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Blackest Night #0 [Review]

Full review posted to comixtreme.com

Story: 4/5
Art: 4/5
Overall: 4/5

Detective Comics #853 [Review]

Whatever Happened to the Caped Crusader? part 2 of 2

Writer: Neil Gaiman
Penciller: Andy Kubert
Inker: Scott Williams
Colorist: Alex Sinclair
Letterer: Jared K. Fletcher
Assistant Editor: Janelle Siegel
Editor: Mike Marts
Covers: Andy Kubert
Publisher: DC Comics

There’s something to this story that makes it fit in quite well with the stuff that we’ve had from longtime writer Grant Morrison. The abstracts and symbolism, the nods to other eras of continuity and obscurities of the Bat-verse…these are all pretty much at home in my limited understanding of Morrison’s works. At the same time, where this sort of story wouldn’t work for me coming from Morrison, there’s something about the “history” that I have in reading Gaiman’s books and enjoying, understanding, and simply “getting” them that makes this story work very well.

The story is pretty simple, with not very much action here. A large chunk of story is Bruce talking to an image of his mother, sorting out where he is and what he is seeing. As the issue progresses (everything in the previous chapter having set up the foundation for what we get here, now) we begin to see a bit of a cyclical element to the story–one that actually reminds me just a little bit of Ragnarok, the final Thor story a few years ago from Marvel.

The art, though it doesn’t really jump out at me all that much this issue, is still extemely strong, capturing a classic feel without making me feel like this is actually a comic from decades past. Visually, there’s not much of anything I can think of that’d make it much better.

Gaiman references an old children’s book to great effect in this issue. It’s a reference that is fairly key to the whole thing, bringing a lot of stuff to a fitting close…and a reference that to me, makes this that much more a great story.

Though this doesn’t really serve as a hard bookend, closing the door on a version of the character, it still provides a nice breaking point, a send-off of sorts to characters well-known and loved in the Batman continuity. The story that began last year in RIP, continued through Final Crisis and Last Rites actually continues in the mini-event Battle for the Cowl and into some relaunch-type material in a couple months…perhaps the marketing or something else makes this feel like more of a side-story…a “What would happen if we DID decide to end things now?” kinda thing.

On my first read-through of this issue, I was not sold on the ending. Upon further reflection and asking a friend about the book I thought was being referenced, I realized the brilliance of this story. Whether you’ve been a longtime Batman reader or not, you should have no real trouble following this 2-part story. In fact, you might actually enjoy it all the more being aware only of characters’ existence and not being steeped in the history.

Whatever the case, if you can find the story now as single issues, it’s only two issues and so quite worth snagging that way…if you’re unable to get the story as singles, I very highly recommend picking up the collected volume when it comes out this summer.

Story: 9.5/10
Art: 9/10
Whole: 9.5/10

The Flash: Rebirth #1 [Review]

Lightning Strikes Twice

Writer: Geoff Johns
Artist: Ethan Van Sciver
Colorist: Alex Sinclair
Letterer: Rob Leigh
Assistant Editor: Chris Conroy
Editor: Joey Cavalieri
Cover: Ethan Van Sciver, Alex Sinclair
Publisher: DC Comics

We open with a mystery in this issue, as someone with a tie to or fixation on the Flashes attacks and kills people in the Central City crime lab. As other police storm the lab, the killer–who was gathering certain chemicals–seems to reenact the accident that gave Barry Allen his powers. We then move to a “welcome back!” parade being held in honor of the recently-returned Barry Allen; while those closest to him also revel in the hero’s return. Barry resists the attention and importance placed on his return. When an old foe returns, Barry is onhand to deal with the foe–though what he gets is far from what he expected.

The art for this issue is quite good…but somehow for me fails to hold up to my expectations for how much I enjoyed the art on the OTHER Rebirth mini. Very solid stuff here, and you’d be hard-pressed to find much better, though!

I’m quite underwhelmed with the story so far. With the exception of a handful of my grandfather’s old comics more than a decade ago, the only instances I’ve ever had reading Barry have been few and far between, with him making brief appearances in Wally’s life…so I don’t know how the characterization holds up (ore doesn’t) by comparison. At the moment, I’m really not interested in Barry, even after this issue, and while the issue’s end leaves me curious as to what’s caused what happened, I can’t help but wonder if it’ll come across more cliched than not.

It was Johns’ focus issue on Zoom a few years back that first really drew me into the world of the Flash, and it’s Johns’ Flash that developed any interest I really have in the character–so I’m holding out hope that my interest will develop a lot more as this series progresses.

Probably the main drawback of this issue as a whole is that it feels–more than a lot of comics–like it IS a story chopped into segments. If you ReallyHaveToKnowRightNowAsItUnfolds what’s going on, jump on this issue. If you’re just looking for what’s hopefully going to be one of THE Flash stories with great art, I suspect you’ll be better off waiting for the collected volume.

