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Tales of the TMNT #52 [Review]

Posted to comixtreme.com.

The Walking Dead #54 [Review]

Posted to comixtreme.com.

Booster Gold #14 [Review]

Posted to comixtreme.com.

Justice League America #69 [Back-Issue Review]

Down for the Count

Story and Art: Dan Jurgens
Finished Art: Rick Burchett
Letters: Willie Schubert
Colors: Gene D’Angelo
Asst. Editor: Ruben Diaz
Editor: Brian Augustyn
Cover: Dan Jurgens

This issue opens with the Justice League already in action, rescuing people from a huge fire. As we get some context, we discover the Justice League has responded to a distress call out of their usual stomping grounds, with reports of a monster tearing up the place. While the League searches for the creature and helps those it can on the way, Superman is appearing on the Cat Grant show for an interview being televised at high school students. About the time the League finds the monster, the creature hurls debris through their transport, stalling them. Once the League deals with that mess, they began taking on the creature and finding it to be no easy chore. As the League is torn apart, Booster Gold is punched away into the sky–surviving solely because of a force field raised just in time–and caught by Superman.

I originally picked this issue up discovering it to “tie in” to the Doomsday / Death of Superman story–though at the time I knew little else. I recognized Maxima from an appearance years earlier in a Superman comic, but everyone else was unfamiliar to me. With sixteen years’ further experience with comics, everyone’s familiar to me upon the current read-through, as is plenty of context around various characters and even the creative team of the book.

The story is basically one long fight scene with the heroes either looking for or trading punches with their quarry. Juxtaposed with the action is the interview with Superman–with some nice segues back and forth between the League’s fight. The interview provides some great context for where Superman stands in regard to his fellow Justice Leaguers, as well as some nice continuity nods to recent events in DC Comics at the time. The issue’s end is one of those “oh, YEAH!” moments–cliffhanger, sure, but has one itching to get to the next part of the story. While there are no “previously” pages (there IS a note to go read Superman: The Man of Steel #18 first, though), it’s not hard to follow along with events in this issue. Given the nature of the issue’s story–contextualizing the destructive power of the creature–it does not seem at all important exactly WHO any of the Leaguers are, just that they ARE the Justice League.

The art is very much a classic–Jurgens has been one of my absolute favorite Superman (and related) artists precisely because of being one of the main artists involved in this story. To me, the depictions of the characters found here are THE standard–I have zero real complaint with the art (save that given the nature of the story, it’s rather toned-back and wounds suffered appear far less devastating than the text makes ’em out to be).

This is a great issue–perhaps largely for being the first real battle with the doomsday creature in the overall story–but also has seeds sown that play out not only in the Doomsday story but also in this title for awhile after the death of Superman. The story is good–I especially enjoy that interview/tussle structure, and the art is top notch. One probably wouldn’t be reading this completely out of context–and it’s included in the Death of Superman collected volume–but not a bad read if you come across it in a bargain bin somewhere.

Story: 8/10
Art: 8/10
Whole: 8/10

Superman: The Man of Steel #18 [Back-Issue Review]

Doomsday! part one

Story: Louise Simonson
Penciller: Jon Bogdanove
Inker: Dennis Janke
Colorist: Glenn Whitmore
Letterer: Bill Oakley
Assistant: Jennifer Frank
Editor: Mike Carlin
Cover: Bogdanove & Janke
Triangle #: 1992/45

After the previous month’s worth of issues having a single page at their end showing a gloved fist beating on a metal wall (and eventually poking THROUGH the wall), This issue opens with the bearer of that fist fully breaking free from what imprisoned it, and clawing into new life on the surface of the Earth. While the creature gets loose, we see a young boy buying glow-in-the-dark paint for purposes of his own. Meanwhile, Lois finds a message for Clark requesting Superman’s presence–she rushes off to check the likely story, but leaving a message for Clark to meet her there. The creature admires the world it’s about to destroy, beginning with a curious bird that lands on its outstretched hand. When the city’s power fails, Superman sets out to see what can be done, while Lois finds herself captured by “underworlders” and the young boy realizes that these monsters don’t have his mom, and races back to the surface to try to contact Superman. Superman attends to the underworlders’ attempted invasion of Metropolis, while somewhere in Ohio the creature causes enough destruction to gain the attention of the Justice League.

It’s been roughly sixteen years since I first read this–and I haven’t a clue how many times I’ve re-read it since that first read. The comic shop my dad preordered this story for me at allowed us to wait until the final chapter was out before picking it up–so wait we did. The first time I read this issue was with a stack of the next six chapters in a pile underneath–so this has rarely (if ever) stood entirely alone.

