Michael D Stewart Online

Review: Batman #5

2012-01-24T19:46:00.000-05:00

Posted this week on PopMatters.com is my review of Batman #5, where I propose that writer Scott Snyder and artist Greg Capullo have broken the fifth wall.

This is notable in that Batman #5 works against reader expectations in its execution of the story. The narrative developed thus far by Snyder, particularly for this comic, demands it. Everything he has built with Capullo is on display. Layers of character flaws, existential duality and horror iconography wrap themselves around the panels and pages to an almost suffocating degree, beautifully choking us until we admit that the creative execution has surpassed our wildest expectations.

It’s uncomfortable, it’s awkward and in that it is a parallel to Bruce Wayne’s state of mind as he attempts to escape the maze he’s been forced into by the Court. This is as clear a visual representation of Bruce’s mental faculties as is possible.

Read my full review: Breaking the Fifth Wall in Batman 5

Review: Amazing Spider-Man #677

2012-01-22T16:30:00.003-05:00

Last week I reviewed Amazing Spider-Man #677 for PopMatters.com.

In recent years, The Amazing Spider-Man has been a title that has reconnected with its melodramatic roots. This turn has refocused the adventures of everyone’s favorite wall crawler, giving his action filled life a firmer backing. Much of this is due to the very capable storytelling of writer Dan Slott. Now, for one issue, Slott takes a backseat to the near legendary pen of writer Mark Waid. With issue 677, readers are treated to a small crossover with The Man Without Fear Daredevil, who’s current exploits are also being written by Waid. The convenience is obvious, so too is the result.

Just as Slott has revitalized Spider-Man, Waid too has seemingly brought Daredevil back from the dead. While the new volume of Daredevil is a far cry from the legendary work of Frank Miller, it is a neo-throwback to the type of superhero comics fans have been clamoring for in recent years. But this is not a behind the scenes story of old guard versus new guard. It is a tale of consistently well conceived plots and strong characterization.

This is true of the opening chapter to “The Devil and the Details”. What sets Waid apart from so many current writers is his firm grasp of character traits expressed in movement and dialogue. He understands the characters he writes. That ability makes these pages of Amazing Spider-Man #677 delightful.

Read my full review: The Devil is in the Characterization in Spiderman 677

Review: Li'l Depressed Boy #8

2012-01-16T14:05:00.000-05:00

Last week, PopMatters.com posted my review of The Li'l Depressed Boy #8.

Understatement is an art, and no comicbook on the market currently does that better than The Li’l Depressed Boy. The Web comic, turned ongoing Image series, plays with the fine mechanics of subtlety, creating an inspiringly authentic look at modern love and popular culture, and the recognition of this achievement deserves a more critical examination.

While the comic could be easily dismissed as the melancholy ramblings of a sad sack, that assessment would miss the core of what makes LDB a rag doll hero to the masses. He’s us. And the way he handles the various obstacles in his everyday life, is both a reflection of shared experience, and a testimony to the John Cusack generation. Issue eight of the series is a further continuation of that understanding. It builds upon a glum heritage LDB pays tribute to in each and every panel.

Read my full review: Subtlety and the Narrative Fidelity of The Li’l Depressed Boy 8

Review: Batman #4

2012-01-09T21:06:00.001-05:00

My latest review has been posted to PopMatters.com. This one looks at the fourth issue of Batman.

To say the new volume of Batman is engaging is at best an understatement. The title in this New 52 period has been at times thrilling, at times thought-provoking and at times scary. But after three issues, the pacing must slow to allow readers to catch their breaths and also allow for the plot to set it hooks in the depths of the reader’s imagination. With issue four, Batman stops only briefly to let everyone in on what has become obvious – this “new” Batman is excellent.

In many ways the foundation for Batman has been to mix action, adventure, crime, horror and superheroes. The resulting framework has allowed for an aesthetic and tone that feels dangerous and spine-tingling at every page turn. There’s freshness to this 70-plus-year-old character that hasn’t been felt in a long time.

Much of that is due to a strong sense of character development in these early issues. This latest chapter expands on that, offering insight into just how this plot interacts with the character of Bruce Wayne and his alter-ego Batman.

Read my full review: Batman 4 is Character Development on Display

Interview: Batman writer Scott Snyder

2012-01-05T21:12:00.002-05:00

After a brief hiatus, I'm back with a telling interview of Batman and American Vampire writer Scott Snyder for PopMatters.com.

The first thing you realize when speaking with Batman writer Scott Snyder is just how affable and verbose he is, in spite of the terrifying things he writes. A horror writer first and foremost, he’s built a strong reputation in a very short time of being an introspective, scary, thrilling and clever storyteller. Through his creator-owned work, American Vampire and Severed, Snyder’s shown a robust passion for historically based narrative, as well as for putting his protagonists into situations that forces them to confront deep-seated fears. Now Snyder’s been charged with shepherding the marquee Batman title in the infancy of its second volume, as part of DC’s New 52 campaign. That has to be scary for even a horror writer.

Photo Credit: The New York Times 2011

“It’s paralyzing scary to be on a book like Batman,” Snyder says without even the hint of irony. “You have to have a sense of what you like to write about.”

Snyder certainly has that sense as he flawlessly bleeds horror into the body of his stories, but where does that inner, darkening fear come from? In this interview, Snyder opens up.

Read the interview here: The Frightening and the Frightened: The Scott Snyder Exclusive

Top 5 Comics of 2011

2011-12-29T14:08:00.002-05:00

2011 has been a tumultuous year for comics. Slagging sales, a DC relaunch, cancellations - all have contributed to a strange trip to the comic shop each week. But what about the comics themselves?

Here I present my personal TOP 5 COMICS OF 2011.

This list consists of ongoing titles, limited series titles, cancelled titles, etc. It's a list of comics that spoke to me as a reader and as a critic. I've read, reviewed and loved each of these titles over the entirety of 2011.

So without further ado, I present: THE TOP 5 COMICS OF 2011

#5 - Batgirl

Many didn’t think the Stephanie Brown character would do Batgirl justice, nor were there any expectations for this title to succeed. However, the 22 issue book was regularly dependable to deliver witty banter, good action and an overall enjoyable story. It was the surprise of the Bat-family of titles.

Great execution is probably what sums up the success of this comic. None of the plots were startlingly original, but they were written and drawn with that touch that made them authentic. Writer Bryan Q. Miller, the lead voice behind the run, became so dependable that if any of the other Bat Family titles left a sour taste in your mouth, you knew his Batgirl would put a smile on your face.

Alas, the “Dork Knight” is gone, but that doesn’t dismiss the fact that Batgirl by Miller was one of the best of the last year.

#4 - The Sixth Gun

From issue to issue, Oni Press’ The Sixth Gun doesn’t waste any time, moving from chapter to chapter with abandon, all the while building a weird world of gunslingers, outlaws, mystics, mummies, zombies, preachers and other worldly creatures. It’s a testament to the Horror-Western subgenre that has come in vogue in recent years. The unsettling nature of its plot is only enhanced by its dusty trail, 19th century aesthetic.

Writer Cullen Bunn and artist Brian Hurtt have shown a perverse talent for mixing the creepy with straight ahead adventure, cementing the dual nature without ever letting one piece fall by the wayside.

The consistency and it’s Western yarn qualities makes The Sixth Gun one of the best adventure comics on spinner racks.

#3 - The Li’l Depressed Boy

Image Comics’ Li’l Depressed Boy is not the most conventional series on comic stands. Its part comedy, part romance, part drama and could possibly be part adventure. It’s also charming, whimsical, snarky, and offbeat. But for all the adjectives you could use to describe the book, it comes down to that the comic makes a deep emotional connection with readers.

Comics don’t come with a soundtrack (though they should). There has to be feeling over sound. With its dialogue, settings and artwork, Li’l Depressed Boy does that exceptionally well. You feel the lethargic anguish in the ragdoll protagonist. You also feel the nervousness when he meets Jaz. You feel his heartache when things don’t go as he hoped. You feel for him.

That relatable quality is what makes Li’l Depressed Boy one of the best books going.

#2 - Detective Comics

With Detective Comics #871, writer Scott Snyder and artist Jock took the reins and something clicked. Suddenly Dick Grayson as Batman became fresh, inspiring, yet implicitly rooted in the heart of the Batman mythos. The tone of the comic became darker and more dangerous.

What Snyder did so much more than previous Batman/Detective Comics’ writers was to get into the head of Dick Grayson. His perspective became stronger; his motivations more in focus; his methods more striking. It is not a stretch to say that the run of issues beginning with Detective Comics #871 has put a definitive stamp on Dick Grayson’s time as Batman.

The entire run of Snyder, Jock and Francavilla’s Detective Comics, which concluded volume one of the title, brought a vastly different perspective and aesthetic to the title – one that has continued in Snyder’s Batman run.

The best statement you can make about Snyder, Jock and Francavilla’s run on Detective Comics is that it concludes…neatly. All of the narrative threads weaved together leaving nothing hanging, but opening up the possibilities these three could achieve if given more time.

#1 - Blue Estate

Image's Blue Estate is both a send up of and tribute to crime fiction with a cinematic eye that stretches the conventions of comic book storytelling. But, creator and artistic director Viktor Kalvachev adds a layer that can only be compared to type of understanding that comes from ingesting massive amounts of TMZ and E!.

Through eight issues of its 12 issue run, the book has never disappointed, delivering a wonderful mix of characters and plot that are enhanced (not weighed down) by the use of different artists for different perspectives and time periods.

Quite frankly, Blue Estate is one of the best comics on shelves.

Thanks to everyone who has been reading my reviews and features on PopMatters.com. 2012 will start with a bang, so stay tuned.

