not an exaggeration.  Nightwing Annual #1 delves into the complicated history of Dick Grayson and Barbara Gordon, which is always awesome.  Neil Gaiman puts out the first issue of a “lost” Sandman story.  Andy Kubert draws and writes a comic centering around Damian Wayne.  The promise of quality storytelling is at an all-time high.

  • Action Comics Annual #2 follows up on the end of “Psi-War” as the Man of Steel is pulled from the aftermath of the psychic fallout in Metropolis to an even more dire threat facing the omniverse at large.  Looking upon all realities and infinite universes, Superman sees waves of chronal energy ripping through all of existence extinguishing stars and the countless civilizations they fostered or were destined to foster.  Upon witnessing this, Superman is brought together with his cousin, Supergirl, and the boy partially cloned from his genetics, Superboy.  At this point the mysterious power that ripped the three Kryptonians from their respective missions reveals itself: The Oracle.  Last seen in the “H’el on Earth” plotline where our solar system was going to be rendered into raw energy to turn back the hands of time and save Krypton from its fate.  This meant the extinction of a race and Oracle came to witness it, but did not intervene.  He has witnessed the death of countless civilizations and watched wordlessly. But with the events of the Villains Month H’el issue we not only saw the origin of H’el, but also that his mission to go back in time before the death of Krypton succeeded.  Therein lies the problem.  With the survival of Krypton the rest of the omniverse is imperiled to the point that the Oracle, for the first time ever, intervenes and actively combats the forces that be.  He sends the two refugee Kryptonians and cloned “abomination” (Superboy) back to their homeworld to show them the true horror of H’el’s efforts.  H’el wants to save Krypton and to rule it.  Infused with seemingly infinite amounts of chronal energy that allowed him to go back time and time again after numerous failed attempts at saving Krypton, until one iteration of Jor-El (his mentor and “father”) in his infinite genius finds a way to do the impossible.  H’el’s attempts contradict the laws of temporal stasis and causality, barring his success all those times before. With Jor-El’s help the survival of Krypton shatters the very fabric of time-space and threatens all of existence.  And what’s more, the Krypton he saves becomes a shell of its former glory and a slave colony of proud Kryptonians heeled at his feet.  In this climate, one of Krypton’s worst becomes their only hope at righting the timestream and saving the omniverse.  Faora, second in command to the great General Zod finds herself the right hand of the Oracle, serving as his
    Faora.

    Faora.

    mouthpiece.  With her guidance, Supergirl is sent to Krypton’s distant past to cull his incursion during the Clone Wars.  Superman and Superboy are sent to the homes of the brothers El, Jor-El and Zor-El, a week before the death of Krypton. Jor-El and Kara (Supergirl) are key in those final moments and the next generation of El men are dispatched to ensure they fulfill their roles in the correct path that Krypton was meant to take.  This includes two very polarizing events.  Kon-El (Superboy) meets a younger Kara who immediately treats him as a friend, when in their past interactions (which in this case would be the future), she did her best to kill him for being a clone and an abomination by Kryptonian standards.  Kal-El (Superman) is transported to his father’s lab, where he is greeted by his mother, Lara Lor-Van, who immediately makes short work of beating him to pulp, thinking him an intruder.  Warmly embraced by a girl who had mindlessly sought one’s death, and mercilessly beaten down by the woman who gave the other life and selfless sent him to the stars for survival, Superboy and Superman define irony in their meeting of the women of House El.  With these events chronicled, Scott Lobdell firmly sets the hook on what promises to be a brutally ambitious crossover event of the Super-books in the month of November.  Since he introduced H’el this past year, the rogue Kryptonian has become an instantly iconic character, embodying all the negative aspects of a dying race and serving as a brilliant foil for Superman and Supergirl.  In many ways he is also a dark reflection of Superboy, who is himself apart from fellow Kryptonians in the genetic altering that birthed him.  H’el, while not a clone, we now know isn’t a natural Kryptonian, and bears the horrifying visage not because of his escape from Krpyton but rather from being born accidentally from genetic material sent into space and bombarded with cosmic energies.  Like Kon-El, his powers will always be different from those of his fellow Kryptonians and his mind a battlefield of constant rage.  Providing art on this issue is regular Superman artist and oft time Lobdell collaborator, Kenneth Rocafort, as well as Dan Jurgens, Lobdell’s predecessor in writing Superman and the artist who rendered Lobdell’s H’el issue in September during Villain’s month.  Across the board, this issue hits all the right notes and fulfills a promise made in September of 2012 with the appearance of Superman and Superboy in Superman #0 and Supergirl #0.  Lobdell looks to deliver on that promise with interest.

    Supermom Lara Lor-Van.

    Supermom Lara Lor-Van.

  • Green Lantern Annual #2 is a monumental installment in the ongoing Green Lantern mythos.  After the defeat of the First Lantern and the downfall of the Guardians of the Universe, the Green Lantern Corps faces an even greater threat in the form of a cyclopean figure known as Relic.  The sole survivor of the universe that existed before the Big Bang and the creation of our universe, Relic witnessed the death of his reality and awoke just before the death of another.  The cause of this cataclysm was the same both time: Light-wielders.  In our universe they are ringslinging Lanterns.  In Relic’s time they were staff wielding “Lightsmiths.”  Relic realized too late that the light of the emotional spectrum which Lanterns and Lightsmiths utilize was a finite resource within each universe and the gratuitous use of that light moves the doomsday clock closer to the hour of oblivion.  The Lightsmiths of the previous universe dismissed Relic’s research, so this time around he foregoes talk and viciously attacks the “lightsmiths” of our universe to save their reality, over their dead bodies if necessary.  What’s worse, the various entities of the emotional spectrum ally themselves with Relic to help realize his plan to refill the universal reservoir at the “Source.”  Writer Robert Venditti re-introduces the Source Wall into the New DCU, resurrecting the wall that Jack Kirby created in his Fourth World books which demarcates the edge of the universe, composed of the calcified remains of those that try to escape its bounds.  What follows in this issue as the surviving Lanterns of four corps come to blows with Relic for one last ditch battle truly changes everything that we had known about the Green Lantern books for the past eight years.  Keystone friendships come to an end, loyalties are tested, and deals are struck that alter the dynamics that have driven this comic for decades.  What Venditti has accomplished with this five part “Lights Out” crossover arc is truly inspired and well thought out, providing entertaining, innovative storylines, but also prescient social commentary.  Relic’s findings about impending climate and energy collapse, dismissed by the powers that be, bears a striking resemblance to global warming and the current state of fossil fuel depletion.  As our best scientists currently discover more about global warming or the mathematics about the consumption of oil and coal versus the remaining stores the shortsighted in power try to silence them so the cogs of the status quo aren’t halted.  Both sides of the issue and the rationale of each are portrayed equally and fairly by Venditti as he examines it through the lens of intergalactic whimsy.  Sean Chen provides exquisite art that brings the finale of this cosmic odyssey to a poignant close, matching the art of Billy Tan quite well.  Overall, if you are Green Lantern fan, this annual is a must read, regardless of your thoughts on the direction the Green Lantern titles are taking.

    The Power of Life.

    The Power of Life.

  • Aquaman Annual #1 resurrects the work of Geoff Johns’ from his “Others” arc, but this time under the pen of John Ostrander.  The Others were a group of gifted individuals that Arthur Curry, aka Aquaman, joined after accepting his Atlantean heritage and becoming king of Atlantis.  To each of his teammates he gifted a different relic of ancient Atlantis.  He kept the trident, but gave the others to the Others.  It is precisely this fact that gives conflict to the issue’s plotline.  The Operative, Joshua Cole, is given his fallen teammate Vostok’s helmet for safekeeping because his mobile headquarters aboard an aircraft allows the most security.  However, that doesn’t stop it from being absconded with by literal flying monkeys dispatched by an equally literal wicked witch.  Along with the the monkeys come hoards of magically altered sea life, prompting the appearance of Aquaman.  The danger of one of the powerful talismans of Atlantis falling into the wrong hands brings the surviving members of the Others together once again, with honorary members, Sky and the Operative’s grandson, Aaron.  Once they come together the trail leads them to Morgan Le Faye, last seen in the series Demon Knights.  After the fall of Camelot and the various kingdoms that followed little has been told about what happened to Morgan.  Now we get to see how she’s holding up in the present.  In Arthurian myth, Morgana was always a seductive figure that corrupted through her feminine wiles, magic, or power.  In the present era, she puts the Others to the test, finding some to be wanting.  Ostrander writes a fantastic annual that feeds off of the burgeoning mythology of not only the Aquaman series, but also Demon Knights, building upon that foundation new levels to each.  His characterization of Johns’ characters feels very authentic and cuts deep to the core of who they are.  The pencils of Netho Diaz and Geraldo Borges are similar to the pencils of Ivan Reis, original series artist, bringing further authenticity.
  • Nightwing Annual #1, written by Nightwing scribe Kyle Higgins deals with a bevy of complex issues and characters.  Concerning his native topic of Dick Grayson’s life, Nightwing is transitioning into a new phase of his life.  So much of his past has been tied to Gotham and Batman’s legacy.  With the fallout of “Death of the Family” he has been forced to break from all that he has known since he took up with Batman after the death of his parents and forge his own path.  Bruce and his acolytes have become his family in lieu of the parents he lost and the family he once had in Haly’s circus.  Higgins’ run began with him inheriting Haly’s and reestablishing that bond with his first family.  In one fell swoop, the Joker took both the circus and his ability to trust Batman away.  So literally, he is cut off from everything he has ever known and is venturing into uncharted territory.  Higgins also picks up Barbara Gordon, aka Batgirl, at an equally low and uncertain time in her life.  Barbara is the eldest child of legendary Gotham police commissioner James Gordon and the big sister of sociopathic serial killer, James Gordon Jr.  Recently, when her little brother found his way into her life he set about terrorizing her and their mother to the point of Barbara having no choice but to “put him down.”  The lattermost moment witnessed by her father, which put Batgirl on the top of Commissioner Gordon’s most wanted list.  Hunted by her father in her masked identity and haunted by her actions in her civilian identity, Barbara has forsaken her all-consuming life as Batgirl and tried to figure out who Barbara Gordon actually is.  In the fallout of two lives crumbling, they look to what fragments of their pasts remain for comfort.  One of the hallmark points of both characters’ geneses in masked crime-fighting was a brief teen romance.  Even before the New DCU, back when Barbara was still in the wheelchair, there was a “will they/won’t they” repartee betwixt the two bat-family members.  They’d come close only for fate to pull them apart again.  Higgins picks that up as the two twenty-something vigilantes attempt to save an imperiled actress in a similar situation to their own.  The parallels between their charge’s rocky romantic past and their own draws them closer and closer toward finally realizing what is right in front of them.  Higgins masterfully tells this story of two broken souls, while re-introducing readers to the classic Batman villain, Firefly, all the while layering plot points and metaphor through the narrative.  Helping him in art are Jason Masters, Daniel Sampere, and Vincente Cifuentes, all of whom have done time on the Bat-books and proven their chops depicting Gotham’s cast of characters.  Overall, Higgins hasn’t lost his touch one iota as a writer of Nightwing and those closest to him.

    Young Love.

    Young Love.

  • Teen Titans Annual #2 finds Red Robin, Superboy, and Wonder Girl stabilized in their madcap roller-coaster ride through time, landing twenty years in a seemingly post-apocalyptic future.  The Justice League has fallen.  Batman has fallen.  All that remains is Beast Boy, Rose Wilson, and a ragtag group of meta-teens.  Through this annual, current Teen Titans writer and former Superboy writer Scott Lobdell realizes the near future of the DC Universe.  Even after he left the Superboy title, he came back for the 19th issue, revealing the human heart of the 25th century monster named Harvest and the one thing he loved above all else: his son, Jonathan Kent . . . the first Superboy.  Jonathan comes back in this issue and clone (Kon-El)  finally meets his original (Jonathan).  From issue #1 of Superboy, the boy Supergirl would name Kon-El has been a living weapon molded to cull super-powered individuals.  Trained and honed into a blunt object, a part of him relishes the role, but another part yearns to be free and experience friendship.  The better angels in his soul are what make him Kon.  The part of him that takes pleasure in the sadism he does is the memetic legacy of Jonathan from whom he was cloned.  At the point in the future when this annual takes place, Jonathan has come out of nowhere and nearly eradicated all the meta-humans.  He and Superboy do battle with Superboy actually coming out on top, proving that sometimes originals can be improved upon.  Inheriting Jonathan’s lack of mercy he attempts to coup-de-grace the psychotic super-teen, but as seen in the Action Comics Annual, is drawn from that point in time-space by the Oracle to aid Superman and Supergirl in stopping H’el’s assault on the omniverse.  No rest for Superboy.  In the meantime, Beast Boy councils Red Robin about this future and how it can be avoided and then explains that all the information and preparations he has given them were at Red Robin’s own behest after the three Titans return from this jaunt to the future to prepare themselves to combat this impending doom.  Seems like a time paradox to me, but I suppose with comics you have to check your disbelief at the door.  At the same time Wonder Girl stumbles upon a scrambled holographic record of Red Robin talking about the death of their team and a traitor among their number.  But the most troubling development is that the dying Jonathan is saved by Beast Boy, dressed in Superboy’s costume, and sent back knowingly with the Teen Titans to the past.  A real Hail Mary, but clearly Beast Boy knows what he’s doing since a pysched out Jonathan in the past would endanger his own existence in this future were his intentions untoward.  However, that being the case, it is highly likely that Lobdell is going to have Kon killed in “Return of Krypton” considering that he’s placed a “fake” Superboy among the Titan’s number.  Scott Lobdell has been rocking every DC book he’s touched and his treatment of both this annual and the Action Comics annual has been nothing short of stellar.

    No Mercy for the Merciless.

    No Mercy for the Merciless.

