Comics of the Week - Odd Couples

Seems like every week, I'm going to be writing about a Jonathan Hickman book. This week, it's FF #17, which continues the one shot stories he will be giving us in both Fantastic Four and FF until he is off the titles later this year. The epic story done, what we are getting now are stories focused on individual characters and relationships. While the last issue of Fantastic Four was a tearjerker, this issue of FF is a romp. Johnny Storm has moved in with Peter Parker and this is the ultimate Sci Fi Odd Couple right here. Pete just wants peace and a closet that doesn't lead to the Negative Zone. Johnny wants to party with Magical Horse People. There isn't a lot to say except that this was so much fun to read. And it's an aspect that Hickman has only hinted at in previous issues. There have been humorous moments throughout his run, but never a full on issue's worth of laughs. It just goes to show that there's still a lot Hickman can show us in the little that's left of his work with these characters, and in whatever he does next at Marvel and his creator owned work.

Speaking of guys I write about a lot, I haven't said much about Scott Snyder in a while. And it's not because his work hasn't been good. This month's American Vampire #26 just stands out to me because it seems almost like a fresh start for the series (not that it needed it). I'm not sure there's been an issue of this series that I haven't loved, but it seems like each story arc just gets stronger. Much like The Wire, we see characters we haven't heard from in a while pop up and become central to the story again, in unexpected ways. Different aspects of American history get intertwined with Vampire history, with one commenting on the other. In this story, race seems to the focus with a black vampire who hunts other vampires coming across what appears to be a new breed of werewolf/vampires terrorizing a southern town. As is usually the case with this series, and most of Snyder's work, this really can go anywhere at this point. It's never predictable, but always makes sense. His literary style continues to suck you in from page 1 of each issue. And, also as usual, Snyder teams with a stellar artist in Roger Cruz. I am not familiar with his work, but it fits in perfectly with what Snyder cooks up in this book. If you love vampires, real ones, you should be reading this. If you're tired of vampires, this is different, and you should be reading it. Just read it.

Comics of the Week - Icons in Transition

I continue to enjoy Snyder and Capullo on Batman. The Court of Owls story is getting more and more complex as we go along, going back into the past to reveal some startling details about Gotham and the Bat family. This week, we find out that Dick Grayson was meant to be a Talon for the Court. This revelation is sure to cause some controversy among the fanboys. I think it plays right into what Snyder is doing. And what he's doing is ultimately something that needs to be done. As much as I love Batman, he's fallen into the same trap that Superman always ends up in as a character: he's just too much of a badass. Rocking his world like Snyder is doing, making him question his ties to Gotham and his very family, is ultimately something that will ground the character. I'm not sure how I feel about the Night of the Owls event crossing over into the rest of the Bat books, though. One thing I've enjoyed about the relaunch is that I can completely ignore the idea of continuity. I can just read the books I like and not worry about anything happening in other books. Each writer can do what they want, or so I thought. Sure, this idea came from Snyder, but what if Snyder were forced to write in a concept that came from another creator, one I may not like. I think doing a crossover is fine when it originates with the writers, as it is with Swamp Thing and Animal Man. But this seems like DC trying to bring together the Bat books, when having them separate and on their own is kind of working just fine. Either way, I don't intend to read anything I wouldn't normally read just because of this.

Wonder Woman also continues to ground the character in unexpected ways. Three times a year, the Amazons hijack passing ships, then rape and kill all the men in order to get pregnant. Also, when they have boys, they would kill them, if not for Hephaestus, who saves them by trading them for weapons and taking them to work in his forge, building weapons, mostly for the Amazons. Dark, grim stuff. Personally, I like it. I think it's logical and Diana's reaction to it brings a new depth to her character. This complexity of character is something Azzarello is good at and here it is pulled off very well. My concern is that now I'm not sure if Wonder Woman can be a traditional, iconic hero. While I am OK with that, I wonder how you can ever create an all ages version of this history. If the idea of the relaunch was to appeal to a broader audience, a younger audience, I'm not sure this will accomplish that. Up until now, I was looking forward to giving these books to my daughter as soon as she gets a little older. Now, it seems I'll have to wait longer than I thought. And that's fine, since I'm still enjoying it and I think it's an interesting direction to take. I'm just curious as to how long this will stand before DC has to reboot it yet again, because they can't market it to younger readers. This may have worked better as a Vertigo book, much like Marvel does with their Max line of titles.

Comics of the Week - For Better or Worse

Sometimes, I can't be so positive about what I read. Two books this week were not to my liking and I think one is getting cut off my list. But I guess that's balanced out by the fact that most of the other books I read were outstanding.

I'll get the bad out of the way, first. I loved the first couple of issues of Action Comics after the reboot. It really felt to me like Morrison was making Superman relevant by going back to the Golden Age version of the character. It was a down to earth Superman who wasn't the big hero and still learning the ropes. However, the series slowly started getting into areas that were losing me. So the last few issues, I've just been giving them a chance because, well, it's Morrison, and I know you usually have to give him time to cook. But I think I've completely lost interest in the meal at this point. I don't know whether or not I can say this was a bad issue. I'm sure for fans of the Legion this wasn't as convoluted as it seemed to me. It's not even that I had a hard time following what was happening, as much as that I just wasn't engaged enough to care. Although, the concept of having Superman's enemies create a tesseract inside Superman's brain so they can hide where he'd never find them is not only pure Morrison, it's just awesome. But crazy concepts aren't enough to keep me reading, so I think I'm out.

I've sung many praises about Rick Remender on Uncanny X-Force. And I will likely sing many more. But the current arc will likely not be included in those ballads. Interestingly, this arc is also focused on some crazy concepts, this time involving Otherworld, which I guess is an in between dimension in which the Captain Britain Corps police reality? That's the thing. I think the success of the previous issues is that Remender was able to use existing history and ideas without alienating readers who may not be familiar with them. But this time, it's distancing. I know there's a lot of fighting going on, but I'm not entirely sure who's who. Not helping in this case, is the art by Greg Tocchini. I can get behind non-traditional comic art, but maybe because it's combined with a story that isn't working for me, in this case, the art made the story that much harder to follow. It's interesting to read comments on the Internets on this issue because Tocchini's art is clearly a love it or hate it deal. As usual, I can't land on either side of an extreme like or dislike of it, but I do know it's not working for me on this book. What kept me reading, though, was the characterizations by Remender. He knows how to write these characters and that is why I will stick around. They can't all be winners.

