Review: Demon Knights #3

It's a testament to how fast paced Demon Knights has felt that this issue felt like a bit of a breather. Sure, people may have been dragged to hell, heraldic dragons may have been dodged, and the enemy may have upped the ante, but this issue still took things slowly compared to last month's dragon slicing delight. While I always enjoy a rollicking good action scene, it was nice to get a better understanding of characters like Vandal Savage and Shining Knight. I have already gotten sick of double checking how to spell Exoristos' name, but she's growing on me more and more with each issue, and I suspect she'll be a favorite of mine before long. At times, Demon Knights feels like the truest team book on the stands. Paul Cornell seems to really appreciate why people enjoy team books so much, and does a great job handling the character balancing act.

One of the things that I've loved about Demon Knights from the start is its sense of fun, and while that's still there, I felt as though there was a little more harshness to this issue. I realize that's a silly thing to say about a book that blew up a baby halfway through its #1, but it's more about how these moments felt then what they were. No one reading this issue will be forgetting that Etrigan is a demon anytime soon, and people may regard seemingly sweet moments with a lot more suspicion. I don't expect the sacrifice Madame Xanadu made to last, but that she was willing to make it all the same is a pretty impressive moment for her character. Of course, given her duplicitous nature, there could be more to her actions than what we readers have seen. I appreciate that our villains, while very evil, don't seem to be stock characters or fools set up to fail against our characters. However, that probably means that there will be plenty more loss and bloodshed before this battle is through.

I'm becoming more and more curious about how Cornell will keep this crew together once they're no longer stuck protecting this town. None of them are really the team type- I think that's kind of the point- and there definitely hasn't been anything in the way of cliched bonding moments. Right now, I can only envision them sticking together if they're dropped headfirst from one adventure to the next in a sort of neverending cycle. I can't say I'd mind reading about that, but it'll be interesting to see if the book goes in that direction or comes up with a different sort of solution. I would like to see more friendships develop between the book's cast, even if they're screwed up, twisted ones.

The detail in Diogenes Neves' work continues to blow me away with every issue. He works in so many subtle moments that make the book a more entertaining read, from the reactions in the background of one of Vandal Savage's rousing speeches to the perfectly designed Madame Xanadu doll that Mordru clutches. His facial expressions have been great from the beginning, but for me, this issue is the best they've ever been, with nearly every character showcasing a wide range of emotions. He's the perfect match for Cornell's style of writing, and I hope these two keep working together in the future. Likewise, Marcelo Maiolo and Oclair Albert do beautiful work here. It's just a great creative team all around.

Once again, I urge any and all fans of team books to pick up Demon Knights, regardless of their feelings about fantasy tales. It may not have a member of the Batfamily, but that doesn't mean it can't give Justice League a run for its money. As always, in honor of Etrigan, this review will conclude with a rhyme:

Just as things begin to look futile
Demon Knights #3 gets even more brutal
Etrigan has a chance to show his wrath
And comes off looking like a psychopath
But there are still plenty of smiles to be found 
And Vandal Savage is almost profound

By Marceline with No comments

Review: Rachel Rising #1-3

I didn't develop an appreciation for Terry Moore until fairly recently. Somehow I missed out on Strangers in Paradise when everyone was raving over it, and I wasn't terribly familiar with his work outside of that and his brief run Runaways. Then, a particularly awesome person I know was kind enough to send me Echo, and it didn't take me long to see just what made Terry Moore so great. It only took a few pages before I was completely sucked into the comic, and every issue seemed to introduce new twists or ideas that I found compelling. There something about the way Moore drew people that appealed to me hugely. I don't know how to explain it other than to say they had a realness to them. There was something about them that made them feel like more than characters. It was a really neat quality that only increased my absorption in the story and made me anxious to check out whatever had coming next.

It so happens that that was Rachel Rising, a story about a girl who wakes up in a shallow grave with no idea how she got there. Moore takes a slow burn approach here- the first nine pages are virtually wordless- but it's  never dull, and it never feels as though a page has been wasted. Instead, the silent opening is an incredible powerful hook. Any reader is going to come away with countless questions- who is the mysterious women watching what's happening? How did she know what was going to happen? Is she what brought Rachel back? When you do get to the first bit of dialogue, it feels like a shock to the system. You're pulled straight from a nightmarish world into reality, but you can't help but feel like you never really woke up.

What really makes this work is how real the world Rachel Rising is set in feels. There are no stock characters, not even when it comes to minor characters with one or two lines. I feel like Terry Moore's fully developed personalities for everyone we've seen, even if they're destined never to appear again. The presumable villain in all this has never been given a name and has only spoken a few lines, but she's still been established as a powerful threat, and she's managed to creep me out on more than a few occasions. More important than anything else, I feel for Rachel in all this. It's easy to empathize with how terrifying all this must be for her, and how she must want answers but want things to go back to normal at the same time. I've actually flinched a little at lines spoken to her because of how much I could already relate to her. The characters keep Moore's work grounded in reality, and no matter how strange Rachel Rising gets in future issues, I feel like the comic's world will still read as authentic.

