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ACTION COMICS #890
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Writer:
Paul Cornell Artist:
Pete Woods |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
DC Comics
Shipped On:
063010
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MSRP:
$3.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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DC'S SYNOPSIS:
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Look out, Metropolis - Lex Luthor is back! The dynamic new creative team of Paul
Cornell and Pete Woods (SUPERMAN: LAST STAND OF NEW KRYPTON) hits the scene with
an oversized issue packed with non-stop action! That's not all! Superstar artist
David Finch (BRIGHTEST DAY, New Avengers) joins ACTION COMICS this issue as new
cover artist! |
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SWEET DAN'S REVIEW:
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Surprisingly, this was far and beyond my favorite
read of the week; Paul Cornell shows a mastery of dismantling Lex, a character
long-time readers have known for half-a-century or more, in one medium or
another, then introducing his own unique twist by expanding upon the neurosis
necessary to carry a burden such Luthor’s. I’ll admit I had to read it twice to
take it all in. I was wondering what the hell Lois Lane was doing having dinner
with the crown-prince of douches, but in time all relevant answers are delivered
to those who wait patiently.
The story moves around without leaving readers behind, it starts with Lex being
dangled over the edge of his own building, just in case you’re one of the five
people reading comics to NOT have seen the preview at the end of, well, every DC
comic of the last month. He’s amazingly resolute despite his opponent’s having
the upper-hand, instead of panic, pleading, or prayer he chooses instead to
reflect upon the last few days and the path that’s brought him to this point,
the brink of death. Readers flash back to a miscellaneous LexCorp Laboratory and
some no-name scientist whom Lex insults, then fires, then kills, and while it
may seem like a harsh punishment for some, for Luthor it’s entirely rationalized
in a matter of moments. This backs up the character’s long-standing reputation
as a $#!t-head, while also humanizing him through his apparent relationship with
Lois (WHA?!)
Pete Woods can draw anything and I’d rave about it. His style seems to be coming
more and more into itself with every issue that I see from him. He’s been
working in the Superman universe for quite some time, and I’ve never grown tired
of his interpretation of Big Blue, or Metropolis, or anything for that matter.
He has a masterful handle of story telling, and his designs for everything from
the page-layouts to the ‘villains’ of this first issue are spot-on. He’s inking
his own work now, which isn’t a bad thing in this case. I’ve made a case for
inkers, and the necessity for clean, smooth lines that don’t intrude upon the
pencils; it would seem that Woods feels he’s most capable of delivering a
polished look to his pieces and I’d agree with him.
Say what you want about Superman not being around to star in any of the series
named for him over the last year or two, Jim-Rob was at the helm and all of the
books were so closely related that it didn’t seem to matter. Now that the “World
of New Krypton” story has drawn to a close I can understand why people think
that these books need Superman to return in order to be good again. I
understand, but I disagree. With Straczynski doing the whole “Grounded” thing it
leaves the supporting cast to twist in the wind. Taking a character like Lex
Luthor and turning more common perceptions of him on their bald heads,
transforming him into the protagonist of this tale, whether he’s a good guy or
not, is an exciting decision! |
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GREEN ARROW #1 |
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Writer:
J.T. Krul
Artist:
Diogenes Neves |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
DC Comics
Shipped On:
062310
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MSRP:
$3.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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DC'S SYNOPSIS:
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BRIGHTEST DAY shines its light on Star City in this oversized first issue from
up-and-coming writer J.T. Krul (BLACKEST NIGHT: TITANS, GREEN ARROW #30) and
future superstar artist Diogenes Neves (New Mutants)! "The Fall of Green Arrow"
has ended. Now who carries the heavy bow of the Emerald Archer? Coming out of
the devastation, what miraculous event has occurred in Star City and what
mysteries await inside that bring the forces of good and evil in search of its
lone protector? Aim for a whole new era starring Green Arrow in this exciting
ongoing series! |
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SWEET DAN'S REVIEW:
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OH, how the mighty have fallen! By ‘the mighty’ I
mean ‘the guy who can shoot arrows with tremendous accuracy’, and by ‘fallen’ I
mean ‘let me down, again’! I was into this, or at least I thought I was, and
then DC released the preview of the first issue, been running it in the back of
their comics for months now, and I was extremely put off by it. It wasn’t like
it did anything to offend me, but it was just such an unimaginative preview;
some lady gets chased by a roving band of gang bangers that would plague any
so-called city in the DCU, only to run past the police station (because of
corruption, duh) and into Sherwoop Forest (and I’m serious, it’s spelled ‘Sherwoop’)
where she is saved, at precisely the last possible moment before the raping
begins, by Green Arrow. Whoop-dee-freaking-doo!
This book bears the unfortunate burden of being the final act in what one might
call the three-act, three-ring circus that has been Ollie Queen’s life as of
late. It began in “Cry for Justice” in which his town, Star City, was destroyed,
his protégé crippled, and his adopted grand-daughter killed. It was followed up
by the “Rise and Fall” specials, a two-issue, and three or four-issue pair of
mini’s detailing just how the GA world was affected by “CFJ” and saw Ollie put
on trial for the murder of Prometheus (oh, and Roy is back on drugs). He was
exonerated of the crime, but he didn’t get away scot-free as the judge saw fit
to banish him from Star City, but of course it’s not like he really goes
anywhere. Even though the issue has its highs and lows, the lows outnumber the
highs, and my expectations have been shattered like a dream when you’re jarred
from sleep by a sudden loud noise.
Certain elements show a great deal of promise, while others displayed an
amateurish lack of creativity, and even some of that I enjoyed, but not to the
extent I was expected to. The woman GA ends up saving in the beginning of the
story serves as a sort of mouthpiece for Krul, who’s hoping to explain how he
feels about the character by utilizing the citizens of Star City. Yap, yap, yap;
I don’t know if he was trying to over-do it, but she sure does come off as too
preachy for my tastes. I think he has a firm grasp of the supporting cast, and
in fact, it was those parts of the story that really carried me through the
book. Even Neves, whose illustrations are a bit hit or miss, no pun intended,
seemed more comfortable drawing the street level, regular-guy characters ala the
Mayor, the police, and everyone else, than he did drawing the title character
and the forest in which he lives.
I think the ‘Robin Hood’ theme is going to do the book in, honestly. I get the
parallels, and the functional use of the “Brightest Day” banner to draw new
readers to the character, “He’s like Robin Hood, and his ‘man of the people’
attitude is what makes him so COOL! Oh, and there’s White Lantern symbols on the
trees, check it out!” I think it just serves to convolute things a bit more than
necessary; instead of getting in there and telling Green Arrow stories, Krul is
telling Green Arrow in the aftermath of “Blackest Night” stories, complete with
Hal Jordan and Deadman appearances. Oh, and the teaser, “Who will be his Merry
Men?” appearing at the very end of the issue is kinda cool, but again, leaning
too heavily on the Robin Hood mythos is only going to take away from what makes
GA an interesting character on his own. |
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BULLET TO THE HEAD #1 |
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Writer:
Matz Artist:
Colin Wilson |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
Dynamite Entertainment
Shipped On:
062310
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MSRP:
$2.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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DYNAMITE'S SYNOPSIS:
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Never before available in the US Market! A crime saga in comic book form as the
story centers around buddy crooks and buddy cops and one unlikely official in
the middle - with a target on his head! Issue #1, newly translated for the US
comics market! |
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SWEET DAN'S REVIEW:
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Alright, since when did comic book writers get to
use one-word names? Or was this book written by more than one guy named Matt,
and they just decided to simplify it for readers? Anyway, “Bullet to the Head”
is at its best a noir-ish tale about hitmen and cops, marks and dames, and at
its worst it’s an amalgamation of old movies, books, T.V. shows and pulp mags
with out an identity of its own, and if it does have something that makes it
different from everything else it’s so vague and hobbled together that I didn’t
even notice.
Two seemingly-regular guys are having a conversation about footwear, it’s snarky
and smarmy, and doesn’t do a whole lot to engage the reader with
characterization, which is funny because the scene feels like a Tarantino flick
gone bad, like Q was asleep at the keyboard while trying to come up with snappy
dialogue. When its revealed that the two seemingly-regular guys are actually
hired killers, well, it just feels even MORE like a Tarantino-style twist, and
one that we’ve seen a dozen times before. There’s a bit more almost-snappy
dialogue, some Senator gets dead, and then the story shifts gears, ever so
slightly, and introduces readers to the ‘good guys’, the NYPD?
Yeah, there’re some cops and feds, and interoffice politics, and blah blah blah;
to be entirely honest, while I’m usually into this genre (I’m a big Michael
Connelly fan), this came off, to me, as a regurgitation of previously digested
material. Similar to the way the opening felt like a mix of “Pulp Fiction” and
“Suicide Kings”, this felt too much like “The Wire”, only less clever, or “Law &
Order”, but without the witty Jerry Orbach. I don’t think the writer, Matz, has
a handle on what he’s looking to do here, as the issue ends not with a reason to
keep reading, but rather a perplexing question of “Why should I stick around?”
