Sunday, March 29, 2009

Batman: Brave and the Bold #3 Review



Batman: The Brave and the Bold #3
President Batman

Written by: Matt Wayne
Art by: Andy Suriano
Inks by: Dan Davis
Letters by: Swands
Colors by: Heroic Age

I was sad to see “The Legion Superheroes” cartoon go off the air in favor of “Batman: Brave and the Bold,” but all tears aside this new incarnation of the character is frankly, a lot of fun. I always smile and I always laugh when I watch the show. So, I couldn’t resist buying an issue of the comic that bears its name. It’s President Batman, what’s not to love?

The story is fairly straight forward, with no real surprises, as Batman pretends to be the president in order to find out who is trying to kidnap the leader of the free world. He brings Green Arrow along for the ride and the two discover the nefarious Ultra-Humanite, before he becomes an ape, is behind the dastardly scheme. Punches are thrown and the good guys win, all with a little tongue and cheek. I particularly enjoyed the scene when Batman as the president beats up members of congress who are fighting on the House floor. It’s so over the top, not to mention rewarding, seeing politicians eat a knuckle sandwich.

Matt Wayne captures the spirit of the show right from the first page. He’s well versed though, having written an episode himself along with several other DC cartoons and their related comics. His name should be familiar to many. Green Arrow is sadly never that interesting on the show and he doesn’t have much to do here either. I’m not sure who I would have preferred, but I wish they’d given a real D-list hero a chance since Batman is the main draw regardless of who he’s paired with.

The art is pretty much on model with the style of the show. The colors are bright and everything is fairly typical of cartoon based comics. On a side note part of me enjoys the cheaper quality paper that the comic is printed on. It reminds of simpler days when comics didn’t cost four dollars.
B

Oracle: The Cure #1 Review



Oracle: The Cure #1
Home Again, Home Again

Written by: Kevin VanHook
Art by: Juilan Lopez and Fernando Pasarin
Inks by: BIT and HI-FI’s David Bryant
Letters by: Steve Wands
Cover by: Guillem March

Battle for the Cowl continues its trend of putting the spotlight on different characters in Batman’s life this time putting the focus squarely on Oracle. Barbara Gordon was never that important as Batgirl, merely another team member for Batman to call on when needed. As Oracle though, she’s found real purpose and importance within the DC Universe. I’ve always enjoyed the strength they’ve imbued her with despite being confined to a wheelchair. I’ve never doubted that she could go against almost anyone on her own. Her fight with Spy Smasher is one of my personal favorites.

This issue pits her against the Calculator once again. Honestly I’m getting tired of this grudge match. Just prior to its cancellation he was featured entirely too much in “Birds of Prey,” and we are forced to revisit the character again. I see the brain vs. brain idea clearly, but we’ve seen it often enough over the past year or two that it doesn’t interest me anymore. Given that she continually beats him what makes him a threat to Oracle? In this particular story he’s searching for the Anti-Life Equation (half the world was infected with it, wouldn’t it be a bit more available?) and he’s going through Oracle’s hacker friends to get it. Evidently he needs it in order to cure his daughter. How he will use it is beyond me since “Final Crisis” seemed to suggest it was an over-sized mind control device, but to each his own as the equation has been seen in several different incarnations over the years, anything is possible. Another thing that bugs me is that these hackers don’t mean anything to anyone. I’ve never heard of them anyway. So who cares if they get killed or not? I feel like these three issues are meant to set-up some kind of game-changer for Oracle, but I’m not convinced it will matter all that much.

The story while not great is serviceable. I did like seeing Jim Gordon pop-up at beginning. Of course, they can’t resist talking about how awful everything’s been since Batman is gone. They’re treating Batman more like a god than a man, but I get it, his shadow looms large even in death. I was annoyed at the gratuitous shower scene. I understand guys read comics, etc, but come on there’s really no point or reason aside from some cheap T & A. Personally, I think a character like Oracle is above that. Save those nearly nude scenes for someone like Ice or Ravager. Calculator also manages to get traction in his search for the equation too quickly. He simply enters one search into the computer and in flash he’s on his way. I understand that there are only three issues, but it’s just too convenient.