Story: 7/10
Art: 8.5/10
Whole: 7.5/10

Batman #686 [Review]

Whatever Happened to the Caped Crusader? part 1 of 2: The Beginning of the End

Writer: Neil Gaiman
Penciller: Andy Kubert
Inker: Scott Williams
Colorist: Alex Sinclair
Letterer: Jared K. Fletcher
Assistant Editor: Janelle Siegel
Editor: Mike Marts
Covers: Andy Kubert and Alex Ross
Publisher: DC Comics

This issue opens with faceless dialogue, a conversation between two individuals. We then witness Selina Kyle arriving at a location in Crime Alley, where she shows that she can take care of herself, handling her own affairs. In a scene that made me think very much of something from The Sandman: Worlds’ End or House of Mystery, she meets an old character who directs her to her destination–a funeral, apparently. We’re quickly introduced to other attendees, with a couple of mildy interesting moments of a running gag. Those assembled at the apparent funeral are treated to a couple of stories that would seem to have led everyone to being where they are for this issue. Back to the faceless dialogue we’re left with probable set-up and hints of what’s to come in the second and final chapter of this story.

The art in this issue initially threw me a bit–it has several styles that come across pretty clearly, and yet after checking the issue’s credits, I was assured there was a single penciller. Some “sketchbook pages” at the back of the issue clued me in that the style variance was intentional–reminsicent of various visual styles of the Batman through the years. With that in mind, I actually enjoy the variance. Despite the variance, the quality of the work is quite solid, and I really have no complaint.

The story has a lot to live up to. It’s titled Whatever Happened to the Caped Crusader?–a title meant to place it in similar territory as Alan Moore’s Whatever Happened to the Man of Tomorrow?. Additionally, the writer is Neil Gaiman! Given that, I went into this issue half expecting to be let down…and was plesantly surprised when I really enjoyed the issue.

There’s a lot of metatextual stuff at work, and stuff that I can’t help but admit I’m wondering at due to my enjoyment of The Sandman nearly a decade ago. We have a nice almost double-framing device of the story, and stories within the story; everything reminding me of something else. Somehow, though, I greatly enjoyed it in this case where I loathed it in Morrison’s stuff, particularly Batman: RIP.

This probably won’t be a classic on the level of Moore’s Superman story…but I think this will be a stand-out story, worthy of its namesake. I don’t remember the last time I enjoyed a Batman issue as much as this, and whether or not you’ve been following this title, Final Crisis, or other DC stuff, based on this chapter alone the story is well worth nabbing just for a great Batman story by Gaiman.

Highly recommended!

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

Final Crisis #7 [Review]

New Heaven, New Earth

Script: Grant Morrison
Pencils: Doug Mahnke
Inks: Tom Nguyen, Drew Geraci, Christian Alamy, Norm Rapmund, Rodney Ramos, Doug Mahnke & Walden Wong
Colors: Alex Sinclair w/Tony Avina & Pete Pantazis
Lettering: Travis Lanham
Associate Editor: Adam Schlagman
Editor: Eddie Berganza
Cover: JG Jones (sliver cover by Marco Rudy & Sinclair)
Publisher: DC Comics

So, this is it. This is the issue it’s all been building toward–the final chapter of this “final crisis” the characters are facing, this “event” capping off years of story…

Much like Marvel’s Secret Invasion final issue, this issue jumps ahead, and instead of us experiencing the story as it progresses, with the characters–instead we’re treated to a look-back from the present to a conclusion that’s already happened. We see characters rise against their Fifth-World gods and the intrusion of Mandrakk, and a multiverse’s army of Supermen, and…stuff happens.

The art in the issue isn’t all that bad. In fact, in and of itself it’s actually pretty good. Though there’s a whole bunch of inkers, the final result is a decent presentation. I went in with very low expectations, and what I got managed to stay a bit above my expectations–though I also found myself not really focusing terribly much on the art (didn’t expect to be impressed, so didn’t care to look for something to be impressed BY).

The story fits with the rest of the series in tone and feeling like it’s trying to come from somewhere above my reading level, and successfully makes me feel lost, whatever else it accomplishes there. While elements of this core series could be found in the tie-ins, on the whole, the entirety of the Final Crisis was told in 7 issues, this one mini-series. While that made it easier on the wallet, I feel like it did a large injustice to the scope of the story. Had it crossed into a large number of the DC books as Infinite Crisis did, this would have felt like a bigger deal. As it is, it felt like some apocalyptic (no pun intended) story with these characters with no real basis in ongoing continuity. That books are to make the “jump” to reflect what happened in Final Crisis later doesn’t really do much for me (but at least the story will be acknowledged).