I love bright, colorful pages in comics, and black and white art can be a hard sell for me. I do think the pages would benefit from the occasional pop of color- especially when it comes to Rachel's eyes- but for the most part, Moore's art is so good that I can't imagine it being any better colored. He's a great visual storyteller, and while this isn't an action oriented comic, his panel to panel motion is excellent. As I said before, his characters genuinely look real, even though he doesn't draw in a hyper realistic style. His facial expressions and body language are really powerful, and his characters don't all look as they were drawn from the same mold. There are some nice little details in his backgrounds, and he does a great job at making things look creepy without going over the top. I'm not sure if the comic will stick to its current level of eeriness or move into downright ghastly territory, but I'd love to see something truly gruesome rendered in Moore's style.

The only thing that would make me hesitate to recommend Rachel Rising right at this moment is the wait between issues. Every issue of the comic so far has ended on a cliffhanger, and it can be intense waiting a month or two to see what happens next. Moore's serialized storytelling skills are excellent, but I have a feeling some readers may grow frustrated waiting to get next issue's answers. While I definitely feel like every issue has given me my money's worth, for some, this may be a comic that reads better in trades. To the best of my knowledge, a Rachel Rising trade has yet to be announced, but I'll be sure to announce it here when that changes.

Rachel Rising is an eerie, compelling comic that's interesting not just because of its mysteries, but also because of its well crafted characters. There are elements in it that are fairly terrifying, but I wouldn't classify it as a horror comic. It's just a really interesting story, and I'm happy to follow it wherever it goes. I'd recommend this to fans of Terry Moore, fans of well written female characters, and fans of character driven work in general. Moore is a great talent, and Rachel Rising is him at the top of his game. Whether you jump into it now or follow this one in the trades, you won't be disappointed.

By Marceline with No comments

Review: Batwoman #3

Batwoman can be a challenging series to review. The art is so overwhelming that it can be hard to look at the comic as a whole instead of focusing on that one beautiful piece. I was so sucked in by this issues dreamlike underwater pages that I lost all interest in turning the page. All I wanted to do was watch the way the water flowed from panel to panel, to admire the details JH Williams III had hidden at the bottom of the river. But somewhere along the way, the hold the art had on me was broken, and the plot is what garnered the bulk of my appreciation. While I've enjoyed the first two issues, I think Batwoman #3 is the best storywise so far.

One of the reasons we admire heroes, superpowered or not, is their bravery, their strength in the worst moments. They don't break down when normal people would, which makes the moments when we do see them drowning in their troubles and responsibilities that much more powerful. I doubt as we'll see Kate as vulnerable as she was in those panels with Maggie anytime soon, but that's what makes it special. Being reminded that masked heroes are still human, that they have cracks in their armor, makes the things they accomplish all that more impressive.

La Llorona, Cameron Chase, and even Maggie Sawyer fell into the background as Williams gave us a wonderful Kate Kane character study. Kate doesn't wear her angst on her sleeve the way Batman often does, and I think it's easy to forget how tortured she really is. Jake Kane's appearance in the issue was a brief one, but more than ever, you could feel how much the separation from her father is killing Kate. For years, they only had each other, and being apart from him when she's emotionally torn apart must be brutal. I miss the two of them together, and I want to hope for a reconciliation, but it's hard to see how Kate will forgive the Colonel when her pain over what happened to Beth is still so raw.

Kate's words may have been harsh, but I think it's fair to point out that Bette doesn't really have a reason for fighting. Bette was a forgotten character for years, but her old origin essentially had her training to become a hero because she wanted to impress/stalk Robin. As much as she might like Bette, that has to sting for someone like Kate, who fights because she absolutely needs to. I hope that their falling out gives Bette some more depth. I always like seeing her, but I don't think she's a compelling character on her own yet. The pages with her donning her Flamebird suit were absolutely stunning, and even though I'm not expecting this to lead to something good, it was a cool little moment for the character.

This issue picked up directly from where the last one left off, and ended on a cliffhanger, but in many ways, it felt like a standalone issue. If someone asks me where to start with Batwoman, I'll always recommend Elegy, but I can easily see myself handing this issue over to someone I want to hook. It's not the action piece I was expecting- it's just a look into one night of Batwoman's life, and sometimes that can lure in readers to way an introductory story can't. Some plot points might be hard to make sense of if you haven't been following the series, but Kate's pain is something any reader should be able to understand.

When I talk about what makes Batwoman great, I often focus on the art, and maybe that's a mistake. The art is breathtaking, but Kate's story is exceptional too, and it would be no matter who was drawing her.  Loss is a common theme in comic book back stories, but the way loss is used in Kate's tale feels somewhat unique. She's dealt with tragedy, found a purpose, and had that purpose stripped away from her. When she found a purpose once again, all her wounds from her past were reopened, and this issue proves they've never really had a chance to heal. There's something intensely relatable in all that, and it's a huge part of why I love Batwoman as much as I do. As always, I urge anyone who isn't familiar with Batwoman to give the character a chance. Whether you begin with Elegy or start right here, you're in for something special.