Colin Wilson MAKES this comic. This is a guy whose characters look grimy and
gritty, and his cityscapes are bold and expressive while maintaining a certain
kind of filth to them. I never ran out of things to look at, and that kept me
turning pages when the story left me groaning. He also handles the lettering
chores, and since he did the page lay-out the text balloons never invade the
panel’s imagery, so there’s never any details covered up by ineffectual
ballooning. The coloring is handled by Chris Blythe who compliments Wilson’s
style quite well. Natural light, noir-ish shadows, even the mono-chromatic
assassination of some pedo-Senator felt like a 70’s cop serial, and all of that
served to create a great visual vibe, even when there wasn’t a whole lot of
material to carry it. |
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JUSTICE SOCIETY OF AMERICA #40
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Writer:
Bill Willingham
Artist:
Jesus Merino |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
DC Comics
Shipped On:
063010
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MSRP:
$2.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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DC'S SYNOPSIS:
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The Fourth Reich's Darkness Engine is turned against them in the powerless JSA's
last-ditch attack on the Nazi Empire! As the future looks its darkest, a lost
teammate returns who just might give the heroes an advantage they need! |
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SWEET DAN'S REVIEW:
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New beginnings! New triumphs! Just in time for
Jim-Rob to jump on and eff things up, for two whole months, and I mean that with
a capital “F”. I’m not sure how I feel about this. I, for one, thought that Bill
Willingham’s take on the Justice Society was beyond perfection. He managed to
take a team of Silver-Agers, and their sidekicks, and turn them into
contemporary, read: effed-up, super-heroes, simply by injecting the same dosage
of humor and wonder that’s maintained his VERTIGO series, “Fables”, for nearly
one-hundred issues. It has all been building to this moment, and if you’ve been
following the series then you know what I’m talking about, but if you haven’t
then SHAME ON YOU, you’ve been missing out on one of the most splendid
super-hero romps I’ve been privy to in quite some time!
I believe it started way back in ‘JSA’ #29, when Willingham and his writing
partner, Matt Sturges, picked up the reins of the title after Geoff Johns left
for greener pastures. The two managed to humanize the Justice Society in a way I
hadn’t seen before, and don’t really expect to see after. Theirs was a shared
vision that went the way of editorial mandate, as so many good titles so often
do, and soon the writers were split up, with Willingham handling “Justice
Society of America” and Sturges taking on the fledgling “JSA: ALL STARS” to
little avail in this writer’s opinion. I soon dropped the spin-off, but stuck
with ‘JSA’-proper out of some sort of connection with the team, and when this
issue shipped I realized that it was all worth it.
The Obsidian egg, Kid Karnevil/All American Kid, the Fourth Reich, Baron Mordru,
all of the adventures had by the JSA since Willingham’s run began still
happened, kinda. There’s a great thing about time-travel, and if done correctly
it still allows for a certain amount of solidarity in the story telling: if the
stor(y/ies) still occurred as written, with only a slight deterrent allowing for
the same outcome, then the reader is no worse for wear. That’s what it all boils
down to folks, time travel, and say what you want about this age-old plot
device, but Willingham had it all over ME from the beginning, and when I read
this issue I realize just how much.
The unsung hero of this entire JSA epic is none other than Jesus Merino. His
pencils have been consistently above and beyond what I’d expect, and his handle
on action and story telling is both classic and contemporary without being
manufactured or in-your-face. He’s a comic artist’s comic artist, and I’d gladly
follow him to any title he ended up illustrating, as long as the story didn’t
suck. Thankfully, that wasn’t the case with this latest master-arc of JSA
stories, and as long as JIM-ROB doesn’t manage to rip someone’s arm off and
murder their child then I think I’ll be back for more, as soon as he vacates the
premises. |
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HULK #23
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Writer:
Jeph Loeb |
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Artists:
Ed McGuinness, Herb Trimpe, Sal Buscema, Tim Sale, Dale Keown, Ian Churchill,
Leinil Yu, John Romita jr. & Mike Deodato |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
Marvel Comics
Shipped On:
062310
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MSRP:
$4.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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MARVEL'S SYNOPSIS:
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Not a dream. Not a hoax. THE ORIGIN OF THE RED HULK. 'Nuff Said. |
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SWEET DAN'S REVIEW:
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The cover of the issue dares ask: “Who is the Red
Hulk[?]”, and the short answer is: “Exactly who I said it was going to be!” In
the last issue readers found out the identities of both the Red Hulk and the Red
She-Hulk, so when I say ‘Betty and Thunderbolt Ross’ I ain’t spoiling anything,
okay? She-Rulk got the origin treatment in “The Incredible Hulk” #610, so this,
like many an issue that has preceded it, focuses only on Thunderbolt, and
specifically his journey to become as powerful as the man he hates, the Hulk.
The framing sequence that encompasses the bits and pieces of Thunderbolt’s life
that have led him down the path of Rulkdom is illustrated by Ed McGuinness, and
while I don’t prefer his style as opposed to a number of other artists with
different techniques, I do think that he’s coming into his own with The Hulk,
and he’s finally looking more and more comfortable on the title. The guest
artists start on page 3, and carry on for a majority of the issue. Herb Trimpe,
Tim Sale, Sal Buscema knock out the first third of TB’s triumphs and tragedies
involving the Jade Giant, and then the book takes a decidedly 90’s turn, and Ian
Churchill, Dale Keown and Lenil Yu bring their own celebrated takes on the
character to life. John Romita Jr. does a little “World War Hulk” recap, and as
the story’s dark turn gets even darker, Mike Deodato steps in, the master of
shadowy noir comics, and then steps aside as Ed closes things out.
The idea of ‘HOW’ General Thaddeus “Thunderbolt” Ross became Rulk is WAAAAAAY
less interesting than I thought it would be, but in reality (or Comic Book
Reality) it seemed to make a bit of sense. Life Motion Decoys, double-crosses,
triple-crosses, etc., and all so he could be as powerful as his sworn enemy,
whom he ends up working with in the, um, end. Glenn Talbot is the President of
the United States, oops, not for long, as he’s NOT EVEN HUMAN! Yeah, I’m not
sure what America is going to do after Rulk’s forceful takeover of the U.S.
Government (if that’s actually what happened) but the idea of him coming up with
a diplomatic solution to bring home the troops seems less and less likely.
All in all, you kind of have to find humor in the whole situation. Two or so
years ago, Jeph Loeb, along with Ed McGuinness, launched “Hulk” #1, and the
entire appeal of the series was centered on the identity of the red Hulk. Now,
finally, years later (okay, two years later, but it’s still more than one) the
secret is revealed, and while not very many people can say that they’re truly
surprised by what’s transpired, it is kind of fun to note that a second-rate,
supporting cast member/antagonist has managed to star in his own Top Ten selling
title for months and months and months. How the heck can Marvel top that? A
Marvel Max maxi-series starring The Power Pack?! The Astonishing Paste Pot
Pete?! I don’t know, but I love the relentless loyalty to the second string, and
the imagination it takes to turn Joe Nobody into a number-one selling book. |
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CAPTAIN AMERICA 1940S NEWSPAPER STRIP #1
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Writer/Artist:
Karl Kesel |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
Marvel Comics
Shipped On:
063010
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MSRP:
$3.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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MARVEL'S SYNOPSIS:
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Extra! Extra! Read all about it! Uncovered at last: The 1940's daily newspaper
comic strip starring Captain America that you never knew about! Travel with us
through the mists of time to the tumultuous days of World War II, when skinny
Steve Rogers was transformed into the star-spangled, shield-slinging Super
Soldier! And what is a classic Cap adventure without the two-fisted might of his
wise-cracking, jaw-jacking sidekick Bucky? Plus: Rampaging robots! Secret
underground cities! Dangerous dames and femme fatales! No-good Nazis that
deserve a sock to the kisser! All brought to you by acclaimed writer/artist Karl
Kesel! Buy U.S. war bonds...and this! |
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SWEET DAN'S REVIEW:
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I don’t know what to make of this. It seems to be
Karl Kesel’s dream project, or at least it’s made to appear as such from the
small bit of pandering readers can find at the end of the issue. While there
wasn’t an actual newspaper strip detailing the adventures of Captain America and
his sidekick, Bucky, during the Second World War, thus rendering the title of
this book a falsehood, Karl Kesel always thought that there should have been,
and he seeks to right that wrong with this over-priced and underwhelming
mini-series collecting the recent run of digi-strips at Marvel.com.
Just because many DC properties were running strip-style stories in the 1940’s
doesn’t mean that Marvel needs to try and shoehorn their way into that
(seemingly) dead market. Nobody cares about newspaper strips anymore. Heck,
nobody cares about newspapers anymore, so to aspire to reach some sort of
new-audience by way of a dying medium is something like trying to make friends
by punching strangers in the face. In all likelihood, this latest misfire is not
going to reach the Brubaker-Bucky-Cap fans, and anyone that was, let’s say 10 in
1945, would be damn near 76 years old, and even LESS likely to hobble their way
into comic stores with dreams of revisiting their youth.
Brubaker’s work has elevated the star-spangled Avenger beyond typical
super-heroic shenanigans, into the realm of high stakes, sci-fi espionage, kind
of like James Bond, but cooler, and more colorful. Kesel is looking for a portal
back in time where he can cut loose and pencil and ink books that were fun,
before people demanded a heavy dose of reality within their super-hero fiction.
By taking the character in this direction it doesn’t make Brubaker’s work
illegitimate, in fact I feel it validates the great strides made in only a short
number of years; whereas the feeling of transitioning from long-form
story-telling, as evident by the write-for-trade style which dominates the
market, to a collection of short-form stories, even connected ones, is a tad too
jarring for my tastes.