Review: Blue Estate #7

2011-11-22T14:41:00.000-05:00

My latest review for PopMatters.com looks at the seventh issue of Blue Estate.

The line between parody and send-up is very fine. Image Comic’s Blue Estate has danced on that line for six issues, and with issue seven, the limited series takes that same line and twists it into a pretzel.

Blue Estate is an unabashed send up of crime fiction with a cinematic eye that stretches the conventions of comic book storytelling. It’s an adult comic written for a generation that has grown up with the films of Guy Ritchie, the novels of Elmore Leonard, but owes a great debt to the pulp masters of yesteryear.

With that as a base, Blue Estate weaves a complex story of Italian and Russian mobs, shady real estate deals, conniving Hollywood has-beens and inept detectives. It’s a long narrative meant to play out over 12 issues, but as a comic each issue must be a compelling chapter on its own. The serial nature of the medium, combined with the expectations of the audience, forces a creator’s hand to develop something that entertains in pieces and dazzles as a whole.

Issue seven presents Blue Estate’s most concise chapter. Most of the issue relies heavily on what has been previously established, but as a complete narrative, the issue is startling in its compactness. It also presents some of the biggest thrills and laughs of the series thus far.

Read my full review of Blue Estate #7: Blue Estate's Tonight's the Night is Perfectly Balanced

Interview with Jeff Lemire

2011-11-14T14:34:00.000-05:00

Posted late Friday to PopMatters.com.

As a writer-artist and a writer, Jeff Lemire (creator of Sweet Tooth and Essex County, and current writer of Animal Man and Frankenstein, Agent of Shade) has a tough balancing act ahead of him. I had the opportunity to talk with Lemire at the 2011 New York Comic Con.

Balancing Personal Vision and Superheroes: An Interview withJeff Lemire

Review: The Sixth Gun #16

2011-11-02T21:45:00.000-04:00

My latest review for PopMatters.com was posted earlier this week. For this review I took a look at The Sixth Gun #16, a title I haven’t reviewed in nearly a year.

There is an epic nature to the book, partly due to the setting and the context of the period, but also due to the layer upon layer of story writer Cullen Bunn has built. It is quite the work, both in so far as one-off issue storytelling and the whole combined to represent the immensity of the entire project.

Read my full review: The Sixth Gun’s Thrilling and ScaryWorld

Review: Batman #2

2011-10-25T21:43:00.000-04:00

After a brief hiatus, my latest review for PopMatters.com is up. This week I looked at the Scott Snyder’s second issue of the new volume of Batman.

Batman #1 was a good comic. What held it back from being excellent had little to do with its execution, but related more to the expectations associated with such a huge marketing campaign that supported it. Call it overhype or a simple misfire in the management of expectations. Regardless, that time and its context are over. Now is the time to deliver on the promise.

Batman #2 in many ways is an amalgamation of many types of comics. It is a superhero comic, a crime comic, and an action comic. This mixture has always been a part of the foundation of Batman, but here Snyder uses it to the fullest effect possible. The relatively new structural additions are what enhance the base, creating that pedestal on which his story arc will be supported.

Read my full review: Building the Gleaming Tower in Batman#2

Review: Blue Estate #6

2011-09-29T14:05:00.000-04:00

My latest review for PopMatters.com was posted earlier this week, where I caught up with Image Comics’ Blue Estate.

When we last left Blue Estate, the slow build of characters and plot was starting to pay dividends. The cliffhanger ending of issue five featured all the conventions of very good pulp comics – action, sex appeal and grittiness. The creators behind it have held nothing back each issue, consistently delivering inspired artwork and a captivating story. Could issue six live up to the high expectations?

The opening pages to issue six presents some of the series’ strongest panels to date. The strengths and weakness of each character are on full display, as starlet Rachel negotiates with chump mobster Tony for the release of her in-over-his-head brother Billy. Bad real estate deals have a way of putting hotheads on edge. Rachel, using all of her acting skills, calms the situation and sets in motion what she hopes will be her freedom from her tool of a husband Bruce.

The plotlines that seemed loosely connected have coiled around each other. Keeping it all straight can be a challenge. But that’s another point – challenge readers, don’t spoon feed them. The benefits far outweigh the risks.

Read my full review: No Going Back With Blue Estate No. 6

Review: Batman #1

2011-09-24T15:38:00.000-04:00

Another New 52 review has been posted! This week I looked at Batman #1 for PopMatters.com.

Batman #1 is one of the most anticipated titles of DC’s New 52. If not for the character itself, then for the creative team attached. It’s one of DC’s flagship titles, featuring the writing acumen of one of the hottest writers in comics currently. It cannot fail. Batman cannot fail.

Longtime readers should not be weary of the large and shiny “1” on the cover. This debut issue of Batman basically picks up where Batman #713 and Detective Comics 881 left off. The recent history and storylines stay fairly intact aside for some minor tweaking (how old are the current and former Robins?). It also continues a theme Snyder has been working with since his Detective Comics run and in the miniseries Batman: Gates of Gotham. Namely: Gotham City as a character herself.

Read my full review: Revisiting the Rabbit Hole in Batman #1

Review: Batwoman #1

2011-09-20T19:04:00.000-04:00

Another New 52 review: last week PopMatters.com posted my review of Batwoman #1.

After months and months and months of delays, Batwoman #1 is released. There are many questions: can the book live up to the character’s previous run in Detective Comics volume one? How will it relate to the rest of the relaunched DC titles (it does have The New 52! logo on its cover)? Will the slight change in creative team affect it quality? Will it be good?

What’s not lacking is the quality in this “debut” issue of Batwoman. Taking the book on its own, ignoring the The New 52 concept, connecting it to the Detective Comics run – you have something beguiling.

Read my full review: Batwoman Rises Above the Convolutionand Confusion

Review: Gates of Gotham #5

2011-09-14T12:43:00.000-04:00

This review was previously posted on PopMatters.com. In it, I look at the well done mini-series Batman: Gates of Gotham.

We’re in a new era for DC Comics, an era yet to be defined, but just prior to the universe-wide reboot the company presented a Batman miniseries that is very telling about the direction the company will take with one its most popular characters.

Batman: Gates of Gotham was not the finale of Detective Comics or Batman, but by all indications it will have a larger impact on the future of Batman comics. Delving deeply into Gotham City’s history, writers Scott Snyder, Kyle Higgins and Ryan Parrott deliver something interesting with this series: Gotham as a character herself.

Read my full review: Snyder et al Introduce the City as Character in Gates of Gotham

Review: Detective Comics #1

2011-09-12T15:08:00.000-04:00

Latest review was posted to PopMatters.com. DC's new 52 are here and I look at Detective Comics #1.

After 74 years of continuous publication, Detective Comics begins a second volume with a new number one issue – this time with Batman as the star. You would expect this historical occasion to be marked by a standout issue. You would also expect this because its part of a companywide relaunch. You wouldn’t expect more of the same.

The DC new 52 is arguably the biggest event to happen to comics (at least recently). A major publisher, for right or wrong reasons, scrapped its entire catalogue to start over (mostly). The new books would have to be something special to hook new readers and reverse the downward sales trend of the industry. Go for broke guys.

Tony S. Daniel, writer and artist for Detective Comics number one, goes for broke in the first three pages. That’s commendable. But what follows is a myriad of chunky dialogue, uneven art and the same old, same old.

Read my full review: Tony Daniel Gets Gory and Underwhelming in the Relaunch of Detective Comics

Review: Batman 713

2011-08-26T15:42:00.000-04:00

My review of Batman 713, the last issue of Batman volume one, was posted to PopMatters.com.

“Storybook Endings” is the title to the final issue of Batman volume one. Those two words have nothing to do with anything that happens in this issue, nor does it have anything to do with the future of the title. In a word, Batman 713 is pointless…but it is significant nonetheless.

The significance is inherent in the issue’s place in publication history. After 71 years of continuous publication, Batman ends, ready to be replaced with a new volume for the DC-wide relaunch of the “New 52” titles.

You would expect the final issue of Batman volume one to be a stunning, well rounded, sentimental and thrilling tribute to the legacy of one of DC most popular characters. You wouldn’t expect what amounts to a recap and fill-in issue, but that’s what is delivered.

Read my full review: A Pointless, Truncated History Winds up the Batman

Review: Detective Comics 881

2011-08-21T12:48:00.001-04:00

My review of the last issue of Detective Comics volume one has been posted to PopMatters.com.

Historically significant. Those are the two words you would associate with the end of Detective Comics, a title that over its 74-year-run launched Batman and, with Action Comics and Superman, ushered in the golden age of comic books. After 881 issues, volume one of the title ends. It’s almost unthinkable.

By all accounts Detective Comics #881 is a fitting end to volume one, as the issue captures the roots, spirit and lineage of the title. Writer Scott Snyder and artists Jock and Francesco Francavilla, have crafted a story – told over ten issues and concluding in 881 – that puts a definitive stamp on Dick Grayson’s time under the cowl.

The best statement you can make about the conclusion to Snyder, Jock and Francavilla’s run on Detective Comics is that it concludes…neatly. All of the narrative threads are weaved together leaving nothing hanging.

Read my full review: Detective Comics 881: The Death of a 74-Year-Old Legend

Review: Blue Estate #5

2011-08-19T20:18:00.000-04:00

My review of Blue Estate #5 was posted to PopMatters.com.

With issue five, Image Comic’s pulpy series Blue Estate is approaching the midpoint of its 12-issue run. The previous issue had its shocking parts that were mundanely fun, but as opposed to earlier issues, was very much a slow down point. The character development and further establishment of the comic’s aesthetic and tone were the highlights. Now issue five is here to pick up the action.