That said, this issue’s story is probably my least favorite of the Death of Superman / Doomsday story. I never liked the underworlders subplots. Upon this latest re-read of the issue, I still don’t. I found them to be rather boring and uninteresting, if not outright generic. The story here, though, seems to serve more to transition into the over-arching story than to really start the main event, and seems to tie up some threads from earlier plot points (specifically regarding the underworlders).

There’s not much to say about the art, except that is certainly fits the story–this was the first in-story appearance of Doomsday as more than a fist, so gets the distinction of visually defining it in this initial stage. Details seem consistent panel to panel of the various characters–I’m never left wondering what’s going on by any confusing images. Perhaps for being the point at which I more or less entered the world of Superman all those years ago for the long haul, this art is simply classic, and tends to be the standard by which I’ve judged other artists who’ve dealt with Superman–and supporting cast–on a regular basis.

On the whole, this was a good example of what a Superman book was, in 1992. The books were essentially a weekly series with rotating creative teams (one per core title), and this issue reflects that–dealing with ongoing subplots, focusing on a more specific plot-point, and keeping a number of characters in the appearance-rotation. Good in that sense; but as said, not all that wonderful as far as the first chapter of such a huge story.

Story: 6/10
Art: 8/10
Whole: 7/10

The Sandman: The Dream Hunters #1 [Review]

Original Words by: Neil Gaiman
Graphicplay and Art by: P. Craig Russell
Coloring: Lovern Kindzierski
Lettering: Todd Klein
Associate Editor: Pornsk Pichetshote
Editor: Karen Berger
Covers by: Yuko Shimizu and P. Craig Russell
Published by: Vertigo/DC Comics

As this story begins, a Badger and a Fox make a small wager, that whoever can drive a young monk from the temple can claim the temple as their own home. While each puts on an impressive show, the young monk sees through each, and remains. However, the fox finds herself in a bit of a predicament–she has fallen in love with the monk. Having done so, when she learns of a plot hatched by demons to kill the monk, she seeks some way in which she might save this monk, and finds herself encountering the king of dreams–Morpheus–The Sandman. She gets an answer to her dilemma…and wakes.

The art here is quite good. There’s a certain charm to it–it’s fairly simplistic, but not overly so. There’s plenty of detail where necessary. Other than the fact that the art fits and simply works very well for the story, I don’t have much to say on it.

The story is by Neil Gaiman, and was originally published as a novella a decade ago. This is the first of a four-issue comic adaptation of that novella. The story maintains its strength, and having the panel-by-panel visuals to chronicle the story gives a much different feel to the story while staying extremely true to the original.

I don’t always find adaptations of anything to be all that wonderful–but I have to say, just as a first issue, this is probably the best adaptation of a written work I’ve come across–at least in recent memory. Curious from the start how closely this would follow the original source material, I actually pulled the original from my shelf to compare…and was very much impressed. Virtually word for word, this is identical to its source. The difference is in the format. Narration in the original that describes a setting doesn’t have to be prose–we see it in the visuals. We also don’t have narration telling us that the Fox said this or the Badger said that–we have the word balloons showing who says what, and what they ‘re saying. Though I recall enjoying the original well enough–the art was certainly beautiful to look at–the story itself never really stuck with me all that much. Somehow, the way it is presented here, it sticks, and thus puts this at least in equal footing with the original–if not surpassing it in its own way.

This comic adaptation brings something new and fresh to the table–enhancing the original, without displacing it. Neil Gaiman fans, P. Craig Russell fans, Sandman fans–all ought to find plenty to enjoy here, if only for nostalgia’s sake. You could certainly do far worse with a prose-to-comics adapted work.

Story: 8/10
Art: 9/10
Whole: 9/10

Adventure Comics Special featuring The Guardian #1 [Review]

New Krypton part three: The Worst Night of His Life

Writer: James Robinson
Artist: Pere Perez
Colorist: David Baron
Letterer: John J. Hill
Editor: Matt Idelson
Cover: Aaron Lopresti (variant by Victor Ibanez)
Published by: DC Comics

This issue takes place between-pages of the Superman’s Pal Jimmy Olsen Special from several weeks ago. In short, it details exactly what the Guardian Jimmy tracked down told him, and brings readers up to speed on further details hinted at or sped through in that special.

First off, I think I’m thrilled to see the return of classic characters to the Superman continuity. Agent Liberty last week, more Guardian this week, the revelation that Cadmus’ impact is still being felt after largely being ignored for so many years…

Robinson seems to be quite good at digging into comics’ past and dredging up old characters, working them into the present, and making the whole thing just simply work. This seems to be no exception. Unfortunately, there’s something to this issue that doesn’t quite ring true, and seems like characters have been dealt with as they have for shock value more than anything else…though there’s definitely potential here. The main drawback is in the ambiguity of elements of Superman since Infinite Crisis, and I honestly do not know if this Guardian is the one I remember reading in the Superman books from the early to mid/late 1990s…or if the identity of that character is being mucked with. As it seems there is a lot of mucking about going on lately I fear the latter, and am thus a bit skeptical here.