A few months ago, I was considering dropping Invincible. Not because it was bad. I just thought maybe I had read all I needed to read about Mark and company. I could always come back to it and catch up in a few years, instead of reading month to month. But then, last month, Kirkman pulled me back in. This issue went further and now I'm hooked all over again. One thing about Kirkman's books is that nothing is ever to be taken for granted. Not in Walking Dead and not in Invincible. The stakes are always high because anything can happen. Hell, he disintegrated Las Vegas a few issues back, with no fanfare. It was just something that happened in an issue. Something like that happens over at DC or Marvel and it's a two year event with 600 issues of everyone's point of view. But anyway, here we have Allen the Alien coming to wipe out the Viltrumites in hiding on Earth with a virus that may or may not kill all the humans as well. The stand off leads to unexpected alliances and a confrontation that leads to a possible deadly fate for Mark. I could've been more vague, I guess. As usual, Ryan Ottley makes all of this seem like it's being born on the page, all by itself, in beautifully intricate lines. I'm not going anywhere, Invincible. How could I?

Some quick hits:

Animal Man brought us an issue that took a break from the main story without coming off like fill in. We get to watch Tights, the independent movie Buddy Baker stared in a few years ago. Well, we get to see most of it before the batteries on Cliff's phone run out. I was sucked into the movie and hope Lemire comes back to it at some point.

The last issue of Corrina Bechko and Gabriel Harman's Betrayal of the Planet of the Apes was right on. It really served to set up and expand on the world and characters of the original movies, right before Taylor crashes back to Earth. I am more than a little excited for their next Apes mini-series and wonder if it will pick up from here or if it will be a new story. In either case, more, please.

I've been enjoying Swamp Thing, but this is by far, the best issue yet. The action was ramped up here and it really feels like we are now in the middle of some high stakes stuff. Snyder does his usual great work with Marco Rudy on art for this issue. As in past issues, I love that the layouts are part of the tone of the story, working like vines and sort of winding into each other.

Comic of the Week - Serious Fun

One of the big divides in comics, particularly superhero comics, is this idea that they have to either be grim and gritty or fun. The legacy of Watchmen and Dark Knight Returns was an over reliance on the grim and gritty to the point of becoming absolutely ridiculous. It's only been in the last several years that the fun has really started coming back. But the question that arises, in my mind, is whether or not we can't have both, even in the same story. Can we get a story that is serious, harrowing, has ramifications, is "realistic" and yet, is still fun? Well, the answer is yes. Of course it is. And while I'm sure there have been other comics that have accomplished this, the idea really struck me as I read Batman #5.

There's a long history of stories, particularly on TV shows, where a character (or characters) is trapped somewhere. Could be a meat locker, storage container, or some other place that won't be checked for several days, making it a survival thing. For some reason, this is what I thought of, in a good way, as I was sucked into this issue. Batman has been trapped in a labyrinth by the Court of Owls for about 8 days now. He is slowly losing his mind, possibly because the only source of water is drugged, but also because the mind games he is enduring are likely taking a toll. In addition to the trapped motif, this reminded me of British show The Prisoner. Every time Batman thinks he's got an answer, some new trick is played putting further from escape and deeper into madness. Meanwhile, out in Gotham, we have scenes of the people in Batman's life dealing with his disappearance. Seeing the way people like Gordon, Alfred and Damian worry was, to me, more poignant than anything we saw a couple of years ago when Bruce "died."

But, as I said, this book manages to take all that heaviness and somehow keep it fun. How? By making the book in such in a way that it puts you in the labyrinth with Batman. The book is essentially printed in a spiral formation. Pages start normal enough, but at a certain point, they are printed side ways, requiring a turn. Then, you turn again and it takes you a second to realize the book is now actually upside down. It's actually quite disorienting because by this point, you're just sucked in to the story, so your first instinct may have you reading out of order, which only adds to the subjectivity of this method. When the book finally turns again, the image is a shock to the system. All of this, while taking you deeper into madness, makes the actual reading a blast. Snyder and Capullo masterfully kept the story serious while playing with the medium itself in a way that never feels gimmicky.

And about Capullo: Wow. Any reservations I had when I read the first issue of this series are more than gone. I read on Twitter that the whole turning the pages thing was his idea. Clearly, he's not just drawing here, but is a storytelling partner to Snyder. Aside from the playfulness of the flipped pages, panel to panel, there are no missing steps. Batman takes comfort in the darkness while in the labyrinth and Capullo draws him, almost dripping in and out of the shadows, his cape dragging like ink as he tries desperately to disappear from his tormentors. Seeing Batman actually afraid would be one thing, but this is also about madness and duality. His masked ripped, one eye is exposed, looking like the eye of a man wracked with fear. Capullo is basically acting out this role for us. Not only are we never lost in terms of the action (unless he wants us to be, in the labyrinth) but we can feel what the characters are feeling.

I've said about all I can about Snyder at this point, in previous posts. He has done no wrong as far as I can see. I know he gets sort of pigeonholed as a horror writer, but I think this series is proving, more than anything else he's written, that he can do much more than horror. I'm not saying I want him off Batman any time soon (or ever, at this rate), but I am curious to see what he will be doing after Batman. Can he take on an actual "superhero"? I'd like to see him try.

Comics of the Week - Vampires and D-Bags

I guess what will be my last post of the year should include a Scott Snyder book. The man just has done no wrong as far as I'm concerned. This issue of American Vampire kicks off a new story arc and actually looks like a good place to jump in, if you've been curious. The story takes place in the 50's and there's much talk about teens and rebellion. It's been pointed out on the net that this series is not only about vampires, but also about America itself. What makes it work is that the vampire mythologies are used to comment on and reinforce what is being said about the particular era that the story arc is taking place in. The series started in the 20's, but along the way, we've gone backwards as well as forwards in time, and each era has brought something new to the mix.  Make no mistake, though, this is not a heady series for history buffs. It's filled with excitement and you really don't need to get into the historical aspects at all to enjoy it. This issue is a great example, as it's filled with fun. A vampire hunter that likes to "bite back" with fake wooden teeth is just brilliant. For this arc, series regular artist and co-creator, Raphael Albuquerque returns and you can just hear Link Wray playing over some of these scenes. The different arcs of this series could be individual movies that link up, but can be taken on their own. As far as I'm concerned 2011 was Snyder's year, and it's hard to pick one of his books as a favorite, but this is the one that really kicked it off for him, so do yourself a favor and pick up the trades if you haven't been reading it. These vampires may not sparkle, but the stories sure as hell shine.