From tough guys in bizarre situations to the nonlinear narrative, Blue Estate is a mix of Quentin Tarantino and Guy Ritchie films, with a generous helping of Elmore Leonard novels and a twist of absurdist comedy. It’s an unabashed send up of crime fiction with a cinematic eye that stretches the conventions of comic book storytelling. And while Blue Estate has already revealed all of its storytelling tricks – changing artists to show different perspectives and moments in time – those tricks are still an effective means to execute such a layered and ambitious tale.

Read my full review: The Noir Clichés and Conventions in Blue Estate 5

Review: Spontaneous #1 and #2

2011-08-07T11:00:00.001-04:00

New review of Oni Press’ Spontaneous posted this week to PopMatters.com.

Last May on Free Comic Book Day, Oni Press gave away the entire first issue of its new mini-series Spontaneous. As they had done with The Sixth Gun the previous year, Oni’s hope was to stir interest in the new title. It was another brilliant marketing move. Nothing warms an audience like free. Now issues one and two are out: could the follow-up sustain whatever momentum the Free Comic Book Day issue gained?

The comparison between The Sixth Gun and Spontaneous ends there, as the two books couldn’t be fundamentally more different. The Sixth Gun is a rip roaring Western-Horror adventure; Spontaneous is a character-driven mystery, really an enigma wrapped in a conundrum. It’s the type of book that calls to mind TV shows like The X-Files, Kolchak: The Night Stalker and Scooby-Doo, with the sensibilities of an indie movie. It’s a shock to the system both figuratively and literally.

Read my full review: Spontaneous Presents A Burning Enigma Wrapped in a Conundrum

New Article: Daredevil: Tragic Hero or Anti-Hero?

2011-07-29T10:07:00.000-04:00

New article from me posted to PopMatters.com. This piece explores archetypical-character elements of Daredevil.

When you’ve taken a character so far down into the gutter, how much further is there to take him? That’s the question Marvel is attempting to answer in its new volume of Daredevil. A new number one doesn’t necessarily mean a complete change in direction. But that’s exactly what Marvel is doing with this Daredevil number one.

After Shadowland and Daredevil: Reborn, it’s hard to imagine a fresh Daredevil ongoing with the title character smiling. Yet, that’s exactly what writer Mark Waid and artists Paolo Rivera and Marcos Martin have delivered. It’s the type of pulpy superhero book that the title has not been in three decades. There’s a sense of whimsy that’s tempered by the previous continuity not being stuffed under the rug, but remaining front and center.

The questions that arise from this bold new direction are what could hamper the series. The question Marvel is trying to answer is: where do we go from here? But another profound question sits just below the surface. What kind of hero is Daredevil?

He’s a vigilante, but what type of archetypal-hero-protagonist is Matt Murdock? Is he a romantic hero? Is he a tragic hero? Or is he an anti-hero?

Read my full article: Daredevil: Tragic Hero or Anti-Hero?

Review: Li'l Depressed Boy #5

2011-07-21T15:01:00.000-04:00

My review of The Li’l Depressed Boy #5 for PopMatters.com was posted this week.

The Li’l Depress Boy is one of the finest comics on stands currently. That should give you an idea of where this review is going. There’s no use in hiding behind the 750-plus words you’re about to read. It is not perfect (not much is), but the comic gives you the emotional satisfaction you crave without ever approaching emo.

Each issue is a 22-page letter to the heart of popular culture and our unbreakable connection to it. It’s a shared experience, one that goes beyond the bounds of a paper comic. It’s attached to the relationships we develop, especially when the reality and perspective of which don’t match.

Read my full review: Fifth 'Li'l Depressed Boy Shows Rather Than Tells

Review: Blue Estate #4

2011-07-17T20:27:00.000-04:00

I have a new comic book review posted to PopMatters.com: This time I looked at Image’s Blue Estate #4.

Through three issues, Blue Estate has not failed to impress. It’s plot, characters and aesthetic call to mind the films of Quentin Tarantino and Guy Ritchie and the novels of Elmore Leonard. It’s underlying postmodern and ironic trappings, drawing from what we read about on TMZ and watch on E! True Hollywood Story, dwells in the richly sadistic and dark absurdity of celebrity seediness all too familiar to our popculture lives. Could issue four continue the success? Could it show yet more layers of its stylized narrative? Do mobsters like guns?

Read my full review: Neutral Muscle: How Blue Estate Continues to Impress

Review: All Nighter #1

2011-06-30T10:08:00.000-04:00

New review this week posted to PopMatters.com. This week I looked at Image’s All Nighter.

All Nighter #1 is the type of book that can grab a varied audience’s attention and not let go. How it does this is through the artistic and narrative skill of writer and artist David Hahn, which offers a strong protagonist, varied supporting characters and a style and aesthetic that captures the genre’s spirit. It also helps to be published by a company with a track record of offering up wide-ranging titles that hit upon cultural touchstones, ethical debates and social criticisms.

All Nighter was originally planned to be released as a graphic novel through DC’s Minx line. After the imprint was shuttered, the book was left without a home until Image picked it up and the title was serialized into a five-issue miniseries. It certainly still has the feel of a Minx title, with its plucky yet flawed heroine and its small diversified supporting characters.

Read my full review: The Unlikeable/Relatable Paradox: Image’s All Nighter

Review: Batgirl 22

2011-06-30T10:01:00.001-04:00

This review for Batgirl 22 was posted on PopMatters.com last week.

In case you haven’t read the comics industry news recently, the current Batgirl run with Stephanie Brown as the title character will end in September. With her title concluding, and several others, DC will usher in their “revamp” or “reboot” era, as the company attempts to stave off years of declining sales numbers with an overhaul of their properties.

Every title gets a new number one, regardless if they are continuing the editorial direction they had established. Is this a wise move? Who knows? For the purposes of this review article, we’ll ignore most of it and concentrate on memorializing one of the causalities of this relaunch: Stephanie “Dork Knight” Brown. As a guise, great attention will be paid to issue 22, but don’t be fooled. This is a sort of wake for one of the many series that has bared the name Batgirl.

Read my full review: Where Have All The Snarky Girls Gone: Batgirl 22

Interview: The Li'l Depressed Boy Creators

2011-06-17T14:24:00.000-04:00

Image Comics’ Li'l Depressed Boy isn't the most conventional series on comic stands. Part comedy, part romance, part drama, it’s also charming, whimsical, snarky, and offbeat. In an exclusive and frank interview with its creators S. Steven Struble and Sina Grace, I get to the heart of the cultural influences that go into making this critically acclaimed bestseller.

Read my full interview: Band Tees and Inside Jokes: The PopMatters Exclusive with the Li’l Depressed Boy Creators

Review: Zeke Deadwood #2

2011-06-16T16:15:00.002-04:00

My latest review for PopMatters.com: Zeke Deadwood: Zombie Lawman #2.

Concepts are created to be stretchable. At least that’s the thinking of T.A. Boatwright, creator of the indie Western-Horror mashup Zeke Deadwood: Zombie Lawman. Two years after the release of the initial book (re-released just a couple of weeks ago), the follow-up takes a slightly different twist on the original concept. While Zeke Deadwood #1 was a comedic book in the vein of The Goon, Zeke Deadwood #2 is a much darker, mythical and grittier book. Is it wise to switch gears? Probably not, but the execution by Boatwright and Ryan C. Rubio certainly lends credence to the idea that if a concept works in one style, it could work in another.

While Zeke Deadwood #1 was a comedic romp of old Westerns, the second story is more of a reflection of modern Westerns, embodying a grittier tone and mythical elements that flesh out more of the world that Zeke Deadwood inhabits. We begin to understand why Zeke is still walking, and the hints to how and why he is a zombie trying to bring balance to the scales of justice are a strong reminder of another Eric Powell work, Buzzard. There are definite commonalities, but whereas Buzzard went into the ethereal territory of Lovecraftian horror, Zeke Deadwood strays away from that level, finding a soft balance between the Western and Horror genres that does not bend too far to either. Stretchable, yes, but not bent.

The connection between issues one and two are cemented by the opening radio serial sequence, setting up the second issue’s shift in tone, and foreshadowing its conclusion. Whether directly or indirectly, the opening panels signal the start of a new adventure for Zeke, but also figuratively warn us of the end to come, for Zeke and for us as comic and pop culture fans in general.

Read my full review: Zeke Deadwood: Harbinger of a Dying Medium

Review: Blue Estate #3

2011-06-07T14:22:00.001-04:00

Brief hiatus and I’m back. Latest review for PopMatters.com is live. This week I continue my look at Image’s Blue Estate by reviewing the series’ third issue.

Through issues one and two, Image Comics’ pulp series Blue Estate has been nearly cinematic. It has introduced an array of colorful characters including a recovering alcoholic starlet, her hitman AA sponsor, an inept private eye, and a clumsy mobster. It’s a mix of Quentin Tarantino and Guy Ritchie films, with a generous helping of Elmore Leonard novels and a twist of absurdist comedy.

To say this is not your father’s pulp noir is a fair statement. Though Blue Estate is unabashedly inspired by some of the best crime fiction in the last 20 years, it still remains unique in its presentation and tone. With issue three, the series slows down the pace to sure up the narrative and remind readers that there is a strong interwoven plot to go along with its darkly entertaining characters.

Read my full review: Deadly Cocktail, Perfect Mix: Styles Clash in Blue Estate 3. Blue Estate #3 hits stores tomorrow (6/8/2011).

Review: Zeke Deadwood: Zombie Lawman

2011-05-23T14:08:00.000-04:00

After a brief hiatus, my latest review for PopMatters.com has been posted. This time I looked at the recently re-released Zeke Deadwood: Zombie Lawman.