The art doesn’t blow me away–but it is quite solid, and serves the story very well. I have no real complaint with it, nor any out of the ordinary praise.

What actually makes this issue stand out–and ups the enjoyment factor–is that it is actually part of the New Krypton story going on in the Superman family of books right now. I’d have to look to see if there are any more of these specials lined up…but for now, this issue marks the FIFTH week in a row with a new comic in the Superman corner of the DC Universe…essentially, the fifth week of an ongoing Superman story that continues from one book into the next. I may not be entirely sure the status of certain characters…but the fact that I’m getting so much of a single, ongoing narrative of Superman and his supporting cast–elements all playing into a single, ongoing story…that takes me back to the 1990s and the sheer enjoyment of a new “episode” in the Superman mythos each and every week.

If you’re following New Krypton, you’ll probably want to pick this up given it’s got the trade dress and “triangle number” making it part 3 of the story. If you read that Jimmy Olsen special, this will flesh it out more for you. And of course…if you’re a fan of The Guardian, again…you’ll probably want to check this out.

Story: 7/10
Art: 8/10
Whole: 7.5/10

Justice Society of America #20 [Review]

Earthbound

Story: Geoff Johns & Alex Ross
Writer: Geoff Johns
Penciller: Dale Eaglesham (Earth-2 Sequence: Jerry Ordway)
Inker: Nathan Massengill (Earth-2 Sequence: Bob Wiacek)
Colorist: Hi-Fi
Letterer: Rob Leigh
Assistant Editor: Harvey Richards
Editor: Michael Siglain
Cover: Alex Ross (variant by Dale Eaglesham & Mark McKenna)
Published by: DC Comics

Without a “previously…” page, I don’t recall EXACTLY how the previous issue ended…but this seems to pick up on a cliffhanger of the Justice Society of Earth-2 busting in on the New Earth JSA seeking the “rogue” Power Girl imposter. Accusations (and punches) fly, and ultimately several New Earth JSA members are dragged (along with Power Girl) back to this Earth-2, where elements of the Multiverse are re-revealed and discussed…while painful memories are dredged up as people who have died on New Earth are still alive on Earth-2. The two Power Girls have it out, before the nature of Earth-2 is revealed, and both find information to make their lives a little bit easier.

The art here is just fantastic. Perhaps because it just really fits the story–even down to having a different art team on the Earth-2 sequence (an art team that I vaguely recall has some significance to the characters). I have zero complaint with the art, and really quite enjoyed it. The cover by Alex Ross is quite cool as well…if slightly on the inappropriate side given the viewer’s angle.

The story continues to overall story that’s been going on the entire time (since #10 or so) that I’ve been reading this title, and I’m enjoying that. There’s real progression here that resolves old threads, opens some new ones, and just really holds my interest. I’m interested in the character interactions–in what happens to Power Girl and how her interaction with Earth-2 will affect her. I’m interested in Starman and his character’s evolution. I’m interested in the team dynamics–the old and young and the cross-generational stuff. I’m especially interested in the unfolding story of Gog–and even though this issue seems to be an “aside” from the ongoing Gog/Magog saga–it takes us aside to explore ongoing story elements and I don’t feel that this issue is at all out of place–it’s a great spot for such an aside after so many issues following Gog.

All in all, simply another very strong issue of a solid series. This truly seems to me to be if not the flagship, then certainly a flagship title of the DCU. Fan of the Justice Society, or of Johns, or Ross, or Earth-2, or Power-Girl…I see no real reason to skip this issue. New readers may not get a whole lot out of this given the ongoing arc–but at the same time, there’s a roster at the issue’s opening that will get new readers brought up to speed on the WHO (if not the why/what or ‘previously’) necessary for the issue at hand.

Story: 8/10
Art: 8.5/10
Whole: 8.5/10

Secret Six #3 [Review]

Unhinged part three: A Run of Misfortune

Writer: Gail Simone
Penciller: Nicola Scott
Inker: Doug Hazlewood
Colorist: Jason Wright
Letterer: Travis Lanham
Editor: Nachie Castro
Cover: Nicola Scott
Published by: DC Comics

Having obtained the first part of their objective–acquiring Tarantula–the Six next seek the whereabouts of the card-device she was supposed to have. After “convincing” her that she really ought to lead them to it, the Six do find a bit of a surprise–and fight–at their destination. What they did not bargain for is what the card actually means, and what makes it so very valuable to so very many.