I’m sure there’s “deep” stuff going on here with loads of potential for future exploration…but the feel just wasn’t there for me. I did not enjoy this issue, and the series as a whole has been bittersweet–I can’t see having skipped on it, but nor have I particularly enjoyed any of the issues. (The tie-in minis’ issues are another story).

Story: 5/10
Art: 7/10
Whole: 6/10

Final Crisis #6 [Review]

How to Murder the Earth

Script: Grant Morrison
Art: JG Jones, Carlos Pacheco, Doug Mahnke, Marco Rudy, Christian Alamy, Jesus Merino
Colors: Alex Sinclair & Pete Pantazis
Lettering: Rob Clark Jr.
Assoc. Editor: Adam Schlagman
Editor: Eddie Berganza
Cover: JG Jones (sliver cover by Pacheco, Merino & Sinclair)
Publisher: DC Comics

This sixth issue opens with a scene featuring Superman and Brainiac 5…presumably our Legion of 3 Worlds link. Brainiac has something he needs Superman to see, and Superman’s concerned because he’s been beyond reality and has to get home (no mention of Lois). We then cut back to a gathering of heroes doing what they do, and the Supergirl/”Black Mary” battle (we find out who’s pulling Mary’s strings). Heroes find themselves facing friends and loved ones now under Darkseid’s thumb; the Flashes hatch a plan, and Batman breaks one of his personal rules in order to face Darseid. Finally, Superman enters the battle on Earth, bringing with him anger not often displayed.

The art jumped out at me for this issue–unfortunately, though, not a good thing. Rather than the fairly distinct JG Jones art alone, we have a number of other artists brought on to get this done, and so there is quite a bit of variance in the visuals throughout the issue–this looks like just another comic instead of a singular, special event/series. The art in and of itself isn’t all that bad–characters familiar to casual readers are familiar and recognizeable. The Tawky Tawny battle, though, was a bit hard to follow, and took me a bit beyond the battle itself before I even realized who won the fight. While I’m sure intended for dramatic effect, a key double-page shot toward the end looks almost comical (in a “ha, ha” sort of way) and seems almost out of place in this title given other events that have ocurred off-panel and been referred back to almost as an afterthought.

The story is far from wonderful, but it is serviceable, at least on the surface. We get a number of scene-jumps without much flow, just jumping from one scene to the next. One has to keep track visually of what and who is where as the Supergirl/Mary battle is cut with the Tawny battle, for example. The main Batman scene comes across like it’s supposed to be reminiscent of a certain speedster in a prior Crisis, and for this reader felt forced and overly predictable.

On the whole, due to one character’s fate apparently shown here, this issue is pretty important to DC continuity, at least for the moment. However, this is an issue I read more to seek a conclusion to Batman: RIP and in the hopes of staying somewhat current with the most major goings-on of the DCU than out of enjoyment. This is one of those comics that is probably going to wind up being pretty “essential” to the bigger picture in the DCU…though it lacks the feel I’d expect for something of its supposed enormity.

Recommended for its necessity in the DCU-to-come, but not for the story and art.

Story: 5/10
Art: 3/10
Whole: 4/10

Faces of Evil: Solomon Grundy #1 [Review]

The Curse!

Writer: Geoff Johns & Scott Kolins
Artist: Scott Kolins
Colorist: Hi-FI
Letterer: John J. Hill
Editors: Adam Schlagman & Eddie Berganza
Cover: Shane Davis, Sandra Hope & Alex Sinclair
Publisher: DC Comics

This one shot focuses on the longtime DC character Solomon Grundy. After a bit of a flashback to the character’s in-continuity history, we come to the present where Grundy’s awoken once more after his latest death, but with a change. We follow him through a week of death and rebirth (and a fight with Killer Croc) until he’s confronted finally by a couple of faces familiar to him (and to us as readers) who propose fighting this curse he’s under while in a small window of opportunity to do so.

This is another well done one-shot worthy of the Faces of Evil “hype” and “event.” This is all about Grundy, offering us a look at the world from the character’s point of view while acknowledging the fact that he’s had a number of different incarnations in the last couple of decades at least, and building on that. As this is essentially set-up for a mini-series, one might be able to look at this as the tv-movie pilot for a special series coming soon.

The art fits the character and the story both quite well, and I enjoyed it. Kolins’ art seems to fit well with villain-centric stories, assuming I’m correct in recalling him as the artist on the Rogues’ Revenge mini from several months back.

This is a fairly decent one-shot; though as it is largely set-up for the upcoming mini-series, doesn’t feel complete: it feels more like a proglogue than a self-standing story.

If you’re interested in or curious about the character, it’s worthwhile–just be aware that it has a cliffhanger going toward the mini series.