Comic book publishers DC and Marvel, as well as smaller independents, have spent
several years programming fans to buy into these four-, five-, even six-issue
story arcs. Stories which used to be told in ‘one-and-done’s’ on a regular
monthly basis have been decompressed to allow for characterization (a good
thing!), and give creators a bit more breathing room between story-arcs (another
good thing!), however one can’t help but feel as though this wasn’t done for the
creator’s, or the reader’s benefit, but rather as a crafty business decision to
get more comic books onto chain-bookstore shelves. With that said, it’s
illogical for them, the shadowy, faceless, corporate-chairs responsible for all
the decisions, good or bad, to expect us to forget all the years of two
story-arcs, late issues, and creative team-switches simply because they think
that this idea is ‘cute.’
Quaint, sure, if this was an actual newspaper strip that was delivered to my
house on a daily basis, I’d read it. I don’t even get a newspaper delivered to
my house, in fact I don’t usually read the paper unless I find one laying around
and I don’t have anything else to do. Just because somebody thought that this
was a ‘cute lil’ idea’ doesn’t mean that it’s worth $3.99 a pop, especially not
for a story told in twenty-nine segments, and that’s only the FIRST issue! I get
the need to play to the nostalgia junkies that help fuel the interest in a
Captain America-period piece-summer blockbuster, especially considering the fact
that they can’t read about Steve Rogers as Captain America in the title-proper,
but guys, this is way off the mark. |
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RAWHIDE KID: THE SENSATIONAL SEVEN #1 (of 4) |
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Writer:
Ron Zimmerman
Artist:
Howard Chaykin |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
Marvel Comics
Shipped On:
060910
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MSRP:
$3.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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MARVEL'S SYNOPSIS:
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"TOMBSTONE BLUES" The best-dressed gunslinger the Wild West ever knew is back in
the saddle again -- and this time, he's riding with a posse! That's right,
pardners, it's a brand new rip-roaring adventure of the Rawhide Kid! When Wyatt
and Morgan Earp are taken hostage by Cristo Pike and his pack of pistoleros,
Rawhide has no choice but to put together a posse of the greatest western heroes
in the Marvel Universe - to rescue the Earp brothers and bring Pike to justice.
Enter: Kid Colt, Doc Holliday, Annie Oakley, Billy the Kid, Red Wolf and the
most overrated gun in the West: The Two-Gun Kid! We guarantee the Wild West
can't get any wilder. |
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SWEET DAN'S REVIEW:
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I’ve read about all sorts of stuff since I first
picked up a funny-book, however many years ago; I’ve read about spacemen and
super heroes, aliens and Atlantians, gun-toting religious fanatics and guardian
angels, but I’ve never, EVER, read about a gay cowboy, until now. “Brokeback
Mountain” jokes aside, I’ve never been one to discriminate against fictional
characters (or real people for that matter) based on their sexual orientation. I
have friends who happen to be gay, so why cant’ I read about gay comic book
characters? I can, and I did, and you know what, I didn’t like it.
The idea of a hard-edged, quick-drawing, swinging dick making his own way in the
Old West by being the baddest of the bad dudes, whilst maintaining a sense of
honor and living by a code is nothing new, but sometimes those kinds of guys
like to do it with other guys, and that hasn’t been portrayed nearly as often as
it probably occurred, so this feels like virgin territory. This chapter in the
life of the Rawhide Kid a bit of a departure from the Marvel Max series that
preceded it, however it’s still written by Ron Zimmerman, so the spirit of the
character is still the same, just with less curse words and adult situations.
The story is essentially a take-off of “The Magnificent Seven”, as you can tell
right away by the title of the story: “The Sensational Seven”, which is really
just an excuse to take all of Marvel’s long-forgotten Western properties and
shove them all in one book, hoping against hope that sooner or later they’ll
catch some sort of residual critical acclaim similar to that of DC’s “Jonah
Hex”. In any case, the idea of The Rawhide Kid teaming with the likes of Annie
Oakley, Two-Gun Kid, and however many other chaps-wearing cow pokes with the
goal of freeing the Earp brothers, Wyatt and his lesser-known brother, Morgan,
is kinda cool, but then again, it kind of isn’t.
I’m a fan of the Western genre, but it just seems like there’s a merry-go-round
of story ideas, that every so often comes full circle, then writers are forced
to rehash and re-imagine the same concepts again, and again, and again. I’m all
for exploring the depths of characterization in this sort of a setting, and
whether those characters are gay or straight makes no difference, but I’d like
to see it done in a slightly more creative fashion than ANOTHER
Kurosawa-tribute. At least the art by Chaykin is really cool, and I’m not even
that much of a Chaykin fan, but his style certain seems to fit the grainy, dirty
feel of the Old West, so at least the atmosphere feels authentic, even if
nothing else really does. |
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BATMAN BEYOND #1 (of 6) |
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Writers:
Adam Beechen
Artists:
Ryan Benjamin |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
DC Comics
Shipped On:
063010
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MSRP:
$2.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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DC'S SYNOPSIS:
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Terry McGinnis - the Batman of the future - and an elderly Bruce Wayne - the
original Batman - are the sworn protectors of Neo-Gotham. But when someone
targets The Dark Knight's old foes, the new Batman must begin a case that
reaches back into Bruce Wayne's past and puts Terry's future directly in danger! |
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SWEET DAN'S REVIEW:
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Terry McGinnis is never going to get anywhere as a
character if he’s constantly forced to walk in the footsteps of the original
Batman, Bruce Wayne. Unfortunately writers or editors have seen fit to allow yet
ANOTHER old school concept to invade its way into a potential future limiting
the number of ORIGINAL villains one could hope to expect from a “Batman Beyond”
series. By utilizing a villain whose identity hasn’t even really been fully
established Adam Beechen does ‘Beyond’ fans a disservice; (SPOILER WARNING) Hush
hasn’t had a chance to blossom into a Batman-staple yet, and that only seems to
cause the story to lean heavily on borrowed continuity, which isn’t what I was
looking for from this limited series.
While artist Ryan Benjamin perfectly captures the feel of the animated series,
and at the same time draws comparison to Scott McDaniel, whose art I could take
or leave, Adam Beechen seems lacking in a couple of very important departments.
Beechen’s dialogue feels somewhat stilted, even though the pacing is spot-on,
it’s the overall direction of the story that I find meticulous, even boring. By
tying McGinnis’ Batman to the original archetype, or even so far as its most
recent additions, it only serves, in my opinion, to anchor the character to
what’s come before, without any real indication of what’s to come if we allow
THIS idea to bloom. I mean, why would someone want to read a “Batman Beyond”
comic if all it does is lean on stuff we can read in a current issue of
“Batman”?
That said, I thought that this was an ALRIGHT issue, with a bit of kudos going
to the creative team for at least capturing the spirit of the cartoon on which
this series is based. Six issues is a long time in comics, even in the new,
decompressed, write-for-trade style that seems to permeate the medium, which
allows for a bit of wiggle room. Maybe Beechen is on to something that I haven’t
spotted yet. Maybe he’s setting Hush up to be THE “Batman Beyond” villain that
he was meant to be, as opposed to the late-to-the-party, last-minute, add-on
that he feels like now, dueling with Bruce Wayne, whose obviously far too much
of a match for poor Tommy Elliott. Or maybe he just wanted to update an
old-favorite and ran out of ideas.
I was really looking forward to this, and I’m actually quite disappointed in how
it turned out. I don’t know what I was expecting, but I get the feeling that
they (editorial) were attempting to recapture the lightning-in-a-bottle that was
“Return of the Joker”, unfortunately for those of us who were actually expecting
creativity in this latest outing. Even though it manages to maintain a certain
‘essence’ that I remember from days gone by, there doesn’t seem to be enough
substance with this misfire, this abortion of an idea, to keep me sticking
around for five more issues, but at least it isn’t a MARVEL mini-series, then
you’d have to spring four bucks an issue, instead of three. |
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MINDFIELD #1 |
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Writer:
J.T. Krul
Artist:
Alex Konat |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
Aspen Comics
Shipped On:
063010
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MSRP:
$2.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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ASPEN'S SYNOPSIS:
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THE WAR ON TERROR HAS JUST BEGUN! The CIA has created an elite team of
telepathic agents dedicated to fighting domestic terrorism. But as Connor and
the rest of his crew take to the streets, can they handle the dark thoughts
buried inside the minds of 'we the people?' Aspen's newest hit series, MINDFIELD,
comes to you courtesy of creator J.T. Krul and new comer Alex Konat who present
to you a world of action and intrigue the likes of which you've never seen! As
the War on Terror reaches its most critical point, the CIA's special team of
telepathic agents sets out to confront real world threats. But, a dangerous new
plot emerges in the most unlikely of places. As Connor struggles to cope with
his frightening new abilities, he soon discovers the hard way that too much
information can be a very bad thing! |
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SWEET DAN'S REVIEW:
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J.T. Krul seems to be a writer to watch as of late.
He’s taken over the reins of Aspen’s flagship series “Soulfire”; he’s
masterminding the Green Arrow shake-up, as well as writing “Teen Titans” over in
the DC Universe, and now he’s released his own title “Mindfield”, which is an
apt combination of a government anti-terror unit, ala “24”, and the X-Men, if
all the X-Men had the same ability. It’s a cool concept, and the execution is
almost there, especially in terms of the artwork, but something about the book
tilts the scale more toward T.V.-movie-of-the-week rather than
big-summer-blockbuster.
According to Krul, the government has been experimenting with mind-control, as
well as precognitive abilities, for quite some time; by attempting to exploit
any natural talents discovered as well as create drugs which unlock latent
abilities in normal people the shadowy government agency known as the C.I.A. is
hoping to get a leg up on the War on Terror. It’s all very fancy and flashy,
with the team of psychics barging in on an unsuspecting group of terrorists,
then laying waste to them as they strut and pose about the place, all while
utilizing their abilities to maintain the upper hand. It’s cool to an extent,
but it also feels very one-sided, like one wrestler jobbing for another in the
ring.