The art is one of the stronger points of this book. I didn’t read the Faces of Evil featuring Kobra but I can understand why DC is starting to push Lopez. While his layouts are fairly standard, sticking pretty close to a four panel format, his art is crisp and clean managing to infuse the characters with clear emotions. The action is also fast and fun. I’ve never envied the artist, trying to sell movement through static images is difficult, but Lopez conveys it well.

I always enjoyed “Birds of Prey,” and while Barbara holds her own in this book, there’s nothing about it that stands out or is something people haven’t seen before. A hero doubting herself, someone killing her friends and a ticking clock. I don’t imagine much will change with two more issues left, but here’s hoping, because as a collector I will finish this series. If you’re a casual reader though, I can’t recommend it, considering that aside from the Battle for the Cowl moniker it doesn’t give any clues as to who will be Batman.
B-

Sunday, March 22, 2009

Supergirl #39 Review



Supergirl #39
Who is Superwoman Part 3: Ticking Clocks

Written by: Sterling Gates
Art by: Jamal Igle and Talent Caldwell
Inks by: Jon Sibal and Talent Caldwell
Cover by: Joshua Middleton

“Superman” and “Action Comics” are now being headlined by C-list superheroes (no offense Mon-El) which, like it or not, leaves “Supergirl” as the flagship book of the Superman family. At least she can carry her own.

Deep in the middle of the Superwoman saga we find ourselves alongside Supergirl with endless questions and few answers. Who is she? What is her true purpose? Is she even Kryptonian? The last issue seemingly answered that question, but this time they backed away from that claiming her suit protected her from Reactron’s blast. One of the first chink’s in Gates’ shining armor. The story follows Kara’s search for her prey, her mother’s growing frustration with her and offers only more questions about Superwoman’s true intentions. It all leads to what feels like a final confrontation between Superwoman, Reactron and Supergirl. There’s been a great build and the story doesn’t feel like it’s worn out its welcome.

I found it a relief that they didn’t forget Kryptonians still aren’t allowed on Earth, something that puts a damper on Supergirl’s investigation of Superwoman’s identity. Gates also remembers his DC Comics history and brings in Lucy Lane for a bit of fun. I always like it when writers fit in past characters where it makes sense without resorting to creating entirely new ones. It just helps to establish a better sense of continuity within the universe.

Another fun reference came when Inspector Henderson comments on Supergirl’s midriff baring outfit, ridiculous even by comic book standards. Hopefully this will remain an ongoing joke. It also gave Kara an opportunity to tear out of the trench coat she’s made to wear over her uniform. Perfect comic book pulp.

The artwork was spot-on aside from a short fill-in by Talent Caldwell. Igle’s traditional line work doesn’t match up at all against Caldwell’s exaggerated lines and cartoon-like features. It takes you out of the book and never hits near the general quality of art expected in this title. Thankfully the fill-in job comes and goes in a wink, before Igle comes back to finish off the story.

I also can’t help but mention another fantastic cover by Middleton, who’s been drawing them since issue #34. While Reactron isn’t the main focus of this issue I’m glad to finally see this B-list villain get his own cover.

This story continues to intrigue and remains of one DC’s more interesting mysteries, more so even for me than who the next Batman will be and while I doubt the payoff will be that rewarding the ride is everything I could hope for.
B

Saturday, March 21, 2009

Deadpool: Games of Death Review



Deadpool
Games of Death (One Shot)

Written by: Mike Benson
Art by: Shawn Crystal
Color by: Lee Loughridge
Letterer: VC’s Cory Petit
Cover artist: Greg Land and Justin Ponsor

Before reading this comic I hadn’t heard of either Benson or Crystal. A little research failed to give me much background, although Benson did lend a hand in penning a few “Entourage” episodes, my favorite of which is “One Day in the Valley.” With this solid comedic resume I had some hopes for the issue and for the most part they were met.