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

Final Crisis #5 [Review]

Into Oblivion

Script: Grant Morrison
Art: J.G. Jones, Carlos Pacheco, Marco Rudy, Jesus Merino
Colors: Alex Sinclair
Lettering: Travis Lanham
Associate Editor: Adam Schlagman
Editor: Eddie Berganza
Cover: J.G. Jones (sliver by Pacheco, Merino & Sinclair)
Publisher: DC Comics

Green Lantern Hal Jordan is tried for apparent deicide, though it turns out someone has corrupted an Alpha Lantern–something that is not supposed to be able to happen. Meanwhile, as the dark gods revel in their victory and the nearly-awoken Darkseid, certain heroes band together to strike back as the world falls apart around them.

There’s a lot going on in this issue, which makes it feel somewhat choppy as we jump from point to point to point to point. This is going on, that’s also going on, this other thing’s happening, someone’s doing this other thing over here.

The art felt rather choppy as well with multiple artists covering different parts of the story. I’m hard-pressed to think offhand of an example of multiple artists detracting from a story for me, but this might be a first.

The story leaves me scratching my head–both for trying to get to an understanding of what’s actually going on in the bigger picture sense as well as the execution. As a “contained” story limited to just this mini and some tie-in minis, I don’t feel any great sense of urgency or crisis…this reads simply like some alternate unverse where Darkseid wins, and not the main DC Universe I’m supposed to actually care about.

This may read much better in a single volume when all the pieces are on the board to be read at once, and we actually see how events play out in the main DCU whenever the let this affect other books. Until then, it is a huge disappointment for me and is far less enjoyable than Rogues’ Revenge, Revelations, and Legion of 3 Worlds have been.

Worth getting if you’re following the event for the event’s sake, and if you’re enjoying this title thus far. If you’ve not been getting it so far, you’re probably better off catching up through wikipedia and if you’re so inclined, snag collected volume.

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

Justice Society of America – Kingdom Come Special: Superman [Review]

Written and Illustrated by: Alex Ross
Colors: Alex Sinclair
Letters: Rob Leigh
Asst. Editor: Harvey Richards
Editor: Michael Siglain
Cover: Alex Ross (variant by Dale Eaglesham & Brian Miller)
Publisher: DC Comics

My first thought of this book: With an interior by Alex Ross, featuring this particular character…why would I have any interest in a cover by another artist when Ross provides the main cover to go with the interior?!?

We open with Superman vs. Superman, then cut to “the Kingdom Come Superman” talking with Cyclone, who encourages him to talk about his past, the world he lost. Following their conversation, Superman looks up Norman McCay, the pastor he’d briefly met shortly before his world died, and determines to meet the man. Noticing a green cloud at the Daily Planet, he rushes there first, fearing a repeat of his history…things aren’t what they appear, and he briefly encounters our Superman. Following a quiet visit with a now-retired Norman McCay, Supes meets our Lois, and she learns details to how her counterpart perished.

I recall the debut of Marvels, and later, Kingdom Come–I’ve been amazed at actually reading the first couple individual issues of Kingdom Come given what it’s become in the 13 or so years since as a graphic novel. I remember the first time I read the entire story–in the collected format, as one of my earliest graphic novels purchased. I’ve always enjoyed Ross’ art, and generally credit him as the first comics artist whose work I could recognize specifically by sight. Additionally, Kingdom Come has long been one of my favorite stories–I can even credit it with some of my earliest interest in studying the bible, for context of the passages quoted.

Given all that, this issue honestly impressed me. I didn’t think anything would measure up to the original Kingdom Come, but while placed squarely in current JSA continuity, this also fleshes out Kingdom Come itself, providing a follow-up without being an exact sequel–leaving the original intact, but adding details that serve to enhance that story should one recall it.

The story here is quite good and totally believable to me of this Superman. We get to explore with him what it is to meet “alternate-world-counterparts” who look exactly like those we know, and yet are not the people we know…the heart of the individual that is noticeable regardless of the infinite variables of their lives. Offhand, this issue’s story is exactly the sort of thing I’ve wanted to see since this mega-arc began late last year.

This is Alex Ross’s art–I’d recognize it regardless of hype, promotion, or issue credits. The quality is there, the consistency is there, the tone is there…the detailed familiarity visually…is there. Visually, this is one of the best-looking comics I’ve seen…if you’re a fan of Ross’ work you shouldn’t be disappointed; if you’re not a fan…well, this probably is not for you.

There’s also some back-matter: sketches, commentary, layouts–all that give insight into what went into the creation of this issue; it’s all pretty interesting even though I’m not usually a fan of this sorta stuff…it certainly helps round the issue out, giving me little room to really complain about the cover price.

My sheer enjoyment of this issue comes from the story, and the art, AND the nostalgia. Offhand, this is definitely one of my favorite issues of the year, and very much worth having picked up.

Story: 9/10
Art: 9.5/10
Whole: 9.5/10