By Marceline with No comments

Review: Red Hood and the Outlaws #2

In the first issue of Red Hood and the Outlaws we’re introduced to Red Hood (former Batman sidekick Jason Todd), Arsenal (not yet code named in the new DCU Roy Harper, former Green Arrow sidekick, though that’s never explicitly stated either), and Starfire (Exiled alien Princess Koriand’R). They’re not a team but Red Hood & Arsenal have worked together before, and Arsenal has worked with Starfire before. They’re all on the fringe of the superhero community, though we’re not directly told why (their willingness to kill is likely a cause).

They don’t exactly get along, but they don’t necessarily hate each other either, despite how they act. They’re like siblings or college roommates, kind of thrown together by circumstance, not always liking it, but going with it, at least for now.

The issue opens with a flashback to Jason Todd’s introduction to the All Caste, a mystic group of martial artists who exist in a place that may not be in this universe/dimension/plane of reality. He’s brought there by Talia al Ghul for training. She hopes to calm his rage and teach him the discipline he seems to lack since returning from the dead. This is a great sequence because it simultaneously adds to the Jason Todd story long time readers know while still being able to stand on its own for new readers. Plus he gets his ass handed to him by a tiny old lady.

Don’t patronize other dimensional old ladies. No matter how tiny they are, they’re always ninjas.

Turns out Talia believes in Jason’s potential, and as is typical for all DC martial artists, he needs to spend a lot of time with a secret cabal of monk-ninjas. As stereotypical as this plot devise is, it still works. Not only does the long, extensive training increase believability that a non-powered human can fight in a superhuman world, it also gives credence to Jason being the leader of the group.

Skip ahead and Jason and Roy are on a plane to find out what’s happened to the All Caste. Scott Lobdell does a good job of playing up the banter between the two. They’re clearly friends no matter what they say. His dialog isn’t quite Whedon good, but it’s a fun dynamic and definitely adds to the story. This is played up even more when they meet up with Kori and Roy tries to bring up the sexual tension that he’s apparently the only one to feel/acknowledge.

We cut to a safehouse of Jason’s where he’s ‘surprised’ by something ugly who he has some kind of history with.

Something UGLY!!

This scene is both confusing and not. Obviously it’s designed to show that Jason A) probably has enemies everywhere, B) sets the stage for future retribution (RE: Plots), C) is always prepared and therefore a D) Badass. Which it does. However it also seems to be out of nowhere and somewhat throws the issue off.

Cut to the ‘still not a team’ of Red Hood & Arsenal jumping out of a plane, being met by Starfire, and finding their way through the holographic/portal opening to the All Caste. We find out the All Caste have all been killed, something that is actually upsetting to Jason. I have to say, it’s a mark to Lobdell’s characterization of Jason that as a reader I can both tell how upsetting these deaths are to him while simultaneously realizing that this is a rare expression of emotion for the character.

The ensuing battle is great for a number of reasons. The action is brutal and swift. The characters fight in distinct ways and yet work well together as a team. It can easily be missed in other team books when each hero simply attacks with whatever their power is (aka everyone shoot at once). Lobdell & Rocafort do an excellent job of blending the action to show teamwork. And the art is wonderful.

Kenneth Rocafort is handling both pencils and inks and it shows in the best way. He has a great handle on these characters and his depiction of their facial expressions goes a long ways to showcase their emotions and feelings throughout the book. And his inks are ultra detailed for close up shots and more subdued for distance shots. His style reminds me a lot of cinema, in that sense. I also am a big fan of how he plays around with the layouts. It’s similar to what J.H. Williams III is doing on Batwoman, while remaining unique and true to this story.

I love the group dynamic both in and out of battle. They’re fun, precise, and play off each other perfectly. This ‘team’ clearly works well together and I’m very much excited to see where they go next.

By Kephus with No comments

Review: O.M.A.C. #3

When reading O.M.A.C. #3, it occurred to me just why I love this comic so much. My love for Jack Kirby has more than a little to do with it, but what I think really gets me is the similarity to Japanese tokusatsu shows. They both have transformations, over the top heroes and villains, a heaping helping of silliness, and of course, wonderfully fun action scenes. Toku is something I think comics could stand to take some cues from, and it's great to see O.M.A.C. doing just that, even if it isn't intentional.

New characters and concepts are introduced at a neck breaking speed throughout the issue. From the terrifically fun Checkmate Elite to the surprisingly powerful Psi-Fi Man, O.M.A.C. throws out ideas in at a rate few comics do. The rapid pace would feel overwhelming in a lot of comics, but there's a simplicity at O.M.A.C.'s core that really makes this work. I often get frustrated when comics don't spend much time on something I find interesting, but jumping from idea to idea feels natural to O.M.A.C. If the book sticks around, I imagine we'll get some kind of big bad, but I hope we still keep getting peeks at wacky henchmen and crazy future tech. O.M.A.C. just wouldn't feel right if it was too focused on one thing.