Two years ago, SLG Publishing released Zeke Deadwood as a mashup of Westerns, Horror and Comedy. Now re-released in time for the long awaited follow-up, Zeke Deadwood is ready to tickle the funny bones and offend the nostrils of fans looking for a cross genre lampoon.

Created by T.A. Boatwright and Ryan C. Rubio, the same creative team behind the Hammer horror film inspired Cemetery Blues, Zeke Deadwood features the exploits of an undead lawman out to clean up a small western town from a villainous band of outlaws. It’s Saturday afternoon Western action combined with B-movie horror, camped up with running gags, crazy scenarios and genre clichés. And it’s charmingly creepy.

If you’re a fan of Eric Powell’s The Goon and Billy the Kid’s Old-Timey Oddities, then the tone of this genre mashup is immediately apparent and enticing. Seemingly from a very common place, Zeke Deadwood is just as thematically familiar and well crafted. It is paradoxically both reverential of its roots and discourteous as a lampooning of the style of old-timey radio serials.

Read my full review: Zeke Deadwood: Horror Western Comedy Mashup

Good Covers This Week

2011-05-12T13:20:00.000-04:00

Not a lot of covers to choose from this week. Most were rather bland, but the good covers from this week include: Batgirl #21, Chew #27 and Undying Love #2.

Review: Gladstone's School for World Conquerors

2011-05-10T11:33:00.000-04:00

Latest review for PopMatters.com is online. This week I looked Image’s Gladstone’s School for World Conquerors.

Comic books have their own clichés. They are timeless tenets that don’t represent a genre per se, but are the redundant necessities and conventions of the format. Superhero comics particularly are guilty (and not ashamed) of over indulging in these traits. With decades upon decades of comics to draw from, and the post-modern ironic leanings of our era, comic creators have been rolling out title upon title that reinterprets the conventions or pokes fun at their trappings with a much stronger cultural perspective.

Adult Swim’s The Venture Bros. cartoon is a prime example. Though made for an irreverent adult audience, the show is a lampoon of the adventure stories of old and the popular villains and heroes many have grown up enjoying. Disney’s movie Sky High was similar, as was Pixar’s The Incredibles, each getting behind the masks and tights to explore the interpersonal relationships and domestic lives of superheroes.

Image’s latest series, Gladstone’s School for World Conquerors takes a different approach, exploring the villain side of the superhero world, but is certainly a contemporary of The Venture Bros., Sky High and The Incredibles. And like those films, Gladstone’s is a book that satirizes the superhero genre as much as comic books themselves.

Read my full review: Recess: Lampooning Superheroes in Gladstone’s School for World Conquerors

Good Covers This Week

2011-05-06T09:52:00.000-04:00

Covers this week were very lacking. But some looked great, including: Gladstones School for World Conquerors #1, iZombie #13 and Blue Estate #2.

Review: Blue Estate #2

2011-05-04T13:24:00.000-04:00

New review posted to PopMatters.com. This week I revisit Image Comics’ Blue Estate for the series second installment.

Aesthetic is what drives Blue Estate. It’s a world that is foreign yet familiar, especially if you’re a celebrity scandal junky and have trouble prying yourself from episodes of E! True Hollywood Story. It’s celebrity obsessed culture to a fanatic and troublesome degree.

Blue Estate embodies post-modern irony to such a degree that you can’t help but smile at each panel, recognizing the biting wit and paradox of characters going about the routine while also showcasing the hostile intent of their professions. The scenes in issue two are certainly a reflection of this and give an intimate understanding of the existential position characters are in now and for the foreseeable future.

It is very early in Blue Estate’s 12 set miniseries, but the comic has already demonstrated the staying power for a year long story. The consistency from issue one to issue two is striking, as the comic has not wavered from its strong aesthetic. And though the creative process for the book would suggest a haphazard mess, Blue Estate is nothing short of excellent.

Read my full review: Celebrity and the Post-Modern Irony of Blue Estate 2

Favorite Covers

2011-04-29T13:04:00.000-04:00

Good covers from this week include: The New York Five #4, Detective Comics #876 and Morning Glories #9.

Review: Image's Blue Estate #1

2011-04-26T20:10:00.000-04:00

New review posted to PopMatters.com. This week I looked at Image Comic’s Blue Estate.

There’s a style and grace about good crime fiction that isn’t easily duplicated. Though it can be copied without much effort, but to be truly successful the characters must be just so intriguing, the plot must be just so enticing and the aesthetic must be striking and seductive. Image’s newest neo-noir/pulp comic Blue Estate has these elements…in spades.

Over a decade ago our pop culture was drowned in the type of crime fiction Blue Estate portrays. Riding the high of Pulp Fiction, Hollywood began to crank out similar fare that went down the quirky and violent road of offbeat crime stories. Soon enough the works of Elmore Leonard became the rage and Get Shorty became a widely assessable film based on the clever novel. This is where Blue Estate resides, somewhere in our post Get Shorty world (certainly not counting Be Cool).

Read my full review: Pulpy Hollywood Irony: The Delicious Aesthetic of Blue Estate

Covers from this Week

2011-04-22T11:04:00.000-04:00

Covers I enjoyed this week include The Sixth Gun #11, Gotham City Sirens #22 and DMZ #64.

Review: Batman and Robin #22

2011-04-21T19:13:00.000-04:00

New review for PopMatters.com: Batman and Robin #22.

On the surface, “Tree of Blood – Dark Knight vs. White Knight” playing out over Batman and Robin 20-22 is not terrible, though it is something of a rudimentary storyline. It certainly is not a storyline that embodies the apparent title direction, as it could easily fit within several of the other Bat titles.

But the thematic underpinning for this short arc is something more. And that is the major problem with this Batman and Robin story arc: it is trying to force one theme when another is a much better fit. Almost like the narrative is fighting against itself. And it’s sociological theme fighting a political theme.

Can a comic book represent the zeitgeist of the political landscape? In clumsily forcing one theme writer Peter J Tomasi ignores his own unconscious wrestling with a completely different one.

Read my full review here: Make Them Angels, Or They’ll Be Demons: Preemptive War & Batman and Robin

Favorite Covers This Week

2011-04-15T10:12:00.001-04:00

Not the best week for covers, but some of my favorite from this week include: Batgirl 20, Sweets 5 and The Li'l Depressed Boy 3.

Review: The Li'l Depressed Boy #3

2011-04-11T12:49:00.000-04:00

Latest review for PopMatters.com: The Li’l Depressed Boy #3.

Released this Wednesday, Struble and Grace's The Li'l Depressed Boy #3 shows every sign of becoming a modern masterpiece of the social rituals we are all subject to. With issues two and three, LDB continues his near passive pursuit of the girl. She’s driving the relationship; he’s just happy to be along for the ride. It’s nearly a stereotype of the too cool for sub-culture guys. The Rob Gordon’s of the world, who aspire to be the Lloyd Doblers, but can never quite pull off the insouciance cool.

These are the characters that let the music speak for them. Similarly, The Li’l Depressed Boy lets the music featured in each issue speak for the emotion and tone the creators are trying to convey. Comics don’t have a soundtrack (though they should), yet writer Struble and Grace are doing their best to provide one. If you read this comic and don’t check out the bands they feature, you’re missing the point.

Reade my full review: Authentic and Genuine: The Social Rites of Passage in The Li’l Depressed Boy

Favorite Covers This Week

2011-04-07T11:39:00.000-04:00

Favorite covers from this week include Blue Estate #1, Chew #18 and iZombie #12.

Review: The Flawed Narrative of 'Scarlet'

2011-04-05T16:07:00.003-04:00

New review for PopMatters.com.

Marvel imprint Icon’s Scarlet is a comic series that aspires to be innovative with its point of view and espouse a unique take on corruption, virtue and the seething alienation felt by youth culture. The optimal word is “aspires”, because for all the adjectives that could be thrown at the book, and for all the analysis of its point of view, Scarlet has enough flaws to render any good intention mute.

Writer Brian Michael Bendis and artist Alex Maleev’s Scarlet is about revenge and revolution. It’s about a young woman having the world ripped open before her and seeing its dark underbelly. She doesn’t like it, no, not at all. And in a vain attempt at revenge, she seeks to kill and expose all that darkens her world’s streets…even if she has to kill a lot of people to do it.

Read my full review here: Fair is Fair: The Redundant and Flawed Narrative of Scarlet

Good Covers From This Past Week

2011-04-04T14:26:00.001-04:00

American Vampire 13, Detective Comics 875 and Amazing Spider-man 657 were great covers this week.

Review: The Duality and Synergy of Captain America 615.1

2011-03-29T15:45:00.000-04:00

Another review for PopMatters.com posted: Captain America 615.1

Captain America 615.1 is a jumping on point for new readers. Part of a company wide effort to slow down and let new consumers join the party, the point-one issues have been relatively tame, lacking any sense of drama, excitement or enthusiasm. They have been fairly good summations of where titles have been, where they are currently and where they could possibly be going. Captain America point-one is an exception, however, as writer Ed Brubaker and artist Mitch Breitweiser revel in the opportunity and present a compelling, well-crafted book.

Looking firmly at Captain America 615.1, this is a light exercise in existential rumination. Is Steve Rogers a commander or a field operative? Is he best with or without the shield? He’s having doubts, and his reservations are confounded by the appearance of yet another person acting as Captain America. This has been Marvel’s legacy with this title. Many others have taken up the role, but it inescapably goes back to the originator.

Read my full review here: Infinite Rebirth: The Duality and Synergy of Captain America

Review: The Evolution of Vampires and America in 'American Vampire'

2011-03-28T14:26:00.001-04:00

Vertigo’s American Vampire is about more than simply a fresh new take on the already toxically-popular vampire mythos — it’s about the birth of America.