  • Swamp Thing Annual #2 provides a universe hashing interlude between the gauntlet laid down by the Parliament of Trees to decide who should be Avatar of the Green and the actual fight.  Alec Holland is the chosen avatar, but the up-and-coming Seeder has the gumption to challenge that ascendancy.  Writer Charles Soule takes this annual and uses it not only as a way of showing the preparation that Alec has to fight this battle, but also to morph the Swamp Thing mythos into something that is his own.  Original writer Scott Snyder wrote Holland as a prophesied warrior king of the Green.  A messianic figure.  It worked wonders for his run, making it legendary and an epic read.  However, it also left whoever took over the series painted into a corner.  Here Holland is told that he isn’t actually that special and he was just told that by the Parliament to make him believe in himself enough to defeat Anton Arcane and his Rotworld.  Like most political arenas, avatars curry favor and disdain with various members.  When an avatar is retired they join the Parliament.  Holland is championed by a Swamp Thing that looks like a 17th century British gentleman, going by the name “Wolf.”  Wolf shows Alec the ropes and attempts to give him the lay of the political landscape.  He also arranges for him to speak with a very dangerous former Swamp Thing named the “Lady Weed.”  She was challenged for her status as Avatar and she prevailed, showing the depth of her cunning and ruthlessness.  She prevailed through stone-cold brutality and to drive home the point, she brought about the Great Potato Famine in Ireland, the country of origin to her slain rival.  A Swamp Thing must be ruthless if they are to remain the Avatar.  This blow to Alec hits hard, because his humanity has been something he has desperately attempted to hold onto, despite the inhuman thoughts that the Parliament whisper in his mind constantly.  The Wolf sends him to talk to one last person.  The Swamp Thing that the Parliament created artificially to stand in for him, thinking it WAS him.  This Swamp Thing was a cruel joke that despite not being human found humanity and that is what he imparts to Holland. His message to Alec is simple: “If you are asked to do something that will change you in a way you do not wish to be changed, that will compromise the person you believe yourself to be . . . say no.”  The messages given by Weed and the blue Swamp thing are polar opposites and seemingly disharmonious to the goals that the Wolf would have Alec achieve, since he has stock in the retention Alec as Swamp Thing, but what the Wolf has done is give Alec a choice.  He can do as the Green would have him and be the ruthless killer that Lady Weed was to retain her title or he can be the Avatar he wants to be just like the avatars seen at the beginning of this annual did once upon a time.  Charles Soule has taken this issue in hand and made it his own, following in the tradition of Snyder, but telling a story in his own tenor.  Javier Pina and regular series artist Kano provide lush art and incredible visuals to enliven the brilliant scripting of Soule.  This is very much a talking issue and very light on action, but for Swamp Thing faithfuls it is well worth the read. SwampThingAnnual#2
  • Damian: Son of Batman #1 presents an unofficial Elseworld style story about one of the most captivating and controversial characters to come to the Bat-books in the past decade: Damian Wayne.  The sociopathic son of Batman and Talia Al-Ghul, Damian cuts a very rough figure, but beneath the harsh, abrasive exterior beats a human heart that wants the same things his father did and strives toward those goal with equal vigor.  Damian first entered comics in the version we know in 2005 with Batman #647, written by Grant Morrison and drawn by Andy Kubert.  This past year, after a whirlwind tour of writing four series showcasing the characters of Batman and Damian, Grant Morrison killed off the young Wayne.  This series, Damian: Son of Batman, allows Damian’s co-creator Andy Kubert the opportunity to tell Damian’s story in his own way.  In it Batman is immediately killed at the beginning, blown up investigating a crime that seemingly was committed by the Joker.  In the aftermath, Damian is forced to pick up the pieces.  By this time he has grown into a young man, still occupying the role of Robin.  When he goes out to seek justice for his father’s slaying he finds himself alone.  His mother, Talia, and grandfather, Ra’s Al-Ghul, refuse him aid from the League of Assassins and all three of Damian’s predecessors as Robin are not even mentioned.  Ra’s even goes so far as to say that Damian has a greater duty to Batman than he does to the League, even though Ra’s and Talia genetically engineered him to be the next leader of the League, and suggests Damian take his rightful place as the next Batman to carry on his father’s legacy.  Despite his bravado and his overwrought sense of entitlement, Damian can’t even comprehend doing that and continues on as Robin.  As he had in the past and without any guiding light to stop him, his actions are calculated, precise, and brutal as he cuts a trail through villain after villain in Gotham seeking vengeance for his father.  The only voices of reason are a priest insinuated to be former police commissioner James Gordon and Alfred Pennyworth.  Andy Kubert ends the issue with a left field twist that could fundamentally alter everything this first issue led us to believe.  Kubert is a phenomenal artist and has proven so over the past several decades consistently.  The scion of comics legend, Joe Kubert (Rest in Peace), how could he not be.  However, this issue proves that not only did he inherit his father’s artistic ability, he is also gifted with his father’s narrative genius.  This series in its first installment IS Andy Kubert, revealing through pacing, plotting, style, and voice intimately the kind of person and storyteller that Kubert is.  The only things about this issue that aren’t him are the coloring done by Brad Anderson and the lettering done by Nick Napolitano.  Andy Kubert proved his mettle on the Villains Month Joker issue and now proves it again, giving his co-creation his own four issue send off.  This is certainly a series worth reading, not only for fans of Batman, but also fans of comics in general as the son of a deceased father attempts to take up his mantle and carry on his good works.  Am I referring to Damian and Bruce Wayne or Andy and Joe Kubert?  Therein lies the question.

    Heavy Weighs the Cowl.

    Heavy Weighs the Cowl.

  • Sandman: Overture #1 is the much anticipated prequel to Neil Gaiman’s first issues of Sandman, commemorating the 25th anniversary of the publication of the first issue.  The plot of this first installment is very hazy, ambling like a dream through various locations, situations, and characters.  It begins in a far off galaxy where the dominant form of life are sentient plants, with Morpheus (Dream) taking the form of a white flower upon a tall black leafed stalk.  It is in this visage that he first begins to feel somethingSandmanOverture1-1 strange in the Dreaming.  As the issue progresses, classic Sandman characters are slowly introduced to the reader for any jumpers on to the series, unfamiliar with the previous storylines.  The Corinthian makes an appearance, as does Dream’s big sister, Death, as well as his eldest sibling, the blind sage Destiny.  The issue terminates with Dream being summoned instinctually to a convocation of various versions of himself with the purpose as yet to be revealed.  Though the plot is vague, Gaiman has the style to whet his audiences appetite and entertain them despite the lack of concrete revelation.  As stated before, the plot is drawn out and nonlinear like a dream, adding to the ambiance.  Also contributing enormously to the ambiance is the peerless art of J.H. Williams III who lends his masterful talents.  When Williams and colorist Dave Stewart come together the product is magical and throw in Gaiman’s writing and you know that you are in for a show.  However, the true joy of Williams’ involvement in the book is the fallow ground Gaiman’s script grants him to spread his wings.  Through various segments of the issue his style changes, so while the beginning scenes on the plant planet are rich and vibrant, the following pages in 1915 London are dark, sketchy, and greytoned with inkwash treatments, only to later transition further into woodblocked fully monochromatic panels with the entrance of George Porcullis, and jumping ahead to the end with the four page fold out of different Morpheuses, each version of Dream is done differently some blue line prototypical, some very roughly drawn as though by a child, and some with no lines and just smeared hazy edges as though appearing from the ether.  In short this issue is one with no limitations and endless possibilities.  The pairing of two consummate geniuses on this anniversarial opus is nothing short of inspired and something for geeks around the world to rejoice about.

    Convocation of Dreams.

    Convocation of Dreams.

So ends a truly incredible batch of Annuals and special issues.  There was not one throw away book this week, with every issue put out adding something important to their imprints, titles, and subject material.  A fantastic way to end the month of October.

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Action Comics Annual #2:  Art by Kenneth Rocafort & Dan Jurgens, Colored by Tomeu Morey & Blond.

Green Lantern Annual #2:  Drawn by Sean Chen, Colored by Andrew Dalhouse & Wil Quintana, Inked by Jon Sibal & Walden Wong.

Nightwing Annual Annual #1:  Art by Jason Masters, Daniel Sampere & Vincente Cifuentes, Colored by Chris Sotomayor.

Teen Titans Annual #2:  Art by Barry Kitson, Art Thibert, Jesus Merino & Scott Hanna, Colored by Pete Pantazis.

Swamp Thing Annual #2:  Art by Kano.

Damian: Son of the Batman #1:  Art by Andy Kubert, Colored by Brad Anderson.

Sandman: Overture #1:  Art by J.H. Williams III, Colored Dave Stewart.

Advertisements

Week 86 (April 24, 2013)

  • Batman Inc #10 enters into its endgame.  After this issue, Grant Morrison only has three more issues before reaching what hopefully will be the meteoric conclusion of an eight year, continuous run on the character.  There is a lot of pressure, but it seems like he’s had the end in sight the whole time and doubtless has been building toward and accentuating the events leading to his final goal.  So far, Talia Al-Ghul has Gotham as well as the world in her grasp with her criminal organization and their meta-bomb ring that will encircle the world in destruction.  Batman and his allies have once again been outlawed in Gotham, but when you take away everything from someone you also remove many of their inhibitions, and considering what Batman is capable of, that is a very dangerous prospect.  Perhaps the greatest moment in the issue comes when Talia goes to visit her father, Ra’s Al-Ghul, in his Alpine prison to gloat about her genius in doing what he never could: conquering the Bat.  Truly, to the casual observer Talia is in a very advantageous position.  Ra’s is aptly playing chess as this conversation proceeds and while applauding his daughter’s plan, he cryptically hints that she has overlooked a key factor.  Though haughty and convinced of her plan’s perfection, Ra’s doesn’t reveal what he means.  The chink in her perfect plot begins to show, and with three more issues it is probable that we will watch as the crack begins to run until the plan it mars shatters entirely.  With Morrison at the helm I am a’quiver with anticipation.  One also has to acknowledge the incredible artwork of Chris Burnham that brings this series to beauteous life.

    Endgame

    Endgame

  • Red Lanterns #19 is the final stepping stone to Green Lantern #20 that promises to end the Green Lantern Universe as we know it.  Three long weeks from now we will be seeing the end of Geoff Johns’ run on the title he literally brought back from the dead eight years ago and the putting down of the last and greatest of his villains, Volthoom the First Lantern.  In this issue bridging Red Lanterns #1-18 to the conclusion of Green Lantern Atrocitus has hit perhaps the greatest existential dilemma.  His entire life thus far since the destruction of his space sector and the murder of his family has been lived with one singular purpose: vengeance.  He has lived specifically to kill those who wronged him and the hundreds of billions of innocents throughout Space Sector 666.  His rage was so great that he founded a lantern corps to spread his doctrine of revenge to the four corners of the universe.  Every step of the way he has been robbed of his ultimate aims, i.e. the death of Sinestro, who escaped and thrived as both a Green and Yellow Lantern, and Krona who fell at the hands of Hal Jordan.  When fighting Volthoom, he was given the choice to save his sector and become a tyrant, or let his sector be destroyed by Krona and the Manhunters and become that which he currently is.  Seeing his death in the first alternative at the hands of his son, as well as his murder of his beloved wife, he chooses to let his world and family be destroyed.  Afterwards, he finds nothing but self-recrimination and orders his faithful Red Lanterns to kill him for his crime of genocide by cowardice.  The Red Lanterns find themselves in a conundrum as Atrocitus is the one who saved them and gave them the power to avenge the great wrongs done to them in their previous lives.  At the same time they also swore obedience to him and he is telling them to kill him for the honor of their corps.  Something of a Catch-22.  They go through with it, but in the moment of their convergence on him to take his life, something interesting happens.  Their attacks do not kill him, but rather give him a universal awareness of their combined suffering, rejuvenating in him the need and savory of vengeance he had begun to lose touch with in the first issue.  Full circle, he is now once again the Regent of Rage and attempts to get vengeance on the one remaining enemy of his that remains to be conquered: the Guardians of the Universe.  That said, the full might of the Red Lantern Corps are headed to Oa.  Peter Milligan is a maestro, writing this series philosophically to a tee.  Joining him on art is Will Conrad, whose art is light-years above that of regular series artist Miguel Sepulveda.  The next issue will be both men’s swansong on the title following the aftermath of Green Lantern #20.  I can barely wait.
  • Flash #19 features Barry Allen in Iron Heights prison, playing a balancing act.  One one side he’s attempting to keep the Trickster’s acolytes, the Outlanders, from storming the city and the prison to release their leader.  On the other hand, he’s also trying to prove Trickster’s innocence on the murder rap he was sent up on.  If that wasn’t enough, his powers are mysteriously sucked out of him in a very unlikely crossover with the series Dial H.  Though linked to a very weak series, this mishap provides a golden opportunity for Barry Allen, not the Flash, to shine.  Somehow, Barry pulls off a miracle, but in doing so unravels some mysteries about the Speed Force and his connection to it, as well as others’.  The most intriguing of which comes at the end of the book with he entrance of the Reverse Flash.  Brian Buccellato writes this issue exquisitely with the help of Marcio Takara on art.  Francis Manapul returns as artist and cowriter on the last two pages introducing Reverse Flash.  The future of the Flash shines bright in the hands of two writer/artists who get it.  The Flash is a title to get for the foreseeable future as a result.
  • Superman #19 is literally comic book legend in the making.  The main plot follows Clark being invited to a housewarming party for Lois Lane and Jonathan Carroll.  This may seem awkward for poor old Clark, but for the fact that while he is tying up a loose end in his super-heroics as Superman his girlfriend, Diana Prince, arrives before him and literally stuns everyone there: Lois, Perry, and especially Jimmy.  Clark does eventually get to the party and when he gets there he notices discernible peculiarities in the words and actions of those present.  Superman may have super-speed, super-strength, super-vision, heat-vision, freezing breath, etc, but Clark Kent has the hyper acute intuition and attention to detail of a trained journalist.  Tying it to the same phenomenon he witnessed last issue at the midtown club where dozens of young women attempted to mindlessly plummet to their doom.  All of this ties enigmatically to Hector Hammond, kept in a comatose state at S.T.A.R. Labs, and the New God, Orion, dispatched to Earth in order to save the universe from an up and coming threat originating on Earth.  Writer Scott Lobdell GETS Superman not unlike the team of Buccellato and Manapul get the Flash.  The core story of this issue as I’ve related it is what gives the series structure, but the strength of Lobdell’s writing is the strange and fantastic events that surround the main story, accentuating the world in which Superman exists.  Case in point, Clark is late to the house warming party.  He’s late because of an invasion of radiant Roman-eque legions of beings called Sunturnians from a placed called Neo Sol.  Superman is brought before their “Solaratrix”, Allysun, and made to kneel before her.  The look of the Sunturnians, the concept behind them, and everything elicited by this short episode of the story harkens to the Silver Age spectacle in Superman comics in which the Man of Steel we know to today first began to emerge.  Grant Morrison is the maestro of resurrecting these Silver Age plot devices, but Scott Lobdell is no slouch.  His Superman rings true to the character and innovates it constantly.  Also adding to the incomparable quality is the out of the park artwork by returning series artist, Kenneth Rocafort.  Superman is a title that also is not to be missed.

    Wondering at Wonder Woman

    Wondering at Wonder Woman

  • Talon #7 picks up after writers James Tynion IV and Scott Snyder dropped a bombshell on the Talon and his readers last issue.  Almost simultaneously, Calvin Rose, in the heart of the Court of Owls’ information digital fortress, and Casey Washington, in the secret lair of Calvin and his associate Sebastian Clark, find out that Clark is in fact the deposed Grandmaster of the Court of Owls.  Under his administration of the shadowy cabal Calvin was chosen as Talon and Casey and her daughter were marked for death by him.  So in their struggle to fight the Owls and punish those responsible for the destruction of both their lives they were in fact a stone’s throw away from the chief architect of their misery the entire time!  Both characters begin the issue in nightmarish, seemingly intractable situations in the heart of danger.  The Owls’ information superfortress was designed to keep the wrong people out and therefore also to keep them in as well.  With the Owls inside aware of his presence getting out alive is nigh impossible.  Likewise, Sebastian Clark engineered his “home” to be his own fortress and upon the discovery that Casey has stumbled upon his secret, she is also seemingly trapped in a lion’s den of peril.  Right from the get-go the question of these two survivors’ ability to surmount the insurmountable is put to the test.  Can they survive?  The answer is waiting at the end of this issue and the answers could shock you.  The issue also segues a plotpoint introduced by Tynion in Detective Comics #19 (#900) into the main story.  Synder, Tynion, and artist Guillem March make this series a must read for any Batman fan, or just a fan of GOOD comics.
  • Teen Titans #19 is the start of this rebooted series transitioning from very innovative, new terrain as conceived by maestro Scott Lobdell  and entering into familiar terrain drawn from the seminal New Teen Titans series of the early to mid 80’s that made people actually care about the concept of the Teen Titans and want to read about teenaged superheroes.  Keyed into that is the entrance of two characters created for New Teen Titans and almost synonymous with them now: the demon god Trigon and his empath daughter, Raven.  As of the final page of last month’s issue Trigon has entered into our reality on his three headed horse and begun his plan to subdue our world.  The four-eyed, crimson skinned, elk horned monster retains all his ominousness that he has ever possessed, but Lobdell has added some darkness to Raven in his interpretation.  Last seen seated in a bone strewn, subterranean lair, holding what looks to be a chalice of blood and manipulating the current Titans’ actions like a puppeteer, the gentle, though still slightly manipulative Raven from New Teen Titans is replaced with a very fresh take on the character.  The longevity of this version is subjective, however, because Raven’s New 52 debut was in Phantom Stranger #1 where she was a normal teen trying desperately to evade her father and live a normal life.  She may simply be under his thrall at present.  However, both her amazingly awesome new costume and her darker portrayal make me giddy for her part in the future of this title.  Also coming into the fold from New Teen, restoring the feel of the 80’s title, is Beast Boy, a refugee from the cancelled Ravagers series.  His appearance is premature, as the final issue of Ravagers revealing the fate of him and his fellows has yet to be released.  However, much like she did with Kid Flash in the 80’s series, Raven latches onto him and manipulates his mind to get his help in the current situation unfolding.  Jury’s out on whether that includes backing the Titans or backing her “dear” old dad.  In the realm of the current roster of Titans, Trigon’s entrance foreshadows great revelation.  When looking at Cassie he cryptically mentions that she would have turned out quite different if she had been raised by her father and “if [she] only knew her true lineage.”  When looking at Kid Flash he hints again at Kid Flash’s crimes in the future that the young speedster has forgotten.  And he also reveals that the silver haired youth that has been killing people in the past two issue, is in fact the psychicly psycho Psymon.  So much awesome is happening in this issue.  The darkness of New Teen Titans was what galvanized DC into more serious, stark portrayals of its characters by virtue of the phenomenal storytelling of its younger heroes in those hallowed pages.  Scott Lobdell is doing that yet again in the new millennium with powerful storytelling and amazing art from Brett Booth, Ale Garza, and lately with the incredible Eddy Barrows.