A rich man offers Deadpool a million dollars to exact revenge on an illicit game show for killing his son. Deadpool can’t turn that kind of money down and goes in head first, no questions asked. He eventually finds out he bit off a little more than he could chew, but it’s Deadpool so really, why worry?

The first thing that stood out to me about this comic was that no page was wasted. Even the character summary on the opening page features a battle between two of Deadpool’s many personalities. One tries to sell Deadpool, while the other is a bit more honest. From there you get a pretty straightforward story, despite the “twist,” with the requisite mayhem and humor often associated with the character. There isn’t anything revolutionary or laugh-out-loud funny, but the book keeps you smiling.

The artist is another person I’ve never heard of or seen before, but his style worked for this particular book. The character designs are outlandish, the girls are cheesecake and the action is well over-the-top, just what you need when jokes take precedent over character or story. While it is nice to look at, you won’t find anything explosive or dramatic in the artwork. There is not a single splash page to be found, which is a real disappointment considering some images were just begging for it.

In the past I’ve been spoiled with Deadpool books written by Gail Simone and I’m not sure anything will ever measure up. This book is good, but nowhere near Simone good. If however, you are a fan of the character or are looking for a lighter book then don’t pass this up. Even if you’ve never read the character, this is a great introduction.

A warning though, the book costs 3.99 and there is nothing in it that justifies the extra dollar. It isn’t longer, bigger or better, so don’t expect anything more for putting down your hard earned money.
B-

Monday, March 16, 2009

Daily Planet Front Page: Weapon X Variant Covers


The first issue of the five part "Wolverine: Weapon X" mini-series features not one, not two, but three variant covers. The first, and in my opinion best, is drawn by Adam Kubert and featured here. The other two are drawn by Alan Davis and Olivier Coipel. They can be seen by going to the Weapon X Preview Page. The first issue, written by Jason Aaron and drawn by Ron Garney, costs 3.99 and will be released April 8th. 


Saturday, March 14, 2009

The Life and Times of Savior 28 #1 Review




The Life and Times of Savior 28 #1


A Kind of Eulogy


Written by: J.M. DeMatteis
Art by: Mike Cavallaro
Colors by: Andrew Covalt
Letters by: Neil Uyetake


J.M DeMatteis has been writing comics before I was even born. Given this, he certainly knows something about how to write them, honor them and deconstruct them. He manages all three things quite well in this first issue of his new six-issue miniseries.

The idea for the book originated in 1983 just after DeMatteis had killed off the Red Skull during his run on Captain America. He wanted to reinvent Cap as a “global peace activist,” a concept which then Marvel Editor in Chief Jim Shooter immediately shot down. Now decades later the idea has be reshaped with an original character and universe free of the trappings of an already established world that may have restricted the story had it featured Captain America.

The book opens with a fight, typical of any superhero book, something Matteis quickly points out. It’s clear from the start that he does not like or condone mindless fighting in comic books. A welcome relief as these fights usually hide whatever ideas, philosophies or central themes the creators might be interested in exploring.

The central character is Savior 28 a hero to America for the past sixty years, who gained his powers through a mysterious stone inserted into his body. Although by the time the story starts, he’s already dead. Everything is told by his old side-kick reflecting on who 28 was and why the world went from loving him to hating him.

This translates into a great story about a man first and a hero second. He’s a much more fallible character than you’d expect. He’s an alcoholic, a womanizer, a liar and a hero. He did everything wrong his whole life and when he finally does the right thing he’s crucified for it.

I’m not sure if I’m happy or sad that it’s only six issues as it has a lot of potential to deconstruct the genre. I wouldn’t go so far as to say “Watchmen,” and doubt it will ever reach that status. Regardless of its eventual importance it’s a great book that’s both refreshing and original.