But in spite of all the new content, this issue didn't measure up to the last one for me. Don't get me wrong, I'm still having a blast with O.M.A.C., but I think some aspects of the book are losing their impact for me. I was excited by what was truly new, but O.M.A.C. himself is becoming less interesting to me. There was some focus on Kevin's relationship with Brother Eye here, and I really hope that we see some kind of shake-up soon. Kevin has the potential to be a likable, engaging character, but it hasn't been tapped yet. Right now, I'm more entertained by everything around him than I am by anything he's done, and I think the book would be much more involving if I had a stronger attachment to him. So much about O.M.A.C. is impermanent, and I want Kevin to be the constant.

Keith Giffen's artwork is absolutely essential to the book, and it's only been improving with each issue. I've spent a lot of time talking about how effectively use channels Kirby's style, but there's plenty to love here that's pure Giffen. The composition of his pages is spectacular, and every panel is full of energy. One of my favorite things about his work is how much fun most of the characters look like they're having. Even O.M.A.C., who is always completely focused on the task at hand, seems to gain some pleasure from throwing his punches. It's little details like that that keep the constant action interesting. I really enjoy the book's dialogue, but the story Giffen tells with his art would hold up without a single word.

O.M.A.C. #3 isn't quite as entertaining as the issues that came before, but it's still a great send-up to comics of old. This issue probably won't pick up any new fans for the comic, but it's good enough that those who were already enjoying it should stick with it. I'm hoping O.M.A.C. can keep all its eccentric charm, but finds something that will attract new readers as well. I'm having a lot of fun reading O.M.A.C., but it's time for the comic to do a little more.

By Marceline with No comments

Series Review: Spider-Island - Cloak and Dagger

Let me say this to start: I did not read Spider-Island. I haven't been reading Spidey comics regularly for a while now, and the concept of Spider-Island wasn't enough to lure me back in. The Cloak and Dagger miniseries however, had me interested. I've enjoyed a great deal of Nick Spencer's work, from his terrific Jimmy Olsen backup stories to the Lost-esque Morning Glories. I've loved Cloak and Dagger since they appeared in Runaways- I even have a pair of finches that are named for the characters. And if I wasn't completely sold on that alone, the preview pages from Emma Rios pushed me over the edge. So, I took a risk, dove in, and tried the first issue, hoping that it'd be able to stand on its own.

Thankfully, this miniseries has almost nothing to do with Spider-Island. The premise of the event is recapped on the comic's first page, but it's honestly unnecessary. I'm pretty sure Nick Spencer just wanted to tell a Cloak and Dagger story and used this as an excuse. This series is creepy, funny, and a great look into the unique relationship that Cloak and Dagger have. When I read it, it was easy to forget it was a tie-in- it felt like a strong start to a brand new ongoing series, and I was always a little disappointed when I remembered otherwise. I'm not always a fan of color coded dual monologues in comics, but I think they're used effectively here. Cloak and Dagger are characters who are simultaneously in and out of sync, and seeing their thoughts displayed this way makes sense.

Emma Rios' art is the absolutely standout of this series. Many of my favorite moments of the series were her visually stunning, wordless pages, and her trippy dream sequence at the start of issue 2 blew me away. Her art is so fluid that sometimes it feels like the characters are swimming from panel to panel, and she uses both Cloak and Dagger's powers to great effect. There are some really beautiful, subtle details here, like her incredibly intricate buildings and the way Cloak's cloak is occasionally used as a border. I can't imagine anyone more perfectly suited to draw these two characters. Javier Rodriguez's colors blend perfectly with Rios' style, adding both softness and a layer of grit to her work.

While the last issue of Cloak and Dagger was absolutely breathtaking to look at, it left me a bit unsatisfied. If a Cloak and Dagger ongoing was being released out of this, I would've been intrigued by the book's conclusion, but knowing we probably won't see much of the concepts Spencer introduces here is frustrating. I really enjoyed reading this, and I'll probably read it again, but it feels like a lot of build up without a lot of pay-off. I know I shouldn't expect too much from a 3 issue tie-in to a Spider-Man event, and it's possible that the overall quality of the series is making me judge it harshly. Maybe Spencer wanted to give Marvel something so interesting that they couldn't resist shining the spotlight on Cloak and Dagger for a little longer- and if that's the case, I hope he succeeded.

If you thought this looked neat but passed it up because of the Spider-Island association, give it a look. Emma Rios' artwork is reason alone to check this series out, and in spite of my disappointment, the series still rises far above being an event tie-in. Fans of Cloak and Dagger may find themselves frustrated like I was, but this is still a significant story for the characters, and I'd absolutely recommend reading it. Right now, with Marvel canceling comics before they've even began, a proper Cloak and Dagger series seems incredibly unlikely, but I hope someone finds a place for their continuing adventures. What's the next event Marvel has coming up? Maybe it could use another tie-in.