There is, of course, a great deal else going on such as inner-turmoil distrust
amongst the group, the not-quite-good-guy/not-quite-bad-guy boss who enjoys
making things difficult for the team, as well as each character’s own internal
conflict with regard to how they feel about being manipulated by Uncle Sam into
being experimented on. While this is all obviously building to a head, the team
takes a night off and goes out on the town in an attempt to cut loose and forget
the tribulations of the day’s preceding events. Things don’t exactly go as
planned, and one of the team members may have taken his pent-up aggression out
in the worst possible way when he beats a rapist to with-in an inch of his life.
Alex Konat made a name for himself, or should I say started making a name for
himself, by illustrating the “Batman: 80-Page Giant”, which surprised me a
little because his style seems much better suited for the Aspen line, almost
in-step with their house-style from jump. He’s definitely a dynamic artist with
an eye for detail, and his panels are full of moody environment, serving to
really enhance the atmosphere of the story. His story-telling ability is really
great; there’s not a single panel where things are unclear as to what’s supposed
to be going on, and that really works to the book’s advantage. Like I said
before, there’s a lot going on, and even though the book doesn’t knock any one
aspect out of the park, it does enough to maintain a base amount of interest.
I’d like to say that this series is going to be REALLY well done, but hey, I’m
not a mind-reader. |
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AMAZING SPIDER-MAN #634 |
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Writer:
Joe Kelly
Artists:
Michael Lark & Stefano Gaudiano |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
Marvel Comics
Shipped On:
061610
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MSRP:
$3.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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MARVEL'S SYNOPSIS:
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GRIM HUNT PART 1: A SPIDER-MAN EPIC TWO DECADES IN THE MAKING BEGINS!
Several years ago, one of Spider-Man's greatest enemies, Kraven the Hunter,
stalked his last prey, dying with a violent, misbegotten honor. Now, two women
claiming to be his wife and daughter have tracked Spider-Man, through the urban
jungle, weakening him through the Gauntlet while they prepare to attempt an
unholy resurrection. They're hunting Spiders...and Spider-Man's friends and
namesakes are in their sights. Written by Joe Kelly and drawn by Michael Lark
(DAREDEVIL) this is only the beginning of a Spider-summer that will be talked
about for years to come. ALSO BEGINNING THIS ISSUE: TWO EXCLUSIVE FEATURES!
Original Spidey creator Stan Lee returns with Marcos Martin for a 2-page Spidey
Sunday Feature that brings the real world into Spidey's world! PLUS: J.M.
DeMatteis, author of the classic "Kraven's Last Hunt" returns to the Amazing
Spider-Man with Max Fiumara to explore an unknown confrontation between Kraven
and Spidey's violent doppelganger KAINE...a battle which promises ramifications
on the Grim Hunt itself. |
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SWEET DAN'S REVIEW:
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This is what all the build-up has been building up
to? This is the ‘landmark’, or ‘ground-breaking’, or even ‘amazing’ “Grim Hunt”,
for which Spidey, as well as readers, ran through “The Gauntlet”? This is what
I’ve been waiting for since “The Amazing Spider-Man” #600, which first alluded
to the preparations for a hunt as grim as this one when Madame Web was accosted,
her abilities manipulated by the Kravinoffs for their own dastardly purposes?
This is the story that required a Spider-Woman die for the plot to make sense,
and then promises to keep the mayhem, murder, and madness cranked to TEN for
remaining issues? THIS, along with some ill-conceived back-up pieces, is what
accounts for the sudden dollar-bump in price of a weekly title that already
makes up a good chunk of my comics-buying budget for the month?! So, fair
reader, what do you think my stance on the story is, before we go any further…
Alright, I’ll admit that I’ve had a bit too much of the old fan-wagon kool-aid
with regard to the esteem which I have for “The Amazing Spider-Man” since the
‘Brand New Day’ began. However, I’m not inclined to continue to purchase a title
that sees fit to cram itself to the gills with extraneous hulla-bulloo, and
charge me an extra dollar each week for what essentially amounts to a
collected-edition’s worth of comics-buying. I love getting a short by Marcos
Martin every issue, but in the form of a two-page, penned-by-Stan Lee, crap-fest
immediately following some sort of insert, Kraven the Hunter ret-con, well, no
thanks. Maybe the Kraven thing was something akin to what they’re attempting to
do with all the great horror franchises as of late, an unnecessary update,
reinventing the character for a new audience. Sure, I can deal with that, but
seriously, Max Fiumara’s art, which I’ve previously raved about did nothing for
me, and I felt Marcos Martin’s talent is being wasted paired Stan Lee.
Oh, I guess I should tell you about the comic, huh? Well if you’ve been
following Spidey until now then you already have a handle on what to expect,
sort of. The Kravinoffs have been effing with Spidey’s greatest enemies, amping
them up something fierce, and setting them loose to run amuck in Peter Parker’s
life. Well, they’ve also been ‘hunting spiders’, whatever the hell that’s
supposed to mean (it means that they’re tracking down and attacking anyone who’s
ever used a Spider-logo, or a Spider-moniker, or just plain old spider
squishing, I’m pretty sure) and they’ve already trapped Maddie Franklin, a
Spider-Woman, and Madame Web, a clairvoyant they’ve been using to chart the
recent course of events. So Spider-Man and another Spider-Woman, now Arachne,
which is the worst super-heroine name I’ve ever come across, worse than Hootie
McBoob, but I digress. Spidey and Arachne get caught in a WEB of intrigue when
they’re attacked, obviously teaming up should thwart their Kraven-lite problem!
There’s a bit more to it than that, I mean, a bit, like how they’ve managed to
overcome Spidey’s spider-sense, or how they sacrifice one of the two
aforementioned Spider-Women in order to, wait, they’re doing all this so that
they might resurrect the patriarch of the Kravinoff clan? Seriously?! They
manage to get one resurrection underway by the end of the first issue, which at
least says something for the story’s pacing, but the results are anything but
expected; even the Kravinoffs have to rethink their plans. All in all I felt
that this was a lack luster issue, with only the art serving to carry me through
the drudges of this latest attempt by Marvel to squeeze blood from a turnip, or
maybe I should make that cash from comic-dependent lower-middle class/working
class poor.
Did I mention that I thought that the art by Michael Lark and Stefano Gaudiano
was out of this world? I mean, it’s a bit of a visual departure from the typical
Spidey fare as of late, the Pulidos, the Martins, the Fiumaras, the Bachalos,
the Azacetas, and so on, but it doesn’t make Lark’s stuff inadmissible. In fact,
I was quite taken by the realistically gripping take on the character as opposed
to the semi-classic take we’ve seen during “The Gauntlet”. Everything from
pencils, to inks, to colors seemed pitch perfect, too bad they weren’t put to
use on a better story. Thanks, Marvel, for making the decision to remove
Spider-Man from my pull list for the rest of the time you see fit to charge
$3.99 for it. I sure could use that extra twelve bucks a month toward my
collection of “Ex Machina” trades! |
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WONDER WOMAN #600 |
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Writers:
Gail Simone, Amanda Conner, and J. Michael Straczynski |
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Artists:
George Perez, Amanda Conner, and Don Kramer |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
DC Comics
Shipped On:
063010
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MSRP:
$4.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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DC'S SYNOPSIS:
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You're invited to the gala celebration featuring WONDER WOMAN talent from the
past and present to commemorate this landmark issue! Renumbered to reflect
Wonder Woman's starring role in 600 issues, this book features the industry's
top talent - including Geoff Johns, Phil Jimenez, George Pérez, Gail Simone, Joe
Madureira and more! Plus, readers won't want to miss a chance to check out the
exciting, all-new direction for the Wonder Woman universe as new ongoing writer
J. Michael Straczynski (SUPERMAN, BRAVE AND THE BOLD, Amazing Spider-Man)
provides a story of his own! |
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SWEET DAN'S REVIEW:
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WOW! What a great deal of hulla-bulloo over such a
minor change to a character’s mythos. I’m not sure what ALL of the fuss is
about, although I know some of it is in regard to the change in Wonder Woman’s
classic costume, which hey, let’s face it, looked tacky as hell. There’s a lot
more to “Wonder Woman” #600 than J.M.S.’s pre-emptive strike, similar in fashion
to his short story in “Superman” #700, although it would seem that his is the
only aspect of the issue which has garnered any attention. I’ve seen arguments
for BOTH sides of the issue, and to be entirely honest I don’t think one side
has any hand over the other; the classic look and feel of Wonder Woman is an
essential part of the character’s history, but at the same time the character
has NEVER been as much of a commercial success as her Gotham City and Metropolis
counterparts, which should leave creators a certain amount of wiggle-room to do
as they see fit, as long as it translates to more sales for the title.
Real life Wonder Woman, Gail Simone, takes her shot first, combining with
celebrated artist, George Perez, for a story featuring just about every major,
and not-so-major, female super-hero in the DC Universe. There’s innocence about
the story which is appealing and annoying at the same time; everyone is so in
awe of Wonder Woman you’d think the character was the second-coming of Christ,
with boobs. I enjoyed the amount of respect both creator’s have for the
character, as any good creative team should be responsible for conveying to
readers the importance of the story, even if it’s only six or so pages. A great
deal of fans seem to believe that Simone is THE writer who should be tackling
the character in an attempt to bring her into the mainstream, but honestly, from
what I’ve read, I don’t think there’s enough to go on to make that claim stick.