What would you do if you could fly? What if you were also a ginormous douchebag? Well, that's kind of what Joe Hill's The Cape is about. And this issue takes it to the next level. Eric, the main character of this story, is not just a douche, though, he's a plain evil bastard. You'd think flying, in and of itself, wouldn't be such a scary power to have, but if you want to see creatively evil ways of using the power of flight, and also bears and chainsaws, then this is the series to be reading. This issue goes by very quick, but it's a satisfying kind of fast. The art by Zach Howard is right on. It's just the right amount of dark, without making the piece too moody, so it gives everything a more realistic feel, resulting in the events being that much more horrific. There's just one more issue left in this mini, and I can't wait to see how it wraps up. I expect there will be another series in the future though. Probably following a different character. But who knows, since this has been pretty surprising and hard to predict.

Speaking of douchebags, Incorruptible 25 is the second part of the crossover between it and Irredeemable, telling the origins of both Plutonian and Max Damage and how they came to be arch enemies. Both of these series have been good from the start, with Incorruptible slightly ahead most of the time. Interestingly, Mark Waid has managed to have a different tone in each series, proving his talent. Now, doing a crossover that is essentially telling a story in flashback, from different points of view, he's just showing off. But it's a sight to see. For a guy who would become the world's worst supervillain, Max Damage's past is at once, exactly what you'd think and yet, not at all what you'd think. He is irrevocably locked in with Plotunian from a very early age. This is Lex/Clark, Magneto/Xavier territory here. Two sides of a coin, chicken and the egg, with shades of gray, smoke and mirrors. These are icons now.

Comics of the Week - The Feats of Strengh Edition

Heavy week for comics, quantity and quality. These aren't even all the books I really enjoyed.

As usual, here's my Scott Snyder praise. Batman #4 continues to build the mystery of the Court of Owls. Bruce's revelation that he's been investigating them since he was a boy makes perfect sense. Whether or not the conspiracy ties to his origin remains to be seen. Capullo gets better with each issue. That last page is gold. Not sure what else to say that I haven't said about every other thing Snyder has written, though. This guy is on another level.

This week, we had dueling Batmen, with Grant Morrison's Batman Incorporated: Leviathan Strikes, the much anticipated continuation of his epic Batman story. coming out as well as Snyder's Batman. In the opening pages, there's a note letting us know this takes place before Flashpoint and the New DCU. We get to see Stephanie Brown back in action as Batgirl and Dick Grayson as Batman. All good. But, I feel like the time between that last we read and the reboot hurts the impact of anything revealed here. By the end of it, I am not sure I care enough. I'm not a continuity freak, but this is the type of story that would have ramifications on the characters. If it has no bearing on the current continuity, then I'm not sure what to do with it. On the flipside, because it's taken so long and it's a double size issue, I think it's over hyped. It's a fine story, but when we get the last reveal, I just didn't see the big deal. Had this played out in regular issues, I think it would have had better impact. None the less, it is what it is and at least we get to see where Morrison was going with this. I still look forward to the next installment.

Fantastic Four 601 was, as much as I hate the overuse of this word, epic. It was huge action and huge moments. Johnny Storm returns from the Negative Zone and the moments where his family realizes he's back were short, but just as powerful as the moments we saw when he died. This, like Morrison's Batman story, has been a long time building and it's clear that Hickman has planted seeds for everything we see from the start. Epting's art is, well, fantastic, as usual.

It was just last week that Uncanny X-Force ended the Dark Angel saga. This week, back again, picking up the pieces, Remender continues to deliver on a book that, apparently, will continue to be one of the best books published in 2012 as it was in 2011. I had one small, maybe-problem with last issue in that last bit when Angel comes back. This issue made it clear that having him be "alive" actually does not take anything away from the beauty, sadness and power of the scene with him and Betsy as he died. I also like that this issue is setting up new pieces for Wolverine and The X-Men. Fantomex has quickly become one of my favorite characters. As much I've enjoyed Wolverine develop as a character, I'm glad Remender let them argue naturally to the point that I feel Logan came off looking like a bit of an asshole. That's character depth. Also, this issue, Robbi Rodriguez on art, fitting in perfectly. His style seems a bit rougher than we've gotten in this series, but that fits thematically since, at this stage, the team is pretty much in shambles. I like it!!

Wonder Woman. Man. This is just good. It's really playing out like a Vertigo book. This is a characterization of Wonder Woman and the gods that I'm not sure I've ever seen, but is exactly right. Azzarello really shines here. I enjoyed 100 Bullets for it's twisting narrative which was appropriate to that story, but here he's letting the characters tell the story by just being. It's a much less complex narrative, so far, though I'm sure things are about to get crazy. Chiang's art is so elegant. I find myself staring at his Wonder Woman in admiration. He draws her like a real woman, who is also a warrior. She does not have giant boobs and a pencil thin waist. She feels real and sexy. I've said graceful in previous posts and that still comes to mind, but also, and obviously, powerful. 

Comics of the Week - Tension is Good

Storytelling, specifically horror and suspense stories, are about building and releasing tension. Even the most basic story sets up something to keep the reader turning pages in hopes of a resolution. Sometimes, the tension is subtle. Other times it's almost unbearable. Severed has pushed the tension about as far as I have ever seen without a big release. And it's great. If this book were a rubber band, Scott Snyder, Scott Tuft and Attila Futaki would be pulling at three ends, with the reader stuck in the middle hoping they don't let go, but knowing they will. . . eventually, so just do it, please, I can't take it!!! We know the main character is going to lose an arm at some point, because we saw him as an old man in the first issue. We've had several moments along the way where this could have happened. Could have, but didn't. Each issue has been another example of how it actually is possible to be invested in how things play out, even when you have a pretty good idea of what it is that will happen. Yes, this is a horror story and yes it's a period piece, taking place during the depression. But at the end of the day, it's just a well crafted story that is playing with the readers ability to bear the tension. It's like funk. James Brown's theory of funk was about holding on the first beat before going to two. So it's ONE. . . . two, three, four, ONE . . . two,three, four. I guess what I'm saying is that as far as horror comics go, this is one baaad motha. . .