    The Return of the old "New Teen Titans"

    The Return of the old “New Teen Titans”

  • Before Watchmen: The Comedian #6 was disappointing.  It started out amazing in the first three issues, but then in the last three totally lost any depth or sense of direction.  The narrative seemed aimless and the ambling path it took didn’t take the reader, even accidentally, anywhere interesting.  J.G. Jones’ art was really good, but Azzarello’s script fell flat.  The Comedian comes home stateside and is an embarrassment to a lot of top government people, including his old friend Robert Kennedy.  Kennedy is at the time making his bid for the presidency and is planning to hang the Comedian out to dry.  Despite that, Eddie Blake outwardly doesn’t seem to bear Bobbie any ill will.  However, when one of his agency buddies tells him that there is going to be an attempt on Bobbie’s life and when it is going to happen, Eddie either lets it happen or kills Bobbie himself.  Its really hard to say.  There is the possibility that I am missing something deeper, but I highly doubt it.  Its worth reading the first half of this series.  Skip the second, and your imagination can do a much better job of concluding it.
  • Batman: The Dark Knight #19 was underwhelming across the board.  Arc artist Ethan Van Sciver, for whom I stayed on this title despite my waning interest, is absent this issue being replaced by Szymon Kudranski.  Kudranski’s art is good and fits the tone of this book, but like other artist switch-ups DC has been throwing out, it jars the reader s who’ve seen Van Sciver’s artwork up until this point, which is nowhere near similar to Kudranski’s.  In it we see a further account of the Mad Hatter’s descent into madness as an adolescent on testosterone pills and his insane plan in the present that will cost hundreds of lives.  Also returning is the followup to Bruce Wayne’s revelation to his Ukraining piano prodigy girlfriend that he is in fact the Batman.  Mad Hatter sees her at a concert she puts on and immediately falls for her psychotically.  Nothing but bad is on the horizon.  On paper the plot sounds interesting, but draw out it is a little lacking.
  • All-Star Western #19 finds Jonah panning for gold out West after his departure from Gotham last issue.  He’s looking for gold when the issue opens, but Gold finds him!  Booster Gold, time travelling superhero.  Gold hasn’t been seen in the New DCU since the conclusion of of the Justice League International Annual about a year ago.  That apocalyptic moment portended something major in the offings, most likely the hinted at Trinity War this July.  So far Gold hasn’t mentioned the how or why of his being in the Old West, but shows up here as the sheriff of a town called Red River Junction.  This town that he’s become lawman of is brutally massacred by a gang of cutthroats on Jonah Hex’s axe list.  Thus a shaky alliance is formed between the quintessential Western anti-hero and the time travelling buffoon that Hex refuses to believe comes from the far future.  Intriguing plot to say the least and one that could eventually shed some light on larger events brewing in DC’s future storylines throughout the New 52.  Writers Jimmy Palmiotti and Justin Gray continue to rock the title with Moritat’s art characterizing it brilliantly.
  • Arrow #6 features a trinity of excellent storytelling.  Leading the pack is a story scripted by Emilio Aldritch and drawn by Green Arrow royalty, Mike Grell.  In it Oliver intercepts a drug shipment from South America to Starling  City.  In the process he meets a young boy who is plagued in much the same way as him by the sins of a father.  The next has Oliver attending a football game with Tommy only to be caught in the middle of an insane ex-player’s suicide plot that will take out most of the fans in the stadium at halftime.  The final story showcases Det. Quinton Lance and the sacrifices he makes in his personal life to do his job to the best of his abilities.  Honestly, hard-edged as he is, he is a man of honor that is dealt a hard hand by life while simply trying to be the best cop he can be.  Three really excellent stories in the Arrow line, accentuating the inherent gems of the television show.
  • Jupiter’s Legacy #1 is a meteoric first installment to what promises to be an incredible series from creators Mark Millar and Frank Quitely.  Starting in 1932, the narrative follows a team of young explorers led by a clairvoyant, handsome gentleman by the name of Sheldon Sampson as they seek an island that has called to him in his dreams.  The story splits as the island comes into sight, cutting to 2013 when this group has obviously gotten older and, as we see, attained super powers that they have used to defend America and lead it back to prosperity after the Great Depression that led them to seek out the island in the first place.  Their children are in their early to late 20’s and are indolent, debauch party animals, lacking a cause to fight for or believe in.  On the surface one would think that they are disappointments to their parents and not worth a damn, but if one takes a closer look there are some very deep, philosophical and sociological implications beneath who these young men and women have become and why.  The scenes, dialogue, and expressions of the characters are so well choreographed as to each be infinitely telling.  A picture is worth a thousand words?  Millar’s scripting and artist Frank Quitely’s visual renderings prove this adage and the merit of comics inherently because of it.  Admittedly, Millar is a writer of great merit, but Frank Quitely’s artwork was what got me to pick this series up in the first place.  There is an otherworldly, sensual beauty to his art and he delivers that in spades with this first issue.  The promise of where these two paragons of comic writing can take us is literally infinite.

    The Old Guard

    The Old Guard

  • The Unwritten #48 opens after last issue’s revelation that Wilson Taylor is trapped in the underworld after his death at the hands of Pullman two years ago after unveiling the last Tommy Taylor book.  As the plot progresses we see that Tom is beginning to remember who he is and why he chose to come to Hades.  These emergent memories terrify him because of the importance of them.  The importance of finding a woman (we know he’s talking about Lizzy Hexam) who was very special to him and whom he is afraid to fail.  She is somewhere in the underworld, which was the reason for his going there in the first place, and we find out just where she has been.  Also of great importance is the appearance of a golden pillar in Pauly Buckner’s kingdom that is slowly expanding outward.  His servants tell him that it is a portal, but to where they do not know.  This issue has many small revelations that have resonating importance throughout the whole of The Unwritten.  I very much look forward to the next installment that has infinite promise considering the last panel of this issue.

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Batman Inc #10: Art by Chris Burnham, colored by Nathan Fairbairn

Superman #19: Art by Kenneth Rocafort, Colored by Blond

Teen Titans #19: Drawn by Eddy Barrows, Colored by Alex Sinclair, Inked by Eber Ferreira

Jupiter’s Legacy #1: Art by Frank Quitely, Colored by Peter Doherty

Week 79 (March 6, 2013)

This first week of March brings together a very decent batch of comics to kick off the month’s crop.  Superman #17 concludes the massive “H’el on Earth” event, Green Lantern #18 brings the “Wrath of the First Lantern” into the Realm of the Dead, Green Arrow #18 strides on towards redeeming the title, Swamp Thing and Animal Man FINALLY get their true conclusion to the “Rot World” crossover, and Before Watchmen: Rorschach also reaches its conclusion.  So much ending and so much marching on.  Here it goes:

  • Superman #17 was a little late, but delivered a blowout finale to the “H’el on Earth” crossover event.  At issue’s beginning NOTHING is going the right way for the heroes of Earth.  H’el’s craft has been fueled by the Sun’s electromagnetic field, which if not returned immediately would cause our solar system to collapse in on itself, ergo the Oracle arrival to witness the death of our world.  A high paced, thrill-a-minute issue, there is very little that can be said that doesn’t spoil the amazing events chronicled and concluded within.  What can be said is that the Justice League here is written head and shoulders above the team’s portrayal in their flagship title by Geoff Johns.  It’s almost like comparing a college thesis to a first grade science report.  Maybe now that Lobdell is on the verge of leaving Red Hood and the Outlaws he can take over Justice League and salvage it like he did Superman.  Lobdell truly shows his brilliance throughout this “H’el on Earth” event and artist Kenneth Rocafort draws it gorgeously in his incomparably style.  Literally, there is nothing that resembles is artwork in detail or in the surreal ambiance it elicits.  Truly A-grade material.   
  • Green Lantern #18 focuses almost entirely on Hal and Sinestro’s current exile in the “Dead Zone.”  There have been little snippets alluding to the fate of the two Lanterns after being sucked into the black ring at the end of the Green Lantern Annual this past August, but this issue finally reveals what the Dead Zone is, why they are there, and what its relevance to the existence of the First Lantern are.  As these last issues of the four Green Lantern titles progress, it is getting more and more apparent that the end is nigh.  The fundamental forces of the Universe are the enemies that dog our heroes as they progress toward that apocalyptic event that will be Green Lantern #20, out this May, and the end of the Green Lantern Universe as we’ve known it since 2005.  Simon Baz and Sinestro find their places in the coming showdown with Volthoom, the First Lantern, but Hal’s is perhaps the most frightening.  In the aforementioned Green Lantern Annual there was a prophesy in the Book of the Black that Hal Jordan will be the greatest Black Lantern.  This issue caps off on the precipice (literal and figurative) of his fulfilling that prediction.  Geoff Johns started this series from Rebirth like a rocket and it’s still soaring high with this phenomenal issue.  Series artist Doug Mahnke, who has been on the title since 2009 is absent this issue, replaced by Adrian Syaf, who draws the real world segments, and Szymon Kudranski, whose eerie art style aptly provides the Dead Zone portion.  Overall the issue tantalizes and informs in wonderful, captivating fashion.

    The Prophesy

    The Prophesy

  • Detective Comics #18 accomplishes two monumental things.  Firstly, and to lesser degree issue-wise, this installment of Detective Comics tells us that DC is playing for keeps with the death of Damian Wayne last week in Batman Incorporated #8.  It comprises a very small part of the plot, but the small scene of Bruce visiting the grave of his son is very powerful.  This is a man who buried his parents at a very young age, and now as an adult man scarred by that traumatic event and having dedicated his life to preventing such tragedies from happening again, he has to bury his ten year old son with whom he was just beginning to bond on a level I doubt he has since losing his parents.  Writer John Layman hints all of this beautifully in a mere two pages comprised of nine panels.  Brilliant.  The rest of the issue is dedicated to the aftermath of the Penguin’s part in the “Death of the Family” storyline.  Whisked away by the Joker, Penguin has been away from his empire and his holdings for a little too long and left them in the overly capable, but equally untrustworthy hands of his chief lieutenant, Ignatius Oglivy. Layman presented in the first issues of his run the establishment of himself as Gotham’s favorite son once again.  With that image, he keeps Batman at bay, preventing him from bringing punitive action against Penguin for his part in the Joker’s plot.  However, with his wealth and holdings withdrawn he is not able to evade Batman in the ways he had previously enjoyed.  Oglivy and Batman constitute two rivals whose indefatigability finally break the Penguin as he has never been broken before.  For those who view the Penguin as a keystone Batman villain, this first arc by John Layman tells a massive Penguin epic that promises to be one for which he will be remembered for years to come.  In the backup feature with art by guest artist Henrik Jonsson, Victor Zsasz gets his origin told for the first time, cementing his place in the New DCU canon.  Integrally tied into his origin is the Penguin, playing a part in his ruination that led him into the psychotic breakdown that lead to his obsession with chronicling his kills.  Their past and Penguin’s current state of vulnerability waxes ominous for Oswald Cobblepot in future issues of Detective.  Time will tell where and how far the Penguin will fall.

    Requiem for a Robin

    Requiem for a Robin

  • Before Watchmen: Rorschach #4 was, in my opinion, a little bit of a let down.  The series had promise as a blunt, hard edged look into an episode of Rorschach’s life that best exemplified his core essence.  Maybe that was the point and it just goes to show how pointless and nihilistic our modern society is.  Azzarello started the series out with a killer of women called the “Bard” carving poetry into the dead bodies of his victims.  On the other side of things, Rorschach goes up against a criminal kingpin called “Rawhead” owing to the massive scarring on his head from Vietnam.  In between fights with the underworld, Rorschach meets a cute waitress at his favorite all night restaurant, the Gunga Diner and they make plans to go on a date.  This waitress, Nancy, is approached by a man we know immediately to be the Bard at the end of the third issue.  Logically one would assume that there would be a connection, even a tertiary one, between Rawhead and the Bard so as to facilitate the two things happening at the same time.  Azzarello does not deliver on that and it is rather trite and arbitrary, which may be realistic, but is far from literary or cinematic, making the story fall apart at the end with little to walk away with.  Lee Bermejo doesn’t disappoint throughout all four issues and is the only consistently quality factor.
  • Swamp Thing #18 is the true conclusion to the “Rot World” event as well as Scott Snyder’s run on the title.  Scott Snyder is the one who truly got this series off the ground and imbued it with the genius that made it the success it was.  Creating with Jeff Lemire the idea of the Red to go alongside the concept of the Green which Swamp Thing has served since the 80’s, as well as taking perrenial Swamp Thing antagonist Anton Arcane and molding him and his into the avatars of a third force, the Rot, Synder has reimagined and reinvigorated what was once an incredible title into an even more complex, engaging series.  With the help of the Parliament of Rot, Swamp Thing and Animal Man  are sent through a portal through the very fabric of death itself back to before Anton Arcane finished his bid to turn our world into Rot World.  In this way, Alec Holland is returned to Abby before her uncle can kill her.  And by that same token he is able to actualize in her the potential for which she was born and that which will prevent the Rot from inheriting the Earth.  This issue was truly spectacular, with both triumphant events readers have been anticipating for almost two years and tragic events they’ve been fearing to witness.  Scott Snyder crescendoes with this final issue of his run, nailing it down and assuring the continued survival and success of the title while also adding his name to the list of visionaries who have been custodian of it, namely Len Wein and Alan Moore.  Artist Yanick Paquette also concludes his run on the series, which was another factor that led to its success.  His floral panels made in nonlinear layouts made the title free flowing and organic looking.  His depiction of Abby Arcane was both strong and sensual which taken with Snyder’s writing made her a captivating heroine.  Paquette also drew the warrior king version of Swamp Thing which quite frankly dwarfs anything that had come before it.  This run, now ended, was one that will have its legacies and be remembered as one of the best runs on this very underutilized property.

    Death Never Looked So Beautiful

    Death Never Looked So Beautiful

  • Animal Man #18 was less of a conclusion to “Rot World” than its sister issue in Swamp Thing.  Buddy Baker, the Animal Man, is sent back by the Parliament of Rot, like Alec Holland, to the moment that would precipitate the downfall of the Red.  In so doing he saves his daughter, the true avatar of the Red, but loses something ewually important to him.  Jeff Lemire is staying on the title so he does not wrap up his story with this issue, so perhaps it didn’t have that dynamite ending, but it also was the weaker of the two titles.  Also Steve Pugh’s art has never been anything to write home about.  This will probably be the last single issue of this series I will buy.
  • Earth 2 #10 returns to the realm of Nabu and the revelations of Khalid Ben-Hassin’s past concerning the Helmet of Fate, housing the power of Nabu.  Wotan has been hired to obtain this artifact for an unknown group and kidnapped Khalid as those with him at the time, Jay Garrick and his mother, to be used as hostages to assure his cooperation in procuring the Helm.  On the other side of the world (hard to say) Alan Scott mourns the death of his boyfriend, Sam Zhao, and learns that his death was not collateral damage, but actually the reason for the deadly train crash.  Writer James Robinson maintains his reputation of excellence with a very engrossing plot that is its own self contained universe and continuity.  Nicola Scott’s art continues to be gorgeous, making the characters spring from the page.  Well worth the read.
  • Worlds’ Finest #10 is very much likened to Detective Comics #18 above, as it continues its ongoing plot while at the same time taking a moment to pay tribute to the departure of Damian Wayne.  Though they met only briefly, Helena still felt like Damian was her little brother and his death pangs right alongside the deaths of her mother and father, the Catwoman and Batman of Earth 2.  But, as Batman taught her when she was still Robin, one soldiers on.  Helena breaks into Michael Holt’s laboratory after the aforementioned industrialist and ex-boyfriend of Karen Starr (Power Girl) sent a mercenary group to Karen’s island laboratory/home.  While Huntress employs stealth and planning, Power Girl unleashes a biblical list of calamities upon a handful of Holt facilities with careless abandon that imperils the lives of scores of people.  The end brings about a curve ball that may prove enlightening considering all that has transpired between the two Earths.  Paul Levitz is amazing, truly, and Kevin Maguire renders his script (solo this month) with his usual ease.