By Marceline with 1 comment

Review: The Strange Talent of Luther Strode #1 and 2

Anyone who's ever read an old comic book should be familiar with the Charles Atlas ads. A wide variety of Atlas ads ran in comics, but the most famous feature a skinny nerd who gets bullied at the beach. The nerd gets sand kicked in his face and disappoints the female accompanying him. This embarrassed inspires him to order Charles Atlas' book, which gives him massive muscles that he uses to take down the bully and win the heart of the girl. The ads are obviously silly and frequently parodied, but the six issue miniseries The Strange Talent of Luther Strode looks at them in a different way. What if something like the Charles Atlas method did exist? What sort of powers would it give people? How might people exploit it?

Luther Strode starts with a nonlinear bang and has continued to be inventive and wildly entertaining throughout its first two issues. Writer Justin Jordan is a relative newcomer to comics, but he's a obviously a strong talent, and someone that any comic fan should keep an eye on. He takes an often played with premise and makes it feel fresh and interesting. The book's titular character has a sweetness to him that instantly makes readers feel attached to him. Luther Strode is both charming and brutal, one part silly and one part sickening. This comic will inevitably be compared to Kick-Ass, but I think it has more in common with Chew. Both titles manage to utilize horrifically dark concepts while keeping their sense of fun intact. A universe in which a robbery can be foiled with a pair of Slim Jims is never going to feel too grim.

This is a comic clearly created with fans of gory movies in mind- Luther attends Voorhees High School, and his surname should be familiar to any fan of the Halloween films- and if over the top violence isn't your thing, there's a lot in Luther Strode that might turn you off. In the opening pages of the first issue, we see a man choked to death by a severed arm and another being split in two by a well placed kick to the chest. While a less realistic artstyle can often lessen the impact of gruesome scenes, the intensity of the kills here are such to bother plenty of readers. If you're like me, and your glee for creative horror movie death sequences has been known to creep out your loved ones, then reading Luther Strode should be an absolute blast.

However, that doesn't mean Luther Strode is all gore and no substance. While the bullies tormenting Luther and his friends were a bit generic, the rest of the characters have had strong personalities and felt really believable. The cast helps to ground the bizarre world of Luther Strode, and makes you think of the consequences of Luther's actions in ways that extend beyond their inherent coolness. I found the interaction between Luther and his mom in the first issue to be particularly touching, and I expect the past that it hints at will play a big role in issues to come. As much as Luther is enjoying his newfound powers, there's already a part of him afraid of what it might lead him to become. He knows the ugliest aspects of violence, and I expect his journey from 97 pound weakling to a person capable of Mortal Kombat style violence won't always be easy to read about.

I had never heard of Tradd Moore before picking up this comic, but now I can't wait to see more of his work. Every panel is full of detail, and the visual storytelling he displays in the first issue's grotesque two page spread is absolutely wonderful. I find something I'm impressed with on every page of the comic, from his composition skills to his enchanting facial expressions. Luther Strode is never overly wordy because Moore's art shows readers everything they need to know. Once the series concludes, I expect he'll be getting some high profile offers. The bright work of colorist Felipe Sobriero compliments Moore's unusual style beautifully, and adds plenty of atmosphere to every scene.

I'd recommend Luther Strode to anyone not put off by its goriness. This has been a great year for Image, and I'd rank this as one of their strongest titles. On the surface, it may look like your standard wish fulfillment fable, but this comic has some real depth, and its excellent plot and characterization are only elevated by the terrific art. If you think Luther Strode looks cool, check it out, and if you like it, tell your friends. Justin Jordan has hinted that this won't be the last we see of Luther if sales are high, and I'd be happy to read any stories that this creative team is willing to tell. You can find a short preview of the first issue here.

By Marceline with No comments

Review: Stormwatch #3

Don't get me wrong, I've been thoroughly enjoying Stormwatch.It has terrific characters, it always makes me laugh, and the characters have gone up against some pretty interesting threats. But until now, I've thought a lot of the book's greatness was in its potential. You could see where the book might be going, it looked pretty fun, and there was plenty to entertain along the way. But this? This is the first issue that really begins to realize the potential of this new comic. It's exactly what I've hoped Stormwatch would be from the very start, and it was so much fun to finally be able to read it.

This issue was packed full of cosmic fun, dynamic action scenes, crowning moments of awesome, and still had all the great character banter and concepts that the first two issues did. Looking back, you can see how Paul Cornell was building to some of these moments, and the payoff is terrific. From seeing Apollo really let loose to finally seeing some moon versus the world action, Stormwatch #3 was crammed full of the stuff I'd wanted to read about from the moment this book was announced. It would've benefited from a little more Martian Manhunter, but it still told a ton of story for the page count. This is the first time I think I've been even more excited by the comic this was than the comic that it's going to be.

