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Batman #690 [Review]

Long Shadows Part Three: Tripwires

Writer: Judd Winick
Penciller: Mark Bagley
Inker: Rob Hunter
Colors: Jack Purcell
Letterer: Jared K. Fletcher
Assistant Editor: Janelle Siegel
Editor: Mike Marts
Cover: Tony Daniel
Publisher: DC Comics

Even though the status quo of Dick being Batman is still pretty new–not even half a year yet–this just feels right. From the character’s depiction on the cover, to the “inner voice” we’re allowed inside the issue, even though he’s not Bruce, this simply feels like Batman.

We see Dick facing Clayface and a new partner; noting places he can improve should he survive the villains’ attack. Alfred proves a considerable ally in a way I don’t recall seeing with Bruce in contemporary continuity…and yet, it works very well to me seeing his role unfold. We also see the Penguin confront Black Mask and find a new lesson taught. Two-Face’s plan seems to bear some fruit as the issue’s clifhanger gives a familiar visual but new situational dynamic for the characters.

I’m not entirely sure what to make of Clayface here, though. This is a classic Batman rogue, of course–teamed with some character I’m not familiar with. Between the various DC Crises, reboots, retcons, and Silver-Age-Returneth, I’ve lost track of what version/which Clayface this is. The way he’s depicted here, I’m put in mind of a number of things: a version of The Thing I’m not thrilled with; something belonging to the cover of the original Fantastic Four #1; and even some generic demon. I’m not really put in mind of the visual we were given in Batman: The Animated Series, nor what I think I recall from the original Hush arc back in 2003.

Additionally, I found myself taken out of the story entirely at the inclusion of the movie version of the “batarang”–the Bat-shuriken, if you will. I have no real complaint with that in and of itself–it makes sense, really–but the exactness of it caused me pause as I contemplated its inclusion as such. Specific, personal nitpicks aside…Bagley provides a good Batman visual throughout the issue. Two-Face is recognizeable, but as usual looks slightly different depending on which artist’s work we have on-hand…but really, such is the nature of the character.

On the story side of things, this is a solid issue. I’m not totally impressed in it being any great work of writing…but I’m firmly satisfied at the depiction of the characters. I’m really liking the interaction between Dick and Alfred…as we’re seeing a different interaction than what we had with Bruce and Alfred.

I really don’t care for Black Mask as a “Kingpin” figure, so the scene with the Penguin facing Black Mask’s show of power is just another point in the ongoing Batman story. The last page of the issue was a bit of a surprise–I’d forgotten about the Battle for the Cowl teaser image…and it seems that elements from that teaser are yet to really play out beyond the Battle for the Cowl minis/specials.

All in all, a solid issue…nothing terribly remarkable in and of itself, but certainly worth getting if you’re a Batman fan, a Winick fan, or just following this new season in the Bat-books.

Story: 7/10
Art: 7/10
Whole: 7/10

Supergirl Annual #1 [Review]

Secret Identities / Second Born: The Secret Origin of Superwoman

Writer: Sterling Gates
Penciller: Fernando Dagnino
Inker: Raul Fernandez
Colorist: Blond
Letterer: Travis Lanham
Asst. Editor: Wil Moss
Editor: Matt Idelson
Cover: Renato Guedes
Publisher: DC Comics

This issue functions much as I would expect of an annual “special” issue. We have a couple of stories by the main series writer–stories that are directly relevant to current ongoing plots, but I wouldn’t necessarily want to see the regular issues slowed by inclusion of these stories in chunks nor taking a whole issue.

Essentially, we finally get to actually see Supergirl in her new civilian guise of Linda Lang (the introduction of the concept having been interrupted by the start of the whole New Krypton affair last spring). We see that she’s not nearly as experienced as her cousin, but it’s her learning curve and differnces that make the character more interesting–she’s not just some “clone” of her cousin–we see some real depth to her here. While we see development of Supergirl sorting out elements of her own secret ID we also see continuation of the anti-Kryptonian sentiment present in the current DCU.