    An Older Sister's Lament

    An Older Sister’s Lament

  • Batwing #18 picks up from the tense cliffhanger from last month’s installment with the Chinese mercenary, Sky Pirate, “nuking” Batwing’s hideout and the civilian side of Batwing, Police Inspector David Zavimbe, facing off against his former childhood friend, Racheal Niamo, now the mercenary named Dawn.  This issue shows the cost taking a stand against corruption can have in an environment as corrupt as the Congo.  David Zavimbe is facing off against hell as he tries to prove that justice can’t be bought or traded for any price.  With only one more issue to go in his run on the title Fabian Nicieza is pulling out all the stops and making this a must read title on the periphery of the core Bat-books.
  • Green Arrow #18 gives us the second issue of the new and improved Green Arrow title.  Oliver Queen has been dealt a really rough hand.  His company has been seized, he’s lost his wealth, he’s been framed for the murder of his father’s friend and the corporate regent of Queen Industries, Henry Emerson, and what’s more, he’s been marked for death by a black archer known as Komodo with ties to both the island he was marooned on as well as his father’s past.  In this issue we learn the identity of Komodo as well as a little inkling of what he is after.  In the meantime, Oliver gets more hints as to his father’s past that by no means come anywhere close to answering the most pressing questions facing him.  Only the eyeless mystery man, Magus, knows what is truly happening and as is usually the case with such enigmatic figures, withholds information, telling Oliver to go to Black Mesa, Arizona to get the answers he seeks.  Another departure from the first sixteen issues, is the descent into rock solid reality.  The events within have consequences that cannot be written away nor held at bay.  In this issue especially, writer Jeff Lemire shows that he is playing for keeps with dark, horrific events precipitating a very ominous future for the Emerald Archer.  Jeff Lemire is in rare form with these first two issues and Andrea Sorrentino’s art finds a complimentary place with a title in need of its stark, shaded lines.

    Another Victim of Komodo

    Komodo Claims Another Green Arrow Ally

  • Phantom Stranger #6 continues on the the Stranger’s quest to locate his kidnapped family.  His first stop last issue was an all out brawl with the Specter.  This issue has him going to Las Vegas in search of them and getting involved in a card game with the three sons of Trigon: Belial, Ruskoff, and Suge.  The main body of the issue is like a telecast of the World Poker tournament.  The story reveals the characters of the demonic brothers as well as the Stranger himself through their playing of the game, but doesn’t advance the overall plot very far.  The ending, however, is quite intriguing and terrifying if one is a fan of the series.  Dan Didio has done a very good job of taking this nebulous, very alien character from the DC pantheon and re-imagining him in a manner that both maintains his integrity and makes him relatable to the reader at the same time.  With the Trinity War on the horizon this series promises to be a keystone title in the future of the New DCU.
  • Smallville: Season Eleven #11 continues the “Haunted” story arc with Clark and Bart attempting to find the answer to the Black Flash and how to stop the Speed Storms that are springing up in Bart’s wake, killing innocent people.  The duo go to meet Jay Garrick, the old member of the Justice Society, and the first speedster of the modern era.  His forecast for what is to come in not encouraging and all signs point to the death of Bart to allay the death toll.  But of course Clark will find a way.  On the other side of the Multiverse, we go to Earth 2 and see how Chloe Sullivan from that world is the sole survivor of so many other meteor freaks.  Also how, despite his relationship with Lois Lane, Chloe seduced Oliver Queen.  Between the two of them, they may even be able to topple the super-powered despot, Clark Kent, aka Ultraman.  Bryan Q. Miller keeps the Smallville series alive not only adding to the mythos of the show, but building upon it and answering questions posed in its early seasons, seemingly left to the wind with the cancellation after Season 10.  And yet it goes on, and brilliantly so.
  • Legends of the Dark Knight #6 presents three more tales of the Dark Knight.  The first one written by Jeff Parker and entitled “Gotham Spirit” shows Batman putting down a liquor store robbery.  Reading it one wonders why you even bothered.  There is nothing poignant or out of the ordinary about it.  Maybe that’s the point.  You can’t always have a Poison Ivy, Mister Freeze, or Joker causing trouble.  Sometimes its just procedural.  That may be the point, but it wasn’t really what someone picks up a comic to read.  The next story written and drawn by Michael Avon Oeming tells of Batman fighting a dragon in the sewers beneath Gotham.  Yes you read that correctly, a real, honest to goodness dragon, complete with scales, teeth, and leathern wings.  Only the fire is missing from this mythic beast.  However, its not quite as mythic as it seems, but rather engineered by a man for Killer Croc.  Croc wanted something that was his that he could love and would love him in return, like a man and his faithful dog, so he could salvage something real.  Even Batman can’t help but be moved by the pathetic nature of Croc’s wish.  The third and final story in this issue has the Penguin hiring a supernatural old man to take out his competition.  From his white suit to his full on albinic pallor, this man is perhaps one of the most unsettling characters to grace a Batman comic, and as the story progresses that assertion is proved ten times over.  Even Batman doesn’t fully grasp the horrors he represents.  That Batman can withstand them proves that the Dark Knight is a master of his own inner terror.  As ever, hit and miss vignettes for the mythology of Batman, but well done.

So ends the first month of March with an encouraging handful of truly excellent comics.

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Green Lantern Annual #1: Art by Ethan Van Sciver, Colored by Hi-Fi

Detective Comics #18:  Art by Jason FAbok, Colored by Jeromy Cox

Swamp Thing #18: Art by Yanick Paquette, Colored by Nathan Fairbairn

Worlds’ Finest #10: Art by Kevin Maguire, Colored by Rosemary Cheetham

Green Arrow #18:  Art by Andrea Sorrentino, Colored by Marcelo Maiolo

Week 74 (Jan. 30, 2013)

Ending the first motnh of 2013 comics, this week packs a LONG list of incredible titles and interesting storylines.  The Batman & Robin and Green Lantern Corps annuals are overflowing with possibilities pertaining to their individual series.  Two Before Watchmen titles bring us closer to the end of that line and a brand new appreciation for the seminal work by Alan Moore.  And then “Throne of Atlantis”, “H’El on Earth”. and “Death of the Family” each take a step forward with chapters of their crossover taking us one step further into their stories.  So here we go:

  • Aquaman #16 delivers part four of the “Throne of Atlantis” crossover event, following the capture of the League and the the further invasion of Boston by the forces of Atlantis.  With the opening of the Trench several issues ago, which Arthur had sealed in the first arc of this series to contain the unstoppable fishmen horde, Aquaman must once again head back to the ancient lair of these creatures to rescue Batman, Superman, and Wonder Woman.  While doing this Arthur learns something invaluable that connects both to the Trench beings themselves and the the scepter of the Dead King that Black Manta stole in the “Others” story arc.  This appears to be the precursor to the event’s conclusion as the culprit of the missile attack on Atlantis is revealed and the scepter makes its reappearance in unsafe hands.  Aquaman tends to teeter between being a phenomenal series and being not as good.  This issue leans in the direction of awesome.  There is a new mythology being built and some really interesting events foreshadowed.  Geoff Johns is introducing plot points and concepts that promise to mature into storylines that could be talked about for decades.  Or they could just fizzle like some of the things he’s been doing of late.  We’ll see.

    The Once and Future King

    The Once and Future King

  • Batman Inc #7  is a tour-de-force.  The series in its second and final arc has showed how Talia Al-Ghul has arranged the most perfect and intricate plot (at least that I can remember) to take out Gotham in a slow, protracted way that is seemingly impossible to stop and agonizing for Batman to watch.  Grant Morrison started writing the Batman title a little over seven years ago in 2005 and has slowly built up his own micro-Bat universe that we now see has been nothing less than a train of dominoes that that he is now tipping over.  So much of what he has introduced is now being destroyed.  Prophesies are unraveling, and Damian is coming to realize the truth behind his mother’s plan and appears to be the best candidate to save his father, his father’s city, and all his father’s allies from the insanity of his Hecuba-esque mother.  As Peter Tomasi wrote in Batman & Robin #0, Talia raised him to be a new Alexander, to conquer and pacify the modern world.  She conditioned him to perfection at the age of eight.  It is my assumption that though her plan to destroy Gotham is flawless, it is not immune to her own handiwork, vis-a-vis Damian.  This series gives me chills and is Grant Morrison at his finest. Artist Chris Burnham brings his A-game to the artwork, drafting it beautifully.  I want to know how this all ends SO BAD, but I also don’t because when it does Morrison will be off of the Batman character, which is something that I never want to see.   The ultimate conundrum . . .

    Son of the Bat/Son of the Demon

    Son of the Bat/Son of the Demon

  • Flash #16 was a delight to read.  Last issue Barry Allen was rendered unconscious and had to be rescued from Grodd by his girlfriend, police officer Patty Spivot, and other allies.  In his delirium his mind had gone through every possible outcome of how to beat Grodd and the moment he woke up the issue ended.  This issue opens with him deciding on a plan that we are not made privy to as well as  a touching scene between Barry and Patty talking about what he has to do and the depth of their feelings for one another.  I love Patty Spivot a lot, and I have a feeling that the writer/artists of this issue do too.  In another part of the issue they portray Flash’s wife from the previous incarnation of the series, Iris West, in a less than flattering manner when it comes to her relations and manipulations of Barry.  I hope that Barry and Patty have a decent amount of time together before the possibility of a relationship with Iris is put back on the table.  After parting ways with Patty the confrontation with Grodd commences and it is one that is both poignant and thought provoking in Barry’s approach.  The issue ends before the true meaning of it is made clear, but what is shown is intriguing to say the least.  Writer/artists Francis Manapul and Brian Buccellato write the Flash better than anyone (I’m looking at you, too, Geoff Johns) and they depict him visually amongside the greats.
  • Red Lantern #16 is the final Green Lantern title before the culminating  Green Lantern Corps Annual.  Atrocitus digs deep and finds the humility and strength to resurrect the Manhunters, the soulless robot army of the Guardians that murdered his family and wiped out his sector of space, and use them as his instrument of revenge against their former masters, the Guardians.  On the Red Lantern homeworld of Ysmault, the Red Lantern custodian of the Central Power Battery, Ratchet, digs beneath the planet’s surface to ascertain the cause of the leeching of power from the Corps main battery.  What he finds cuts to the deepest secret of the Red Lantern Corps’ formation, as seen in Red Lantern #0.  On Earth Rankorr faces off against the street punk that murdered his grandfather.  His goal is to kill this man, concluding his initiatory vengeance that caused the ring to choose him.  With the help of Bleez, the Corps’ first lieutenant, he does so, but retains enough human compassion to temper his rage, once again raising the question of the nature of his ties to the red ring on his finger.  I love Bleez and her portrayal in this issue remains complex and fascinating to behold.  So many interesting things occur in this issue, including Atrocitus’s trip to Maltus, the first home of the Guardians, and what he finds there the Guardians hid away out of fear.  I am not certain what it is, but I have a very shrewd idea.  This issue, like those that came before it, is proof that Peter Milligan is one of the best comic writers out there.  In the latter half of this series Miguel Sepulveda has taken over the art and I hate it so much.  This issue had a guest artist, Andres Guinaldo, who to me was a breath of fresh air.  His art was very soft and rounded giving genuine feeling to the narrative and emotion to the very tough decisions that many of the characters had to make.  Red Lantern is a top tier title because of the rich material and the talented creators that mine it and hone it to perfection.

    A Lesson in Vengeance

    A Lesson in Vengeance

  • Green Lantern Corps Annual #1 ushers in the next major event in the saga of the Green Lantern Corps.  Just as the Green Lantern Annual #1 ushered in the current “Rise of the Third Army” event, this annual inaugurates the “Wrath of the First Lantern” event.  With “Rise of the Third Army” the Guardians have descended into pure evil, assassinating their own corps in order to replace them with thoughtless drones, just like the Manhunters before them.  But its not just their police force they are going to convert, but every sentient being in the universe.  A handful of Green Lanterns have found the Guardians out and rush to stop them before they can succeed in slaughtering their fellow corpsmen like lambs to the slaughter.  This annual was INSANE, bringing together all or most of the plot points from four Green Lantern titles to a single converging point.  In four books the Guardians’ evil scheme has been experienced by multiple, isolated parties.  By issue’s end, these parties are united against the Guardians, regardless of how they fair.  The fate of Mogo is also determined in this issue, and though the final verdict on how the planet Green Lantern fits into the Guardians’ heinous scheme, I remain optimistic and have to say, “Welcome back, Mogo.  You’ve been missed, Big Guy!”
  • Batman & Robin Annual #1 is another key chapter in the evolving relationship between Bruce Wayne and his son, Damian.  Bruce is a very rigid person with a methodical nature centered around an equally rigid moral code.  Damian was raised in a more amoral atmosphere, but with the same rigidity and methodicalness.  That similarity yet diametrical difference between father and son has caused a lot of friction and misunderstanding.  But to the younger Wayne’s credit, when give the choice of staying with his father and live a life counter to his upbringing or go back to live with his mother who would give him his heart’s every desire, the ten year old doesn’t even pause.  He chooses the hard path of righteousness that his father has blazed for thirty odd years.  In this annual, Damian displays an emerging duality in his nature.  On one side he has Alfred whisk his dad away on a scavenger hunt across Europe of significant moments in Wayne history that he has discovered while trying to understand his father’s connection to his past.  Going from London, to Barcelona, to Athens, Bruce learns things about his parents that even he didn’t know.  Their loss was what prompted him to go on his crusade of vengeance that has consumed his life since that fateful day in his youth.  But that same crusade is also what blinded him to so much of his parents’ story.  So Damian reconnects him to his beloved parents in perhaps the kindest gift any son could give a father.  However, with Damian there is always a catch.  This time around, the scavenger hunt is a ruse to get Bruce out of Gotham so he can put on a makeshift Batman costume and be the Batman of Gotham for a week.  Interestingly enough, his costume is a smaller version of the trench coat Batman look that writer Grant Morrison has three times shown Damian to wear in the future when Damian becomes Batman.  This annual was really a heartfelt piece that compliments everything that Tomasi has done in the series thus far, accentuating the soul of two very interesting characters.