\I lamented the lack of Jack Hawksmoor last issue, but that was more than made up for with some of the incredible moments we got here. Actually seeing Jack communicate with the physical manifestations of cities like Metropolis and Gotham left me fascinated by his powers and dying to see more of them. Henry Tanner was a source of entertainment in the last two issues, but his reveal here has me thrilled about the new addition to the Stormwatch crew, and on the edge of my seat waiting to see what he'll do next. Genuine surprises is comics are rare, and I honestly did not see what he had coming. I have the feeling the Eminence of Blades isn't going to be an easy one to predict.

I'm beginning to think Adam One is hiding some pretty big secrets. In the early issues I could write off his behavior as having to do with his laid back personality, but it feels like something deeper here. If a character has century upon century of knowledge and experience and isn't drawing upon it at all, I'm inclined to think there's something going on between the scenes. What I really love about Stormwatch is how much time I spend thinking about it after each read. My documents folder is full of wordpad files containing comic book theories, and the Stormwatch one is already massive. Even if I don't get any of this right, it's an absolutely blast to think about.

Miguel Sepulveda is once again handling the art duties of the book solo, and his work on the title continues to improve. It helps that so much of the comic is cosmic- this is where Sepulveda really shines, and he gets plenty of chances to show off his monster drawing skills as well. The action scene near the end of the book was pitch perfect, and the his rendition of Moscow in the book's opening panel was beautiful. Cornell really asked a lot of  Sepulveda's imagination here, and he absolutely delivered. While Alex Sinclair continues to work as a colorist on the book, he's now joined by Pete Pantazis. I slightly prefer the way the previous issue's colors looked, but it's still solid work, with some really beautiful textures and detailing.

If you weren't completely sold on Stormwatch's first issue, now's the time to give the book a second look. Every issue so far has been better than the one that cames before, and this is the one that where everything really comes together. Stormwatch is a fun book that makes perfect use of its off color cast of characters, and I feel like it satisfies a wide variety of my comic book cravings. It's a team book, it's got humor, it's cosmic, and it never fails to be intriguing. It's not a comic for everyone, but it's one I continue to recommend.

By Marceline with No comments

Review: Spaceman #1

I wasn't quite sure what I should expect from Spaceman #1. All the solicit told me was that it was set in a post-apocalyptic future, and that it involved a celebrity child kidnapping case. It seemed like the story could go in a whole lot of directions, and I didn't know what I was going to get out of the first issue. I mostly bought this because of the book's writer, Brian Azzarello. Azzarello is currently kicking ass over on Wonder Woman, and his last Vertigo series was the must-read 100 Bullets. That was more than enough to get me to give this issue a try. It didn't hurt that it was only a dollar.

Now that I've read Spaceman, I'm still not quite sure what to make of it. Characters speak a strange form of slang that feels like a simpler version of Newspeak. The story's main character, Orson, was genetically modified for a trip to space that apparently never happened, but much of his background is unclear and left open to interpretation. Clearly there's a lot to the character that's yet to be seen.  Usually, in the first issue of a miniseries, I come away with an idea of what kind of story I can expect. With Spaceman, I honestly don't have a clue. I could see this being a tale of redemption, a tragedy, action-adventure, or even something darkly comedic. I don't mind that I don't know these things- in face, I kind of like it- but it makes my feelings about this comic hard to define.

What I can tell you about Spaceman is this: a child that's part of a very famous reality television family has been kidnapped. The news is quickly made public, and the investigating police soon learn they'll be expected to question suspects on camera. For the most part, it's more of a cynical prediction of our future than a fantasy based reality world, but Orson doesn't quite fit into that. He's very clearly not an ordinary human, but we haven't seen much that tells us why he was modified this way, and what his abilities might be. The children around him call him "Spaceman", but it seems very likely that he's not the only person on earth like him. I'm really intrigued by the possibilities here, and I'm curious to see where Azzarello takes the character.

The art by Eduardo Risso (who previously worked with Azzarello on 100 Bullets) is some of the best work I've seen from him. The way he's built this world in its various states of disrepair is truly stunning, and I'm really impressed by his architecture skills. His lines are thin and delicate, but still strong, The beautiful flat colors from Trish Mulvihill only elevate each well constructed page. Risso also does a terrific job with the characters in this tale, bringing them to live with varied body language and facial expressions. Even the minor characters give readers a clear sense of their personality. Risso's work goes a long way towards bringing Azzarello's tale to life, and it really makes me appreciate what a great creative team the two of them are.

This is a Vertigo title, so readers should be prepared for the increased sexual content that comes along with that. There's nothing graphic, but there is some nudity, and I wouldn't be surprised if the book took things in a more R-rated direction in issues to come. Occasionally when I'm reading Vertigo stuff, the sex and nudity feels a bit tacked on, but I didn't get that impression here. The scene with Orson and the prostitute gave us a real feel for both his character and the universe the comic is set in, and I think the book is stronger for it overall.

With the $1.00 price tag, there's no good reason not to give Spaceman a go. It's a compelling book from a great creative team that's really different from other comics on the market. Worst case scenario, you don't like it, you're out a buck, and you can pass the book along to someone who might appreciate it more than you did. I may not be sure what to make of Spaceman, but I still know it's a quality comic, and it's worth spending a buck to check it out.