One of my favorite creators is Amanda Conner; I don’t think anyone handles
members of the opposite sex the same way she does, and it seems to translate
well in terms of sales, as her critically-acclaimed “Power Girl” series was at
the top of my read-list every month. Even though she, and her writing team of
Jimmy Palmiotti and Justin Gray, has since left the title readers are treated to
a mini-Pee Gee story here, featuring of course, Wonder Woman. It’s chock full of
female bonding, which is interesting because readers of Conner’s “Power Girl”
are treated to something like a continuation of that series, while fans of
Wonder Woman get to see the character in a much more grounded context. By the
end I was really wondering why DC hadn’t offered the book to Team-Power Girl,
but that was before I read Straczynski’s take.
J.M.S. has been hit-or-miss with me, not just in comics, but in terms of
everything he does creatively. I loved his “Ninja Assassin”, but I didn’t care
for “Babylon 5”; I thought his “Thor” run was great, but I could care less about
his “Spider-Man” work. With the creator ready to step into the shoes of two of
DC’s heaviest hitters one has to believe that DC has given him free-reign to do
as he sees fit, seeing as how the writer has shown a great amount of distaste to
the idea of working within a shared-universe. He prints a bit of a manifesto,
his ultimate goal for the character, at the end, along with Jim Lee who was THE
go-to guy for redesigning the classic costume. Reading that instilled me with a
great amount of confidence; Straczynski is prepared to deal with all the slings
and arrows that come along with this sort of a re-boot, and not only that, but
his ideas seem not so much revolutionary, but sensible.
Sixty-some years ago Wonder Woman was conceived by William Moulton Marston, and
while his designs and creativity will always be the celebrated standard it’s
important to allow creative minds to flex their muscles and influence the
character’s path. Wonder Woman has never been held to the same standard that the
public regards Superman or Batman, and without taking any risks there’s almost
certainly no chance that she ever will. All it takes is one great story to
remove any trace of doubt from the minds of the readers, and I for one think
that any change brought to the mythology of a character that’s been this
stagnant for this long is absolutely wonder-ful. |
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DARKSTAR AND THE WINTER GUARD #1 (of 3) |
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Writer:
David Gallaher
Artist:
Steve Ellis |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
Marvel
Comics
Shipped On:
060310
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MSRP:
$3.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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MARVEL'S SYNOPSIS:
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The Harvey Award-winning team of David Gallaher and Steve Ellis reunite to bring
you the harrowing adventures of Russia's elite strikeforce! Atlantean warlord
Krang has brutally invaded the coast of Russia and only the Winter Guard has
what it take to stop his diabolical plan...but their actions just might have
dire consequences for Russia and the rest of the world. Guest-starring the
Agents of Atlas! |
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SWEET DAN'S REVIEW:
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There’s been a changing of the guard, not that I’d
expect anyone would have noticed. Before our country found itself swept up in
the throes of the “War on Terror”, we had ourselves another invisible enemy, an
ever-present, looming threat in the form of Communism, and as far as our country
was concerned the face most often associated with the Communist movement was
opposing world super-power, the Union of the Soviet Socialist Republic, or
Russia, as it’s known today. The Winter Guard is Mother Russia’s answer to
America’s Avengers, and although they were originally portrayed as pinko-Commie
villains (not as the Winter Guard, but BEFORE that), they’re being given the
hero-treatment in this 3-issue mini-series that pushes the limits of
tolerability, even for me, and I’m more a fan of obscure, continuity-free
characters than most fans.
The thing you need to know, more than anything else, with regard to the Winter
Guard, is that everyone on the team is expendable. Not only are a majority of
the team’s members legacy characters, but there’s a whole warehouse where they
store back-up Russkie’s just waiting for their shot at a role as Darkstar IV, or
Crimson Dynamo III, or Red Guardian VII, or…whatever. As an example, there have
been thirteen Crimson Dynamos since the character’s debut back in “Tales of
Suspense” #46, with the latest being Galina Nemirovsky, a young female with a
problem with authority, however, the fifth Crimson Dynamo, Dmitri Bukharin, is
also in the book, serving as team liaison and mentor, not that he ever dons the
costume (other than in flashback), so it’s not that confusing, but one has to
wonder if the character’s disposability is going to enter into play, or if it’s
merely a concept that is being introduced only to be abandoned.
Darkstar, or Darkstar III as she would be known considering the last two
Darkstars died, gets top-billing, although I’m not sure why. I can imagine that
the series’ pitch went something along the lines of: “The ALL-NEW Darkstar has
to figure out her role on the premier Russian super-team in someone else’s
shoes, all while befuddling readers who’re trying to figure out why the book is
named for her.” Seriously, the only real face-time she’s awarded is an awkward
conversation with the guy who turns into a bear, and even that’s all about the
LAST Darkstar, not the new Darkstar. I imagine by the end of the series the
focus will have returned to Ms. ‘Star, but as of right now I can’t really put my
finger on what the heck I’m supposed to be caring about.
The series seems rather unnecessary, considering the plethora of under-utilized
characters and ideas more deserving of a shot at mainstream success. I ‘get’ the
inclusion of the Agents of Atlas, serving to associate these quirky, out-there
personalities with those of the critically celebrated, yet commercially maligned
team of 1950’s throw-backs, but in a lot of ways I find that more
counter-productive. In my opinion the brief team-up only serves as a reminder as
to why THAT concept works so well, while this one falls flat; there’s a lack of
imagination that I attribute to the author’s attempt at drawing comparisons to
established super-teams like the Avengers, while ignoring the potential
directions that these stories could go in. This is a book about Russian
super-heroes, in a foreign place, with customs and traditions that a majority of
Americans (I’m willing to bet) are ignorant of, but as opposed to setting this
up to be its own animal, Gallaher seems content cloning and amalgamating some of
the more dominant species at the cost of any sort of unique personality this
title could have had. |
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SUPERMAN #700 |
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Writers:
James Robinson, Dan Jurgens, and J. Michael Straczynski
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Artists:
Bernard Chang, Norm Rapmund, and Eddie Barrows |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
DC Comics
Shipped On:
062310
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MSRP:
$4.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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DC'S SYNOPSIS:
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DC Comics proudly presents the 700th issue of SUPERMAN, a 56-page extravaganza
full of tales celebrating the Man of Steel's past, present and future! First up
is a story by the man who actually killed Superman, Dan Jurgens! Then, James
Robinson brings his epic run on the title to a close with a touching story
featuring art by Benard Chang that brings Superman back to Earth after his time
on New Krypton. Finally, we preview the exciting new SUPERMAN ongoing creative
team as J. Michael Straczynski and Eddy Barrows provide a story that sets the
stage for an explosive, all-new direction for The Man of Steel! (Seriously! Wait
till you read this!) |
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SWEET DAN'S REVIEW:
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The good thing about this issue is actually
three-fold: 1) It ends Jim Rob’s god-awful, skid mark-like stain on the title
and everything affiliated with it. 2) It begins JMS’
sure-to-be-renowned-but-I’m-gonna-wait-and-see-where-it-goes run. Which is cool
because it isolates this title from the rest of the Superman family, which as of
late has been so closely connected it reminds me of that weird movie “The Human
Centipede”, and the fact is, JMS works better when he’s not bogged down,
creatively speaking, with editorial mandates (ha, MAN-dates!); though I’m not
too sure about the Superman-as-Jesus Christ parallels that are inevitably going
to be drawn. And, finally, 3) the combination of the phenomenal art teams and
the incredibly in-depth previews insinuating where the rest of the Supes-related
titles are headed have me incredibly excited.
Jim Rob and Bernard Chang close out the ‘100 Minute War’ by reuniting Clark with
the love of his life, Lois Lane. It’s a filler story, with the sole intention of
including Lois and a couple costumed villains, one of whom is only seen in one
panel, and supposedly dealt with only after Jim Rob cuts to ‘Later’, immediately
followed by ‘Villains jailed. Story Filed.’ Then Lois and Clark go flying around
together, and she pleads with him to never leave her like that (see “New
Krypton”) again. Of course, that doesn’t bode well considering where the title
is headed with the “Grounded” storyline that JMS has cooked up, but I’m sure a
little romantic turbulence is not a big deal for Big Blue. Chang does a great
job, but I’d much rather see him on a title with more going on. His art is very
clean and extremely fluid, but it just seems under-utilized in this story.
Dan Jurgens is as much a part of Superman’s history as, let’s say Perry White,
and much like the editor of the Daily Planet Jurgens enjoys a certain amount of
control over his projects, which hails to the days he used to write AND
illustrate the character all by himself. While he isn’t illustrating the story
flat-out, he is responsible for the lay-outs, which Norm Rapmund finishes with a
masterful touch. The story is a quick throwback to “Superman’s early years”
featuring Dick Grayson as Robin (yeah, that far back). When the overanxious
crime-fighter-in-training attempts to take on arms dealers without the Batman he
quickly ends up in over his head, but it’s not that big of a deal, because
Superman is around and he’s always able to save the day. It’s a very cut and dry
tale, and yet there’s something strangely alluring about how simple it is, and
with a couple laugh-out-loud gags near the end served as a great reminder not to
take this stuff too seriously.