    A Glimpse Into The Past

    A Glimpse Into The Past

  • Before Watchmen: Ozymandias #5 delivers the penultimate chapter of the saga of Adrian Veidt, aka Ozymandias, the smartest man alive.  He’s already decided that if the world is going to continue through the nuclear age he has to be the one to save it from human shortsightedness. How he arrives upon the nightmarish scheme we see in the original Watchmen series is depicted in this issue and quite well.  I am curious as to whether his inspiration was mentioned in the original series or if Alan Moore talked about his own inspiration, because Len Wein’s explanation was spot on.  The lead up to Adrian’s undertaking of the project and the years that went into building up the infrastructure for it (14 by my count) are chronicled in minute detail, as is the implementing of the Keene Act that banned masked crime fighters.  Len Wein is one of the best writers in this Before Watchmen line and proves it in the analytic manner he composes the story, as well as the innovative way he spins the anti-heroic character considering the many sins Ozymandias commits on his path of altruism.  Jae Lee has been one of my favorite comic artists since I first saw his work on the Marvel Inhumans series years ago.  He’s been tied up with the Dark Tower series for several years now and its a delight to see him out and stretching his wings on a DC series.  The next issue of this series is going to tie the whole thing up and I am a’quiver with anticipation for the conclusion of a very intense story of one of the most iconically antipathetic characters in comics history.
  • Before Watchmen: Dollar Bill is a one-shot Before Watchmen tale about one of the least known, gaudy characters springing forth from Alan Moore’s original 1980’s series.  In it writer Len Wein humanizes the character of Dollar Bill, telling us his name and the semi-relatable tale of the man who had everything and could achieve next to nothing.  Seemingly the opposite of what a superhero should be, William Brady has the looks, the stamina, and the charm to conquer the world, excelling in sports and graduating from Dartmouth.  However, when the real world and bad luck check his success and reduce him to an unemployable mess, fate steers him inadvertently into the world of costumed adventuring.  Watchmen was a series about “realistic” superheroes and Dollar Bill fits that mold wonderfully in what he is and how Wein portrays him.  Despite him being likened to people that I dislike in my everyday life, the inner monologue and down-to-earth perspective presented made me actually like him more than a little and mourn his passing at books end.  Being that he is a Minuteman, the original vigilante group from the 30’s and 40’s, his dying isn’t that big of a spoiler, especially if one has already read The Watchmen and knows the full sordid tale of his demise.  Steve Rude provides art and lettering on this book in a very nuanced manner that is very appropriate to the title.  I include that he is also the letterer, because the way he letters the captions with the colored, emboldened first letters for each separate box is a feature characteristic of Golden Age comics of the time that this book is meant to take place, circa 1940’s.   This touch, along with his art style makes this one shot seem very authentic and believably vintage.  If one is a Watchmen fan, this is one-shot a must read issue.
  • Superman #16 picks up with H’el reliving his initial time with Superman’s parents, Jor-El and Lara, on Krypton months before its destruction.  These flashback sequences, of which there have been a few throughout the “H’el on Earth” crossover, are intriguing, as they paint H’el as a chivalrous man of the people, while at the same time calling into question the characters of Superman’s father and mother.  H’el’s scheme to restore Krypton at the cost of our entire solar system and it tens of trillions of inhabitants is nightmarish, and yet, though they have yet to come out and said it outright, H’el insinuates that Jor-El and Lara knew of and endorsed this plan.  Can that be, and if so what does it say about Superman’s heritage? On that same topic, through conversation between the two, we are shown that Supergirl is unaware that H’el’s plan will eradicate all life in our solar system and that H’el is consciously lying to her to gain her support in completing the plan.  And complete it they do, because by issue’s end the Star Chamber they have constructed is activated and the Oracle is awakened in another part of space to come and “bear witness to the end of a world.”  Kenneth Rocafort’s art makes this issue visually stunning and Scott Lobdell clearly helms the entire “H’el on Earth” crossover from this title, as every issue of Superman has been the wellspring of vital information concerning H’el’s plot and history.  Next month’s Superman #17 is solicited to bring this whole event to a close.  I, for one, cannot wait . . .
  • Talon #4 picks up in the bowels of the Hudson Financial Building as former Talon, Calvin Rose, concludes his business of defunding the Court of Owls numerous investments through this shell financial institution.  Of course, as we saw in previous issues, the Court has unleashed an asset of theirs so horrific that he was not even given the status of Talon, nor the same considerations as the rest.  With his release, the Court tips their hand as to how desperate they are to stop Calvin and his comrade-in-arms, Sebastian Clark, from further interfering in their affairs.  Also thrown into the mix is Calvin’s former lover, Casey Washington, who leads her own underground army of fugitive members of other world cabals.  Originally Calvin severed their relationship for fear that further interactions between them would lead the Court to her and her daughter.  The end of this issue tests that assumption, as well as the mettle of both Calvin and Casey in the face of the Court’s riskiest gambit.  James Tynion IV and Scott Snyder craft the plot exquisitely and Guillem March, as with everything he does, renders it beautifully up each and every page.  This series is one of the cannot miss titles of the DC lineup.
  • Batman: The Dark Knight #16 wasn’t anything special.  Batman stops a string of kidnappings and assumes they are perpetrated by the Penguin.  Upon closer inspection, mind control devices are involved meaning its the Mad Hatter.  The Mad Hatter shows up.  That’s it.  There is next to no plotline to speak of.  Perhaps Gregg Hurwitz is gearing up for something, but apart from some gratuitous violence, leaves nothing to lure readers into buying the next issue.  Gregg Hurwitz I think was brought on to take over the supposedly lackluster writing of series artist David Finch and cowriter Paul Jenkins.  Hurwitz’s writing is far less substantial than the original writing team, as evinced by his  strawman Scarecrow storyline and this empty first issue of the Mad Hatter plot.  The one saving grace of this issue was the guest art by Ethan Van Sciver.
  • Teen Titans #16 brings to a close the “Death of the Family” tie-ins of both Red Hood and the Outlaws as well as Teen Titans, since Joker kidnapped Jason Todd and Timothy Drake together.  Last week’s Red Hood and the Outlaws #16 didn’t deal with the “Death of the Family” plot head on, but rather a roundabout way through the associates of the two former Robins coming together to locate their respective teammates.  This one focuses on Tim and Jason as they face off against the Joker, culminating in that oh so familiar defeat and awakening to the Joker holding a platter that all the other affiliated series have ended on with the promise of resolution in Batman #17.  I have no idea what that portends, but this issue found its heart in two diametrically different sidekicks of the Batman coming together like brothers against a common enemy.  You can tell that there is a lingering dislike and rivalry between the two that belies a deep fraternal affection for one another.  They also gel quite well when the chips are down and lives are at stake.  Scott Lobdell and artist Brett Booth hit a homerun this issue, in my humble opinion.  Also, as a post-script, I thought it fascinating that Lobdell threw in the teaser page, that not only introduced properly (there was a passing mention in Teen Titans #13) Trigon and his intentions to invade our sphere.  Also introduced is his daughter Raven (who was introduced as a girl in Phantom Stranger #1), here seen in her demon’s garb, which I think trumps her original outfit ten times over.  An original member of the New Teen Titans, I hope that her future appearances lead to her joining the team as she had in most of the title’s previous incarnations.
    The Rise of Raven

    The Rise of Raven


  • Justice League Dark #16 flounders a little bit, in my opinion.  In the “magical world” that is anything but, we see that the aboriginal denizens of magic have been forced underground by the humans who have adopted superscience to cull and repress the magical element, eventually dominating the whole of this sphere of existence.  The last hope of the magical beings is their lost king, the Hunter, who escaped to Earth via the Books of Magic and promised to return.  Timothy Hunter is his descendant and his coming could herald the return of magic.  The story is interesting for sure, but the delivery was a little bland and lacking the panache and charm that this title began with in spades.  Jeff Lemire is a good writer, but the direction he’s taking the characters in could be better.
  • Masters of the Universe: The Origin of He-Man was less exciting and reveiling than its predecessor, The Origin of Skeletor.  With the Skeletor introduction, not only did writer Joshua Fialkov do something completely different by making Skeletor, then Keldor, the older brother of King Randor, He-Man’s father, but also wrote a very compelling story for his transition from loyal and loving older brother to insane, skull faced dictator. The narrative was compelling, innovative and took the reader by surprise.  This origin story of He-Man says NOTHING!  He-Man isn’t portrayed in any other way than he has been in the past, and apart  from Skeletor being his uncle, nothing is different.  This special not only doesn’t need to be read, but shouldn’t have been written as it gives nothing new, interesting or insightful to the proceedings.
  • He-Man and the Masters of the Universe #6 concludes the miniseries with the combined forces of the Masters of the Universe awakening from Skeletor’s amnesia spell and the final battle with Skeletor commencing.  As He-Man stories go it wasn’t terrible.  The series started off and continued to do some innovative things so I will admit I was expecting more from the conclusion, however, it did live up to expectations.  One thing that surprised me and I guess I will give credit to being edgy and innovative was that King Randor, Teela, and everyone else knew that He-Man is also Prince Adam.  Also it is revealed through passing that the amnesia spell was cast by Orko who betrayed the Masters.  THAT would be something I wish that they would have shown considering that Orko is one of the most benign characters in the He-Man mythos.  His betrayal would have been a juicy plot point that other He-Man faithful, like myself, would have really enjoyed seeing.  Either way, this new version was pretty good and it appears there will be an ongoing He-Man and the Masters of the Universe series beginning in April, featuring a return of both writer Keith Giffen and artist Pop Mhan.
  • Batman Beyond Unlimited #12 begins with Superman Beyond, written by JT Krul and drawn by Howard Porter.  Superman enlists the aid of Martian Manhunter to discern the cause of the Trillians trying to kill him.  The rationale behind their vendetta is revealed and is far different and much more benign than I had thought.  If what Superman recalls is accurate, their anger is unwarranted and only serves to depict them as a cruel race.  However, in fairness to the Trillians, their side of the story hasn’t been told yet and circumstances might be slightly different from what Superman remembers, considering it took Martian Manhunter to recover those forgotten memories.  Next on the docket is a Justice League Beyond: Origin of Micron feature.  The son of a Gotham City paramedic, Micron was exposed in utero to radiation that caused him from birth to be able to shrink and expand to different sizes.  Cursed through childhood with being different and having to move often because of it, as an adult he makes his way to Metropolis to join the Justice League Beyond.  A pretty cut and dry origin with little ambiguity or twists to it, the story still resonnated through the very personal voice with which it is told.  Finally, Adam Beechen privides the next chapter in his Batman Beyond “10,000 Clowns” storyline.  It is actually more of a small taste, not accomplishing much narratively, except giving Batman (Terry McGinnis’) inner monologue on the state of affairs that find him against the ropes at the hands of the Joker King, the thoughts that lead to his rallying, and reintroducing Max back into the storyline after her abduction several issues ago, as well as revealing the identity of her captor.  Overall, this issue was entertaining, but didn’t accomplish any great revelation in any of the three segments.  However, the coming issues promise to do so based on what this issue did present.
  • Arrow #3 begins with a tale of Ollie trying to juggle his friendship with Tommy Merlyn with his nights as Starling City’s hooded vigilante.  Its an interesting story, but not very innovative or complex.  The next cashes in on the “found footage” genre of storytelling made popular recently with the movies Cloverfield, Chronicle, Apollo 19, and others.  Three kids get a video camera and a van and attempt to get footage of the Hood in action.  Finally, the third tale fills in the past of Helena Bertinelli, aka the Huntress, and the events that drove her to the jaws of vengeance seen in the series this past November.  Though intriguing, I wouldn’t say these inhanced the enjoyment or immersion into the world of the television show as effectively as the previous two have achieved in months past.
  • All-Star Western #16 picks up with what seems to be a premise spawned from a dare.  How do you make a dude in a wheel chair a total badass?  Well, with a character like Jonah Hex, half the work is done for you. After facing off with Edward Hyde who had kidnapped and forcefed his serum to Hex’s associate Dr. Jeremiah Arkham, Jonah faced off against the genocidal lunatic and was soundly thrashed.  With Arkham institutionalized until the serum ran its course through his system, Hex was left wheelchair bound to convolesce in the good doctors mansion.  Like any predator, Hyde isn’t one to let his prey escape permanently and comes for a reckoning with Hex who even one month later is still chair ridden. Also of interest is Hex’s time time in the Arkham home. In the past, we have heard the shrill cries of Arkham’s aged mother from the upper levels of the house, but never seen her.  This issue finally gives us an up close view of the woman and her demented frame of mind, namely her taste for the literary.  This issue was quite an interesting way to draw the saga of Dr. Jekyll and Mr. Hyde’s time in Gotham to a close, as well as perhaps a keystone moment in the history of the Black Diamond and its whereabouts in the present of the DCU.  The backup feature Tomahawk also reaches its concluding chapter as the eponymous native warrior leads a unified assault of the Chickasaw, Choctaw, Shawnee, and Ojibwe tribes against the remaining British forces that shelter the American commander, General Lancaster, who butchered the families of Tomahawk and his fellows.  They win the day and kill the American and British soldiers present, but the final words of Lancaster ring true through the inevitablity of history.  The time of the Native Americans on their land is drawing to a close.  The rising tide of European settlers will replace them, and we the reader know this to be historically the outcome.  The true heart of the feature is the strength of the warriors’ spirit to stand against the encroaching tides.

    Old Lady Arkham

    Old Lady Arkham

  • The Unwritten #45 shifts focus from Tom Taylor’s trevails in the previous arc to Richie Savoy and Didge Patterson in real world Australia.  Savoy has set out to establish his own story and breakaway from being a supporting character in Tom’s story.  It would appear that he has been successful in that endeavor to a degree, but is beset with the troubles that come from being the main character of a story, especially in the face of the calamity of the fictional world caused by the “Wound” sustained in the War of the Words.  However, his existentialist woes are cut short when Didge asks him to advise on a very strange murder case she is investigating involving what appear to be zombie attacks.  As with many strange occurrences in this title’s four year run, the zombies are conjured into existence through the written word.  The who is established by issue’s end by the why and logistics are yet to be seen.  Mike Carey and Peter Gross continue to amaze in this issue with some really dynamic storytelling and very compelling characters, developed slowly and carefully over years of subtly crafted storylines.
  • Joe Kubert Presents #4 rounds out the week with yet another sojourn by Kubert into the tale of “The Redeemer”, another tale of “Angel and the Ape” by Brian Buniak, and further anecdotes of Sam Glanzman about his time on the “USS Stevens.”  In “The Redeemer” Kubert goes from the year 2557 A.D. to the end of the Civil War and the Redeemer, Jim Torkan, trying to piece his life back together after his life in the South is destoryed following the surrender of Lee’s forces.  The post-war South and the frontier in the western territories were laden with great injustices and moral quagmires that could corrupt even the purest heart.  The Redeemer, true to his name, is a man whose virtue in the face of such situations dictates the redemption or fall of mankind.  But he is a man with human weaknesses, so the question remains as to whether he can remain pure of heart in a morally corrupt world.  “Angel and the Ape”  concluded their current case and comedically grants Angel greater knowledge of her partner, Sam, a crusading gorilla.  In the “USS Stevens” Sam Glanzman tells of an eccentric “asiatic” crew member on the boat called Buck, who was a practioner of Eastern philosophies like Zen Buddhism and an aficionado of quantum physics and relativity theorems   Crafting a makeshift weapon that crew members sometimes fashioned from scrap metal aboard shop called “sheath knives”, Buck attacked the captain of the boat and earned himself a transfer off ship.  The night before, supposedly someone on another boat swore they saw Buck floating in front of the Stevens where a figurehead would normally appear.  The story clearly was told for the sole purpose of rationalizing the feasibility of whether this sighting was real or fabricated, considering his former peculiarities, as well as the man on the other ship’s ignorance of Buck’s eccentricities.  The issue concludes like its predecessors with a very novel, retro feel of a bygone era of comic writing.
    Lives Lives And Lives To Come

    Lives Lives And Lives To Come

    Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Ending a long, but memorable week of comics, the books that came out just reaffirm how incredible this medium is.  Next week February promises a continuance on some incredible stories told this first month of 2013.  Can’t wait to read them and share my impressions with all of you.