The second story of the issue gives us a background story/origin of Superwoman, and how it was that Lucy Lane wound up in that role. While it technically “fits,” it’s not a story that I particularly “buy,” and it leaves a sour taste for me much like the “Supermen of America” story did in the 90s taking a character that has no business with Superpowers or such being given them as anything more than a one-off situational thing. Within the already-set bounds of belief-suspension, Lucy Lane having any sort of super-powers (provided by a costume or otherwise) doesn’t fit for me. We also see where the character is being further subjected to fantastical elements that just seem really out of place to this reader.

The art throughout the issue–for both stories–is not bad, nor is it anything spectacular. It holds its own, but I could take it or leave it.

If you’re following events in the main Supergirl book, you’ll want to snag this annual–its stories are certain to play into major plot points in the main book in the coming months. This mostly deals with plot threads prevalent in the main book, so I wouldn’t particularly recommend this issue as a jumping-on point.

Story: 6/10
Art: 6.5/10
Whole: 6/10

Blackest Night: Titans #1 [Review]

When Death Comes Knocking

Written by: J. J. Krul
Pencils: Ed Benes
Inks: Rob Hunter, Jon Sibal & JP Mayer
Colors: Hi-Fi Design
Letters: Rob Clark Jr.
Assoc. Editor: Adam Schlagman
Editors: Eddie Berganza & Brian Cunningham
Cover: Benes, Hunter, & Rod Reis (variant by Brian Haberlin)
Publisher: DC Comics

I’ve been out of the Titans/Teen Titans loop for some time now. The issue opens with the various Titans observing Heroes Day–setting this on the same day as the opening of Blackest Night #1, as everyone is paying their respects to fallen heroes around the world. The Titans discuss lost allies, and even whether or not someone who once served as an ally should be memorialized alongside everyone else who had not betrayed the team. The argument leads Beast Boy to seek some alone time which makes him a perfect target for a particular Black Lantern to work with. The other focus to the issue is on the current Hawk and Dove, as they face an appropriate Black Lantern, who pushes a number of buttons for the duo.

The art for this issue is top-notch…I really enjoyed it, and never found myself wanting for clearer depictions of what’s going on. Benes is an artist wose work I’ve tended to enjoy since I “discovered” his art years ago on Superman. The entire creative team provides for a well-done visual that gets the story across very well.

I’m not familiar offhand with the writer, but found the story here to be perfectly solid. This is the tie-in mini I was least anticipating for Blackest Night, and had originally considered passing on entirely…but something to it actually pulled me in, and I’m glad I did not pass on it. My limited Titans knowledge was stretched a bit here, but with the current arc in Booster Gold, actually caught references and context that would otherwise have been lost on me. Some of the expositional dialogue in the early pages of the issue seems a bit strained, and yet is believable given the characters’ context.

I was surprised at the presence of Hawk and Dove, and am curious about the way dialogue danced around exactly what happened to the original Hawk (I’m unsure, for example, if post-Infinite Crisis the events of Armageddon 2001 still happened). Still, the timing of this issue’s release is fortuitous as I just a few days ago watched an episode of Justice League Unlimited starring the original Hawk and Dove, which added to my contextual knowledge and appreciation of the characters.

Overall, an enjoyable issue in itself, and I expect it’ll be even more enjoyable (or at least able to be further appreciated) by longer-time Titans fans or those more knowledgeable with the property than I.

Recommended for Titans (or really, classic Teen Titans, given the characters involved) fans, and/or those simply following the whole of the Blackest Night story.