By Marceline with No comments

Review: Legion: Secret Origin #1

My Legion flight ring is of surprisingly decent quality. I expected the gold paint to look a lot yellower in person, but it has a nice metallic sheen to it and looks a little more expensive than the free lantern rings did. It's way too big to fit around my tiny child fingers, but I can wedge it in between my fingers long enough to get out a cry of "Long live the Legion!", and it looks nice on a chain. It's definitely worth spending the $2.99 if your local comic shop is participating in the giveaway.

I'm a little less enthused about the comic that came along with it. I don't think Secret Origins is a bad comic, and I think there are a lot of people who it will appeal to, but I don't think I'm one of them. I've been trying to stick with Legion Lost, and have actually been enjoying the main Legion of Superheroes title, but for the most part, I found this one to be dull. I enjoyed Brainiac 5 largely because of my pre-existing love for the character, and Phantom Girl was the only character who really jumped off the page for me. We hear about these characters, but we don't get any moments that allow us to really connect with them. In a 6 issue series, I think it's important to have that right from the start.

The comic opens with a bit of backstory that begs to be read in a deep, boomy voice. It looks like we're about to get a nice action scene, but the action is already over and done with, and we get an exposition heavy conversation instead. I started to get interested when Brainiac 5 showed up, but we got more narration instead. There's a foiled assassination attempt that's less interesting than it has any right to be, and more of that exposition laden dialogue. We do get one wonderful Brainy and Phantom Girl scene, but it's over all too quickly. By the end of the issue, we've gotten even more exposition, seen plenty of Legion's trademark character introduction boxes and what looks like the start of the team.

Most of my limited Legion knowledge comes from Superman and the Legion of Super-Heroes, and I really think a deeper knowledge of the Legion would've increased my appreciation for this book. This is a tweaking of the previous Legion origin, and I think a lot of what makes this book intriguing comes from seeing what's different and wondering why. This might be a great read for readers who already know and love these characters, but this issue doesn't do much to sell what makes the Legion great. I can see this being a good story in trade, but right now I don't have any interest in seeing what happens next month.

This is the rare occasion when I think readers will be pleasantly surprised by how the art looks in comparison to the cover. Chris Batista's done a lot of Legion work in the past, and his familiarity with the characters really helps here. He gets in some nice facial expressions, and does a great job handling the Legion-verse's futuristic tech. Phantom Girl has sported some of the Legion's goofiest costumes, and it's nice to see her looking so classy. I'm not sure if he had a hand in updating the Legion costumes, but either way, they look terrific. There are some interesting reoccurring elements that really give you a sense of what style is like in the 31st century. It's clear a lot of thought was put into these changes.

This is the most accessible Legion title by far, and it's a shame that I don't really feel like I can recommend it on its own. It's worth picking up if you can get the ring to go with it, but otherwise, I think this one is just for the Legion die-hards. I'm dropping this one for now, but I plan on looking into it again once the story concludes. Hopefully, it'll make for a better introduction to the Legion when you can read it all in one go.

By Marceline with No comments

Review: Wolverine and the X-Men #1

Now this is really interesting to me, and maybe only to me, but here goes: when I first began contemplating the way to review this issue, I realized what I want to say is, "this is too far removed from reality." You'd be right to smack me across the forehead. I'm reviewing comic books and I'm expecting them to be close to reality?

It's undeniable that the X-Men have created a reality of their own; either within or beside the reality of the Marvel U, it's their little niche. Now, the opening conversation of this book, between Wolverine and Professor X, contains the following exchange:

• Wolverine: You sure you won't reconsider, professor? Your newfound sarcasm aside, we could really use your help around here. I could use your help. I'm not sure I know what I've gotten myself into.
• Xavier: I'm not sure you do either, dear boy.

Ignoring how bizzare it is to write Wolverine uttering the phrase, "Your newfound sarcasm aside..." since when is Xavier an English butler? I hear him speak in John Cleese's voice throughout this scene, and there is no reason why that should ever be the case.

In fact, I eventually realized that there's an element of Fawlty Towers to this whole issue, except that for the most part Logan and Kitty are in Basil's position. The state inspectors, who are clearly highfalutin archetypes, are rich guests, and the day is spent trying to cover up the eccentricities and failings of the establishment. Naturally, hilarity ensues! I say this as a fan of Fawlty Towers, by the way, but the problem is that I just flat out do not want an X-Men sitcom out of a flagship book like this. It's not what I thought I was signing up for.

Maybe that's unfair of me, because in a way it's sort of inherently comedic, the notion of a 200+-year-old samurai with built-in claws opening a school for people with super powers that also includes interdimensional gateways. Maybe I'm playing into some kind of dork stereotype by taking this stuff too seriously. But if I am, I don't think it's my fault; I think it's Marvel's for establishing the precedent that X-Men is serious business, that it's about civil rights and fundamental moral questions like what it is to be human and the meaning of personal freedom. And I'm not trying to suggest you can't include humor in that, either. It's just that this whole issue is a joke, and the punchline turns out to be the leader of the Hellfire Babies—kid villains introduced in Schism over whom I'm still scratching my head—sicking some kind of giant worm monster on the school while the highfalutin tea-and-crumpets inspectors crap their pants.