On the flip side, we have a book that has built tension as well, but with this issue, released it in a beautiful climax filled with excitement, surprises and emotion. Way back, in the first arc of Uncanny X-Force, things were set up that paid off in this issue, and I, for one, didn't see it coming. If I've grown to love Fantomex through this series, this issue elevated him to another level. And then there's the whole Six Feet Under moment with Warren and Betsy that was extremely moving. My only complaint may be that the power of this scene may have been undercut a couple of pages later. Either way, this is one of the best resolutions to an arc in an ongoing series I've ever read. Remender was able to wrap it up in a true ending, even while setting up pieces for the future. That's no small accomplishment. Opena and Ribic on art blend perfectly with each other and the story. This is easily one of the best books being published right now, by anybody. I can't wait to see what Remender has planned next for this team.

Comics of the Week - Tension and Class

There are many challenges to writing a good mystery. It can't be too difficult to solve or it will be hard for the reader to follow. It can't be too easy of a solution, or the reader will be ahead of the story and if the main character is meant to be a great detective, they will come off looking dumb. Overall, the mystery has to make sense. On top of this, the author has to slowly give you bits and pieces and maintain a level of tension that only more answers will release. All of these challenges are met, with mastery, in this latest issue of Scott Snyder's Batman. Bruce thinks he knows Gotham better than anyone else. He's the world's greatest detective. And yet, this story is about a mystery that was right under his nose the whole time. Watching him uncover it, in all it's creepiness, was to be put off balance, just as he must feel. The story telling in this issue, from both Snyder and Greg Capullo was outstanding. The Council of Owls is a great addition to the Batman mythos. It's creepy, mysterious and menacing. It brings the right amount of conspiracy to the table, and it's somehow quite believable. I could see this story being a David Fincher movie.

There's been some talk on the internets about the changes to Wonder Woman's origin. Some people aren't too happy, but I think they are way off. This is great. Previously, Wonder Woman was made of clay by her mother, Hyppolyta and brought to life by the gods, so she had no father. This issue reveals that this was just a story, a legend, told to protect her and others from the truth. Hyppolyta had an affair with Zeus, who is Diana's father. What makes this work is that the clay story remains. As a matter of fact, the other Amazons used it to taunt Diana, calling her Clay. So, by the end of this issue, it really plays out in beautiful, symbolic form that she is breaking away from her past, as if emerging from a clay shell, while telling the Amazons not to call her Clay anymore, or Diana. She is now just Wonder Woman. It's a very elegant way to re-energize the character without having to go through a whole convoluted identity crisis like they did before the reboot. Azzarello really raised the bar here in terms of using origins to define a character. And Chiang's art is breathtaking really. His layouts are clean and economical, perfectly balancing the story. Wonder Woman looks gorgeous without the need for exaggerated sexuality. It's just plain classy.

Comics of the Week - Snyder and Lemire: Literary Man Crushes

This week, I'm doing something a little different, although it should come as no surprise.

Scott Snyder and Jeff Lemire each had two books come out this week. Each had a DCU book out and a Vertigo book. Each of their DCU books were once Vertigo books. Each one of them, with these four books, demonstrate a sophistication in story telling that I believe is at an all time high in comics. Sure, back in the 80's Alan Moore's Watchmen and Millers Dark Knight Returns, and yada yada yada. . . I love those books, too. They are important. But this is different. This is not about turning the genre on it's head or changing the medium. This is not a revolution of any sort, unless you consider the craft of storytelling, well done, to be revolutionary. And maybe you do. And maybe you should. I'm not suggesting there aren't other great writers working right now, because there are. But I see a difference in approach and execution from Lemire and Snyder. I think Literary would be the best word to describe it.

Snyder's American Vampire, in many ways, plays out like a great novel. This weeks issue is interesting in that it is the back story of Skinner Sweet and James Book, but within this back story we go further back to the story of the first American Vampire. Under normal circumstances, a flashback in a flashback could be jarring and leave you shaking your head wondering where you are in the story. In the commentary track for Reservoir Dogs, Quentin Tarantino addresses the issue of flashbacks in his movies by pointing that novels go back and forth in time and no one calls them flashbacks. He goes on to say "I'll tell you when it's a fucking flashback." I think the same applies here. While comics are not exactly like a novel, I think Snyder can get away with this because the over all story is being told in such a literary way. He clearly knows where he is going and is merely taking his time to get there, letting us take in all the details. He uses a lot of words, but it's never out of place or cumbersome. The same is true of what he is doing in Swamp Thing. 

With Swamp Thing, Snyder is just starting the story so much of what he is doing is about character. Opening with a new character, a child, stuck in a bubble and then going to our hero, Alec Holland, connects the two in a way that goes beyond what the connection is revealed to be. In many ways, the emotion of that opening scene is a reflection of what Alec Holland is feeling. He feels trapped but is about to realize what he is capable of. But it's not just a character study he's doing here. He uses character to move the plot and action forward. Nothing is wasted in Snyder's work and I doubt anything happens by accident. He knows what he's doing at every step of the way and has thought this through well in advance for both of these books. American Vampire has developed over 20 issues and a mini series going back and forth in time and focusing on several different characters along the way. Yet, at no point has this felt anything other than focused. It comes as no surprise to me that he teaches writing.

Lemire's Animal Man and Sweet Tooth have more than a little in common. Here are two books about people being connected to animals, myths and mysticism. Both books are anchored by rich characters and connections to children and family. And yet, they are very different. Animal Man is currently working more with outright horror elements and the fear is palpable. Yet, in the midst of all this, Lemire sprinkles humor in unexpected places. Overall, however, although this issue has big action and high concept, it's Lemire's seemingly effortless characterization that makes it work. In his previous work, Essex County, the characters felt like they would drip from the page in a crying heap. There was a heaviness to them that was undeniable, and you couldn't help but feel their beautiful sadness. Animal Man is not about sad characters, but in this issue in particular, when they are afraid, you know it. These are things that could be attributed to the art, and Lemire was the artist on Essex County. Here, however, although Travel Foreman is amazing, I think the characters work because they've been built up to work. We've seen them interact in real ways that made them relatable to the point that we understand the fear of this issue on a primal level. I think I know what Ellen's screams sound like by reading this.