The art is almost as strong as the words. Cavallaro and Covalt create a visual world defined by bright colors and iconic visuals. 28 is a mixture of characters like Superman and Captain America. His arch nemesis, 13, has distinct resemblance to Bizarro, an appropriate nod once you learn who he is. One of my favorite images features an alien, Uncle Sam and guy wearing a fez. A fun piece of art that acknowledges the over-the-top style featured in most of today’s books.

This is a denser read than most books today, but if you’re willing to invest your money and time into it, I promise you won’t be disappointed.
A-

Thursday, March 12, 2009

Daily Planet Front Page: Captain America and the Agents of Atlas

This is not an April Fools' joke. On April 1st, Captain America and the Agents of Atlas meet in the team's 3rd issue. As usual this book tells two stories, one in the past and one in the present. 

The exciting possibility here is the notion that the Agents met Bucky during the 50s as the Winter Soldier, an opportunity I doubt writer Jeff Parker will pass up. 

For those who don't know, the Agents were established in retroactive continuity and first featured in What If #9 (June 1978). Their initial mission was to rescue President Eisenhower from the evil Yellow Claw. Since then, the group has taken over the malevolent Atlas group and uses its resources for good. 

The team runs into Captain America in the present while they present their weapons project to Norman Osborn. I can only imagine how this turn out, at least based on the cover(pictured).

Wednesday, March 11, 2009

Daily Planet Front Page: Morrison and Quitely on Batman and Robin

This week's DC Nation page attached to back of every DC floppy out today confirms that the rumors are true. Grant Morrison and Frank Quitely, the team behind one of the best Superman books in years "All Star Superman," are hard at work on a new series called "Batman & Robin."

Along with the Quitely artwork (pictured here) DC Executive Editor Dan Didio writes, "We interrupt this week's DC Nation page to showcase some very special art for a very special new comic series..."

The outlook is for the book to be released in June.

Solomon Grundy #1 Review





Solomon Grundy #1


Story, Art and Cover by: Scott Kolins
Letters by: Sal Cipriano
Colors by: Michael Atiyeh

Originally a children’s nursery rhyme written in 1842 by James Orchard Halliwell-Phillipps, Solomon Grundy represents the seven ages of man. It makes sense then that this limited series is seven issues long. I didn’t read the issue 0 that came out as part of the Face of Evil series last month, so I felt a little lost reading this issue. Regardless, I soldiered on and finished it.


The last time I read the Grundy character was when he was an intelligent zombie fighting in the pages of Justice League. He’s since reverted back to be a blabbering idiot, although who knows why other than it fits with that particular story’s needs. I actually kind of enjoyed him as an intelligent zombie, it made me curious how he got that way. I’m guessing at this point we’ll never find out.


Phantom Stranger introduces the story and tracks down Cyrus Gold (Grundy’s original human form before he was killed and turned into Grundy) along with Alan Scott. Perhaps this was referenced in 0, but miraculously the Phantom tells Gold that he has one week to find the instrument of his death and his murderer and forgive him. Well forgive me but considering they are in present day and Cyrus was killed a century or so ago how is he supposed to do that? I got a feeling they’ll clear this problem up, but it leads to more questions like why is Cyrus Gold still alive? Who is interfering and how? Why wasn’t any of this mentioned before? This book also makes a quick nod to the upcoming Blackest Night series, so does this play into that in someway or is it just a faint to keep us off track?


Eventually, he gets into a fight with Etrigan for seemingly no particular reason. I don’t mind a good fight, instead this one just feels shoe-horned into the book. I’ve never known these to characters to have any kind of personal feud beyond the usual good guy, bad guy sort of stuff. I suppose they threw him in because he’s a magic based character similar to Grundy.
The books ends with a hint of a possible Bizarro fight, but again its unclear why these two are going to fight. Maybe they’re fooling us and they’ll actually join forces, but somehow I doubt it. That could actually be fun.


