Big week this time out. Eleven titles. Craziness. Some very good stuff, too, which is always nice. Even nicer? I did not read or buy Battle for Bludhaven this week. And I feel cleaner for it.
52 Week 3
“New World Order”
Published by: DC
Writer: Geoff Johns, Grant Morrison, Greg Rucka, Mark Waid
Art Breakdows: Keith Giffen
Penciller: Joe Bennett
Inker: Ruy Jose
Colorist: Alex Sinclair
You’ve gotta respect a guy like Black Adam, a man who finds an approach to life that works and sticks with it. By this, of course, I mean pushing people faces out the back of their skulls if they displease you. Also, though, he’s not afraid to mix things up with a good vivisection in front of the cameras of the world’s cable networks. He stays the course, but does it with flair.
Black Adam’s story is not the only one going on this issue, but it is the most interesting. The rest of the issue’s focus is Steel. (There’s a bit of Booster, but its nothing that we did not already know was going on, i.e. the past is not acting exactly the way he and Skeets seem to think it should.) I like Steel so normally I would be favor of this, but man…he’s a bit of jerk these days. The stuff with Luthor was great, with Steel having to bite the bullet and admit that, in fact, there was “another” Luthor running around, thus giving Luthor an out for his crimes (again). However, Steel’s interactions with niece/surrogate daughter are just harsh. Maybe its just because I’m young enough to remember the righteous indignation of being a teenager with overprotective parents, but he comes across to me as unyielding and self righteous. It’s as if because the world does not fit his scheme of responsibility and reward and he cannot seem to change that, he’ll take it out on Natasha. That’s not to say he should take her “D” in English lightly. He should. But it seems less about that and more about him exerting control over something. I actually think that’s a pretty interesting characterization, so I appreciate it. But for now, I’m not loving Mr. John Henry like I used to.
Oh and because I forgot to mention it last week, please skip the backup feature. There’s nothing to be gained from taking the time to read and much to be lost (interest in the DCU, five minutes of your life, and dwindling sympathy you might have for Donna Troy). I’ll give you a heads up when its okay to start reading it again.
Grade: B
Batman #653
“Face the Face” Part 6 of 8
Published by: DC
Writer: James Robinson
Penciler: Don Kramer
Inker: Wayne Faucher
Colorist: John Kalisz
I like the thesis of this issue which essentially amounts to, “If Harvey Dent had only taken the law into his own hands as a vigilante rather than becoming a DA, there would have been no Two-Face.” It is an interesting idea and while I have no idea if there is any prior evidence to point us in that direction (I suspect that there is not a lot of it) I think it works in the context of the story.
The plot does not go anywhere we did not expect that it would have to at same point and some will bristle at the issue long monologue, but neither aspect particularly bothered me. I got swept up in the tête-à-tête between Harvey and the man in the mirror and did not worry about Batman, Robin, Bullock, Gordon, Jason Bard, or Gotham until I closed the issue and thought, “Wait…what about -?”.
It’s not a brilliant exploration of Dent’s condition, but it’s a good one.
Grade: B
Birds of Prey #94
“Stolen Inferno”
Published by: DC
Writer: Gail Simone
Penciller: Paulo Siqueira
Inker: Robin Riggs
Colorist: Hi-Fi Design
First let me be a ridiculous fanboy (knowing full well that this makes me a hypocrite given the hard time I give to ridiculous fanboys in my various writings for this site) about Prometheus. His hair is white, not blond. Normally, who cares? But the white hair thing is an important part of origin. Well, maybe “important” overstates it. But the condition of his hair color does have some significance to his character and his motives.
Like I said, ridiculous fanboy.
Especially considering how nicely Simone returns Prometheus to his rightful place as scary ass villain (yes, that’s a technical term). He is no longer Hush’s whipping boy/errand boy (thank god!). Instead, he is back to being the arrogant anti-Batman who cannot wait to tangle with some heroes for the sheer delight of humiliating them. The fact that he’s doing it for the society is immaterial. This is the sort of thing he’d do anyway. (I would say that Simone almost makes him too competent given his fight with Shiva, but I’m just too damn happy to have him back to nitpick).
The Canary plotline is coming along nicely as well. Dinah is given more of a clear reason for being there and it introduces some interesting consequences to what following in Shiva’s footsteps means, beyond dealing with Mother and the local army. What was, in the first OYL issue, my least favorite part of the book is something I look forward to checking in with.