The "American" Vampire, Skinner Sweets finds his long life amassing a great deal of personal history, mirroring the evolution of the nation itself. His story is a microcosm of the Old West and its singular examination of heroes, villains and everyone in between. Where do the legends come from? Where do they go after their time is done? Sweets embodies both allegory and transition; a transition from savageness of the frontier to the refinement and progress of the industrial age.

It’s hard not to be enthused by the comic series. What’s been presented in the last dozen issues is not your typical vampire saga. No, the depth of the mythology is only outmatched by the strength of its characters.

Read my full review for PopMatters.com: Nothing Sparkles: The Evolution of Vampires and America in American Vampire

Review: iZombie 11

2011-03-17T18:57:00.000-04:00

My latest review for PopMatters.com is live. This week I looked at Vertigo’s “iZombie.”

True love with teeth: “iZombie” offers readers a carefully crafted, popart-tinged, super-camp cohort of monsters. The set-up is strong. However, all the shiny parts in the world won’t drive an engine if the engine is never assembled. “iZombie” has more wasted potential than most comics. That’s a compliment to the ability of the creative team to create a fairly cohesive series and yet leave so much possibility on the table.

What carries “iZombie” is not the plot, though it’s compelling; it’s not the art, though it’s outstanding; and it’s not the dialogue, which has a tremendous amount of promise. No, it’s the pop-art and campiness of the book that makes it a fun read each month.

Read my full review here: “Most Likely Too: The Nouveau Hipster-Chic of Roberson & Allred's ‘iZombie’”

Review: Death, Minimalism and Restraint in 'Amazing Spider-Man' 655

2011-03-01T12:13:00.000-05:00

My latest review for PopMatters.com is live. This week I looked at “Amazing Spider-Man” #655.

Mimicking the traditional three-act structure, “Amazing Spider-Man” #655 offers an outpouring of grief that hearkens back to the Spider-Man stories of old. Writer Dan Slott continues to explore the melodrama that was traditionally the core of classic Spider-Man tales. With the aid of artist Marcos Martin, this issue achieves a retro look that reminds readers of the reasons why they first started buying Spider-Man comics to begin with.

This is not to say this story is unique among Spider-Man comics. “With great power comes great responsibility.” The phrase entered our cultural lexicon decades ago and is still the driving force behind any Spider-Man comic. It’s at the center of this issue too. But what makes this particular issue so compelling is the execution by Slott and Martin. They create a balance of art and story that builds upon each other without overshadowing either.

Read my full review here: Darkly Reflective: Death, Minimalism and Restraint in ‘Amazing Spider-Man’

Review: The Redemption Song of 'DMZ' 62

2011-02-22T14:08:00.000-05:00

My latest review for PopMatters.com is online. This week I revisited Vertigo’s “DMZ” to examine the title’s latest story arc “Free States Rising.” This storyline represents the beginning of the end as “DMZ” has 10 issues left in its run.

When a writer approaches the pre-determined end to a series, it’s important to put everything in perspective. It’s important to put a spotlight on the main theme.

Matty Routh has been through a lot, and now he's ready for redemption. It's back to being a witness and not a player.

And as he rounds the corner to the closing of DMZ, writer and co-creator Brian Wood’s back-to-basics characterization is sublimely assisted by returning artist and co-creator Riccardo Burchielli’s haunting landscapes.

Read my full review at PopMatters.com: Redemption Song: Survival and Opportunity in the Final Chorus of ‘DMZ’

Latest Review for PopMatters.com: Li'l Depressed Boy #1

2011-02-15T11:30:00.000-05:00

My latest review for PopMatters.com is live. This week I looked at the new Image book “Li’l Depressed Boy.”

Based on a Webcomic of the same name, “Li’l Depressed Boy” sits somewhere between High Fidelity – both the book and movie – and Stranger Than Fiction– the movie that is a book. But it has unique elements that helps the narrative go beyond the offbeat and settle in a place that is relatable. The titular character embodies the hopes, frustrations and experiences of generations of 20-somethings. He’s Rob Gordon, he’s Harold Crick (after he’s taken leave from his IRS job), and he’s Tom Hansen. LDB is the metaphysical realization of saintly slacker-dom.

You can read my full review here: Indifferent Boy Meets Girl: The Saintly Slacker-dom of ‘Li’l Depressed Boy’

Circumstances: ‘Scarlet’ #4

2011-02-08T21:06:00.000-05:00

Review: “Scarlet” #4

Writer: Brian Michael Bendis

Artist: Alex Maleev

Designer: Tim Daniel

Publisher: Marvel/Icon

Somewhere between the launch of Icon’s latest creator owned title “Scarlet” and its fourth issue the world changed. Maybe that’s an exaggeration. The United States had a moment; a terrible moment that shocked us at how monstrous some of us can be to each other. While not in the least connected, the events in Arizona last month have certainly casted a different shadow on the book.

Brian Michael Bendis and Alex Maleev’s “Scarlet” is about revenge and revolution. It’s about a young woman having the world ripped open before her and seeing the dark underbelly. She doesn’t like it, no, not at all. And in a vain attempt at revenge, she seeks to kill and expose all that darkens her world’s streets…even if she has to kill a lot of people to do it.

Released shortly after the attempted assassination of Representative Gabrielle Giffords, and the deaths of several people, “Scarlet” #4 has some interesting timing. The timing also gives the book a different tone. The name coincidence is just that: a coincidence. We are akin to comic protagonists taking the law into their hands and dishing out justice. Usually it doesn’t involve killing (aside from a dozen titles that do). As we know, the title character from “Scarlet” takes a different approach. This person wants everyone within earshot of her to experience the exact same pain she feels. Though her progression to killing corrupt cops is part of the whole “Does the ends justify the means” debate, there is this unarguable self-centered quality to her plot. But, any good revenge story has that. At any other time in our history, “Scarlet” probably wouldn’t elicit a strong response. This should not cause the further development of this narrative too many problems, but the creators should be ware.

What Bendis and Maleev should also be weary of is the extent to which their story becomes repetitive. This is not really a criticism of the artwork by Maleev, which has a unique atheistic and point of view. This is more a criticism of Bendis’ dialogue, as the repetitive “world’s broken and we’re fixing it” line variations feels like padding rather than character or story development.

“Scarlet” is a product of our world, and its further development should also be a reflection of our world. What remains to be seen is whether the tone will change? Whether any tone change was planned or audibled? The experimental narrative structure is a nice trick, but it remains to be seen if it is anything more than just a trick. “Scarlet” is very much a victim of circumstance; both in the story and in its publication. Let’s see how this plays out.

Latest Review for PopMatters.com: The New York Five

2011-02-08T15:50:00.001-05:00

My latest review for PopMatters.com is live. This week I looked at Brian Wood and Ryan Kelly’s “The New York Five.”

The historic portrayal of female characters in comics can be summed up with any number of crude or archaic descriptions. Relegated to being damsels in distress, sexual conquests for male protagonists or the occasional femme fatale, women have rarely been the thrust of narratives. In “The New York Five,” Wood not only delivers one strong female lead, but four of them, with other supporting characters fairing particularly well in their intricate depictions.

You can read my full review here: Nuanced Feminism: The Style and Appeal of ‘The New York Five’

Latest For PopMatters: Dick Grayson-Batman in Detective Comics

2011-02-03T19:37:00.000-05:00

My Latest review for PopMatters.com is live. This week I looked at “The Black Mirror” story arc in “Detective Comics” from new creative team Scott Snyder and Jock.

Even after more than a year in the cowl, it feels strange to think of Dick Grayson as the Batman. What new series regular writer Scott Snyder offers with his first story arc, “The Black Mirror,” is the final word on the former sidekick as a Batman in his own right.

You can read my review here: Righting the Ship: The Dick Grayson-Batman Persona in Detective Comics

Latest for PopMatters: Halcyon #3

2011-01-28T12:45:00.004-05:00

My latest review for PopMatters.com is live. This time looked at Image’s “Halcyon.”

War, violence and evil deeds are constant factors in the evolution of any society. But what if one day everyone started playing nice? In a world of superheroes, what if peace made those heroes obsolete? Image Comics’ new series “Halcyon” addresses just such a question.

Read my review here: Peace in a time of Contemporary Reinvention Clichés: Halcyon #3

Latest for PopMatters: Incognito: Bad Influences: Nice, Even When Not Playing Nice

2011-01-18T12:22:00.003-05:00

My latest for PopMatters.com is live. This week I look at Ed Brubaker and Sean Phillips’ “Incognito: Bad Influences.” The first volume of this pulp inspired comic was quite good, and now the second volume looks to continue on the success of the first.

The dark roots of superheroes are at the core of “Incognito.” Like many of the titles at comic shops today, it’s a reflection of our dark times. It’s not surprising that many of the characters being introduced are not solid good guys. They’re shades of gray, reflecting a cynicism that has become so entrenched with our shared cultural experience we are often unaware of its influence.

Read my full review here: Nice, Even When Not Playing Nice: 'Incognito: Bad Influences'

Latest For PopMatters: Nemesis' Pointed Deception of Relevance

2011-01-10T20:06:00.000-05:00

After a brief hiatus, I’ve got a new review on PopMatters.com. This time I look at Mark Millar’s “Nemesis,” the uber-violent cousin to “Kick-Ass.”

Drawing deeply on the Batman-Joker mystique, “Nemesis” suffers a disappointing shortfall for such a high concept book.

Read my review here: Shock Value: The Pointed Deception of Relevance in ‘Nemesis’

Latest Review for PopMatters.com: DC's 'First Wave'

2010-12-14T10:50:00.000-05:00

My latest for PopMatters.com is online. This time I review DC’s pulp-inspired limited series “First Wave” #5.