Story: 8/10
Art: 9/10
Whole: 8.5/10

Invincible #65 [Review]

Conquest Epilogue

Writer: Robert Kirkman
Penciler: Ryan Ottley
Inker: Cliff Rathburn
Colorist: FCO Plascencia
Letterer: Rus Wooton
Editor: Aubrey Siterson
Cover: Ryan Ottley & FCO Plascencia
Publisher: Image Comics

This issue provides the wrapup/epilogue to the Conquest story arc. As such, this issue is pretty low-key action-wise (though the visuals don’t hold anything back). Invincible wakes up in a hospital room where he finds out how Atom Eve survived. We’re then moved along to the funeral of Rex Splode, who actually did die, and see the reactions of key characters (and there are plenty of other Image characters to be spotted in the crowd attending the funeral). Invincible gets some closure as he sees the mangled body of Conquest, and we also see some ominous foreshadowing of what’s to come. The issue closes out with Invincible stating an official change in personal policy regarding his dealing with supervillains…one that makes plenty of sense, and should be interesting to see explored in coming issues.

The story itself is solid as usual. No real complaints there…it’s what I’d expect of an epilogue. While a couple of scenes seemed a bit drawn-out, it’s the same sorta thing I found charming/enjoyable in early issues of Ultimate Spider-Man, so I don’t have any real issue there. I’m not chomping at the bit for the next issue…but I’m suitably engaged, and can’t see just arbitrarily stopping here. This story came out of the single-issue Invincible War, which was a point I decided to try “jumping on” this title. I’m interested to see where the next arc goes, as I expect it to tell me more on whether I’m enjoying the title in and of itself, or just enjoying seeing direct follow-up to an issue I decided to try.

The art’s also quite good. Things look as they should, and probably my only complaint is that the remains we’re shown of Conquest are quite…gory. That’s fitting in the story, but none to pleasant to look at (even though being such is the point and so the intent of the art seems achieved).

I don’t see this issue being a great jump-on point for new readers; though just because it’s an epilogue is no time to jump off for newer/continuing readers. A good issue that continues to be worth its cover price.

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

Supergirl #44 [Review]

Codename: Patriot part 3

Writer: Sterling Gates
Penciller: Jamal Igle
Inker: Jon Sibal
Colorist: Nei Ruffino
Letterer: Jared K. Fletcher
Asst. Editor: Wil Moss
Editor: Matt Idelson
Cover: Fernando Dagnino & Raul Fernandez with Mazi
Publisher: DC Comics

Ral-Dar, the would-be-assassin of General Zod overhears conversation between General Lane and his people which sparks an outburst leading to his fighting Atlas (recent villain in the Superman title). We then move into seeing Superman, Supergirl, Lois, Mon-El, and the Guardian interacting with one another at the Science Police headquarters. Some tenseness plays out given Supergirl’s role in the recent apparent death of Lois’ sister. Supergirl and Mon-El set out to deal with Nightwing and Flamebird (Flamebird being a childhood friend of Kara’s). The confrontation doesn’t go well, and things escalate as everyone moves toward their places on the board for the final chapter of this story in the next issue of Superman.

The story feels a bit forced here…and yet, on the whole it works. This is the third chapter of a 4-part story with a tighter crossover than we’ve had for the last half-year or so in the Superman books. It feels forced in that certain things set in place by the other titles have to be acknowledged as well as the core in-title story elements. It’s interesting seeing so many of the characters interacting after the separation the last few months. I’m glad to see that some story elements from earlier issues are coming to fruition here, adding to a feeling of the story being more organically-generated than otherwise.

The art’s solid as usual. There are points where I think of Guedes’ style in this issue, but definitely prefer this visual presentation. The art does what it should, getting things across quite well. No real complaint there.

Overall, not a bad issue. It plays with elements from the ongoing story in this title, but mixes well with the “intruding” elements of this “crossover.” One would be lacking in context without the earlier chapters…but even if one hasn’t read those, enough ongoing elements are here that that story is not entirely derailed by the crossing of titles. Similarly, if one is following the Codename: Patriot arc, one may not “get” everything in this issue, but there’s plenty of context on the essential story elements.