I have less to say about the sneak-preview of JMS’s work than I do about the
comments made afterward by the creators taking the reins of “Action Comics”, “Supergirl”,
and the soon-to-be-launched “Superboy” series. While JMS finds his groove rather
quickly, setting up the Superman-walks-across-America arc with a quick, clean
exchange between Kal-El and some lady who blames him for not saving her husband
from brain cancer, Paul Cornell, Sterling Gates, and Jeff Lemire have a lot more
work cut out for them. Cornell is taking over “Action Comics” and since Supes is
off-limits there’s an entirely new star of the book, and his name is Lex Luthor!
Alright, I’m mostly excited for this because Cornell has a unique voice and Lex
is so kick-ass, I’m sure the pairing is going to make for a fun read.
“Supergirl” by Gates and Igle is going to see the introduction of Bizarro-Girl,
which doesn’t really do much for me, but I’m sure if they bring the same
creative flair to the following stories as they have to the stuff that’s
preceded it, it’ll be a hit. Jeff Lemire, creator of “The Essex County” trilogy
and Vertigo’s “Sweet Tooth” (one of my favorite books) is finally getting his
chance to play in the big-leagues by bringing his knack for writing small town
folk to Smallville, and the newly resurrected Conner Kent. While I don’t know
how many life-threatening baddies populate the streets of the back-water Kansas
town, I’m sure Lemire has something weird and revolutionary up his sleeve.
Now that the “World of New Krypton”/“100-Minute War” saga has drawn to a close
the Superman family of titles feel a lot more inviting, like you actually could
pick up an issue, having not read what’s come before and feel like you’re not
missing anything. I think this is integral to bringing in new readership, but at
the same time it strengthens the brand by not forcing it to rely so heavily on
every other title with the S-emblem attached to it. I’m not looking forward to
EVERYTHING they have planned, but I do intend to give them a chance to win me
over. |
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JOKERS ASYLUM HARLEY QUINN #1 |
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Writer:
James Patrick
Artist:
Joe Quinones |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
DC Comics
Shipped On:
061610
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MSRP:
$2.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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DC'S SYNOPSIS:
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Top creators lend their talents to a new installment of THE JOKER'S ASYLUM - a
special month-long, weekly series of one-shots starring the greatest villains in
Batman's rogues gallery. Each issue is narrated by The Joker and tells a special
stand-alone story that gives readers an inside look into the insane lives of The
Dark Knight's greatest adversaries! This batch of tense tales spotlights The
Riddler, Harley Quinn, Mad Hatter, Clayface and Killer Croc! Can you stand the
madness?! |
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SWEET DAN'S REVIEW:
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There’s something truly endearing about the
character of Harlene Quinzel. Whether it’s the fact that she began her
illustrious career of villainy outside the realm of comics, she was created for
“Batman: The Animated Series”, then eventually found herself invited to ‘the big
show’, or her undying loyalty and affection for her on-again, off-again
paramour, The Joker, or maybe it’s just that skin-tight body condom that she
prances around in, whatever the case may be, everyone likes Harley Quinn, so
much so that in addition to co-starring in an ongoing series, “Gotham City
Sirens”, she’s getting her own one-shot, as a part of the “Joker’s Asylum” line
of specials.
While it’s far from a perfect book, it definitely gets to the essence of who
Harley Quinn is, which is a bat-$#!t crazy, loony toon with a tenuous grasp of
reality and an over-active libidinous side that results in her escaping from
Arkham Asylum with the sole intention of spending Valentine’s Day with her man,
Mr. J. As far as plot goes, that’s about it; what happens is a series of near
misses as she races around Gotham in hopes of tracking down the Joker, who’s
supposedly in some sort of trouble, only to end up back where she began, in
jail, with a semi-happy ending of sorts, that sees the two love-birds reunited,
even though it’s through three-inches of unbreakable, protective safety-glass.
Joe Quinones illustrates the story, and he does a tremendous job. His art style
is similar enough to that of “Batman: TAS”, which makes the character of Harley
Quinn really ring true to her roots. His sense of action and pacing is
masterful, and there isn’t a lot of extra stuff shoved into each panel to
distract the reader from what’s going on. It isn’t a dense read, and the artwork
allows a fast-paced story to move fluidly without a lot of the typical hang-ups
one sees when these one-shots are over-done. I’ve become a big, BIG fan of
Quinones since I discovered his work (on “Wednesday Comics”) and I really,
REALLY look forward to following him onto his next project, whatever that may
be. |
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MOUSE GUARD LEGENDS O/T GUARD #1 (OF 4) |
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Writer/Artist's:
David Petersen, Jeremy Bastian, Ted Naifeh, Alex Sheikman & Scott Keating |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
Archaia Entertainment
Shipped On:
060310
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MSRP:
$3.50 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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ARCHAIA ENTERTAINMENT'S SYNOPSIS:
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Inside the June Alley Inn, located in the western mouse city of Barkstone, mice
gather to tell tales, each trying to outdo the other. A competition, of sorts,
begins. The rules: Every story must contain one truth, one lie, and have never
been told in that tavern before. Legends of the Guard is a new Mouse Guard
anthology series with artists and storytellers handpicked by creator David
Petersen. |
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SWEET DAN'S REVIEW:
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“Mouse Guard” is one of those series that crept up
on me, without my knowing, quickly becoming something of a ‘hit’ in the world of
comics. By the time I’d planned to get on board with the title they’d already
released two stand-alone mini-series, and were working on two more, one of which
is “Mouse Guard: Legends of the Guard”. A collection of short tails, er, tales,
by creators considered to be ‘friends of Mouse Guard’, all of which, while
incredibly entertaining, are questionable as to whether they actually happened
within the realm of ‘MG’ continuity, if such a thing actually exists.
Set in The June Alley Inn, a local tavern in Barkstone in the Mouse Territories,
and really what better place to set a contest where old men, um, mice, tell
stories for free drinks, David Petersen writes and illustrates the framing
sequence set to run through the four-issue series, which also just so happens to
lay down the ground rules for the contest. “Tell no complete truths. Tell no
complete falsehoods. And tell me a tale I’ve never heard.” Sounds simple enough,
and yet this ‘simple’ concept allows for a kind of ‘free for all’ for any
creator invited to play in the ‘MG’ universe, as their story can be as out-there
and far fetched as possible, and yet never HAS to be regarded as canon.
One of my FAVORITE creators, Jeremy Bastian, whose “Cursed Pirate Girl” should
be regarded as nothing less than perfection, setting the bar rather high for
those Comics-as-Fine-Art types of books that will inevitably follow in its wake,
is first up out the gate. I was at C2E2 when I first heard Bastian would be
putting in work on the series, which at that point I’d never read, which only
intensified my disdain for not getting on board earlier. I had NO IDEA that it
would be debuting so soon after the show, only two months, and that he’d be the
first story in the first issue! “The Battle of the Hawk’s Mouse and the Fox’s
Mouse” is a piece set before the triumphant rise of the Mice over the other,
more dominant species that ruled over them. Bastian’s art style, while not at
all similar to that of Petersen, is a perfect fit for the fantastical world of
‘MG’, and he expertly navigates readers through an intense contest between two
rival predator’s Mice-minions. In the end it’s the Mice who come out on top,
very much setting the stage for all the established stories set long after, but
Bastian’s intricate line-work and keen eye for detail are the real stars in this
reviewer’s opinion.
The two following stories by Ted Naifeh and Alex Sheikman are both just as great
as the first, with my favorite of the two going to Sheikman’s “Oleg the Wise”.
Sheikman’s style seems right at home in the ‘MG’ universe, and I’d love to see a
longer piece by him, eight pages or so just isn’t enough. Both stories deal with
bravery and honor in the face of creatures that would just as soon devour a
mouse as they would look twice at them, but in each the main character, Tristam
and Oleg respectively, find different ways to circumvent their seeming fates, at
least temporarily. By the end of the final story it’s quite clear that all the
creators involved have an intense amount of love and respect for these
characters and the world in which they inhabit, and with that coming across to
me, a new reader, I can imagine how this reads to someone more familiar with the
previous chapters.
I don’t know what I was thinking when I didn’t immediately jump on the “Mouse
Guard” bandwagon, but after this issue I can assure you that I’ll be checking
into any sort of collected editions that exist out there (and by “out there” I
mean “at Alternate Reality”). By the time you read this review the second issue
of this title may be on store shelves, and I can only hope that I’ve assisted in
ushering a few more of my fellow fanboys and girls into stores with the
intention of picking up these issues, that is, as long as I’ve already gotten my
copy! |
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PENNY FOR YOUR SOUL #1 |
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Writer:
Tom Hutchinson
Artist:
J.B. Neto |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
Big Dog Ink
Shipped On:
060310
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MSRP:
$3.00 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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BIG DOG INK'S SYNOPSIS:
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Everyone has a price, and no one knows that better than Danica, the beautiful
granddaughter of Lucifer. She's set up shop at the Eternity Hotel and Casino in
Las Vegas, where anyone can sell his soul for ten thousand dollars. Mortals are
lining up in droves. But Heaven and Hell are taking notice, and they want Danica
to know they don't appreciate the competition! |
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SWEET DAN'S REVIEW:
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Las Vegas might not be the birthplace of sin, but it
sure has taken the allure of excess and indulgence to a whole new level, so much
so that the gambling/prostitution capital of America has come to be known as
‘Sin City’. Enter Big Dog Ink, writer Tom Hutchinson, and their story, “Penny
for Your Soul”, in which the antics by casinos to attract potential gamblers is
taken to a new, and decidedly biblical level, and I don’t just mean the slutty
looking babe on the cover in the Victoria’s Secret-inspired lingerie.