The previous issues have been in the unfortunate position of relaying an overreaching plot that lacks focus and intrigue. It’s a shame really because the treatment for the series presented in the “Doc Savage/Batman” one-shot was quite strong.

Read my review here: “First Wave’s” Pulp and Noir World: The Failure Between Concept and Execution

Latest For PopMatters: 'DMZ's' Clairvoyance

2010-12-10T11:36:00.000-05:00

My latest piece for PopMatters.com has been posted. This time I looked at the recently concluded “DMZ” story arc “Collective Punishment.”

Vertigo’s “DMZ” has been for sometime a nearly clairvoyant series about our political times. Like most artifacts from our popular culture, it is a reflection of this era.

You can read my article here: Clairvoyance: The Polarized Political Life of ‘DMZ: Collective Punishment

American Vampire 9: Mythology In Depth

2010-12-04T17:48:00.003-05:00

Review: “American Vampire” #9

Writer: Scott Snyder

Artists: Rafael Albuquerque & Mateus Santolouco

Colorist: Dave McCaig

Publisher: DC/Vertigo

Vertigo’s “American Vampire” concludes its second story arc with an all out orgy of vampire violence, bookended by two touching father-son scenes. It’s hard to believe that this series after a short nine issues has picked up so much staying power. If you stated that this is the best new comic series of 2010, there would be few arguments against that claim.

What makes a comic series good is not a plethora of action, but rather when the action sequences are tempered with a deep emotional connection with the characters…no matter how new they are. “American Vampire” didn’t take the easy road when it came to its second story arc. Though, how hard could it be when the narrative employees one of the better villains of the last decade? Writer Scott Snyder could have easily continued with his flapper girl turned vampire, but instead chose to introduce new characters and a new setting in pre-Sin City Las Vegas.

Cashell McGogan has received a wakeup call about the world around him the last several issues. Now realizing for the first time who and what his father is, his mixed emotions are subtly pulling in opposite directions. What he does know is that he’s got a lot of violence and death coming his way, but he’s able to put the recent revelation aside just long enough to understand the complexity of his situation. Just where his loyalties lie is at the heart of this issue.

The standout to this issue is the continued advancement of the mythology for the series. Snyder has developed a surprising amount of depth in two story arcs. It’s curious how much more he can create with a few more arcs.

The artwork by Rafael Albuquerque has been inspired throughout this series and this issue is no exception. The addition of Mateus Santolouco for just three pages is an interesting choice, but his panels blend perfectly with the rest of the issue. Dave McCaig’s color work is just as pitch perfect, highlighting the lines of Albuquerque and Santolouco to create terrifying and energetic pages.

“American Vampire” has quickly become a comic fan favorite. With its deep and compelling narrative and stellar artwork, the case can be made that it’s the best new series going. Regardless of its place, “American Vampire” is well worth your comic dollar.

Batwoman: Not Starting From Zero

2010-11-30T20:41:00.000-05:00

Review: Batwoman #0

Writers: JH Williams III & W Haden Blackman

Artists: JH Williams III & Amy Reeder

Inker: Richard Friend

Colorist: Dave Stewart

Publisher: DC

Batwoman, last seen in the pages of “Detective Comics,” is one of the more intriguing re-launched characters in the DC universe. She has always been a source of controversy stemming from her original debut in the 1950s as a response to perceived homosexual undertones between Batman and Robin. It’s only fitting that her modern interpretation is as a lesbian. Not so much ironic as a pointed attempt by DC to pay tribute to her roots and create a more diverse character line-up. That would suggest a gimmicky character. Nothing could be further from the truth.

During her time in “Detective Comics” writer Greg Rucka decided to completely revamp her origin. It was a bold move that laid the framework for a compelling new vigilante in Gotham City. No longer just simply a socialite with time on her hands, Kate Kane became a symbol of the struggles of modernity, acceptance and perseverance. She’s now a former West Point Cadet who was kicked out under a Don’t Ask Don’t Tell policy. That origin was made all the more real by Rucka consulting former US Army Officer and gay rights activist Daniel Choi, himself a West Point graduate. Kane wanders for a time before deciding to take up Batman’s mission after a chance encounter. With the support of her Army Officer father, she sets out to do what she has always wanted to do: serve and protect the people.

The fact of her sexuality is less about making a grand statement and more about giving her depth and a perspective so very different from the other bats in the DC Universe. So often homosexual characters in comics (and media in general) are tragically used for comic relief or political statements that the prospect for a gay character that is none of these is compelling and refreshing. It's reflective of our modern world and more inline with our society than other portrayals.

A hallmark of that brief run in “Detective Comics” was the artwork of JH Williams III. At times experimental, it sought to create a new way to graphically tell a superhero story. The color work by Dave Stewart was also a highlight of the run. Playing with dominate reds in each panel, Stewart and Williams formed a dynamite and dynamic art team that was aided by the strong and compelling scripts by Rucka.

“Batwoman” #0 marks the return of that creative team (minus Rucka who departed under strange circumstances) with the additions of artist Amy Reeder and writer W Haden Blackman. The issue itself is a reassertion of the current understanding of Batwoman. In other titles, and by other creative teams, she was often mischaracterized becoming a mundane and shadow of her brooding self. The story of the issue is essentially Batman/Bruce Wayne’s endorsement of Kane. Throughout the short tale, Wayne is undercover observing Kane, remarking on her skills and motivations. It’s well meaning insofar as to put her on Wayne’s level…so to say.

The artwork is just as strong as it was in the “Detective Comics” run. The addition of Reeder for the Kate Kane out of costume scenes is an effective use of a two person art team. Stewart’s colors continue to play with reds, but his real strength is being able to evolve Williams’ other worldly Gotham City.

The prospect of a “Batwoman” series should have readers of her “Detective” run foaming at the mouth, especially if it’s a continuation of what was started. There is a ton of potential with Kate Kane. Her origin is strong, the depth of her character endless. Let’s hope DC doesn’t ruin it.

Latest Review for PopMatters: 'Amazing Spider-Man' 649

2010-11-30T12:25:00.000-05:00

My latest review for PopMatters.com is live. This week I look at “Amazing Spider-Man” #649.

This is the second issue by writer Dan Slott under the “Big Time” banner. So far Slott has re-embraced the melodrama that was a wellspring for the original Spider-Man stories.

Read my review here: Anti-Hero: The Soap-Operatic, Melodramatic Life in 'Amazing Spider-Man' #649

Reviewing for PopMatters.com

2010-11-25T10:17:00.001-05:00

Big announcement! You can now read my reviews here and on PopMatters.com. That means twice the reviews each week, as my reviews for PopMatters.com will be exclusive to them. Not to fret, dear readers, as I will continue to post other reviews right here.

Right now my review of the first story arc for Oni Press' "The Sixth Gun" is up on PopMatters. You can read it here: Old Hat: How The Sixth Gun Defies the Peaks and Valleys of a Genre.

Batman: The Return & Incorporated: Game On Two Times

2010-11-18T21:37:00.001-05:00

Review: “Batman: The Return” #1 & “Batman: Incorporated” #1

“Batman: The Return” #1

Writer: Grant Morrison

Penciller: David Finch

Inkers: Batt & Ryan Winn

Colorist: Peter Steigerwald

Publisher: DC

“Batman: Incorporated” #1

Writer: Grant Morrison

Penciller: Yanick Paquette

Inker: Michel Lacombe

Colorist: Nathan Fairbairn

Publisher: DC

This week marks the beginning of a new era with the release of “Batman: The Return” one-shot and “Batman: Incorporated” #1. Both books lead into each other, yet they have a marked difference in their roles of kicking off this period. That’s reflected in each of their tones, but it’s undeniable that they are two parts of the same whole.

This is the global launch of Batman/Bruce Wayne. No longer feeling that he can have enough of an impact operating in Gotham City, the Dark Knight is expanding on a larger scale. After being “dead,” Bruce has returned to the cape and cowl with a renewed and reinvigorated focus. “Starting today, we fight ideas with better ideas,” he says in the pages of “Batman: The Return.” That’s the summation of it all – ideas. The idea of Batman is evolving…with hints from his publication past.

“Batman: The Return” is all about setting the mood. It’s the fragrant candles during that quiet evening with your spouse at home. The atmosphere opens with the past as the earlier work of Frank Miller’s “Year One” is paid tribute to yet again. This has been a constant theme for writer Grant Morrison in his most recent Batman work. Fundamentally, this homage is saying that Miller’s take on Batman still stands, it’s just being evolved.

The opening is a bit indulgent, but flows into the rest of comic well. The pacing for “The Return” is fast. It has a lot of work to do as it establishes the new status quo. The situation for each of the periphery Bat characters is touched upon without expanding on them, leaving that for their own titles.

The artwork by David Finch, Batt and Ryan Winn and Peter Steigerwald has an interesting aesthetic. It’s the chief element that gives the book its mood. Finch as penciller was the obvious choice as his new “Dark Night” series will be debuting soon. However, it’s an odd match for Morrison’s script, lacking the energy seemingly required of its pacing. The team works well in the first several pages and in the last panel, but aside from that it’s far from spectacular and rather workable.

“Batman: Incorporated” #1 has a different feel. Much more jet-setting and business like. Bruce Wayne starts his new global takeover in Japan with Selina “Catwoman” Kyle as his companion. It’s a very good pairing narratively speaking as there’s not a Batman fan that doesn’t enjoy them together. That said, it’s also workable (there’s that word again). The action throughout the book has a playfulness to it, which is evident in the final panel. It’s a teaser of a first issue, laying out the basic structure and framework for at least the first story arc and possibly the series. It’s not paint by numbers, but it’s close.