Story: 7.5/10
Art: 7.5/10
Whole: 7.5/10

Monsters, Inc. #1 [Review]

Laugh Factory

Writer: Paul Benjamin
Art & Color: Amy Bebberson
Letterer: Troy Peteri
Cover A & B: Amy Mebberson
Cover C: Jake Myler
Editors: Paul Morrisey & Aaron Sparrow
Publisher: Boom!Kids

It’s honestly been years since I’ve seen the movie this is based on. The characters look familiar, but other than Mike and SUlley, I couldn’t remember any of the names of any of the other characters. Still, I wanted to give it a shot, given it’s a first issue, I recalled enjoying the movie, and of course, I wanted to support a new comic from a smaller publisher with a $2.99 price tag.

The issue’s story is not all that deep–it basically reintroduces readers to the status quo left at the end of the film–that this company that used to generate power for the monster city with the sound of Earth-childrens’ fear has converted to gathering laughter as a power source instead–having discovered laughter to be far more efficient than fear. We witness the trappings of the film–the monsters in this plant using portals to reach Earth kids from their closets, and inspiring laughter which is sent back to the plant and harnessed for power.

The issue’s conflict comes from some monsters finding their props coming up missing, and then they’re found in Mike’s locker, though he claims he didn’t take them. Sulley–who has risen to the foreman position in charge of things is put in an awkward spot as others leap to conclusions, putting words into his mouth, etc. And of course, even Randall is back to cause trouble.

The story’s not terribly complex or deep, but it moves along at a quick pace. We do get a full story here, with the ending fitting things well, and no “to be continued” to be found (instead, we’re given a small text box reading “The End.” signifying this specific story’s concluded).

The art’s not bad, and definitely captures the primary visuals of the characters. As this is a 2-D comic and the movie was CGI…there’s plenty of differences stylistically. I’m quite satisfied, though, with the way the characters appear–they’re quite recognizeable, and there’s plenty in the way of facial expressions that really add depth to the characters that simple words wouldn’t.

I think kids who enjoyed the movie will enjoy this–even adults ought to be mildly entertained by it. Having enjoyed the film when it was out and hving fond memories attached regarding who I saw it with, this was a nice bit of nostalgia. I see no reason not to pick up the next issue, but at the same time there’s not an ongoing story prompting me to follow into the next issue for the story’s continuation.

Story: 7.5/10
Art: 7.5/10
Whole: 7.5/10

Archie #600 [Review]

Archie Marries Veronica, part 1: The Proposal

Script: Michael Uslan
Pencils: Stan Goldberg
Inks: Bob Smith
Letters: Jack Morelli
Colors: Glenn Whitmore
Managing Editor: Mike Pellerito
Editor/Editor-in-Chief: Victor Gorelick
Cover: Goldberg and Smith

I missed out on the LAST “event” in the Archie title–Freshman Year. Though I ultimately snagged the collected volume, and generally prefer collected volumes…this was a story I decided I’d go ahead and try the single issue(s).

We begin at the end of the kids’ high school career–graduation day is upon them–and see them reacting to the impending changes to their lives. We get what seems to me an incredibly stupid/cliched plot device to hop a few years into the future to the gang all just about to graduate from college. With all the changes about to happen, Archie proposes to Veronica (who accepts) and the wedding-planning goes into full-swing while Mr. Lodge begins planning Archie’s job/career (having hired Archie to ensure the kid can afford to take care of his daughter).

The story is really pretty simple…but there’s a surprising amount of depth hinted at…stuff that probably won’t jump off the page at anyone, but for someone who has been through a high school graduation/friend-dispersal and two college graduations and all the changes that come with ’em…it’s easy to identify with the mood if not specific characters. I actually expected this story to be half an issue, tops…with some sort of backup shorts to fill the issue out…that this six-issue-arc would maybe be what I’d normally consider 2-3 issues’ worth of content as to the Archie-Marries-Veronica, anyway. Instead, this is the entire contents of the issue–from first page to last, it’s an ongoing narrative…something I’m not used to with Archie books.