Some jerk named Anderson decides to take himself a vacation to Las Vegas, alone,
which can only mean one of two things, the guy has NO friends, not even a casual
acquaintance with whom he could travel to the party capital of our country, or
he’s looking to bang a hooker; which is cool too, if that’s your thing; it’s not
mine, but it might be his, and that’s fine. So anyway, he ends up at the
Eternity Hotel and Casino, and with an over-the-top and ominous sounding name
like that how could it NOT be cool?! He’s immediately greeted by beautiful
women, flashing lights, and the ever-so-intimidating/enticing offer of
ten-thousand dollars for the sale of his soul to the House, which is admittedly
a very perplexing plot device, because it assumes the sheep-like masses of those
willing to do very little to part with their money are as willing to part with
their spiritual essence just as quickly.
I’m not saying the assumption is incorrect; in the materially obsessed,
reality-TV saturated America that we live in, I doubt very highly that if a
Casino, or a freaking McDonald’s for that matter, had the stones to put an offer
like this on the table that there wouldn’t be idiots lined up around the corner
waiting to get their ‘free’ money. That’s what I liked about this book more than
anything: its testicular fortitude. Hutchinson manages to utilize characters
like Mary Magdalene, or an offhand mention of Jesus Christ in ways that are
bound to offend anyone who may happen to worship them. It’s not that he does it
for the sake of being rude, or shocking, or boundary-pushing, at least not from
what I inferred, but rather because he’s inserted these figures into a dirty
story, bringing them to a dirty place, and humanizing them in ways that the
story calls for, and while not politically correct, it’s bound to stimulate
interest in even a casual reader.
The whole point of the book seems to be the looming “Apocalypse War” signaling
the End of Days, which is being brought to a head by Danica, apparently the
daughter of the Devil, whose offer to purchase anyone’s soul for the princely
sum of 10K is merely a maneuver to slow the flow of souls into Heaven or Hell.
Of course, with the Big Two seeing a gradual membership decline they’re likely
to send investigators, which is exactly what the summary on the back of the
comic teases, and that’s exactly what happens; it’s not a surprise so much as a
way of moving the story away from the shameless slut-parade that, until then,
seemed to be the whole reason for the book’s existence. Yeah, it’s not a
nudie-comic, or an issue of “Cherry Poptart”, or anything THAT extreme, but it
does seem to pride itself on the artist’s ability to craft a flawless, while
genetically impossible, female figure, and the “Sex Sells” attitude of Las Vegas
comes through in spades. I don’t know where all this is going, but I know that
with slick art, and a ballsy story, there’s no reason this couldn’t be a really
great book. |
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NEW AVENGERS #1 |
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Writer:
Brian Bendis
Artist:
Stuart Immonen |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
Marvel Comics
Shipped On:
061610
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MSRP:
$3.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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MARVEL'S SYNOPSIS:
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Find out who the New Avengers are, where they call home (gotta see it to believe
it!), which Dark Avenger has joined their ranks, and just who the
interdimensional demonic threat to our existence is! These heroes have gathered
to take on the threats too dark, too dangerous, and too bizarre for any other
team of heroes. The New Avengers are back!! And Bendis & Immonen are back with
the Siege & Secret Invasion colorista Laura Martin!! You didn't really think
Marvel was going to cancel their number one ongoing title did you? Heck no!!
Backup feature: Another brand new oral history of the Avengers chapter by Bendis! |
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SWEET DAN'S REVIEW:
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I’m not sure how to feel about this. I mean, I can
quote myself as saying something along the lines of: “Bendis’ ‘New Avengers’ are
MY Avengers”, which is to say that twenty years from now, I’m likely to look
back at my 65-issue run of Avengers comics, starring the least-likely grouping
of Marvel mainstays, as MY favorite variation on the team’s roster, so why did
they have to go and restart it?! I have to be honest, it feels similar to dating
someone for an extended period of time, let’s say five years, and then having
that person break it off with you, only to tell you that they’re sticking around
but things aren’t going to be the same, you’re only going to be FRIENDS now,
like you’re supposed to ignore everything that’s happened to bring you where
you’re at?
This is the comic book equivalent of Brian Bendis having his cake and at the
same time eating that cake. He now helms the two PREMIERE Avengers titles,
“Avengers” and “New Avengers”, and while this latest offering feels like a
natural continuation of the previous Volume, and the former is a direct answer
to the people who’ve been clamoring for a return to the more classic-style of
Avengers stories, it still seems as if the author is able to possess cake and
devour it, simultaneously. I mean, clichéd phrase or not, that’s how it came off
to me, and I’m one of the guy’s most avid fans.
On the team you have Luke Cage, Jewel, Iron Fist, Mockingbird, Hawkeye,
Spider-Man, Wolverine, Ms. Marvel, and apparently the ever-loving, blue-eyed
Thing, Benjamin. J. Grimm! All of that is awesome, as a majority of those names
are the very same Avengers whom I like to claim as ‘mine’ from the previous
Volume, but I have to admit feeling at least a little jilted, as at least three
of those guys are double-teaming, and making time with the more mainstream
avengery “Avengers”. There’s also the inclusion of Dr. Strange, as well as
Brother, er, Doctor Voodoo, both of whom had some pretty meaty roles in the last
series, so I’m excited to see what happens, and yet, I’m not. It’s strange, I
feel like this is more of the same “New Avengers”, not new “New Avengers”, and
if that’s the case then why renumber and re-launch the series at all?
There’s something amiss in the mystical realms of the Marvel Universe, and the
New Avengers aren’t new to the dark corners in which magic and mysticism lie, so
when Dr. Strange shows up at the recently acquired (for one freaking dollar!)
Avengers Mansion looking to snatch up the Eye of Agamotto, Spider-Man and his
Amazing Friends, I mean the new New Avengers find themselves up to their own
eyes in dark artsy trouble. Of course, there’s a bit more to it than that, and
the bad guy is never fully revealed (other than explaining that they’re
possessed, Dr. Strange and Hellstrom seem to be the only baddies), but none of
that other stuff matters, yet. There isn’t nearly as much going on as there was
in “Avengers” #1, and the lack of passion seems somewhat evident.
I’m not trying to say that Bendis has fallen out of love with this title or
anything of the sort, but if the whole point of the last seven years was to
reposition the Avengers back into the spotlight then who’s in need of the
Avengers-lite? He’s working the big-guns in one title, which debuted to a
massive positive response, even from me and I wasn’t particularly looking
forward to it, so I’m left to wonder just what is there for Luke and his buddies
to do now? I mean, yeah, if some of Spider-Man’s enemies manage to escalate
themselves into the realms of some heavier-hitters, much in the way that the
last Volume started off with Electro and ended with Osborn, or maybe they can
fight a couple obscure X-Men threats once they wrap up this magic stuff, or
maybe not? Who’s to say really, but I know that this issue left me wondering:
“Just what is the point?” |
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AVENGERS PRIME #1 (OF 5) |
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Writer:
Brian Bendis
Artist:
Alan Davis |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
Marvel Comics
Shipped On:
060310
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MSRP:
$3.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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MARVEL'S SYNOPSIS:
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They were friends, brothers and teammates through all of Marvel's greatest
adventures, but recent events turned them into the bitterest of enemies. In the
wake of the Siege of Asgard Thor, Iron Man and Steve Rogers are brought together
on the same side once more, but these great heroes can't truly trust each other
yet. They better start soon because something only the Big Three can handle is
tearing their world apart. This all-new, grand and dangerous adventure will
catapult our heroes into the explosive Heroic Age and will unite comics legend
Alan Davis with Avengers scribe Brian Bendis for the very first time. |
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SWEET DAN'S REVIEW:
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‘The Big Three’ of Marvel’s Avengers has always been
Captain America (Steve Rogers), Iron Man, and Thor, however, over the course of
the last 5 or so years the mainstays of ‘Earth’s Mightiest Heroes’ haven’t been
seeing eye to eye. I mean, Thor died back when “Disassembled” was going on;
Steve and Tony fought a ‘Civil War’ against one another, which ended with
Captain America being taken into custody right before he was “killed”; Iron Man
went from Director of S.H.I.E.L.D to public enemy number one, to having his
brain reformatted like some sort of computer’s hard drive. Through it all there
were a few different teams laying claim to the name of “The Avengers”, but
without the primary, founding members did any of them really hold a candle to
the legacy laid down by these guys?
“Avengers: Prime” has the daunting task of filling in a gap in continuity that
only sort of exists. Between the ending of “Siege” and the beginning of
“Avengers” #1, which shipped only a week or two apart, Marvel feels readers need
to know just what it was that drew the three back into the fold together.
Apparently it’s some sort of magic, but that’s not really the point, the point
is that these guys, despite their numerous differences will always be able to
put aside petty squabbles to focus on the greater good. That is, unless their
separated by The Enchantress, forced to fight their way through different
dimensions in order to reunite and triumph over evil, if that’s what ends up
happening, I mean, I only read the first issue, sheesh.
There’s some great stuff in here, as Bendis’ strong suit is when he’s allowed to
let the dialogue between characters flow freely. He uses a bit of his witty
banter to illustrate early on that Steve Rogers still has a bone to pick with
his ex-teammate, and that Thor has a pretty large chip on his shoulder after
being killed during Ragnarok, cloned/roboticized during “Civil War”, then being
brought back to life only to have his home destroyed by Norman Osborn’s personal
bodyguard, The Sentry, during “Siege”. Iron Man is treated like an amnesiac
idiot, which is pretty much what he is at this point, a blank slate, with no
real memory of the douchey moves that dominated his life over the last five
years or so.