The art team of Yanick Paquette, Michel Lacombe and Nathan Fairbairn is a bit better of a match for Morrison. Their work from panel to panel has a similar energy to the script, pausing only slightly to reflect upon the pairing of Bruce and Selina. There’s a sexiness to the book that borders on overt sexism and scopophilia, yet it’s lighthearted enough as to indicate a certain amount of irony.

“Batman: The Return” and “Batman: Incorporated” #1 are complimentary issues. Their pairing is an effective launch for global Batman. They are far from perfect, and fairly rudimentary, but they could have been far worse. They each have a level of intrigue, punctuated by their styles and tones, that bolds well for the potential stories coming out of “Incorporated.” It’s an interesting time for Batman, especially for this evolved Dark Knight. “Game on.”

The Return of Bruce Wayne #6: A Different Bat Now

2010-11-11T21:16:00.001-05:00

Review: “Batman: The Return of Bruce Wayne” #6

Writer: Grant Morrison

Penciller: Lee Grabett (Pages 1-18, 20, 26-28, 32)

Artist: Pere Perez (Pages 19, 21-25, 29-31)

Inkers: Alejandro Sicat & Walden Wong

Colorist: Guy Major

Publisher: DC

The era of “Batman, Incorporated” can begin with the conclusion of “Batman: The Return of Bruce Wayne.” A little late and bit out of order, the mini-series is at long last complete. This final issue also marks the conclusion of anything related to writer Grant Morrison’s long running “Black Glove” storyline, as the final pieces of that puzzle are presented within its pages. Additionally, loose ends from the DC crossover events “52” and “Final Crisis” are put to rest. That’s a ton of leg work for one single comic.

In the end, the character everyone knew was coming back is back. It would seem the entire purpose for the series was to justify and elongate the editorial re-definition of Bruce Wayne’s psyche. He’s a different bat now, a movement towards which has been long gestating. Two years? Perhaps longer as some may argue that Morrison started planting seeds way back during his “Legends of the Dark Knight” run.

Morrison’s mission has been to merge all of the various incarnations of Batman over the character’s 70-plus year history. In the pages of “The Return of Bruce Wayne” each issue has taken a look at a distinctive element of Batman’s publication history: warrior, supernatural hunter, swashbuckling adventurer, masked avenger and pulp detective. All of which are being merged to make up the “new” Batman. This is the most forward DC has been with its recreation of Batman’s persona, a move for some reason that has yet to be rationalized.

There is a lot of power in the panels of these pages. Morrison crafts scenes that attempt to connect his deconstruction to the most provoking pieces of Batman’s mythos. Scenes from Frank Miller’s “Batman: Year One” are called upon to lend weight to the issue. It is heavy symbolism given the new editorial direction, and very telling that DC is not disregarding Miller’s own reformatting of Batman, but changing it to suit the new approach. Other scenes are just as provoking in so far as they connect with nearly the entirety of Morrison’s recent work.

The story within “The Return of Bruce Wayne” #6 hits every point of a finale checklist: epic struggle, check; battle of wills, check; good outsmarting evil, check; self-realization, check; new beginning, check. It might as well be paint by number.

Thankfully the artwork by Lee Garbett and Pere Perez, tag-teaming again, is not paint by numbers. Their work together on “Batgirl” was quite good and here they deliver again. While not quite the stylistic approach of Cameron Stewart or Frazer Irving, the work of Garbett and Perez nonetheless presents the drama, action and intrigue of Morrison’s script with all its intended bravado. The color work by Guy Major complements each scene, while the inks by Alejandro Sicat and Walden Wong provide depth and shadow to each panel. All in all the artwork is very competently handled.

Questions still remain as to whether “Batman, Incorporated” will be successful. It’s not uncharted territory for “Batman” comics, as the concept was loosely explored in the 1950s. So what can DC hope to get out of it? New stories? Compelling drama? Thrilling action? One can only hope. Regardless, “Batman” can finally move on.

Batman & Robin #16: Suspending Disbelief and Other Rehashes

2010-11-04T21:14:00.002-04:00

Review: “Batman & Robin” #16

Writer: Grant Morrison

Artists: Cameron Stewart, Chris Burnham & Frazer Irving

Colorists: Alex Sinclair & Frazer Irving

Publisher: DC

The mythos of Batman has fundamentally changed. That has been a certainty for the last two years and fairly suspected for the last five if not longer. The final nail in the coffin (to borrow an image from “RIP”) comes with “Batman & Robin” #16, writer Grant Morrison’s personal Batman playground where he has modified and morphed the legendary titular characters. Often praised for its stirring take on superhero comics, the title has had its hiccups when it comes to consistent characterizations. It also happens to be the place where Morrison’s long running storyline “The Black Glove” finally comes to an end…maybe.

Can the storyline ever really end? Not when the final issue of “The Return of Bruce Wayne” has yet to be released. Its delay has thrown a bit of confusion into the tale, creating an accidental nonlinear narrative. The remaining story threads will be tied up, but the impact has been harmed. Regardless, “Batman & Robin” #16 presents not only the finale of “The Black Glove” but also a new direction for Batman/Bruce Wayne that will have an impact on the rest of his universe.

Much has already been written about the final panels of this issue. Bruce Wayne announces at a press conference that he has been secretly funding “Batman” for years, and that he is going to be taking the venture global. Batman, Inc. A League of Batmen. Sound familiar? It should because in the mid 1950s DC comics did a very similar thing. It was considered gimmicky back then and it seems rather the same now. DC is pushing forward with the idea, never mind that the previous attempt was part of a score of editorial decisions that lead to a sharp decline in sales and near cancellation. Hopefully this time it will work out better.

Suspension of disbelief is a comics tradition. Men can fly. Being bitten by a radioactive spider creates a super-powered but normal looking hero. Announcing that a person has been funding a vigilante doesn’t get him arrested for aiding and abetting illegal activity. After his Tony Stark-like announcement will Bruce Wayne be arrested? Will he be sued by everyone who has ever suffered property damage as a result of Batman’s activities? Thankfully this is a story in a comic book because the weight of this tale would crumple any other type of narrative fiction.

The plot of this particular issue is fine. A bit abrupt, seemingly hearing the sound of its own “wrap it up” box, but perfectly fine for a finale. The art however suffers as it employs three artists, Cameron Stewart, Chris Burnham and Frazer Irving. The effect is rather jarring and incongruent. Each individually is very talented, but together their styles are dissimilar enough as to be distracting and ultimately detracting to the overall comic. The colors by Alex Sinclair in the early pages of the book are very good and add to the haunting nature of those panels. Frazer Irving’s colors, along with his artwork, is striking in its originality. However, his pencils in the last couple of panels leave much to be desired considering the weight of his work in the previous pages and issues.

The amount of praise given to “Batman & Robin” #16 has been consistent. That’s rather alarming. The issue is far from spectacular, and aside from the game changing announcement at the end, it is rather humdrum. Perhaps it’s a case of so much build up that any ending would be seen as routine. It’s also a case of the overall story being so complex that unraveling its cipher was hardly worth the effort.

This is the end of an era and the beginning of a new for “Batman” comics. It has been epic and inventive at times, but also bewildering and unsettling. The new direction is not uncharted, but it’s never been attempted with a modern sensibility. Perhaps Morrison and the rest of the creative and editorial team can pull it off. Let’s hope they do as the fallout from a misstep could be devastating.

Incognito: Bad Influences #1: Nothing Lost

2010-10-28T20:31:00.006-04:00

Review: “Incognito: Bad Influences” #1

Writer: Ed Brubaker

Artist: Sean Phillips

Colorist: Val Staples

Publisher: Marvel/Icon

After a very successful first volume, “Incognito” is back to blend pulp, superhero and noir worlds in ways that writer Ed Brubaker and artist Sean Phillips only can. The duo has crafted so many compelling comics with “Sleeper,” “Criminal” and “Incognito” that they rightly deserve the tag all-star creative team. Their individual work has always excelled, but together the two have delivered some of the most intriguing stories in decades. This new volume is no exception.

“Incognito: Bad Influences” picks up shortly after they left it off. Former villain Zack Overkill is now working for the good guys and adjusting to having a secret identity and living daily amongst the mundane. Really, nothing much has changed, as Zack still shows his contempt for regular life, but his character’s progression is nonetheless evident when compared to his witness protection days.

Brubaker takes the opportunity with this first issue to play with the storytelling formula. He shifts from first person narration to third person, all the while presenting a non-linear story that is fast-paced and reservedly thrilling. The dialogue is sharp and pointed; the back-story is well presented to catch-up readers; and the depth of the universe where the story resides seems endless. It’s very much rooted in the pulp magazine tradition, but is so evolved that it moves away from pious homage and into inspired original territory.

Sean Phillips panels are simply stunning and beautiful onto themselves. The energy from scene to scene ebbs and flows, pausing only for readers to catch their breath as it weaves around the turns of the script. Suffice it to say, the pairing of Brubaker and Phillips has not lost a strand of their creative thread.

“Incognito” succeeds because the book’s story and art complement each other so well. Both of the creators’ aesthetics lends themselves easily to this genre. It wouldn’t be a stretch to say that Brubaker and Phillips were born 70 years too late. If they were working during the golden age of pulp magazines they probably would have been working on issues of the “Phantom Detective” or “The Shadow.” Pulp and noir are Brubaker and Phillips' playground, where just excited to be invited to the edge of the sandbox.

Batman & Robin #15: Compelling Opus?