Finally, on the art side, Siqueira is advancing nicely. I’m still not sure he’s on par with previous pencillers, but his work is showing definite improvement. He does slip up once, however, drawing a character in shadow as Shiva when, given the dialogue, she clearly should be Zinda. But it’s two panels of a final product and hardly even a strike up against him.
Besides, when Prometheus is awesome again, I’m willing to accept a lot.
Grade: A
Checkmate #2
“The Game of Kings” Part #2
Published by: DC
Writer: Greg Rucka
Artist: Jesus Saiz
Colorists: Tanya & Richard Horie
If only they had made this be Checkmate #1, I would not have almost left this book on the stands.
Everything that seemed perfunctory or weak in issue #1 is improved upon here. The dialogue is sharper, the concept of what Checkmate is and how it operates clearer, the characters more interesting.
By turning the book’s gaze inward to the behind closed door workings of Checkmate (as opposed to how Checkmate affects the outside world and vice versa), Rucka gives himself a lot more room to explore his protagonists’ “world”. He begins to mine the inherent conflicts (and odd convergences, e.g. Michael and Sasha’s coupling) in Checkmate’s bicameral structure.
I can only hope that, after the book’s flat debut who’s pacing was crippled by too much chess terminology, people do have enough faith to give #2 a shot.
Grade: B
Secret Six #1
“Exposed”
Published by: DC
Writer: Gail Simone
Penciller: Brad Walker
Inker: Jimmy Palmiotti
Colorist: Paul Mounts
Poor Brad Walker. He keeps getting fill-in gigs for artists that are clearly stronger than he is at this point. This time out that’s not strictly true, but the Six are already associated with Dale Eaglesham and, in comparison, Walker’s work definitely suffers. It’s not bad, especially when the team is in costume. His Mad Hatter is actually pretty darn scary. However, his work lacks the feeling of grime and desperation (while still being larger than life) that Eaglesham’s penciling achieves. Also, his facial work can be rough at times, especially when he’s working on Floyd (Deadshot), for some reason.
On the story side of things, it is a bit thin. The dialogue is still there and Rag Doll is a scene stealer of the highest order. However, the opening action sequence fails to impress (although I do appreciate how it nicely illustrates the group’s altruistic/mercenary nature) and the book ends just as it seems to be revving up. The small snippets of the Six’s lives when they aren’t on the clock are kind of neat too, but they don’t go deep enough to satisfy. I can’t help but feel that if Simone had devoted more time to either the quiet stuff the “crew” does when they not on missions or the bookending action sequences, we would have ended up with a much more satisfying book.
Grade: C
Teen Titans #36
“The New Teen Titans” Part 3
Published by: DC
Writer: Geoff Johns
Penciller: Tony S. Daniel
Inkers: Kevin Conrad, Andy Lanning, & Norm Rapmund
Colorists: Tanya & Richard Horie
Ooo, creepy.
The Titans visit the Doom Patrol this time out and the creep factor is palpable. It’s nice to see that the Chief’s past has not been forgotten or erased and that his machinations continue today as has basically the entirety of the Doom Patrol trapped with him by playing on their fears, insecurities, and feelings of responsibility. It feels almost like a classic Dracula piece as no one is, strictly speaking, imprisoned with the Count (Chief in this case), but yet no one seems to be able to walk away either. Nicely done.
Unfortunately, I cannot shake the feeling that Titans OYL is a pick full of characterization in search of a plot. Yes, we’ve had the building conflict with the Brotherhood, but that has unfolded as if it was a subplot. Similarly, Kid Devil’s “phone calls”, Robin’s basement experiments, Ravager and Wonder Girl’s issues, and Cyborg’s attempts to adapt to the OYL world are all interesting, but all subplots. They are good enough that I don’t think the grade should suffer, but a few more issues of this and I might be inclined to change my tune.
Grade: B
Daredevil #85
“The Devil in Cell-Block D” Part Four
Published by: Marvel
Writer: Ed Brubaker
Artists: Michael Lark & Stefan Gaudiano
Colorist: Frank D’Armata
I’m normally a pretty reasonable guy, but…if you are not reading this book, but claiming you like comics I’m just not sure I want to know you.
Okay, I kid. But seriously… don’t talk to me. Ever.
Sorry, I didn’t mean that. Honest. Let’s just move on shall we.