 

Illustration Credits:

Aquaman #16: Drawn by Paul Pelletier, Colored by Rod Reis, Inked by Sean Parsons

Batman Inc #7: Art by Chris Burnham, colored by Nathan Fairbairn

Red Lanterns #16: Drawn by Andres Guinaldo, Colored by Rain Beredo, Inked by BIT

Batman & Robin Annual #1: Drawn by Adrian Syaf, Colored by John Kalisz, Inked by Vincente Cifunetes

Teen Titans #16: Drawn by Brett Booth, Colored by Andrew Dalhouse, Inked by Norm Rapmund

All-Star Western #16: Art by Moritat, Colored by Mike Atiyeh

Joe Kubert Presents #4: Art by Joe Kubert

Week 70 (Jan. 2, 2013)

  • Batman Inc #6 is a doomsday clock ticking towards midnight.  Since the beginning of this second arc of the title, but really from the first issue following writer Grant Morrison’s transition from Batman & Robin, there has been something extremely wrong happening in the shadows and all the disparate threats lead to a web woven by none other than Talia Al-Ghul.  Since her revelation as the leader of Leviathan its become clear that Grant Morrison is writing this series as a Machiavellian tale of “Hell hath no fury like a woman scorned.”  Batman has spurned her affections and lured their son away from her, so in revenge she has deduced the most ingenious plan to take everything he loves and has built away from him.  What’s worse is that inherent in the plan are choices he has to make shifting responsibility onto his shoulders for what survives and what is destroyed, who lives and who dies.  Nothing and no one are sacred in this conflict and at issue’s close the sword drops.  Grant Morrison is a genius.  Hands down, he is on the top echelon of writers who have written the Batman character.  Joining him on this second arc and really making his mark is artist Chris Burnham.  Burnham’s art is reminiscent of Frank Quitely, one of Morrison’s most iconic collaborators, but has its own flavor making it appropriate for this title in its similarities to Quitely, but its also for its uniqueness.  When this series ends, as melodramatic as this may sound, I think I might go into mourning.

    BatmanInc6

    The Sophie’s Choice of the Batman Universe

  • Red Lanterns #15 finds the Corps at its most desperate hour.  Fresh off of the sabotaging of their Central Power Battery, the Guardians of the Universe have unleashed their nightmarish Third Army upon the Universe.  Like everything involving the Guardians, Atrocitus won’t rest until the little blue bastards are stopped and their sins against sentient life punished.  Taken in that light, he sounds not only virtuous, but almost sane.  Elsewhere in the Universe, Red Lanterns are purging egregious ne’er-do-wells to power their weakened battery with righteous vengeance.  Vengeance is the key to their revival.  Apropos, first lieutenant Bleez escorts Rankorr, aka Jack Moore, back to Earth to kill his grandfather’s murderer, thereby completing his path of vengeance and fully realizing his potential as a Red Lantern.  This mission is integral to the Corps, as Rankorr for whatever reason is the only Red Lantern with the ability to form constructs with his ring.  However, when confronted with the man who has wronged him so greatly, Rankorr is also confronted with his own wrongs against others.  On his home planet of Ryutt, we see that even Atrocitus is not immune from ghosts of the past, revisiting his decimated world, with the plan to use the Guardians’ own weapons against them.  Peter Milligan is a genius and his writing keeps the reader keyed into the plot with its many nuances and intricacies.  As good as the writing is, I am underwhelmed by Miguel Sepulveda’s artwork.  It isn’t bad in and of itself, but it just is not as engrossing as Ed Benes’ artwork was during the initial issues of the title’s run.
  • The Flash #15 was largely an interim issue, albeit one that accomplished a great many things nonspecific to the current story arc.  The Gorilla invasion of the Gem Cities is in full swing and King Grodd, empowered by the Speed Force, has beaten Barry into a comatose state.  In his delirium, Barry’s connection to the Speed Force has him viewing a slew of possible outcomes to the events transpiring around him, most extremely unpleasant to behold.  The Rogues step up as their city descends into chaos, actually giving relief and protection to the denizens of their town.  Some pretty intense things happen in the mean time as Central City and Keystone City await salvation.  The most interesting in my opinion, and something I have been DYING to see, is Barry’s girlfriend Patty Spivot finding out that he is the Flash.  Though she has vehemently professed to hate the Flash, when that revelation comes she doesn’t bat an eyelash, but instead rushes to her boyfriend’s aid.  I love Patty and I am excited about the prospect of what this knowledge portends for future issues.  As ever, writer/artists Francis Manapul and Brian Buccellato hit the title out of the park in both art and story, with an 11 page assist from guest artist, Marcus To.

    Stand By Your Man

    Stand By Your Man

  • Superman #15 continues the “H’el on Earth” crossover event after H’el forcibly ejects Superman and Superboy from the Fortress of Solitude and barricades himself inside.  As a result Superman takes Superboy to a top secret government facility specifically designed to hold Lex Luthor engineered by Lex Luthor.  This is undertaken under the aegis of Superman asking for Lex’s scientific expertise on how to stop H’el, but the true reason, which Lex intuits almost immediately, is much more sinister.  It’s all hands on deck as the fate of Earth literally hangs in the balance.  The art by Kenneth Rocafort is the thing that immediately strikes one as the pages are turned on the issue, but once one delves into the story they depict, the keen authorship of Scott Lobdell becomes equally apparent.  This issue has the first real interaction between Superman and Superboy, and I have to say that the depiction of Superman, which Lobdell has executed brilliantly in the past, falters in the moments where Superman teeter-totters between seeming apathy to the polar opposite position of the overly interested father figure.  Still, a really fantastic issue rendered exquisitely by both men.

    Superman's Darker Side

    Superman’s Darker Side

  • Batman: The Dark Knight #15 ends the first arc by writer Gregg Hurwitz featuring the Scarecrow’s plot to release a super-fear-toxin on the people of Gotham.  Though midstream it drew some intriguing parallels between Batman and Scarecrow’s childhoods leading up to the donning of their respective personas, overall the arc fell flat.  This last issue had the Scarecrow releasing his toxin via zepplin and Batman throwing together a last ditch effort to negate it.  Though Batman’s solution is intense and fairly novel, it was cobbled together far too quickly in deux-ex-machina fashion for it to have any resonance or believability.  But then again we are talking about comic books here.  Overall though, I felt that this new run on the series is lacking.  Starting at the end of January, series creator and artist David Finch is stepping away from the series and replaced by Ethan Van Sciver.  Van Sciver is an incredible artist, on par with Finch, so Hurwitz has the art down and one more chance to nail the writing.
  • Talon #3 marks the return of a character from the #0 issue, Casey Washington, and her fate after the events depicted therein.  Main character, Calvin Rose, was an assassin for the shadowy Court of Owls known as the Talon until getting the one assignment he couldn’t go through with: killing Casey Washington, a young African American mother and her daughter, Sarah.  Rescuing them from the Court was the catalyst that set the drama of this series into motion.  Returning to that pivotal event, Calvin re-communes with Casey after five years and we learn that the two of them had a love affair that ended when Calvin felt his presence was a danger to Casey and her daughter.  Embittered, Casey meets Calvin again, this time in a much stronger position with powerful allies.  Though harsh feelings exist between them, their common enemy sparks a pooling of resources for an assault on Hudson Financial, a New York based bank that handles thirteen billion dollars of Court investments.  Casey and Calvin’s partner, Sebastian Clark, come up with a flawless plan to hit the bank, but as ever “the best laid plans of mice and men often go astray.”  James Tynion and Scott Snyder are masters of storytelling and sell this series for every cent charged on the cover price.  I know that I have said this at least three times in the past, but I feel that it bears reiteration.  Snyder, Tynion, and March make this a must read title.

    How To Save A Life

    How To Save A Life

  • Teen Titans #15, written by Red Hood and the Outlaws scribe, Scott Lobdell, proves yet again what a master he is when dealing with the Joker, vis-a-vis the “Death of the Family” crossover event.  In Red Hood and the Outlaws #15 two weeks ago, Lobdell wrote a Joker plot that was keyed directly into the character of Jason Todd and played to his person brilliantly.  In this issue of Teen Titans Lobdell does it again, not only penning an ingenious (and especially deranged) plot by the Joker, but one that is keyed into Tim Drake’s personality.  With Jason, the Joker knew his history and used it as a weapon against him, considering that the Joker was its engineer.  Tim, however, is a young professional on the model of Bruce himself, and against him the Joker asserts himself by proving that he is in Tim’s head, knowing his thoughts and stratagems and is able to use them against him.  The Teen Titans come to Gotham to track their kidnapped friend and that is precisely what the Joker was counting on . . . They are a young team, both in individual ages and the tenure of their association with each other, and their inexperience is blatantly revealed.  To be fair though, the Joker is an A-list adversary who has made a fool of the Batman on many an occasion, so their embarrassment isn’t totally their fault.  Artist Brett Booth returns to the title providing the stunning artwork that helped establish this new series sixteen months ago, and a very beautiful depiction of Barbara Gordon’s Batgirl.  Well worth the read even if you aren’t following the overarching “Death of the Family” event.

    When The Joker Gets In Your Head . . .

    When The Joker Gets In Your Head . . .

  • All-Star Western #15 continues the Dr. Jekyll and Mr. Hyde storyline.  Jekyll has come to Gotham to track down a quantity of his stolen formula, but when his handler, Reginald Forsythe, is murdered and partially eaten by Hyde, events take a sinister turn.  Obviously when Dr. Jekyll takes his serum he becomes the sociopathic Edward Hyde, but the question in this issue becomes who will emerge when Dr. Jeremiah Arkham is force fed the serum by Hyde?  Jonah Hex attempts to intercede against Hyde in Arkham’s behalf, but proves inadequate in several respects, raising another interesting scenario: What happens when Jonah Hex, the biggest badass this side of the Rio Grande, is confined to a wheelchair for a month?  And in the backup feature, Tomahawk, General Lancaster of the newly minted American Army sets a trap for Tomahawk’s men and slaughters dozens of his Native American brothers.  In the fight with Lancaster, Tomahawk almost has the upper hand, until the remaining British forces in the area intervene.  The reckoning appears to be reserved for next issue.  We’ll see what that holds for Tomahawk and the tribes of the American northwest.
  • Arrow #2 delivers three more glimpses into the world and history of the CW series Arrow.  Whereas the inaugural issue of this series had three stories about Oliver and his quest for justice, this one gives two slots to supporting characters, further fleshing out our understanding of the series.  First off comes a story scripted by Lana Cho with art by Eric Nguyen following John Diggle’s time in Afghanistan as an Army sergeant.   Despite the hells he endured, through the incident depicted we see the good man he is and why Oliver would be keen to have him on his team.  The second segment by Wendy Mericle and drawn by Sergio Sandaval follows Oliver’s mother, Moira Queen, and her salvaging of her husband’s yaht, the “Queen’s Gambit.”  Moira is an unfortunate character caught between a rock and a hardplace and demonized because of her associations with bad people.  Malcolm Merlyn is a very powerful man and the salvaging of the “Queen’s Gambit” is a key piece in a very dangerous game of chess.  The final tale, scripted by by Ben Sokolowski and Lana Cho takes Oliver to Moscow to cross a name off his father’s list.  Justin Whicker smuggles hopeful young ballerinas out of Russia with the promise of fame in America only to be sold into white slavery.  Because this story is about Oliver and especially because it involves the ballet, Mike Grell (Green Arrow royalty, having written and drawn the title in the 80’s) provides art.  The show is incredible and this series makes that viewing experience so much richer.

    Mike Grell's Peerless Rendering of the Ballet

    Mike Grell’s Peerless Rendering of the Ballet

  • Batman Beyond Unlimited #11 contains three tales from the DC animated universe.  Half the issue is composed of the Batman Beyond story “10,000 Clowns” where literally 10,000 suicidal Jokerz from across the globe make pilgrimage to Gotham to sacrifice themselves for their leader the Joker King’s insane plot.  Joker King is in fact the brother of Batman’s girlfriend, Dana Tan.  In this installment Joker King fights not only the current Batman, Terry McGinnis, but also the original, the 80 year old Bruce Wayne, who’s still got acid running through his veins and a serious hate-on for clowns.  We also see Doug Tan’s reunion with his family after his descent into madness and a recap of how he wrangled the Jokerz and gained dominion over all the rival factions.  This issue was truly worth the wait, having been built up to for more than two years now.  In Superman Beyond we get a slightly less satisfactory experience only lasting a few chaotic pages with Superman facing off against the Trillians without even knowing who they are or why they want him dead.  I have my theories considering that this series and its fellows in this title are the refugees of the discontinued DC animated universe.  The two part series finale of “Superman: The Animated Series” had Supes under the thrall of Darkseid, conquering planets for the Lord of Apokalips.  I think that Trillia was one of the planets that Superman unknowingly decimated while leading Apokalips’ armies.  I could be wrong, however.  Speaking of Apokalips, the last segment in this issue is a Beyond: Origin of the Apokaliptian beauty, Big Barda. Starting out with two little girls growing up in the slums, we see the origins first of Barda’s mother, Big Breeda, one of Darkseid’s elite warriors and her best friend who would become Granny Goodness.  Breeda fought Darkseid’s wars and through eugenics bore future soldiers with his greatest troops.  The one child who’s father she herself chose was Barda.  Barda’s birth not only put the warrioress on the outs with Darkseid but also created a split between Breeda and Granny, the latter of whom raised Barda in her orphanage. The rest is history.  Escaping to Earth with a handsome, young New God, Scott Free, she marries him and the two live happily for a time.  However, the gap between her and Scott’s life together, as seen in the television series “Justice League Unlimited,” and where she is in “Batman Beyond” is a tragic tale that is finally revealed within.  I loved this issue in its entirety more than a little.  Definitely worth the read.
  • American Vampire #34 returns to the beginning of the series while also taking us forward.  The series started with Jim Book hunting down Skinner Sweet.  Book died and Sweet’s been making Hell ever since, but the two people that fought alongside Book and who have taken a backseat since were Abilena Book, Jim’s young wife, and Will Bunting, the novelist following him for material for his next novel.  Picking up in 1954, we see Abilena seventy years later as well as learn the fate of Will Bunting from his nephew.  Through their interaction we are made aware of an immense threat that is known as the “Gray Trader.”  What the Trader is and what threat it represents are left ambiguous, but from what writer Scott Snyder and artist Rafael Albuquerque depict at the end, the “future” looks bleak.  The two page montage of that future promises the involvement of Skinner Sweet, Pearl Jones, Travis Kidd, perhaps one of the ancient vampires from Survival of the Fittest, and Las Vegas in flames.  As I predicted, this issue is at the precipice of a indeterminate gap in storytelling.  Snyder and Albuquerque are doing this not just to take their time fine tuning the plot to perfection, but also so that Albuquerque can draw the majority of the second half of the series, which was unable to do in this first half.  All around I have to reiterate my initial praise of this series as a messiah of the vampire genre.  In a world of truly trite, abysmal vampire stories, this one comic series stands as a shining beacon, keeping the concept from drowning in Stephanie Meyers and L.J. Smith related sewage.
  • Joe Kubert Presents #3 continues to showcase a bygone era of storytelling made fresh through veterans of the golden age of comic books.  Joe himself offers up two stories and his friends Sam Glanzman and Brian Buniak continue their respective series, as begun in Joe Kubert Presents #1.  Last issue, Kubert began a two part story entitled “The Redeemer” about a man who has lived countless lives over thousands of years, redeeming humanity in each, and an ancient man of evil hidden away in a fortress atop the Himalayas, known only as the Infernal One, secretly plotting against him, attempting to hasten the damnation of Man.  The first half of the story involved a very complex set of events in the year 2557 A.D. that leave our hero, Jim Torkan, at a crossroads where he can either continue his redeeming of humanity (unknowingly) or fall into the Infernal Ones trap and cast aside his morals.  The yarn is both futuristic in its far reaching vistas and retroactive in its storytelling style and character archetypes.  Kubert truly puts forth his greatest work in this series, evincing his long work in the medium and his unfettered genius.  The conclusion of this tale is both satisfying and unending.  Sam Glanzman returns to his time on the U.S. Stevenson, a ship he actually served on, recounting yet another anecdotal episode on the US destroyer in WWII’s Pacific theater.  It tells about the war in humorous yet starkly real terms, showing not only the war itself, but the simple and beautiful lives of the men fighting it before and after its beginning and conclusion.  The transitions between are so quick and efficacious that you barely notice, as if you are drifting through their lives like in a dream.  In fact it is almost exactly like a dream, because things go from being so horrible to so beautiful in the blink of an eye that there is nothing else it could be.  In Joe Kubert’s second story, Spit, we return to the street urchin met in Joe Kubert Presents #1, who grows up so detested by every person he has ever met that he lacks a proper name and is colloquially know as Spit by all.  Stowing away on a whaling ship, he attempts to make his way in the world only to fall under the thumb of the peg-legged ship’s cook who works him to the bone and verbally abuses him without mercy.  However, unlike on land, at sea Spit finds something that alters his role in life and shines a little glimmer of hope on his existence.  This segment, unlike the inked and colored “Redeemer” feature, is un-inked pencil drawings by the master artist in a style that is raw and quintessentially Joe Kubert.  The gray scale, rough pencils fit the rough, historical tale exceptionally well endowing it with a dark ambiance that draws one immediately in.  Finally, Brian Buniak presents the third installment of his “Angel and the Ape” feature, which has blonde bombshell private investigator, Angel, following up on a case to clear her partner, a giant ape named Sam Simeon, from a murder charge.  This feature is the dessert of the issue, being nothing but pure comedic slap stick and satire.  Whereas the others have poignance and certain tragedy, this one is a tonic that heals the soul and gets you back in a good mood.  Buniak does the art is a very caricature-esque fashion that reeks of the 50’s and 60’s.  All the submissions herein are stunningly presented and really a joy to read.  If you are a comic purist, pick up these issues and experience a bygone era of comic lore.JoeKubertPresents3

Thus ends what should have been the last week of comics of 2012, owing to the ridiculous three title week preceding this one.  I enjoyed so many of these titles and would suggest they be gotten ahold of as soon as possible.  Next week we truly begin the month of January with a fresh batch of #16 titles.  Looking forward to it.