I have to admit–writer Gail Simone manages to write some strong characters here, and keeps my interest up when it comes to the Catman character. Still, I have to admit that it was the realization that Bane was part of this group that sparked my interest in the series. Having read that character’s debut, the buildup to Knightfall, that event, the Vengeance of Bane II special, and subsequent stories (seeing Bane on a cover often drew me back to picking up a Batman-family book)…I definitely like the way the character is portrayed here. We see that there has been change and growth, and the character is more than just some thug hopped up on drugs.

The characters are all written believably, with subtle (and often not so subtle) moments showing their personalities. It’s interesting to see the way they interact under Simone’s pen, that they are not just two-dimensional characters chucked together in a book for the sake of “wow, these villains all exist in the same universe!” The revelation at the end of the issue goes a long way in explaining events from the first two issues, and what it is that has everyone so stirred up.

Though interesting, I’m not particularly engaged. I can’t remember exactly how either of the first two issues ended, and picked this issue up because I’d read the first two and they didn’t turn me OFF to the series. THIS issue’s cliffhanger has me a bit more curious as to where things are going…but there’s still quite a ways to go yet before I’m firmly hooked on this book.

Art-wise…I really enjoy the way this book looks. There’s a certain detail–sometimes in linework, other times likely the coloring–that makes these characters come across as quite realistic in a still-in-a-comic-book sort of way. Offhand I’m not all that familiar with the artists (Hazlewood’s name I recognize), but the work here indicates I should be keeping an eye out for future work–this is good stuff!

All in all, definitely a strong issue, and I’ll be back for the next issue, most likely.

Story: 7.5/10
Art: 9/10
Whole: 8/10

Spawn #185 [Review]

Endgame part one

Writers: Todd McFarlane, Brian Holguin
Pencils: Whilce Portacio
Digital Inks: Todd McFarlane
Color: Jin Han
Lettering: Tom Orzechowski
Editor: Todd McFarlane
Cover: Todd McFarlane, Whilce Portacio, Greg Capullo

Thankfully, there’s a “recap” on the inside cover of this issue, explaining recent events leading to where this issue opens. Having followed this title only on an extra-textual “meta” level and not actually reading any issues of this in probably a decade, something like that is definitely good for providing just a little bit of context.

We open on a man deciding that it’s time to do something, and after witnessing some energy manipulation/show, he sets off some sort of green energy flash that lights the sky above the city. Meanwhile, a comatose patient–apparently of some importance–finally wakes, which triggers a flurry of activity and possible conspiracy (Someone is angry at not knowing in advance the man would wake). Finally, we have a clown/demon tracking Al Simmons and the discovery of what that green energy display did.

This is a fairly unique spot for me to be in as a reader. I’ve been aware of Spawn since its earliest issues, but have never particularly “gotten” it. I’ve read the first issue, the 25th issue, an annual, and the first issue of what I believe was the first Violater mini-series (not sure if there’ve been multiple), and I’ve seen the live-action film. So for most intents and purposes, I’m a new-reader for this 16-year-old well-known/recognizeable title & character. The issue’s number gives a sense of history (how many titles in comics these days have actually hit the 185 mark and seem on-target to make 200+?) Yet, this seems to be a breaking-point issue, a potential “bridge” and fresh start.

Spawn creator Todd McFarlane is back on the writing end as a co-writer, which is largely what spurred me to pick this issue up. After so many years of knowing the character’s creator to not be on the book and now returning, I thought it’d be interesting to see what he’d do with the character. Looking at the issue itself, I’m not impressed with the writing. It’s not bad….but it’s not good. We get a lot of vagueries, and not being familiar with details, I don’t know if it’s from lack of previously-read issues, or setup of mysteries to be revealed in coming months. I was able to determine from the end of the issue that the man at the beginning of the issue is Al Simmons–Spawn–the title character…but I in no way recognized him as such with confidence from the start.

The art was not bad–I have no real point of comparison for it in terms of this title. I think it fit, and from a visual standpoint never felt lost. Something about the tone put me in mind of reading a Vertigo title–perhaps for the grittiness and fact that the story was dealing with people interacting with people with no superheroes nor super-powered entities to be found in much of the issue.

My thoughts on the end of the issue might be able to be expressed through that character’s own dialogue re-applied to McFarlane. There’s potential here, and depending on what the follow-up is, there might be just enough of a hook to keep me checking this title out. That follow-up will also determine a retrospective view of this issue, as I’m hoping that this might be a good jump-on point for new(er) readers and those deciding to check the title out.

This issue is priced at $2.95, making it one of the cheaper comics out there in an age of $2.99, $3.50, and $3.99+. If only for remaining at this lower price point, and the potential that this is a decent jumping-in point…this issue is above average, given my average expectation is the title’s too convoluted and long-running to be accessible. I think this is as good a point as any to check the title out if you’re so inclined.

Story: 7/10
Art: 8/10
Whole: 7.5/10