THe art is really not distinctive…it’s in the classic “Archie style” (as opposed to the “New Look” that gives the characters a more real-world appearance). If you’ve seen any Archie comic, you probably know the “Archie style.” It’s what you picture when you think of the character or the supporting cast. Simplistic, sure, but the characters have their individual appearances that make them recognizeable if not downright iconic (such as Jughead with that crown of his). Given the classic style, that this doesn’t seem to break from that, I have no qualms whatever with the art…it simply is what it is, providing the look/feel I’m used to with Archie books.

On the whole, this was quite the enjoyable book. It’s been years since I’ve read any longform Archie stories (the shorts/one-pagers being what I’m used to from the occasional digest picked randomly in more recent years), and this issue has me chomping at the bit to see what comes next. That stupid/cliched plot device–while being what it is–is quickly forgotten as the real story kicks off (yet I’m pretty sure that plot device is going to be important to the resolution at the end of this arc–to restore the status quo I’m sure the publisher will not permantently deviate from.)

This would seem to be a great jumping-on point for new or lapsed readers as well as the ongoing readers. There’s also the fact that this is quite the anniversary issue–#600 to be exact–and said anniversary is celebrated by beginning this story, rather than by extra pages, variant covers, higher prices, or other what-have-yous. It’s a standard-size issue for the standard price ($2.50) which makes it quite a deal in the current comics market.

Highly recommended!

Story: 8.5/10
Art: 8.5/10
Whole: 9/10

Green Lantern Corps #39 [Review]

Fade to Black

Story & Words: Peter J. Tomasi
Penciller: Patrick Gleason
Inkers: Rebecca Buchman & Tom Nguyen
Colorists: Randy Mayor
Letterer: Steve Wands
Editor: Adam Schlagman
Cover: Gleason, Christian Alamy & Mayor (variant by Joe Jusko)
Publisher: DC Comics

This has been a great–and large–week for comics. Including the second issue of the core mini-series, there are three issues of Blackest Night this week–one of which is this issue.

While the story so far has largely centered on Earth and the Earth-based characters, this issue brings the rest of the GL Corps into the story–specifically main characters like Guy Gardner, Kyle Rayner, and the other usuals for this title. While the Daxamites continue to mop up from their battle with the Sinestro Corps, no one’s particularly aware of Mongul’s new proclamation off-planet. Not aware of what’s happened on Earth nor the most recent post-Sciencell Riot events on Oa, the GLs seek answers. Before they can arive at Oa, they encounter a wave of Black Rings, and though they’re able to warn fellow Lanterns, no one is able to stop the rings from making their way into the GL crypt and raising all the dead Green Lanterns…converting them to Black Lanterns. As the heroes begin to realize what they’re up against, Guy and Kyle’s conversation regarding women in Kyle’s life comes back to haunt him.

As usual, the visual style isn’t quite my thing…of the three Blackest Night books this week, this one’s my least-favorite visually. Also as usual, that’s not to say the art is bad–it’s not–it’s just a stylistic thing that I don’t like…it comes across as somewhat cartooney. However, perhaps it’s sheer enjoyment of the story, but while the art’s noticeable, it doesn’t “bother” me the way it has in other recent issues. On the whole, a good visual presentation.

The story stays tight with the overall Blackest Night event unfolding the last couple months. Tomasi knows these characters, and Blackest Night, and that shines in how he steers his characters into the mix. Staying true to what I recall being a conceptual point of this series–that it focuses on the GL Corps on a far wider view than the main GL book–here we see the Green Lantern Corps on a broader scale encountering and facing the rising of the Black Lanterns.

All in all, a very good issue and with the above-mentioned reservations on the art, this is not an issue to be missed if you’re following the larger event.