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Batman Inc #6: Art by Chris Burnham, colored by Nathan Fairbairn

The Flash #15: Drawn by Marcus To, Colored by Brian Buccellato & Ian Herring, Inked by Ryan Winn

Superman #15: Art by Kenneth Rocafort, Colored by Sunny Gho

Talon #3: Art by Guillem March, Colored by Tomeu Morey

Teen Titans #15: Drawn by Brett Booth, Colored by Andrew Dalhouse, Inked by Norm Rapmund

Arrow #2: Art by Mike Grell, Colored by David Lopez & Santi Casas

Joe Kubert Presents #3: Art by Joe Kubert

Week 65 (Nov. 28, 2012)

November ends on a high note with another duo of Before Watchmen issues and a slew of personal favorites of mine: Batman Inc, Talon, The Flash, Teen Titans, and the newly reworked Superman title.  The last week of the month is worth the wait.

  • Aquaman #14 begins the “Throne of Atlantic” crossover with Justice League.  What this prelude issue does is introduce quite well the character of Ocean Master, aka King Orm of Atlantis, Aquaman’s brother.  I could be totally wrong here, but despite him being a villain in the past, Orm truly seems to be on the level here.  Even in the scenes where no one is watching, he’s still altruistic and benevolent.  Through his meeting with Arthur in this issue we see that he didn’t want to be king and begged Arthur to take the throne in his stead.  Maybe its all a ruse by him and writer Geoff Johns, but I’m not so sure.  Regular series artist, Ivan Reis, jumps over to Justice League for the duration of the event, with Pete Woods and Pere Perez splitting art duties on Aquaman.
  • Batman Incorporated #5 takes us for (if memory serves correctly) the third time into the world of Batman 666.  When Batman tells his son, Damian, that he can’t be Robin at the end of the fourth issue, he validates it with a vision he has had of the future of Gotham, should Damian remain Robin and eventually become Batman.  The Joker has saturated Gotham with a neurotoxin that has rendered all its citizens irrevocably insane.  The only bastion of sanity left is . . . Arkham Asylum.  Where we left this world at the end of the 666th issue of Batman, a wheelchair bound Commissioner Barbara Gordon is out to get the trench coat wearing Dark Knight, who sold his soul for the invulnerability to save his father’s city.  This issue has them teamed up trying to save the baby that may be the key to Gotham’s salvation.  Grant Morrison’s writing of the book is stellar and he crafts a really intense ride that when looked at in retrospect is actually really brief in duration.  Also the Joker seems to be such a looming presence in the narrative despite the fact he is never seen once.  However, one villain is seen, whose appearance froze my blood and then got it pumping double time.  This issue of the series proves to be a hallmark that will be talked about for years.

    The Devil's Advent

    The Devil’s Advent

  • Red Lanterns #14 was literally an emotional issue following the aftermath of the Red Lantern Corps’ first encounter with the Third Army.  Being that the nightmarish sentinels of the Guardians of the Universe are largely immune to the Red Lantern’s (as well as the other Lantern corps) emotional spectrum attacks, Atrocitus decides to invoke a synthetic army long unused and discarded: the Manhunters.  Also, to bolster the strength of the culled ranks, Atrocitus has Rankorr the Earth Red Lantern return home to finally kill his grandfather’s murderer to complete his inaugural path of vengeance and strengthen his power as a lantern of rage.  Accompanying him is Bleez and the other Earth Lantern, Dex-star the cat.  Atrocitus himself also throws himself into the crucible of darkest emotion to enact his plan to resurrect the Manhunters against the Third Army.  The Manhunters were the Guardians of the Universe’s first shock troopers that laid waste his sector, killing his family and the good, kind man he used to be.  Returning to his homeworld of Ryutt, the ghost of his past literally as well as metaphorically haunt him as he relives the massacre that destroyed his reality.
  • Before Watchmen: Ozymandias #4 is another penetrating look at the world of Watchmen through the keen, calculating eyes of the world’s smartest man, Adrian Veidt, aka Ozymandias, as written by Len Wein.  Picking up during the Kennedy administration it examines his relationship with the Kennedys and his part in the Cuban Missile Crisis through to the assassination of his friend, Jack.  From that era on a new status quo emerges as society changes and mankind spirals closer to oblivion.  Wein ends the issue with the historic meeting of “Crime Busters”, spearheaded by Captain Metropolis, to restart the Minute Men for this new, turbulent era.  The mouthpiece of dissent comes from the Comedian, as we saw in the original Watchmen, but Wein posits or intuits that this is where Ozymandias first conceives of his plan to save the world.  Considering what he does accomplish, I am itching to read the last two issue from Wein in this series.

    A Monstrously Noble Plan Is Formed

    A Monstrously Noble Plan Is Formed

  • Before Watchmen: Silk Spectre #4 ends the series with Laurie’s final confrontation with the “Chairman” and her realization of the potential her mother has instilled in her.  The relationship between Sally Jupiter and her daughter, Laurie, has been pretty messed up, but this issue, despite bringing them back together (no spoiler here if you read the original Watchmen) truly shows how twisted and deluded the former superheroine really is.  Though her heart was in the right place, her parenting style was tantamount to child abuse.  What is interesting, however, is juxatposing the truly awful things her mother did with the person Laurie developed into.  Despite it all, she came out a strong, confident young woman who learned that her mother did do some good in raising her.  Darwyn Cooke wrote this series poignantly and Amanda Connor drew it beautifully.
  • The Flash #14 had SO MUCH going on!  The Gorilla invasion of the Gem Cities has commenced and King Grodd is pummeling the Scarlet Speedster with the revelation that he as well possesses Speed Force energies.  Daniel West, recently released from prison, searches frantically amid the war torn streets of Central City for his sister, Iris.  Patty Spivot, Barry Allen’s girlfriend, along with the enigmatic time traveler, Turbine, find the one being who has the ability to save Barry and stop the Gorillas: SOLOVAR!!!  To Flash faithful, the appearance of the aforementioned simian is very exciting.  Writer/artists Francis Manapul and Brian Buccellato really pull out the stops with this series and especially this arc.  The Gorilla Invasion is pretty intense to begin with, but they make it even more so when you see in this fourteenth issue just how Grodd is waging the war.  His methods are nightmarish and truly brutal.  So horrible are they in fact that the club of Flash villains, the Rogues, team up with the Flash to put the kibosh on it.  Grade A storytelling.

    SOLOVAR!

    SOLOVAR!

  • Batman: The Dark Knight #14 was iffy.  I mean David Finch’s artwork is eerie and truly sinister.  Gregg Hurwitz’s story is kind of stretched thin over far more issues than it needs to be.  Issue #13 was the exact same story as issue #12, and this one seems like its not really saying anything at all.  Possibly the most glaring issue in my opinion is the unbelievable representation of Damian Wayne.  Overall, I just feel that the first eight issue arc of this title was about the Scarecrow, having another one, especially one as unexciting as this current one is a mistake.  There are plenty of other excellent possibilities to e
  • Superman #14 continues the “H’el on Earth” crossover with all parties coming together.  Lois Lane pays Clark a visit, trying to get him to compromise his morals to get his job back with Morgan Edge and Galaxy Broadcasting.  And wouldn’t you know it, that’s when Supergirl decides to pay him a visit decked out in her Kryptonian costume.  Finally accepting the veracity of Superman’s claims of Krypton’s destruction and their shared kinship, Kara brings him to see H’el to hear out his plan for the rebirth of Krypton.  To Clark and the readership, each possessing a sense of humanity, its immediately obvious that H’el is a madman, and clearly one that doesn’t play fair.  From issue’s end its clear that things are about to get very bad very quickly.  Scott Lobdell writes perhaps the most compelling version of the Man of Steel since the Reboot started a year and a half ago and artist Kenneth Rocafort maintains the same level of excellence he has imbued into all of his projects.
  • Talon #2 delivers another uncanny classic in the incredible tangent series shooting off the eleven part opening arc of Batman, “The Court of Owls.”  Calvin Rose, the only living Talon to ever escape the Court with his life has teamed up with the reclusive Sebastian Clark to take down the evil cabal and give them both their lives back.  This round, Clark sends Calvin to what appears to be Gotham’s answer to New York’s Waldorf-Astoria, the Orchard Hotel.  Built in the late 1800’s, it stands not only as a symbol of Gotham’s opulent past, but also as one of the key roosts of the Court.  The innermost chamber, known as Eden, houses the amassed treasure hoard of the Court as well as some of their most well guarded secrets.  Calvin is told that the information on himself and the Washington girls, whom he was meant to have killed at the time of his flight, are stored within.  What is stored within is not only more sinister than these files, but awe-inspiringly epic, accentuating the already swelling mythology of the Court of Owls.  Also within is a “new” Talon with a vintage of the 1930’s, whose woeful tale fits well into the panoply of Talons we had already met during the “Night of the Owls” crossover event.  Scott Snyder and James Tynion IV make this series soar and in art I have to say that I was pleasantly surprised.  Guillem March is the series artist and his artwork is stunning.  He, however, didn’t do the interiors for this issue and was instead replaced by Juan Jose Ryp, whose work I was not familiar with.  Well, despite my disappoint that March was not the artist this issue, I was quickly rewarded to see how exquisitely Ryp replaced him.  One of the key factors of the issue is the opulence of Eden, and that was something he rendered here in spades.  Everything looks magnificent, with infinite detail.  I also should give credit to colorist Tomeu Morey, whose coloring of the issue heightens the the vivacity of the panels.  This series is a nothing short of a treat.

    Enter EDEN

    Enter EDEN

  • Teen Titans #14 concludes the “Silent Armor” arc, introducing Wonder Girl’s origin as well as her power set granted by the Silent Armor.  Facing down her old flame, Diesel, she has to make some very hard decisions between the first boy she ever loved and the friends she has made over the past fourteen issues worth of storytelling.  That all was very well done by writer Scott Lobdell, but where the issue really gets interesting is in the two tangent storylines that emerge on the periphery.  The character of Kiran Singh, aka Solstice, is one of the heartstrings of the Teen Titans.  Her appearance altering affliction comes into question when a mysterious stranger offers her a chance to get her old body back, but what will he ask for in return . . . ?  Also, headed by Red Robin, the long fingers of the Joker can’t be held back as his “Death of the Family” plot unfolds in all its nightmarish detail.  Next issue promises to be a “Death of the Family” tie-in and elaborate on the plans the Joker has in store for Tim Drake.
  • Phantom Lady & Doll Man #4 ends the miniseries following these former, but as of this series, also future Freedom Fighters.  Jennifer Knight gets her revenge on Metropolis gangster, Cyrus Bender, and she and Dollman are visited by Uncle Sam and the Freedom Fighters.  Not the best series.  I doubt I will read any of the other series that spawn from this.
  • Justice League Dark #14 gives the aftermath of the “Books of  Magic” storyline.  Tim Hunter and Zatanna are transported through the books to an unknown location.  The remnants of the Justice League Dark set out to find them, but in the meantime, three members of the team: Black Orchid, Frankenstein, and Princess Amaya of Gem World go exploring in the House of Mystery only to get lost and set upon by the dangers lurking within.  This alongside the revelation by Phantom Stranger that there is going to be a war among the three.  You might even call it a Trinity War . . .
  • Batman Beyond Unlimited #10 concludes its opening arc of Justice League Beyond Unlimited bringing to a close the plot by Kobra to awaken the Ouroboros, the serpent that would eat the world.  I think the fact that it destroyed New Genesis, home of the New Gods, just goes to show the menace it represents. And when all else fails, Bruce Wayne saves the day . . . AND HE’S NOT EVEN THERE!!!  The arc doesn’t end without casualties and a beloved DC character’s future self falls in the line of service.  In the Batman Beyond feature the “10,000 Clowns”  we see for the first time in a few issues the Joker King, Doug Tan.  The psychotic older brother of Terry McGinnis’ girlfriend, Dana, cuts a very similar figure to the Heath Ledger Joker, a man that believes in absolute anarchy and the intrinsic humor in chaos.  As the night of terror he has unleashed with 10,000 tweaked out clowns descending on Gotham, his plan reaches its endgame and the stakes rise.  Terry is out with Catwoman Beyond, Vigilante Beyond, and a badass 60 something Dick Grayson trying to stem the terror, while Joker King comes face to face with . . . 80 year old Bruce Wayne,  a man who HATES clowns!  Finally the Superman Beyond feature shows Kal-El settling into his new civilian identity of Kal Clarke, Metropolis fireman.  That’s about it for that one.  Some aliens show up at the tail end, but their presence is very cryptic.  Featuring a slew of writers and artists, this title has been and continues to be a grab bag of excellent talent and exceptional storytelling, giving a venue to some of the plots left to pasture by the abandonment of the DC animated universe.  I, who grew up on these shows, welcome it with open arms.
  • All-Star Western #14 has Gotham sinking into madness after the formula of Dr. Jekyll finds its way into her bustling streets.  Last issue, Jonah Hex, Tallulah Black, and Dr. Jeremiah Arkham stemmed the flow with an attack on Haly’s Circus, but the culprit, Mr. Hyde remains in Gotham, albeit in confinement.  In the midst of that chaos, the trio are drawn into a violent altercation in Chinatown featuring one of the characters introduced in the backup feature of issued #4-6, the Barbary Ghost.  Still looking for her mother who was sold into bondage, her travels have brought her to Gotham and into the lair of the Chinese criminal cabal, the Golden Dragons, hopped up on Jekyll’s crazy juice.  This issue was steeped in ambiance and the views we get of the chained Mr. Hyde are like that of a Victorian Hannibal Lector.  The next issue of this series, out in January, promises to further explore his twisted brand of psychopathy. Series artist Moritat must have had a ball drawing the gruesome imagery associated with the evil Stevenson creation.  They certainly are horrifying to behold.  In the backup feature Tomahawk, we see not really a Western tale, but a Colonial one.  Set just after the American Revolution, this title deals with the Indian Wars of the Washington administration.  Drawn by Phil Winslade there is a very classical feel to the almost watercolor like panels.  If you liked “Last of the Mohicans” this feature is worth the read.
  • American Vampire #33 ends the “Black List” story arc as well as a major era in the American Vampire saga.  The series started in 1920’s Los Angeles with young, idealistic Pearl Jones going to Hollywood to be an actress.  Alongside her bestfriend and roommate, Hattie Hargrove, she makes a go of it, only to fall prey to the vampiric power elite of Hollywood who make a meal of her.  Turned by the sadistic loner, Skinner Sweet, she survives the assault to be reborn as the second in a new species of vampire: Abysmus Americanus.  That is how this series started.  Since then there has been a World War, the building of the Hoover Dam, the reawakening of Dracula, and many other incredible events.  “The Black List” ends the first half of the 20th century by circling back to the the Los Angeles coven, Skinner Sweet, and Hattie Hargrove.  All three come back like ghosts of Christmas past to haunt Pearl and show her just how futile running from your past can be.  I loved this issue so much as a continuance of everything that has made the series great over three years of storytelling, as well as providing a bookend to all that has happened thus far.  January’s issue #34 is the last solicited for several months, spelling an uncertain future for the series.  I can only imagine, considering the meteoric success of the series, that it is going into hiatus so the beleaguered Scott Snyder (who is writing four other series besides this one) can catch up and maintain the same level of quality he has displayed throughout.
  • Joe Kubert Presents #2 opens with a lengthy two part storyline entitled “The Redeemer.”  Beginning in the high peaks of the Himalayas, five individuals are summoned to a mountain fortress inhabited by an aged man upon a grand throne, calling himself the “Infernal One.”  From this height he gives them a task to hinder the man who through several lifetimes, since the dawn of time, has been working toward the redemption of mankind.  At this point the title seems like an orientalized 1930’s pulp novel or movie serial.  When the five set about putting his plan into action, it becomes apparent that the title takes place in the future, as the Redeemer is a man names Jim Torkan, captain of a orbital space station in the year 2557 A.D.  Though it takes on a sci-fi backdrop, rife with conventions of this genre, it still does maintain a 1930’s serial feel as well.  So great is his artistic and narrative skills, writer/artist Joe Kubert pulls off both very well.  The second part of this story is solicited to be in next month’s issue and I am curious to see how he ties it all up.  Truly, this story by the late master meets his mission statement of putting out comics of a sort one doesn’t see on comic shelves anymore.  This is from a bygone golden age of comic writing.  Rounding off the issue is another darkly comedic tale of the Second World War from Sam Glanzman, and a continuance of the “Angel and the Ape” story by Brian Buniak from last issue.  These two harken to a lost era in comic fiction.