I could go on and on about this book (and insult those who don’t read it some more because that would be classy), but instead, I’ll just focus on Matt’s relationship to fellow prison mates Kingpin and Punisher. They are two of his least favorite people, but Brubaker effectively utilizes them as perhaps the only two people that could get Murdock to “wake up” out of his violent stupor. The scenes do not just highlight how out of control Matt has become and put him back on the path, but also reveal that, despite his relationship to these two figures, they have a genuine respect for him. They don’t like him, certainly, but they have seen his drive, his intelligence, and his skill too many times to not have come away from those encounters with an approbation for the man.
That scene is, in a nutshell, what I am digging about this book. Brubaker is finding new nuggets to explore in already established relationships while moving the book forward.
Also, the art is excellent.
Grade: A
New Avengers #19
“The Collective” Part Three
Published by: Marvel
Writer: Brian Michael Bendis
Penciler: Mike Deodata, Jr.
Inker: Joe Pimentel
Colorist: Dave Stewart
I’ve liked New Avengers, for the most part, since it started. Chaos was not so hot, but I thought Bendis did just fine with the title that came out of it.
Until this storyline.
It is like this book has suddenly been hit by the same ray that rendered The Pulse so wildly uninteresting. Now, instead of being the title about the premiere superteam in the Marvel U, it is a special feature for House of M. Beyond the neat twist on “Energy can be neither created nor destroyed” the story is doing nothing for me. It just sits on the page, inert. Everyone in the book seems to be suffering from a case of “amateur-itis”. It’s just not good.
With Civil War coming into this book at the conclusion of this storyline, I fear The Pulse curse will only continue too.
Grade: D
Nextwave: Agents of HATE #5
Published by: Marvel
Writer: Warren Ellis
Penciler: Stuart Immonen
Inker: Wade von Grawbadger
Colorist: Dave McCaig
Same song, different issue. Still fun!
I’m having a hard time picking out a favorite part of this book. Is it the primer with a nameless question answer (who apparently always eats poi for you)? Or the letter column with the Lettermatic 7053 and his (its?) host of issues? Or perhaps it is the comic itself, complete this time out with appearances by Dirk Anger? I can’t, nay, I won’t choose.
Best Caption: Monica Rambeau, leader of the Nextwave Squad, lies all the time.
Best Flashback: Hard to choose, they were so excellent this time out. I guess I’ll go with the vision of The Captain’s childhood for its surreal dose of parental cruelty.
Best Spoken Line: You are men. You have guns. You chew Lizard Boom Sticks. And you wear Combat Pterodactyl Suits.
Grade: A
Powers #18
Published by: Icon/Marvel
Writer: Brian Michael Bendis
Artist: Mike Avon Oeming
Colorist: Peter Pantazis
I hate Powers. Or rather, I hate reviewing it. I struggle to find new ways of saying that it takes place in a fully realized world, that it is funny, poignant, and scary by turns, and sometimes all at once, or simply that is “great”. But, soldier on I shall because Powers is worth that sort of effort.
In this issue caps off the Millennium storyline in which we saw Deena slip further down the spiral (any other Nine Inch Nails fans in the audience today?), Walker reconnect with being powered, and the use of an odd standup comedian/open mic night framing device. All get some play this issue as well, to various extents.
First, thankfully, the framing device finally pays off as the witness to the crime that kicked off this arc takes the stage and relates her own experience since the incident. I’m not sure if it makes the previous four or five issues of it worthwhile, but it is nice to see it actually build towards something, however small.
Deena’s struggle continues to be the book’s most interesting subplot as she continues to keep it together at work, but is teetering on the edge of collapse at all over times. The montage as she considers escaping from her troubles (which, oddly enough, contains a panel of her and Walker in bed together) is a kaleidoscope of pain that does not bode well for her future, even with Walker looking out for her from afar.
Bendis clearly is not afraid of shaking up this book’s status quo and it continues to be one of its biggest assets. My only complaint is that the powers case at the center of this storyline was not all that compelling. Since the “cops investigating powers crimes” is a bit part of the book’s uniqueness I hope this case was just an aberration.
Grade: A
Squadron Supreme #3
“International Incidents”
Published by: Marvel Knights/Marvel
Writer:J. Michael Straczynski
Penciler: Gary Frank
Inker: Jonathan Sibal
Colorist: Chris Sotomayor
That was abrupt.
Grade: C
(Get it?)