I mainly bought this book because of Scott Kolins, as if it isn’t already clear that I’m not terribly familiar with the Grundy character. Kolins art does not disappoint. There are some great pages, along with the way he brought Alan Scott to life in the few panels he was featured. The coloring is also worth noting, with its dark tones and excellent use red when the fire is reflected against Etrigan’s skin.


The writing is decent. Kolins’ rhymes are fun, harkening back to the original poem, but they don’t add much to the book as a whole, or give any formidable insight into who Grundy is. Instead we’re left learning more about Cyrus in a typical back story that a lot of villains seem to be stuck with. It’s early in the series so it may be a bit unfair but I will say that the Justice League cartoon show did a great job allowing the viewer to sympathize with Grundy and I can only hope this book will do the same.
C+

Sunday, March 8, 2009

Secret Warriors #2 Review



Secret Warriors #2

Story by: Brian Michael Bendis and Jonathan Hickman
Script by: Jonathan Hickman
Art by: Stefano Caselli
Color Art by: Daniele Rudoni
Letterer: Artmonkeys’ Dave Lanphear
Cover Art by: Jim Cheung and Justin Ponsor
SPOILERS CONTAINED IN THIS REVIEW

The first issue in this series ended on such a cliffhanger that I didn’t know how they would follow it up. The payoff though, wasn’t at all what I’d hoped for.

Spoilers are required, so if you haven’t read the first issue look away. Now that said, the first issue ends with Fury declaring that Shield has been an agent of Hydra for several years (the exact timeframe is never fully established). I left the issue believing that Fury knew this and had been knowingly working for Hydra. It turns out, he didn’t know anything, he was simply too dumb to recognize it until now.

This just feels frustrating. Rather than shake up the status quo, the writers grow nervous after just one issue and bring things back to square one. At this point, with Shield gone and Hammer in its place, how relevant is it that Hydra was running Shield? In my opinion, things didn’t really turn out that bad for the government organization, so who cares? It just feels like a cheap ploy to sell books before settling into a fairly straight forward story.

This issue’s best moments come with Hydra. The opening sequence features a stand-off between Hydra and some leftover Skrulls. A great start and from there the book fizzles. We learn a little bit more about the team, their future and their mission, but nothing that really stands out. There’s little action and only more set-up, as Hydra continues to ready itself for war against Nick Fury (once they learn he knows about their involvement with Shield). The issue does manage to end on an intriguing note…again. Hopefully, this time there’ll be a better reward for coming back.

The art, as in the previous issue, is great. All the team members are easily distinguished which is amazing considering it’s only the second issue and the layout is clear. The coloring on the other hand looks too digital for my tastes, lacking any human touch.

There’s a real sophomore slump in this second issue. I’ll keep picking it up to see if it gains any momentum, but I’m not sure if this will ever rise above the standard superhero fair, we’ve come to expect from Marvel.
C

Saturday, March 7, 2009

Daredevil #116 Review




Daredevil #116
Return of the King: Part One
Written by: Ed Brubaker
Pencils by: David Aja
Inks by: Stefano Gaudiano
Colors by: Jose Villarrubia
Letters by: Chris Eliopoulos
Cover by: Marko


I haven’t picked up an issue of Daredevil since Bendis and Maleev were the creative team behind the book a few years ago. When I heard that the Kingpin was coming back and Brubaker (the writer behind Captain America one of my favorite comics) was authoring the issue I jumped on board.


Despite the title, Daredevil is no where to be seen, save for a single, indirect image. Instead the entirety of the book focuses on a noir-style narration given by the Kingpin during his self-imposed exile in Spain. It reads fast and while light on story, gives some great character insight, something Brubaker excels at. Wilson Fisk, aka The Kingpin, meets a woman and her kids while on retreat at a costal Spanish village. Of course, things turn tragic which ultimately send him home. One thing that struck me with the writing was Brubaker’s use of the word “you” during the narration. It helps connect with each panel, by placing the reader at the center of the story. Instead of “I” or something similar the author goes with a word that tells you how you should be feeling with each and every page, thereby truly drawing you into the story and making the Kingpin that much more sympathetic. This front and center story-telling makes it clear that the Kingpin is back in the Marvel Universe and will have an important part to play in Murdock’s life and hopefully in the Dark Reign storyline, as I think Norman Osborne has already gone as far as he can. It’s time for someone else to step up.


