The Walking Dead #61

Walking Dead #61

Written by: Robert Kirkman
Art by: Charlie Adlard
Letterer: Rus Wooton
Grey tones, Cover colors: Cliff Rathburn
Editor: Aubrey Sitterson

The greatest strength of this book is the question that it keeps asking. What is more dangerous? The zombies or the survivors? While it refuses to outright answer this, it always gives great arguments for both sides and this issue is no different.

Without giving anything away, this issue is intense. Kirkman doesn‘t need the undead to keep things interesting and he proves that in spades with this issue. Rick, Abraham and the rest of the group continue their long march to Washington free of the zombie menace for the moment. This doesn’t mean however there won’t be trials to face. Things happen fast in this issue with some powerful consequences and a few secrets. It will be interesting to see how these things play out later.

I also enjoy the shifting dynamic of the group. Rick and Abraham haven’t always seen eye to eye, yet here they almost finish each other’s sentences. All of this comes naturally though, and never feels forced or inorganic. Real motives, create real dialogue that comes from character rather than plot. It’s an impressive trait that this book has held onto well.

The art does a nice job of bringing all this dialogue to life. Even without zombies there’s still real power in the pencils and inks. This books feels like you could figure out what is going on without relying on the words, but they do manage to compliment each other well.

If I have any complaints about this book, it’s that these characters never seem to get a real win. There’s small victories here and there, but there’s never any lasting peace or happiness for anyone. I realize that it may put an end to the book if they did find some relief, but it would be nice to see someone get a real victory. Finally, there’s a tease at the end of the book, but I’m still waiting for an honest to God reveal of these so-called “hunters,” whoever they may be.

This may not be the best starting out point for new readers, but “The Walking Dead” remains one of the best books on the shelves today. If you are looking to get into this series I would recommend reading the collection they just printed which gives you issues 1-48 for only 60 bucks. A great deal, if you have the time and money to invest.

A-

The Mighty #1-3 Review

The Mighty #1-3

(issue 3 cover featured)

Written by: Peter J. Tomasi and Keith Champagne
Art by: Peter Snejbjerg
Letters by: Rob Leigh
Colors by: John Kalisz
Covers by: Dave Johnson

“The Light Brigade” was the first book I read written by Peter J. Tomasi. I’ve made an effort ever since to pick up anything else that he writes. While his work on “Green Lantern Corps” is fantastic, his “Nightwing” run fell flat for me. His newest title, a creator-owned book called “The Mighty,” remains steadfastly in the middle.

After three issues it still hasn’t developed a story, rather it keeps itself focused on character. Not the worst quality in a book, I only hope it doesn’t last forever. Issue one opens with a quick, succinct introduction to Alpha One, the world’s first superhero. On a side-note, it’s interesting that this is a DC book rather than a Vertigo imprint since it doesn’t take place in the DC world. Things continue to move with a great sequence featuring Alpha One rescuing an out-of-control train. It’s after that in which things slow down. The leader of Omega Section (the organization that works in tandem with Alpha One), Captain Shaw, is killed, but by issue two his killers are put to rest. I expected this to be an ongoing thread for a few more issues but instead it’s tied up rather quickly.

Issue three puts up Gabriel Cole, the book’s central character, as Shaw’s replacement. Several years earlier he was rescued by Alpha One so his connections to the hero extend back for most of his life intensifying his relationship with the hero. The book does a nice job answering some key questions, like who funds Alpha One’s operation and the extent of his powers. Noticeably, one thing it leaves out is Alpha One’s true identity. He may be a maskless hero but his true name is never given, at least not yet. Whether or not this will be a factor later on remains to be seen. Shaw’s murder case seems too neatly tied up, so again I’m hoping that it comes back into the limelight.

Tomasi and Champagne are taking their time carefully setting up the world, its characters along with slowly revealing bits of its past safeguarding what they intend to disclose later. I appreciate their approach but I worry that this direction could lose a lot of interested readers who picked up the first book or two. I’m always of the mindset that a book needs time to grow, but frankly I think this book’s time is running out. Future solicitations claim big things, but unless they step-up to such big talk I may remove it from my pull list. Especially with other more interesting genre bending characters like “Savior 28,” and “Irredeemable,” already proving to have more promise with less material.

Snejbjerg manages to remain a hidden gem in comics. His art reflects a slick retro style not seen much in comics where attention to detail is as important as retaining a personal quality with every page. Sometimes I find that I can’t tell one artist from another or they simply don’t do anything noteworthy with their pages. Snejbjerg is someone I don’t see often, but I still enjoyed what he brought to “The Light Brigade,” and he does the same thing here.

A nice bit of art lifts a thoughtful yet unremarkable story just enough for me to pick up a fourth issue, but admittedly unless it turns the tide and brings a truly climatic “to be continued,” I don’t think I will.
C+

Flash: Rebirth #1 Review

Flash: Rebirth #1
Lightning Strikes Twice

Written by: Geoff Johns
Art by: Ethan Van Sciver
Letters by: Rob Leigh
Colors by: Alex Sinclair

This is a Flash story, but the first issue is slow. Its sole purpose is set-up and where this story is going remains to be seen. I still haven’t figured out why Barry Allen is back and he’s asking himself the same question throughout this book.

Everything starts with a couple of murders, by someone or something who claims to have brought Barry back from the Speed Force. From there we cut to several different events that are meant to welcome the famous speedster back to the land of the living. Both Jay and Wally take the opportunity to pontificate on how much Barry meant to them and how happy they are that he’s back. All this feels too retrospective, especially since there are only five issues to this “rebirth,” I was hoping for a bit more forward momentum.

My favorite moments come when Barry and Hal meet at the Flash Museum. It really defines Barry’s character and his motives. It was a real turn and completely unexpected. Earlier pages painted this as more happy-go-lucky story, but Barry is anything but. Instead, he’s focused and determined. He doesn’t care about parties or parades. He comes across as a bit cold, but I feel like this gives him a chance to grow throughout the series rather than stay stagnant.

Towards the end of the book two kids find the Black Flash apparently dead in the middle of a field. This probably raised the biggest questions for me. Is the Speed Force really knocking off Speedsters? Is Barry’s new lease on life connected to this killing spree?

Johns has written some memorable Flash stories before and this one reflects his understanding of the characters, not just as heroes but as a family. Right now though, Barry seems to be rejecting that family so it will be interesting to see how that comes into play later.

Looking ahead at further solicitations though it seems there will be yet another Superman/Flash race. These exhibitions seem to happen like clockwork and only serve to slow down whatever story is actually happening. It’s too early to complain with due fairness but I don’t really see the point yet.

In terms of this issue though the set-up is unclear at best. The mystery comes too late in the book and where it’s going is anyone’s guess, but I remain ever hopeful and confident in its outcome.

Van Sciver handles the interiors on the book and as usual provides some stunning visuals. I especially enjoyed the not-so-subtle nod to “The Brave and the Bold.” I can only imagine his art will continue to impress as the action ramps up in further issues. Van Sciver is one of my favorite artists so I’m glad he’s working on this book. I do wonder though what it would have looked like if Scott Kolins had handled the artwork instead. Regardless though, each panel features fantastic character work and use of space. For instance, you really feel the size and scope of the parade and the intensity of the book’s final chase.

A solid first issue, but it definitely lacks a real hook to bring anyone back for another issue and uses too much of its time looking back rather than forward. It also caters exclusively to Flash fans with constant references and nods to the past on almost every page. Despite its slow pace the book remains a real treat though and I have every confidence that the payoff will be well worth the journey.
B-

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-

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

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-