Everything kicks off once the big three discover some sort of tear in the fabric
of reality, which of course quickly becomes a plot device used to maneuver each
of the stars into dire straits. Steve takes on a cadre of war-tested trolls,
Iron Man is stranded in the middle of nowhere where he’s forced to make
adjustments to his armor and complain about a lack of coffee; Thor is thrust
right into the center of everything when he encounters a rather catty
Enchantress, who harkens back to a warning she issued during her first encounter
with the God of Thunder, “[She] will have her day of vengeance on [him] and
[his] house.” And, that’s where everything stops in anticipation of future
issues, so I don’t know if that’s what’s REALLY going on, or if something else
unseen is transpiring, but the truth is I don’t really care.
This should have shipped a week after “Siege”, as opposed to the three week
wait; instead it shows up two weeks after “Avengers” debuted. This is the
bridge, how the characters got from “Siege” to “The Heroic Age”, setting aside
their past differences in hopes of a brighter tomorrow, the problem is that by
the time this series is over, and readers have the gap filled in, the other
series will be half a year old, and no one will really give a darn. I think the
combination of Bendis and Davis is a one-two punch of ‘terrific’, although Davis
has the odd habit of illustrating Iron Man’s mask as if it’s emotionally
expressive, which really irks me, but it’s a small hair to split.
Davis has a classic style, which really empowers Bendis’ turn toward a more
celebrated take on an Avengers’ story. It’s not all talking heads, slow burn,
and street-level action. This is big, cinematic, over-the-top, Avengers action,
and Davis hits every note on the head, perfectly. Detail is packed into every
panel, and the backgrounds are lush and vivid, really going above and beyond the
typical look achieved by many of today’s industry-standard artists. The scene in
which Steve wanders into a Troll-den, where a tremendous number of baddies are
dining and drinking until Steve mentions his association with the Norse God of
Thunder, then all hell breaks loose, is really a powerful action scene, in which
the overwhelming threat is more than adequately represented in each panel, as
Davis manages to cram more nasties into each shot than I have fingers and toes.
It’s not that I didn’t like the issue for what it was, it’s just that I think
the timing is off, and that makes it a bit of a chore to wade through the
back-story when the characters have all moved on in “Avengers”-proper. There’s
no risk of them not coming back from this adventure, because we’ve already seen
what happens next, so the level of excitement reached by this issue is sub-par,
but only because editorial shot themselves in the foot by releasing everything
out of sequence. This isn’t a Tarantino movie, where jumping around only serves
to keep things from becoming monotonous, this is a serialized story, so if we
already know everything is going to be okay, and that the consequences of these
events has no bearing on what’s already going on, why bother reading it? |
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PALE HORSE #1 (OF 4) |
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Writer:
Michael Alan Nelson
Artist:
Sean Phillips |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
BOOM! Comics
Shipped On:
061610
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MSRP:
$3.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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BOOM'S SYNOPSIS:
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BOOM! Studios re-invents the Western - and you've never seen the Old West like
this before. Ex-slave and former Union soldier Cole has spent the years
following the Civil War building a reputation as the most fearsome bounty hunter
in the land. But when the tables turn and a bounty is placed on Cole's head, all
hell breaks loose. Finding himself unable to protect the thing most precious to
him - his family - Cole goes on a rampage of revenge, leaving only a trail of
blood in his wake. With nothing but his horse, his one surviving son and his
gun, Cole's rampage leaves no stone unturned and no culprit alive! Covers by
Leonardo Mancoo and Robert Adler. |
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SWEET DAN'S REVIEW:
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Seems like a good week for the Western genre at
Alternate Reality, as I’ve already read through the less-than-stellar “The
Rawhide Kid” by Marvel, and my new favorite indy-publisher just so happens to
release “Pale Horse” the very same day, so yippee-kay-yay, ya varmints! While
Marvel’s offering was a bit on the light-hearted side, BOOM! Studios has gone in
the completely opposite direction, offering a bit of an ultra-violent revenge
twist to the cowboy tale, and it does the story a whole lot of good by doing a
whole lot of bad.
Murdering a man’s wife is an easy way to attract a whole lot of negative
attention, especially if that man is already skilled at hunting and killing
things. The story begins with a black man, Cole, overhearing a group of
low-lives bragging about doing in an Indian Squaw. As it would turn out, that
Indian Squaw, whom the white men mercilessly raped and murdered, was Cole’s
wife, and together they shared a home and a child, who was hidden before the men
arrived. Cole brings his son, his WHITE son, to a church, where he leaves the
boy in the hands of a minister as he sets off to right the wrongs against him
and his family.
There’s a lot of racism, gunfire, and carnage packed in these 22-pages, as the
story takes a slight turn, allowing Cole to take his revenge in a timely and
efficient manner before the end of the first issue. Fast-forward three years,
Cole has a bounty on his head, but that doesn’t stop him from turning bounty
hunter, and bringing in the outlaws who seek to do him in. The local Sheriff
even has “Wanted” posters with Cole’s face on them hanging on the wall of his
office, but he understands what Cole did was ‘justified’ by the law of the Old
West. There’s a good deal of gun-play as any number of men take after Cole in
hopes of collecting the reward on his head, but he makes short work of them all,
and does it all in front of the ever-watchful eye of his boy.
I’m pretty sure that “Pale Horse” is going to turn out to be a reference to the
child, as opposed to the Black main-character, but the fact that I even care
enough to find out is pretty amazing. BOOM! Studios really shine when they allow
authors and artists to work on projects sans editorial mandates, and because
they’re still a fledgling publishing company there’s very little to mandate. I
enjoyed this MORE than Marvel’s “The Rawhide Kid” because “Pale Horse” doesn’t
pull any punches; its portrayal of the Wild West is exactly the type of man’s
world that one would expect it to be. Both the art and story provide a clear
vision of just what the author/artist is trying to do, there’s no wiggle room
for comedy, or adventure, or sassy “Deadwood”-ish backtalk, there’s only time
for killing, and that’s just what seems to be going on in the Black Hills of
Wyoming. |
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RED HOOD LOST DAYS #1 (OF 6) |
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Writer:
Judd Winick
Artist:
Pablo Raimondi |
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Reviewer:
"Sweet" Dan Sweet
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Publisher:
DC Comics
Shipped On:
060310
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MSRP:
$3.99 each
(15% OFF during it's 1st Week of release only at Alternate Reality!)
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DC'S SYNOPSIS:
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Judd Winick (BATMAN: UNDER THE HOOD) returns to write the adventures of Jason
Todd in this special 6-part epic exploring the lost days of this misunderstood
character. Learn what secret events led Jason on his eventual path of death and
destruction. Guest-starring Ra's al Ghul and Talia with amazing artwork by Pablo
Raimondi (BATTLE FOR THE COWL: THE UNDERGROUND, X-Factor). |
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SWEET DAN'S REVIEW:
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What struck me as ‘odd’ about this first-issue is
the lack of attention paid to the ‘how’ of Jason Todd’s return, which I still
chalk up to a continuity-punch by Superboy Prime in “Infinite Crisis”, in favor
of focusing on the ‘what’ in terms of how he was driven to become the latest in
a long line of Bat-baddies. Short answer: The al Ghuls, Talia and Ra’s, and
their League of Assassins, that’s the ‘what’, but it’s the ‘why’ that seems like
the most interesting story point, so far.
For the better part of a long-freaking-time Ra’s al Ghul has cornered the market
on death and resurrection in the Batman universe, and when the evil mastermind
discovers the former Robin’s return had NOTHING to do with his Lazarus Pits,
well, he was more than anxious to discover Jason Todd’s secret. There’s very
little offered in the way of ‘how’, like I said before, instead the focus is
placed squarely on the rehabilitation offered to Todd by Talia al Ghul, in hopes
of winning over the heart of her on-again, off-again love interest, and
sometime-enemy, Batman.
Other than that, there’s not a whole lot to grab a hold of this issue, and
excite the reader into coming back. If you’re REALLY into the relationship
between Bruce Wayne and Talia al Ghul, well then, this is the book for you,
however, if you were looking for definitive answers in regard to what the heck
is going on with the guy that FANS voted on killing-off all those years ago,
keep looking. I was hesitant when I first heard about the series, thinking that
it would only cause more confusion (what with Morrison’s switching the character
up again in “Batman and Robin”) and so far, I don’t consider myself correct in
that assumption, but let’s call it ‘on the road to being correct.’
Pablo Raimondi is a gem of an artist. His work on “X-Factor” for Marvel Comics
was greatly overlooked, yet it seems as though DC had the good sense to offer up
some work, and he really provides a flawless effort. I like the way he’s able to
capture the youthful resilience of Jason Todd (even in a somewhat-zombified
state) and play it against the ancient and foreboding look of Ra’s. He doesn’t
forget that Todd is a kid, or at least WAS a kid, before digging himself out of
his own grave, and it shows in the way the physicality is depicted with clean,
fluid linework. I can only imagine that as the series draws on the art is going
to grow on readers, if they haven’t been taken by it already, but it’s sad to
see such a talented artist attempting to make a name for himself on a book that
probably won’t make any waves in the overall scheme of things. |
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All Books/Characters pictured herein are © Copyright 2010 by their respective
owners. No rights given or implied by Alternate Reality, Incorporated.
Reviews © 2010 Alternate Reality, Inc.
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"The opinions expressed in the reviews below are not necessarily those of Alternate Reality, Inc. Hey, I don't agree with all of them either!"