Meanwhile, in Sweet Tooth, Lemire has built a world from scratch that is magical and real and haunting. Like American Vampire, he's giving us the back story of where the sickness came from. And like American Vampire, the back story takes place in a back story. In this case, however, the characters are more closely connected and maybe that is why the emotional connections between them are played up more. I wasn't sure where this was going as I read it, even though I kind of suspected. But at a certain point, it didn't matter because I was taken in by these people and regardless of where they were taking me, I wanted to know more about them. Although the plot was still moving forward, this did feel closer to Essex County in terms of character work. I could see that Lemire put a lot of thought into who these people are and what would motivate them and it all makes sense. Understanding this makes the revelation of the end that much more impactful. It's not just some guy that unleashed Armageddon on the world. Now we know him and understand him and his motivations. We can't just dismiss his actions. Clearly, Lemire doesn't want us to. He wants us to think about that. And to think about what this means to the overall story. Again, nothing is wasted. Nothing is by accident.

I understand that comics is a visual medium and I don't want to shortchange the artists on these books. In each case, these writers have been lucky to work with not just talented, but amazing artists, who are master storytellers themselves. Travel Foreman brings mood and uneasiness to Animal Man with his use of angles, but also his figures, which in this issue are downright creepy. Yanick Paquette and Victor Ibanez's layouts in Swamp Thing are like organically grown extensions of the story itself. Panels seem to creep into each other like vines. Matt Kindt, guest artist on Sweet Tooth, which Lemire normally draws himself, is perfect for this arc. His rough style is almost the equivalent of black and white grainy footage in a film to show a different time, only much more subtle. It also serves to reflect the roughness of the environment. And yet, in spite of this roughness, the simplicity of the figures makes the characters that much more relatable. Jordi Bernet's work on this arc of American Vampire is classic comics. There are panels that could easily pass for old western comics from the 40's. It's the exact mood that this tale of the Indian Wars needs.

If you've been reading my posts before, you've seen me praise Lemire and Snyder repeatedly for their work. This week really solidified for me what it is about them that I am responding to. It's not surprising that these two are also close friends. I would love to be a fly on the wall when they talk shop.

Comics of the Week - Three is a Magic Number

It's been a while since I wrote about just one comic. I had every intention of picking only one this week, only the one I really liked best. Then I read book after great book and it was impossible to pick just one. Uncanny X-Men #544 ended the series really well, with nods to the past and an eye towards the future. Supergirl #2 picked up from last issue and delivered good story and character development once again. A lot of potential there for this series. Nightwing #2 had several revelations and several beautiful panels. But at the end of the day, it was these three that took the cake for me.

With the first issue of Batman by Scott Snyder and Greg Capullo I was left a little unsure. I'm clearly a Snyder Zombie at this point and with good reason. The dude knows how to tell a story. He hasn't missed a beat yet. But this was a different Batman than what he did on Detective Comics, and the art was screaming just how different it was. Maybe it was just the shock of Capullo's art in that first issue, but I wasn't too enthusiastic, even if I did like it overall. With this issue, I'm all in. Capullo's art works perfectly here, probably because there's a lot more action. Snyder used the first issue as a bit of a re-introduction to the world of Batman, and that's fine, but for me, this is where the story really starts. Batman is up against a secret society that has existed in Gotham for hundreds of years, except he won't accept that they even exist because they are a challenge to his status as a legend. We're going to get Gotham history, which is always interesting, conspiracies, legends and Batman having to come to terms with his status as protector of Gotham. Already, I can tell this will be another legendary run in the making. Right off, we have a new villain in the form of this Society of Owls assassin, that I hope sticks around for a long time. Watching Bruce have to fight this killing machine, as Bruce, was good fun. I can't wait for more.

Speaking of legendary runs, Brian Azzarello and Cliff Chiang are quite possibly giving us the definitive Wonder Woman story she's never had. It's still a bit early to tell where this is going, but so far, it looks like exactly what the character needed. It's rooted in Greek mythology, but the way it's presented has more of a realistic touch to it in spite of the fantastical elements. The pairing of the story and art style is probably one of the most perfect in the relaunch. The way Chiang draws Wonder Woman is very different than anything I have seen. The emphasis is on her athleticism, though her grace comes through in her posture. She's not oversexualized at all, and as a matter of fact, her costume is quite respectable, but she is still beautiful and sexy. This may not be appropriate for young girls, given the horror elements that have and will be involved, but this is a book I would love to have my daughter read. And yet, the feminist aspect is just an afterthought. I don't believe the creators are consciously trying to do this. Instead, they are doing what good writers and artists are supposed to do, telling a good story. And the story is good. There's action to be sure, but every moment in this book felt natural to me. I even sensed a little Shakespearean touch here and there, when dealing with the Gods and it seemed appropriate and subtle. Working with mythological elements like this sometimes leads to cliche and too much cleverness on the part of the writer. This is likely where most writers have failed with Wonder Woman. Azzarello has, so far, found the right approach, by using the myths, but not being afraid of making them his own.

It's the second page of this book where a reporter asks a cop "Is it true that Kung Fu related deaths are already up 200% over last year?" And that's when I knew this book was going to be a blast. I wasn't wrong. Wolverine is packing up to leave San Francisco after the events in X-Men Schism (he's going back to Westchester to rebuild the Xavier school). Along the way, he winds up teaming up with Gorilla Man from Agents of Atlas. Together, they uncover a heroin ring that is bringing in the heroin though, well, let's just say unexpected and unconventional means. After reading about Wolverine inadvertently killing his children in the last arc, as much as I loved it, and the events in X-Men, this is a great palate cleanser of an issue from Jason Aaron. The humor in this is right on. Ron Garney's art is clean and bright. This series has been great from the beginning, but it's good to see the tone can change without negating anything that came before. With Aaron writing this book and the upcoming Wolverine and The X-Men, I suspect we'll get more consistency in how he's portrayed and in the events that take place. I am hoping that part of the story will be that he quits the Avengers to focus on the school as it's the only thing that would make sense, unless his other mutant power involves time manipulation of some sort. Or maybe in the Marvel U, the days are 40 hours long. Either way, this is still a great series and I can't imagine anyone else writing Wolverine now.