    The Infernal One

    The Infernal One

  • Arrow #1 is an anthology comic that features writers of the hit CW tv show writing background stories about the show and its characters.  Marc Guggenheim and Andrew Kreisberg, both DC writers and producers of the show, write an overview of the show’s premise with artwork by Green Arrow royalty, Mike Grell, who himself wrote and drew the character for eighty issues in the 1980’s.  Arrow writer Ben Sokolowski writes a tale of Arrow’s hunting of one of the names on his list, Scott Morgan, aptly entitled “Prey”, drawn by Sergio Sandoval.  This not only shows the ingenuity and drive of the Starling City Vigilante, but also the lengths to which the cabal whose names make up his list will go to maintain their power and influence.  Finally, show writer Beth Schwartz writes a story with art by Jorge Jimenez about the white haired Triad woman, Chien Na Wei, better known in comics as “China White.”  With little background in the comics, Schwartz tells of her rough childhood and her close connection to Triad boss, Zhishan.  I absolutely LOVE the show and if you are like me and share that sentiment, this series is worth reading to supplement it and make both reading and watching experiences better.

So ends a phenomenal week of comic reading.  Sadly, all but one of these titles will have to wait until January to be continued . . .

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Batman Inc #5: Art by Chris Burnham, colored by Nathan Fairbairn

Before Watchmen: Ozymandias #4 #1: Art by Jae Lee, Colored by June Chung

The Flash #14: Art by Francis Manapul, Colored by Brian Buccellato

Talon #2: Drawn by Juan Jose Ryp, Colored by Tomeu Morey, Inked by Vincente Cifuentes

Joe Kubert Presents #2: Art by Joe Kubert

Week 60 (Oct. 24, 2012)

  • Batman Inc #4 finally finishes off the dropped plot from issue #3, two months ago, following that issue’s postponement in light of the Aurora, Colorado massacre.  Normally, it would have ended neatly before the Zero issue last month, but incidentally we had to wait for two to get closure on the seeming murder of “Matches” Malone and the solo flight of Damian, under the new nom-de-guerre Redbird.  Following the two Waynes getting seemingly over their heads, Batman Incorporated swoops in, seemingly from the grave themselves.  Their symmetry in the face of Leviathan’s well laid plans makes this issue and its predecessor, Batman Inc #3, a well executed feint in the chess game of giants: Bruce Wayne on one side and Talia Al-Ghul on the other.  Grant Morrison’s writing is, in and of itself, a piece of art furthered by the exquisite artwork of Chris Burnham.  Both masters in my opinion. 

    Casualties of War

  • Red Lanterns #13 returns to a trope that set the tone of the book in the initial batch of issues last year, by showing a planet plagued with injustice and the birth of burning rage.  On the planet Arhtky, warlords reign over the weak masses.  Writer Peter Milligan focuses his pen on two sisters who survive the slaughter of their parents, only to fall into bondage at the hands of the warlord who ordered it.  Women are merely chattel to him, as well as other men outside of the despot’s army.  I’m not sure if it was British born Milligan’s intention to make a commentary on women’s rights as a hot topic issue of the American presidential election that is less than two weeks away, but it certainly can be read that way.  Even if its not, his story certainly shows the power of women, in both the enslaved Arhtkian woman, Taya, as well as the the two female Red Lanterns drawn to that sector by her plight, Bleez and Skorch.  Bleez has proven herself to be a multifaceted character many times over, but the newby to the scene, Skorch, is quite a powerhouse as well.  Following this, the Third Army tie in that has been symptomatic of the Green Lantern family of books catches up with the Red Lantern Corps in truly terrifying fashion.  Unfortunately, we have to wait another month for the full horror of their appearance.  Peter Milligan writes an incredible book, but his partner in art, Miguel Sepulveda, I find to be lacking.  Its just an aesthetics choice, but his art doesn’t work for me.  A good issue, though, in substance.

    The Fury of Skorch

  • Flash #13 continues from August’s Flash Annual #1 with the Gorilla invasion of King Grodd’s forces.  This invasion, of course, interrupted the Scarlet Speedster’s confrontation with the united assembly of Rogues under the leadership of Leonard Snart’s (Captain Cold) little sister, Lisa, aka the Golden Glider.  What the Flash/Rogues conflict boils down to is who controls the Gem Cities?  The operative principle in that question being that there are Gem Cities.  The Gorillas just want to destroy and kill.  Conflicting with the interests of both, the Flash and Rogues have absolutely no choice but to ally themselves toward mutual benefit.  Uneasy fellowships like these are always fun to watch unfold, as sworn enemies tend to work really well together, accomplishing things exponentially greater than they could separately.  If only they could always get along the rest of the time . . .  Also, drawing off September’s Flash #0, one of Iris West’s male relations, possibly her brother, who was incarcerated in #0, is released from prison, and clearly has some part to play in the events unfolding.  Co-writers Francis Manapul and Brian Buccellato return to art duties rendering a visually stunning tour de force, as per usual.
  • Superman #13 reunites writer, Scott Lobdell, with artist, Kenneth Rocafort.  Their work on Red Hood and the Outlaws was the initial draw that hooked me on that book.  They did a bang up job with their first foray into Superman lore, with Superman #0 taking place on Old Krypton following the last ditch efforts of Jor-El to ascertain his planet’s impending fate.  Now they jump to the present, with Clark undergoing an existentialist dilemma in all facets of his life.  Following Scott Lobdell’s Superman Annual #1 two months ago, Superman is feeling uncertain about his omnipotence after being soundly thrashed by the Daemonite, Lord Helspont.  Though he exhibits near godlike powers, he is weighed down by fallibility.  In his civilian identity of Clark Kent, he is made to also feel impotent in his crusade to report important facts and meaningful information as is his calling as a newspaper reporter.  However, Perry White, Lois Lane, and Galaxy Broadcasting CEO, Morgan Edge, refuse to allow him to report on those meaningful things, wanting only fluff pieces and pop culture nonsemse, and as a result Clark, like Superman, is left seemingly devoid of a firm footing.  All this comes to a head when a nightmarishly proportioned dragon comes into play in Metropolis, leading the Man of Steel across the world on a desperate chase of chaos.  Supergirl guest stars, shedding a little light on what is going on.  Lobdell brings a soul and substance to this title that has been lacking since issue #1.  He stays on some of the hallmark themes that masters George Perez and Dan Jurgens set up in those first issues, but in his stories they resonate and actually show merit.  I had no doubt when I heard he was taking over that this title would blossom at his touch.  It has, and then some.  Kenneth Rocafort’s art is top notch.  It loses none of its allure and his Supergirl is the best she has been rendered since the inception of the Reboot.

    Truth, Justice, and the America Way

  • Batman: The Dark Knight #13 was subpar.  I very much like this series, and writer Gregg Hurwitz tells a complex, compelling tale about the Scarecrow and the nature of his intense fascination with fear, however this issue accomplished nothing the last issue hadn’t already, nor did it build upon anything important.  It told the EXACT same information as issue #12.  Nothing new.  If you like seeing new art by series artist, David Finch, definitely worth getting, but in the realm of plot, you can skip it and go right to issue #14.
  • Justice League Dark #13 combines the building story line of issues 9-12 with the Constantine/Zatanna origin from September’s zero issue.  The mastermind behind Felix Faust and Dr. Mist’s quest for the Books of Magic is none other than Nick Necro, Zatanna’s former beau and Constantine’s former mentor in the arcane arts.  His plot for the books looks to be nothing more than petty vengeance and narcissism.  Don’t think John learned that from strangers, either.  Jeff Lemire writes a good JLD yarn, however, I am nostalgic for Peter Milligan’s writing.  Mikel Janin continues to keep the art of the book tight, lush, and engrossing.  The epic conclusion to this arc comes next Wednesday with the Justice League Dark Annual #1. Looking forward to it.
  • Talon #1 presents the first “official” issue of the series.  The introductory zero issue gives us the back story of former Talon, Calvin Rose.  His traumatic childhood, his “escape” to Haly’s Circus which led him into the clutches of the Court of Owls, his descent into darkness, and his escape from that same evil.   All of these are depicted in stark, beautiful detail by co-writers Scott Snyder and James Tynion IV and artist Guillem March.  All that, including Rose’s assault by a Talon after years on the run, is in the past.  THIS issue takes us into the razor’s edge of present events following Batman and his younger brother, Thomas Wayne Jr’s (Yes, I am asserting this identity) simultaneous attack on the Court, Batman from the outside and Tommy, aka Lincoln March, from the inside.  With the Court crippled and vulnerable, Calvin flies back to their nest of Gotham City to see just how extensive the damage to the shadowy cabal truly is and whether or not he is really safe.  What greets him is the Talon of the 1880’s, whom we have seen a handful of time in the wild Western pages of All-Star Western.  But amid a less than amicable welcome home from the Court, Calvin does make a very valuable friend that gives him news that will define and drive the series onward toward vistas that ANY self-professed Batman fan who’s read the “Court of Owls” story line would twinkle at the eyes to read.  This WILL be one of the must read titles of the DC line for years to come.

    Talon vs Talon

  • Fury of Firestorm: The Nuclear Man #13 was kind of a toss up.  Ronnie and Jason continue to try to lead normal lives as high school seniors, despite also being two halves of the hero Firestorm.  Called away to fight a giant robot that is nonsusceptible to their transmutation skills.  The motivation of the people that sent the robot out is ambiguous at this point, so its hard to gauge whether this series is going in the right direction.  Writer/artist Dan Jurgens made his debut on the zero issue last month, but I am still dubious he’s taking the series in the right direction, even though that direction is the original one from the previous series.
  • Teen Titans #13 takes the reader back in time to explain how Wonder Girl, Cassie Sandsmark, first obtained the Silent Armour, as well as how she met the boy, Diesel, who stole it from her at the end of August’s issue #12.  And all the while the audience to Cassie’s reminiscence are two very handsome and very angsty teen boys, Red Robin, aka Tim Drake, and Superboy, who take every chance to trash talk Diesel out of clear jealousy over the intimate details that Cassie is way too forthcoming with.  The ending of this issue comes forward with two interesting tidbits: a connection to Trigon and the return of Kurt Lance to the frontlines of the DCU as a glorified “truancy officer.”  Scott Lobdell continues to write this series masterfully, and his partner in art since the first issue, Brett Booth departs the series, replaced her by Ale Garza, whose sumptuous style is very similar to Booth’s.  I love all the books Lobdell writes and this series is no exception.
  • Red Robin and Superboy Are Not Amused

  • National Comics: Madame X presents a really different Madame Xanadu, who they are calling Madame X, probably because of how different she is.  Taking place in New Orleans, this followed a realistic Law & Order type plot of a mayor getting killed in his home and a local Voodoo Queen being blamed for the killing.  Madame X is a defrauded psychic and card reader.  On retainer to a law firm she is brought into the investigation and wades through fake rituals and sordid political dealings.  Like the Rose & Thorn one shot last month, this issue didn’t seem to have a one shot ending, but rather start off a series or story arc.  Perhaps that is what we are going to see later on when the sales figures gauge interest in the National Comics brand.
  • All-Star Western #13 picks up the story of Dr. Jekyll’s formula coming to Gotham.  With a murderous clown running rampant around Gotham killing priests, the finger is pointed at Haly’s Circus which has pulled into town. As ever, Jonah Hex and associates Dr. Amadeus Arkham and Tallulah Black are hot on the trail of carnage.  Writers Jimmy Palmiotti and Justin Gray make interesting connections towards the end to the original Robert Louis Stevenson novel they are tapping for the arc’s subject matter.  Also there is a connection between Mr. Hyde and the fabled Black Diamond . . .  In the backup feature they take a giant leap backward in time telling the story of a Native American warrior named Tomahawk of the Shawnee tribe.  This takes place at the very end of the 1700’s during the Washington administration and the push of settlers into the Appalachian territories.  It seems very reminiscent of “Last of the Mohicans” the way in which it is broached.  Overall, both features in this title were superb and I am dying to read their next installments.
  • Warriors of Mars #5 brings an end to this brief miniseries about Union naval officer, Lt. Gullivar Jones’ time on Mars and his association with John Carter, the Warlord of Mars.  After helping to rescue Carter’s wife, Dejah Thoris from the Thither Men, Gullivar attempts to go home, only to jump to Mars’ future several thousand years down the pipe.  Humans have come to Barsoom and like we did on the American continent, brought war to subjugate the Martians and take their planet from them.  Attempting to get his bearings, Jones finds himself brought together with the leader of all Mars, Dejah Carter, granddaughter of John Carter.  This issue comes to an end, that like Madame X above, isn’t really an end.  I would assume that its a similar situation of this last issue testing the waters for interest in another series.  I hope so, because this was an excellent, compelling story.
  • The Unwritten #42 begins the “Live Like Lazarus” arc, showing Didge’s descent into the realm of story where she met Lizzy Hexam.  Before she is drawn back into the real world because of her dyslexia, Lizzy gives her a message to take back to her boyfriend, Tom Taylor.  After the events of the “Wound” plot arc, Tom receives the message and plans to descend into the “underworld” like Orpheus to get his lover back.  To help him are new friends Officer Didge Patterson and Danny Armitage, as well as the return of Richie Savoy after his indignant flight at the end of last issue.  To do this they go out to the Outback and find a portal through to the storyrealm through an Aborigine myth of the whale, which connects to the Leviathan of previous arcs.  As ever, creators Mike Carey and Peter Gross deliver a can’t miss issue of a seminal series.

    The Message

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Batman Inc #4: Art byChris Burnham, Colored by Nathan Fairbairn

Red Lanterns #13: Art by Miguel Sepulveda, Colored by Rain Beredo

Superman #13: Art by Kenneth Rocafort, Colored by Sunny Gho

Talon #1: Art by Guillem March, Colored by Tomeu Morey

Teen Titans #13: Art byAle Garza, Colored by Andrew Dalhouse

The Unwritten #42: Art by Peter Gross, Colored by Chris Chuckry