Some of the moments we've been given here are thoroughly and truly funny, like Beast's unfortunately timed mad scientist tirade and the psychic defense class for which Mr. Uptite the English Inspector Butler declares the students should all get "As in standing around." I would also like to say that, for the tone that's been adopted here, Chris Bachalo's exaggerated pencil work is very appropriate, and also that his rendition of Idie is frighteningly cute.

There's so much potential in the cast that's been assembled here, and in the fresh status quo of the X books. Schism was positively ham-fisted, but it got things where they need to be. I desperately want to read a book about this school that addresses the major problems it inevitably will face without treating the whole thing as a joke. I'm not looking forward, for example, to plots being sidetracked for more scenes where Kid Gladiator says things like, "Kiss my hand, puny earth creatures!" and I'm expected to giggle. And I'd love it if we could get rid of this whole development where evil genius toddlers are the villains. That's stupid, and I'm not going to insult anyone's intelligence by elaborating on its stupidity. It's clearly stupid.

One more thing. Toad. I feel sorry for Toad. The guy just wants a bed. I'd like to see him join a union, maybe get together a little Occupy Marvel Universe. Do we really find it that funny to crap all over janitors?

By T.K. Tunstal with 1 comment

Review: Avengers Academy #20

I like Veil. I always liked her. I always liked every single character in this book, including ones like Speedball that I've never actually cared about before. (I'm serious—I slogged through that whole Civil War mess without giving a damn, but Gage gets his hands on the guy for a few issues and I just want to know he'll be okay.) But I'm mentioning Veil specifically because I've noticed she's an easy target due to her fear and self doubt. Plus, she does seem to have a slight case of Rachel Leigh Cook in She's All That syndrome.

But I've never subscribed to the notion that the angsty, down-on-herself teenager archetype has to be a bad character. Maybe it's because I, unlike most literary-minded adults, never got over The Catcher in the Rye, but I think it has more to do with Gage's knack for taking super-powered characters and bringing them into the real world. I've always wanted to hang out with Veil and tell her I think it's actually pretty cool that she can turn into smoke, which might be praise along the lines of Holden Caulfield's "do you want to phone the author up and chat" test.

If you don't like Veil, but you do like Avengers Academy (and if you don't like Avengers Academy, I don't like you), then what I'd point out to you is this: the series opened with Veil, and its 20th issue—the one that closes out its old status quo and is an end of sorts—is centered entirely on her. I won't pretend I can say exactly what the reason is for that, but it's as clear as you can get that Maddie's vital to this story. 

This is the kind of issue that, if it were a WB drama, would be advertised something like, "On a very special Avengers Academy, it's a time for new beginnings... and goodbyes to old friends." Avengers books aren't supposed to go like this; you don't spend a whole issue saying goodbye and sorting out social dynamics. But the strength of this book has always been social dynamics, not the super-villains that the team has faced or the cameos or the crossovers. That's why Avengers Academy is such a refreshing super hero book, and why it's allowed to get away with an issue that reads more like a prime time teen drama than a cape adventure.

Of course, there's always a certain amount of apprehension that comes with a shift in status quo on a title you like, and I was feeling that throughout. We all knew that Veil would be saying farewell, but losing Justice and Speedball was unexpected. It's strange that I was just as sad to see them go as Maddie. They were characters that I felt really belonged at the academy, and frankly, it's kind of amazing that in only twenty issues, Gage has been able to take characters with long-running histories and cement them in my brain as faculty.

Emotional content like this can live or die by its art, and Tom Raney, the one-time penciler on this issue, has given us a mixed bag. He's clearly capable of delivering the goods when it comes to expression, but for every clean-lined and believable face there seems to be a total derp one. It's probable that his strong points are not really being played to on an issue like this—if the opening splash page that loosely links back to Fear Itself is any indication, Raney's in his element when drawing battle scenes involving monsters and costumes, which would certainly justify his employ at Marvel. I don't want to wrongly trash him when I say I'll be glad to get another artist on the next issue of Avengers Academy. This just isn't the right book for him.

Gage was recently interviewed about his soon-to-be newest position writing X-Men: Legacy. He said that the big difference between X books and AA is the former have typically focused more on faculty where the latter is really about students. Avengers Academy #20 really drives that point home. We're about to get a big injection in the student body, and as is always the case with change, part of me doesn't want it to happen. But Gage has never disappointed me, and as the issue draws to a close he seems to be trying to reassure through Pym's words: "Our full-time students will continue to be our focus. But why limit ourselves? Why limit them? ...Welcome to a new era for Avengers Academy!"

That's good enough for me. Color me optimistic.

By T.K. Tunstal with No comments