Comics of the Week - Spiders and Vampires

I recently caught up with American Vampire and I highly recommend it. At the time the series started, I didn't know who Scott Snyder was and since I'm not a big fan of vampires, I didn't really care. Sure, I heard nothing but great things about it and meant to get to it. Now that I have, I understand that this is epic storytelling and actually is a fresh take on vampires. Survival of the Fittest is a mini-series that follows two of the many interconnected characters from the regular series on a mission involving Nazis and an ancient race of vampires. While you don't need to have read the regular series to appreciate this mini, the full impact of the story, I think, would be missed without the build up and background of the regular series. Still, this final issue of the mini was action packed in a way that makes the phrase action packed seem inadequate. Sean Murphy's art jumps off the page and yet maintains a creepy mood throughout. Meanwhile, Snyder is at his best writing these characters and unfolding these intricate plots. And behind it all, there's heart. It's clear he's going somewhere epic here and I'm glad to be along for the ride. Do yourself a favor and start from the beginning. You will not be disappointed.

Miles Morales is destined to be the Spider-Man I read for years to come. Three issues in and he's still not in costume. Instead, Bendis is taking his time with this, showing us a character. Showing being the key word. By his actions, relationships and interactions I feel like I am truly getting to know this kid, Miles. I understand him and I can see where his motivations will lead, I think. I could still be surprised because there's room for that. The story is managing to do all this character work while still being dynamic, in large part, thanks to the amazing art of Sara Pichelli. It's not just about big action, either, her faces and body language are so expressive you forget it's a drawing. I particularly like that, at least for the moment, Miles has no intention of using his powers. The weight of this is not something a kid like him would take lightly and although he has a taste of being a hero in this issue, he realizes it's not as glamorous as it seems. This is not going to be Peter Parker cracking jokes as he fights the Green Goblin. But it also won't be a gloomy kid doing what he thinks needs to be done. The fun will still be there, I just think it's going to be different. I'm in.

Comics of the Week - Girls, Boys, etc.

I continue to call this a good time for comics. There's one more week left of DC #1's and for me, it seems to be winding down, but each week, I find something to be surprised by. Meanwhile, other books are coming out that are just as good. But I'll just focus on the DC books this time.

I've been singing the praises of Scott Snyder, particularly his work on Detective Comics, for months now. I was really looking forward to Batman #1 and his teaming up with Greg Capullo on art. I suspected this would be my favorite book of the relaunch. It was good, but I don't think it was my favorite. I may have over hyped myself on it. Snyder is still right on, bringing something new to Batman, this time, Bruce. But something is off. Capullo's art is fine, though, I prefer the Batman scenes. His Bruce Wayne comes off too much like a pretty boy to me. But I think the problem I have is not with either the writer or the artist. The Batbooks were on a roll for the past couple of years, and when the reboot was announced I was worried they'd ruin a good thing. Then we learned that the events of the past few years would still play into the continuity of the Bat Family. The problem is, in practice, that doesn't work. It's easy to say "well, don't think about it too much," and just take the stories for what they are. And I am. But, it's hard to get past the idea that these characters could have grown and become what they are now, and yet, Bruce is somehow younger. I just get the feeling, in the back of my obsessive nerd brain, that the timeline is about to get real muddy, real fast. I'm still reading though. As I said, Snyder is still on point, introducing a new mystery that is sure to unravel into another great story arc.

There are two reasons I read Blue Beetle #1. One is that I'm interested in seeing what is being put out there for younger readers and this is supposed to be a teen book. The other reason is that this a Hispanic character and as a Hispanic character myself, I am curious about DC's diversity initiative (my words). On the first point, I think the book pulls it off. As I was reading the opening scenes, I was reminded of Invincible. I think this has a lot of potential in attracting new, younger readers. The action is there (and beautifully so, with art by Ig Guara and Ruy Jose) and the teen age drama is there. Some of the story is a little convoluted, but I think it will clear up as the series goes along. As for the Hispanic thing, it's complicated. I appreciate that the book is written by Tony Bedard, who is Puerto Rican. And there is nothing to be offended by here. But, and this really comes to personal taste, I am not a fan of minority characters, in this case Hispanic, that are almost exclusively surrounded by more minority characters. Granted, this is one issue and we are only being introduced to the characters, but I wish there had been more diversity within the cast of characters Jaime Reyes hangs out with. Other than that, the Spanglish was kept to a respectable level, although I could live with never seeing a character use the word "Chica" again. I want to see this develop and see how Jaime is incorporated into the rest of the DCU.

The Internets are on fire this week (again), because Batman and Catwoman had graphic sex in Catwoman #1 written by Judd Winick with art by Guillem March. Well, there's more to what has people upset than that. Here we have Catwoman being introduced, half naked from the start, fumbling along, until Bruce shows up. I won't go into the whole representation of women issue here (maybe later), but I didn't really care for this issue because it came across as a cheap attempt at being titillating. Oh, look Batman and Catwoman are doing it, in costume, for several pages. It wasn't all that interesting, didn't tell us anything about the characters and really just stood out as being superhero porn. Now, there's nothing wrong with that, per se, but at the end of the day, it is boring. The rest of the DC books have ended in cliffhangers that make you want to pick up the next issue to see what happens next. Judging by the last panel of this issue, next month, we'll be treated to Batman taking a nap. Exciting stuff. Once you get beyond the sexy, there's really nothing else holding this together. Had this taken place in issue 4, after some actual character and plot had been developed, I would likely have a different opinion on the whole thing. As it is, although I am curious to see where this goes from here, there are way too many books out that are actually telling stories, so I'll likely just read about it than read the actual book.

Kyle Higgins does a good job re-introducing Dick Grayson as Nightwing in Nightwing #1. There is mention that he took on the role of Batman while Bruce was "away" and that's about all that you really need to know about it. In that sense, I think this book is the one that does the best at dealing with the muddy timeline I mentioned earlier. We're immediately off onto something new for Dick, and although it's related to his past with the circus, it doesn't feel like it's muddled by how much time has actually passed since his parents were murdered and he was taken in by Bruce. At its heart, this is just a story about Dick, and the continuity isn't the main focus. This could turn out to be one of the better surprises of the relaunch as time goes on, if it maintains its focus.