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

Captain America: Reborn #2 [Review]

By: Ed Brubaker, Bryan Hitch and Butch Guice
Colors: Paul Mounts
Letters: VC’s Joe Caramagna
Covers: Hitch, Guice and Mounts; John Cassaday and Laura Martin, Tim Sale and Dave Stewart
Assoc. Editor: Jeanine Schaefer and Sankovitch
Editor: Tom Brevoort
Publisher: Marvel Comics

Well, I’m glad I picked the cover I did for the first issue…it seems that that was indeed the “standard” cover, meaning if I follow through with this entire series, I won’t be left feeling like one of my covers is out-of-place with the others.

I continue to be baffled as to why this couldn’t just be issue #602 of Captain America (or better yet, #53 or whatever without the renumbering). After all, while we have a different artist in Hitch on the visuals, the story is still Brubaker’s, and honestly looks and feels like any other issue of Captain America. If it’s about the chance at a #1 in the face of combining all previous runs to make the fat ol’ #600…then surely part of the trade dress for this story could have displayed a “part #1” or “part #2” while having the actual issue number in small print.

As said…this story is very much a Brubaker issue of Captain America. Amidst some Lost-styled time-hop scenes of Stever Rogers reliving scenes of his earliest days as Captain America (and his transformation from scrawny kid TO Captain America) we learn a little bit about the time-flashing that likely foreshadows something significant for later in the story. We also see the present as the current Captain America–formerly Bucky–and the Black Widow face Norman Osborne’s “evil” (or is that “dark?”) Avengers and see that Norman’s now got a stake in things as he issues an ultimatum to act as the issue’s cliffhanger.

It seems almost a given to me that Brubaker’s writing is high quality and in top form here–whatever “event” this is billed as, and whatever elements may or may not have been “forced,” he makes the story work in and of itself in its own sandbox that we’ve seen since his run started…while incorporating obvious and relevant elements from the larger Marvel Universe as a whole.

Hitch and Guice provide excellent visuals that capture the tone of the story very well. Though the art may not match up 100% with what the bulk of the Cap series has had, it certainly fits very well with it…having its own style without being a departure from what longer-time readers are likely familiar with. In itself, no complaints from me on the art.

Taken as a whole, this issue was pretty good. I was actually intending NOT to buy this issue due to the price tag and figuring on waiting for the collected edition if anything–but with Marvel’s pricing of late, it’s probably cheaper this way, and I have the feeling this pulled-out-into-itself mini-series will greatly inform whether or not I return to the monthly Cap book this fall.

If Cap’s your thing, this is well recommended. Otherwise…you would probably be more satisfied waiting for a complete arc to read.

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

Finding Nemo: Reef Rescue #2 [Review]

Reef Rescue Part 2

Written by: Marie Croall
Art: Erica Leigh Currey
Colors: Erica Leigh Currey
Letters: Marshall Dillon
Editor: Paul Morrissey
Covers: Amy Mebberson, Erica Leigh Currey
Publisher: Boom! Studios

This second issue of a 4-issue mini leaves plenty to be desired. At the same time, it’s a charming, mostly fun read. While I come to this as an adult reader, for the target audience–kids/fans of Disney/Pixar’s Finding Nemo, this seems a great revisit to the characters.

The story itself seems simplistic enough: the reef Nemo and Marlin & co. live in is dying. It’s up to them to find out why, and save their home. (See? Reef Rescue. Save the reef. Makes sense.)

This issue reintroduces the supporting cast of fish from the Australian dentist’s fishtank, as well as reveals the source of the reef’s ailment. Amidst the action we get plenty of in-character lines and references that–particularly when one pictures the movie–work quite well.

Visually, the characters are very recognizeable from their movie version (though for some reason, Marlin’s fins just seem HUGE to me in this issue).

Ultimately, this seems a good series for younger readers in particular, though adult fans ought to enjoy it quite well, also. THe price tag is a bit much, but still relatively cheap compared to many other comics these days.

I suspect this’ll be available as a collected volume before long, and so you may want to wait for that version. Still…there’s something to having a low-key book like this to snag each month for 1/3 of the year.

Recommended.

Story: 6.5/10
Art: 6.5/10
Whole: 7/10