I will say there are few cheesy lines and I’m not sure how Fisk actually survived the book’s climax. That said, a few minor quibbles won’t keep me from admiring the writing talent. Brubaker has been around a long time and even though they already have Bendis, I’m beginning to think he’s Marvel’s answer to Geoff Johns. At least I hope so.


David Aja is a name I’m not familiar with. Aside from some great covers on “The Immortal Iron Fist” series, there isn’t anything that stands out for me, but he’s definitely someone I’ll be watching in the future. His pencils give the book a gritty, dark feel, while always keeping Fisk human. Gaundiano’s inks only add to the noir feel.


The book may be short, but regardless, I have a feeling the upcoming story will make this purchase well worth it.
B+

Sunday, March 1, 2009

Captain America #47 Review




Captain America #47
Old Friends and Enemies 2 of 3
Written by: Ed Brubaker
Cover artist: Steve Epting
Artist: Butch Guice
Color Artist: Frank D’Armata
Letterer: VC’s Joe Caramagna
It’s been awhile since Steve Rogers was killed. Right now I don’t see any reason to bring him back. His book is, dare I say it, better without him and I don’t see it slowing down.
The current story arc is a bit deceptive in saying that it’s only part 2 of 3 as it’s actually a continuation of an earlier storyline that it looks as if they’ll finally resolve next month. New readers will find this issue a little hard to follow, so I would highly recommend picking up past issues if you can find them (they’ve been flying off the shelves). This particular issue plays out fast and quick. There’s no room for looking back here, only a strong sense of moving towards a conclusion, which I‘m big fan of as I tend to dislike comics that use several issues to make a point that in the past could be covered in just several pages.
Captain America, aka The Winter Soldier, aka Bucky Barnes (yes, there‘s some continuity to keep track of), is doing his best to get noticed by an evil scientist Dr Chin, a man he has a history with. Not the best plan, even by comic book standards, and it plays out in fairly standard ways. Dr. Chin’s own scheme involves the original Human Torch and considering all the build-up it fell a bit flat for me. I see what he’s doing I just don’t see any real motivation or reason behind his goals. He comes across as a Machiavellian-type villain.
While this appears a bit one dimensional I’m hoping that Brubaker might just be playing towards the common arch-types and characters from the 1960s, the era where the Winter Soldier first found life, and this story really began. Otherwise, it simply feels rushed and over-simplified. Bucky still comes across an intriguing character though, who is going through hell dealing with his past as the Winter Soldier, something which I expect will follow him for the bulk of his time as Captain America. Supporting characters like the Black Widow and Namor make glorified cameos in this issue, but I expect to see more from the Widow next time.
As always, the art is stellar and serves as one of the strongest selling points for this month’s issue. There’s a lot of fluid motion in the art along with some vibrant colors, especially in the explosions. The layouts are pretty standard, although and maybe it’s just me but I found the boat chase slightly confusing.
The cover by Steve Epting is real standout. It features a nice symmetrical balance that captures a real traditional sense of style in comics. It doesn’t feel too splashy or overdone, and has a lot of dark tones. This goes a long way in selling the mission of the book, a hard-nose, take-no-prisoners Captain America. One problem I do have with the cover is we never see Bucky in the uniform inside the actual book, although it’s not unlike most covers, where what’s on the outside is rarely what we actually see on the inside.
Brubaker finds himself using some clunky story elements, but as always his dialogue is spot on. That combined with some great art, make for one of Marvel’s best books month after month.
B+