And this is the other book that has the Internets ablaze this week. For my money, the representation of Starfire in Red Hood and The Outlaws #1 is only one part of the problem, though. The whole issue is basically cheap one liners and over the top mayhem. I get that it's not for me. I understand the audience for this is likely 13 year old boys who want to see some badass dudes do badass things and have hot chics run around half naked while they do it. Catering to your target audience however is not the same as pandering to them. You can write something for 13 year old boys without writing it as if you were a 13 year old boy yourself. There is a lack of imagination in this book that I think will be apparent, even to most walking hormones, once they get over the hot orange lady who has sex on a whim. And about that. I'm a father and I'm pretty sure when my 2 year old girl is old enough, if she were to read comics, this would be a huge problem for her. Make no mistake about it, and I know there has been debate online, this is an example of women being objectified, not empowered. Luckily, I'm willing to bet the book won't last long.

A first issue should introduce you to a character, give you some background on them, set up the major conflict and get you interested in the next issue. If that's done well, more than likely, it's done through action more so than a lot of exposition. Supergirl #1, by Michale Green and Michael Johnson, with art by Mahmud Asrar delivers on all counts. From the opening page, there's momentum that continues to build. The inner monologue is minimal, but tells us all we need to know at the right moments. The more I think about this issue, the more I think it was my favorite this week. In a week where Catwoman and Starfire were put through the ringer, it's good to see a female character get introduced in such an impactful manner, without resorting to unnecessary sexualizing. I never read Supergirl before, but I'm on board with this series. I hope they keep it up.

I'm calling it, folks, this is the Wonder Woman series she's always needed. Brian Azzarello and Cliff Chiang are cooking something here that I'm confident will be considered legendary. Right off, we don't even see Diana until several pages in and rather than try to give us an origin or some grandiose exposition, they just show us who she is. Setting up the mythological aspects in more of a horror tone really brings the whole concept down to earth, too. I think in the long run, it will make her more relatable. Like many out there, I've wanted to like Wonder Woman for a long time, but there has not been a series that really allowed for her to reach her full potential as a character. This is the time for it, and this is the book. Wonder Woman should be graceful, elegant, adventurous, brave, protective and more. Although we only get a small glimpse of her in action here, she is all those things. The pants or no pants argument is completely moot, which goes to show that it's about how the character is written, not so much how they are drawn. Having said that though, Chiang totally captures her personality in his clean, simple style. This is just a good book with a good team on it.

Comics of the Week

One good thing about the DC reboot is that, at least this week, it was a great week for comics. That's not to say everything was a winner, but it was interesting and varied with a good chance that something would stick. Fresh takes and good set ups.

The thing about Grant Morrison is that while he can go to really trippy, surreal and nearly impossible to understand places, he can also get to the heart of what makes a character tick in a mythological sense. With Action Comics #1, he is going to the roots of Superman and doing what no one has been able to do in who knows how long now. For years I've heard (and often said) that Superman was irrelevant, too powerful, outdated, boring, etc. Something had to be done to make the character interesting again. Many attempts have been made to make him hip and relevant, but they all just tried to modernize him and mostly missed the point entirely. Morrison goes back to the forgotten roots here, giving us a Superman on the streets, without all his god-like powers yet, living on the edge in a world that fears him. From the pieced together costume to the attitude, I think this is the right way to develop the character into something that can once again be a character we can relate to. As expected, this is one of my favorite #1's and I will definitely be reading this each month.

Speaking of Morrison, his run on Animal Man in the 80's is a prime example of how a creator can take a character you normally may not be interested in and hook you. But now it's Jeff Lemire's turn and he not only brings it, he brings it to another level. This was easily my favorite of the #1's this week, and as the internets can attest, I'm not alone. Lemire is one of the best writers working today and this is a perfect example of what he does. It's a superhero story, it's a family drama, it's a horror tale, it's all of that and more. Right from the opening prose section that gives us a background on the character in a way that doesn't feel forced, it's clear Lemire is bringing a little piece of the meta aspects of Morrison's run, but making it his own. By the last page, it's something else entirely that had me say out loud "Yeah, I'm in." The art by Travel Forman is also a standout. It's clean and odd and beautiful. It makes you uneasy and captivates you all at once, which is perfect for this material. I almost didn't pick this up, because although I like Lemire, I'm not a huge Animal Man guy, but now, I can't wait for the next issue.

When the reboot titles and creative teams were announced, my biggest disappointment was probably that Scott Snyder was off Detective Comics and moved to Batman. As I've said, his run on Detective is legendary already. Instead, we get Tony Daniels, writing and drawing Detective Comics and based on his work on the Batman title before the reboot, I was not excited. I have to say, this issue was better than that. His art was never the issue, and here it is good as always, if not better. It's clear, however, that he either is getting better at the storytelling or his editors have stepped up to address some of the previous problems. The story itself is a basic Joker vs. Batman affair, with the Joker in his serial killer persona. That's all well and good. The last image is what is apparently setting something up that really could be interesting even if we have no idea at this point what it could be. Overall, though, this issue is definitely geared for the new reader. Some of the dialogue, for those of us who know Batman and have read him for years, comes off a little hokey. To someone who's never read Batman, though, I could see it working. I can't fault Daniels for that, but this may not be my Batman book. Still, I want to see where he's going with the Joker here.

Here's a book I only read because of the creator, and almost didn't. Scott Snyder's Swamp Thing may or may not hook me on the character, but that doesn't mean I won't be reading this book. At this point, if Snyder publishes a grocery list, I will consider reading it. I can't even really put my finger on exactly what makes his work excellent, but I think it's a combination of elements. Some writers you can say they are really good at this one thing, whether it's overall emotion, character, a specific genre, action, etc. With Snyder, it's a complete package type of thing that just stands out somehow. His work is somehow character driven and plot driven at the same time. It's brimming with mood and emotion and things happen organically. It doesn't hurt that he's paired with great artists who can tell a visual story with all the elements, like Yanick Paquette does in this issue. Like Animal Man, this is a horror story, but it is more than that. The word is that this will actually cross over with Animal Man and the idea of Lemire and Snyder working together on a big story boggles my mind. I'm on board with this.

Comics of the Week

The final issues of four Batman books came out this week. Each ended in its own way, and not necessarily for the best. Although there are still two more weeks to go until the DC reboot, this week felt like the last week to me, as the books left to end have not been my favorites.

Batgirl #26 was going to be difficult, no matter how you cut it. The character has the most uncertain future in the new reboot. Stephanie Brown will not be Batgirl in September, and we really don't even know if she'll be at all. I get the sense that Bryan Q. Miller had big plans for this book and the reboot decision really threw him off the rails. The previous issue was a lot of fun and seemed to be building towards a climax, but it was clear going into this issue that it was a climax that would have been nearly impossible to pull off in one issue. Instead, we have a story that reaches more of a stop than an end. I can't really say I blame Miller for the sentimental and somewhat meta touches at the end, though I'm not sure they came off too well. I sincerely hope he is given a chance in the coming months, to write another big book for DC, because some of the best books in the past two years were Batgirl issues.

Batman and Robin, as a series, has gone through several changes. It started with Grant Morrison on a very high note, bringing a freshness to the concept that was much needed. The character of Damian, in particular, was developed into one of the more interesting characters in the DCU, mostly in this title. Even as creative teams changed, the book always maintained a certain energy, thanks to the relationship between Dick and Damian. This relationship is what I will miss most in the new DCU. This issue, by David Hine and Geg Tocchini was interesting. Rather than giving us an ending, it's just another story, and a crazy one at that. What I think they managed to do was to subtly give a nod to the surreality of Morrison that was somehow all their own. The art didn't work in a few places and there could have been more focus on the Dick and Damien relationship, but I think just telling another story was a bold choice to take with this book.

Tim Drake is a badass. Throughout this series that's never been in doubt. As a whole, the series had it's ups and downs, but was always solid even during the few issues that weren't terribly exciting. Fabien Nicieza made a different choice than Miller and Hine in ending this series. He didn't go with sentiment and also didn't go with just another story. This story was not just a regular adventure for Red Robin. This was about a moment of truth for him and one that ends on an ambiguous note. At the end of this issue, reboot or not, Tim has a lot of decisions to make about what kind of man he is going to be, what kind of hero. He needs to decide what the balance is between vengeance and justice. He's always been the Robin that was most like Bruce but here he shows he is his own man or is at least on the verge of being his own man. It would have been interesting to see where Nicieza would have gone next with this character. I will miss this book.

I ran out of great things to say about Scott Snyder, Jock and Francisco Francavilla on Detective Comics several issues back. I repeat that this will be considered one of the greatest comic runs in history for years to come. This issue was no exception, ending the story just as strong as it started, if not stronger. Ending a title that has been around for 70 years on such a high note is a huge accomplishment. The tension that had been built throughout the run was not squandered by rushing the ending, which is a common problem. Snyder has proven himself to be a master storyteller, start to finish, with this. He took his time in all the right places and delivered a surprising and satisfying ending to both the stories of James Gordon and Dick Grayson.The art on this issue featured both Jock and Francavilla, in a seamless interaction of styles. This is an incredibly rare thing. In most cases, two artists working on one book, even when both are brilliant, can be jarring. At the end of the day, I don't really care who did what, because they are both masters and the results speak for themselves. It will be interesting to see Snyder on Batman in September, writing Bruce Wayne.

Comics of the Week

It's official. The best book of the Flashpoint tie ins, by far, was Batman Knight of Vengeance. If I had any complaint about this mini series, it would be that it could have maybe used one more issue, but that's really just maybe. This issue wrapped up what is basically the story of two parents who lost a child and dealt with it in different, horrifying ways. In the end, it's a metaphor for some very real issues and that's where the power of this lies. Sure, on one level Azzarello and Risso give us a gritty Batman story, but, really it doesn't have to be Batman at all. It could easily just be any two parents.The creepy factor in this issue comes mostly from the recognition that these are human beings. Where the Joker in regular continuity is best when he's least explained, here the origin gave the story depth. The flashback panels of the Waynes in Crime Alley capture the desperation and horror of losing a child while perfectly illustrating how each parent will be dealing with the loss. By the time we get to the end, where the Flashpoint part of this comes into play (if only slightly), Martha's reaction is just perfect. There's no happy ending to this story in any universe.

Severed #1 is the beginning of something that I think could be as big as Walking Dead. That might sound like a huge exaggeration based on one issue, where, to be honest, not a lot happens, but what is evident in this book is an attention to detail that is setting up a mood, a time and a place in a way that few books do or can. Scott Snyder (yeah, him again) and Scott Tuft are in no hurry to give us big scares and gore. Instead, they are meticulously setting up the characters and putting us in the middle of life in 1916 America in a way that is not glamorized at all. And what they do with the writing is carefully supported by Attila Futaki's art. Like the best horror movies, even when nothing is happening, you feel tension from the way even the most mundane images are composed. The slightly off balance frames make every page ominous in subliminal ways that emphasize the danger of a boy heading out to be a hobo and ride the rails. This is horror done right.

Comics of the Week

Boy, what a let down. Detective Comics 880, by Scott Snyder and Jock missed every chance it had at being a great comic.  Here we have the next escalation in the ever increasing tension of the story of James Gordon's son, which, last issue, hinted at crossing over with what could be the creepiest Joker in recent memory. Well, here, the ball is dropped. The art, it just, insists on itself. Just look at that cover. It says it all. The writing . . . I can't do it. This was AWESOME, from the cover to the last panel! I just can't figure out a way to write about just how fantastic it is anymore. Every issue in this run has been better than the previous one, tightening the tension to almost unbearable levels. The revelations in this issue amp up the creep factor and instead of releasing the tension, it just takes it further. This run will go down as being among the classic runs in any comic, not to mention one of the best Batman runs ever.

Cobra #3 is the closest the relaunched IDW books have gotten to what they had going before they killed Cobra Commander. Mike Costa shows us just how powerful Tomax is. He knows he won't be the new Commander, but I'm not sure it matters to him. He only cares about vengeance at this point and he certainly has the means to take down G.I. Joe with or without Cobra. He's cool and calculating, but underneath that is the pain of losing his brother. It will be interesting to see if he winds up at odds with Cobra. As it was before the relaunch, this title is the best of the Joe books.









In X-Men Schism #2 the mutants continue to stand firm against the increasing distrust from the rest of the world. Scott is making some very Magneto-like choices, while Wolverine is showing his softer side here. I like this reversal quite a bit. What holds it all together is the obvious respect the two characters have for each other. This would be a run of the mill event if not for the deep character and relationship work going on here. Jason Aaron writes a great Wolverine, but here we see he can write Scott just as well. The art in this book, by Frank Cho, is just gorgeous. The lines may be clean, but the details are many in each facial expression. Cho's Wolverine, in particular, is a story in itself. Much like Trick Daddy, Logan loves the kids.