2010-10-21T22:28:00.003-04:00

Review: “Batman & Robin” #15

Writer: Grant Morrison

Artist: Frazer Irving

Publisher: DC

It’s fitting that following “The Return of Bruce Wayne” #5, “Batman & Robin” #15 would present the penultimate chapter to Grant Morrison’s long stewing “Black Glove” saga. A saga that has weaved its way through Batman comics for a very long time. So long that calling this issue the “last but one” is very hard thing to do. Could Morrison ever end his opus? Will it end neatly? Will it make sense?

“Batman & Robin” as a series has been a playground for Morrison to play with the Batman mythos as he sees fit. Often praised for its stirring take on superhero comics, the series also has had the disappointing propensity to betray generally accepted characterizations in favor of off the wall plots. In the early issues, Frank Quitely’s inspired pop art served as a complement to the type of post-modern storytelling the title attempted to present. Many other artists have stepped in to fill Quitely’s shoes to varying effectual degrees. Mainly, the series has advanced portions of the “Black Glove” storyline.

Now all the threads are being tied together, presenting an “epic” ending in the final chapters of the aptly titled “Batman & Robin Must Die.” Between “Batman,” “The Return of Bruce Wayne” and “Batman & Robin,” the story has raged from chapter to chapter and title to title, somewhat contorting the overarching narrative yet having enough leeway to allow for separate stories to be told in between. But how could a story of such proportions ever end in such a tidy way? It would take a real genius…but we’ve been down this road.

As a single issue “Batman & Robin” #15 is not the fantastic comic other critics would make it out to be. Even as the latest chapter in an involved story it fails to move beyond workable. Its surface is quite compelling – shiny, dazzling in its creepiness, terrifying in its insanity, perfectly salacious – but for all its comic glitz the issue is fairly mundane, presenting scenes that have been raked over the coals for the last several years.

Frazer Irving is the latest artist to work on the title. His art is moody, favoring stark shadows and emotionally charged panels. It’s definitely complementary to what Morrison is presenting, and is a rather fitting match in the macabre tradition that has infected almost every aspect of Batman comics under its current direction. Is this to say that it’s good? Yes, in so far as it presents a fairly original take on the caped crusader and works well with the narrative direction of “Batman & Robin.”

For all its grandiose style and epic nature, Morrison’s Batman saga is a poor reinvention of the mythos behind the Dark Knight. Batman has a strong origin and Morrison’s attempt to undo and fundamentally change its nature and circumstances has the potential to crumple the foundation of a 70 year-old institution. Nothing is sacred (in comics) – Superboy Prime’s reality altering punch has showed us that. But when you affect the very basis for a character and his persona…you have the ungodly prospective of destroying a legacy by the very oeuvre you’ve devised to advance it for another decade.

The “Black Glove” saga is without a doubt complex, engrossing and smart. Thankfully it might finally be over.

New York Comic Con: Autographs!

2010-10-17T14:04:00.001-04:00

New York Comic Con was last weekend. Like its February 2009 predecessor, it was a very good show. I went on a mission to meet and get autographs from several comic creators.

First, Brian Wood and Becky Cloonan co-creators of "Demo." Issue six of the second volume of that series was very good and it was important to get both their signatures on my copy.

Next, Paolo Rivera. His artwork during the Spider-Man "One Moment in Time" storyline was outstanding, the only good part of those issues, plus his covers were simply beautiful.

I've quickly become an admirer of "American Vampire" artist Rafael Albuquerque. His work with writers Scott Snyder and Stephen King has been very good.

Finally, the artwork of Ryan Kelly has been consistently good on every book he's worked on. His work with Brian Wood on the book "New York Four" was very good. His autograph is that much better.

Batman: The Return of Bruce Wayne #5: Delayed and Absurd

2010-10-14T22:32:00.006-04:00

Review: “Batman: The Return of Bruce Wayne” #5

Writer: Grant Morrison

Penciller: Ryan Sook

Artist (Pages 22-31): Pere Perez

Inker: Mick Gray

Colorist: Jose Villarrubia

Publisher: DC

All of the potential, hype and anticipation that could have been exploited and created from the return of a legendary character can be quickly destroyed if the timing is just a bit off. Delays happen, often unexpectedly, but typically schedules are adjusted as to minimize the impact and maximize the intended effect. DC chose not to do that when “Batman: The Return of Bruce Wayne” became delayed by unforeseen circumstances. Now months after it was due, the fifth installment of the miniseries hits comic shops just as the first of several one-shot issues addressing the ramifications of Bruce Wayne’s return also are released. The original Batman is back, even if we haven’t gotten up to that part of the story yet. Cat’s out of the bag…if it ever was in the bag to begin with.

Putting aside the publication delay, “Batman: The Return of Bruce Wayne” #5 is yet another chapter in writer Grant Morrison’s revamp, redefinition and reinvention of Batman that he began several years ago with his first run writing “Batman” comics. Morrison’s mission is seemingly to merge all of the various incarnations of Batman over the character’s 70-plus year history. Pulp Batman, sci-fi Batman, campy-pop art Batman, neo noir Batman, gothic Batman, God-damn Batman et al will become one entity no matter how convoluted and confusing the process will be. His origin story will have more layers and his tone will reflect that more layered approach. Sound familiar? There once was a man named Frank Miller…

Without question characters must evolve to stand the test of time. Previously, Batman was evolved through the “Year One” miniseries by Miller. Morrison’s approach is to evolve Bruce Wayne through his ongoing adventures. Much of this work has taken place in the background of Morrison’s “Black Glove” saga, a thoroughly complex and ever expanding storyline that has been weaved throughout several Batman titles over the course of several years. It’s a narrative of monumental proportions involving Wayne’s parents, the circumstances of their murder, the bat motif that has consumed Wayne’s life and the very core of Gotham City. It’s epic and mysterious. Yet, when you pull back the layers and examine its parts, there is nothing that makes it quintessentially about Batman. You could replace the characters and it would still exist. That is usually the sign of a universally enjoyable story, but when it has to do with the fundamentals of such a strong origin it creates a loose cornerstone that could crumble the foundation at any moment.

Looking at this particular installment in Morrison’s saga, we find a chapter soaked in noir style. From the plot to the dialogue to the art, it is a prime example of the hardboiled detective story that has infatuated readers for the last 70 years – the very genre that spawned Batman in the first place.

Bruce Wayne is lost in time, shifting through centuries like he’s walking through the rooms of a large ornate house. His struggle is to remember who he is, what his purpose is and how will he survive this predicament. He is also a weapon, a last ditch effort by the uber-villain Darkseid to destroy the very essence of creation. It is of course metaphorically about the heart of Batman, the core of the character that has fascinated readers for generations. Previously in this series he was amongst cavemen; then he was stuck in Puritan times; followed by a pirate adventure and a turn in the Old West. Now he’s lost in a stand-in for the late 1930’s. Throughout all of these adventures, though he couldn’t exactly remember who he was, he acted as Batman – righting wrongs, avenging the oppressed and solving the mystery of his circumstance.

The elements of Batman are there, but they are perverted by the larger tale Morrison has been telling for years. It’s complicated and complex to the point of being absurd. For long time readers it’s probably a treat, but for most it’s too confusing to ponder for very long. Luckily there are those that have enough focus to annotate all of the subtle and not subtle pieces that add to the “Black Glove” storyline. Good for us, but it doesn’t exactly justify the distortion that has become the premise of “Batman.”

The art work by Ryan Sook and Pere Perez is quite good. For a comic that has two artists tag teaming the issue, it doesn’t have the incongruent panels that so often plague books such as this one. Pere Perez has the uncanny ability to mimic other artists’ styles. Sook begins the issue by drenching it with telltale noir style; Perez continues it through his third of the book. The transition complements the story for this chapter. As it winds to its end, the tone changes to reflect the climax, Perez’s pencils pickup on the subtle change and drives the comic home. Perhaps it’s a happy accident? Whatever the case, it works.

The essential criticism of “Batman: The Return of Bruce Wayne” is that for all its pomp and complexity, for all its cerebral examinations, for all its reinvention of the Batman mythos, it is fundamentally a crude and unyielding story that has been oversaturated with the ego of a genius if not misguided writer. The effect of the last five issues is to suggest that the “Batman” persona is a predestined manifestation, as opposed to the actual personality of Bruce Wayne. Batman is not the mask, and that element escapes much of what Morrison has created.

“The Return of Bruce Wayne” #5 was delayed by several months creating havoc with the overall “resurrection” of Batman. That’s not the worst part; it’s not even that bad. It’s that the actual finished product is so incongruous that it could turn off readers. It’s not that no one gets it, it’s that no one wants to get it. Such is the consequence of being a genius.

Red Hood Lost Days #5: The Dichotomy of Creation

2010-10-07T22:24:00.000-04:00

Review: “Red Hood: Lost Days” #5

Writer: Judd Winick

Artist: Jeremy Haun

Colorist: Brian Reber

Publisher: DC

The resurrection of Jason Todd has been one of the more controversial editorial decisions in recent years. Add to the fact the story behind his return has become convoluted and confusing based on which creative teams is handling him, you have the making for a bemoaned editorial direction. Yet, the initial storyline surrounding Todd written by Judd Winick was well done. Winick returns with “Red Hood: Lost Days” to clear up the questions and right the ship that was steered into the rocks by rather inept storytelling. “Lost Days” #5 continues this tale, filling in Jason’s missing years between him coming back to life and emergence in Gotham as the Red Hood.

The limited series thus far has mixed the mechanical and the emotional, slowly revealing Jason’s developing adult personality while he trains for his future. With issue five, “Lost Days” stops to show his code of conduct and moral code. Jason is trying to stop a Russian mob’s plan to blow up targets in London and blame it on Muslim students. Unlike his mentor, this “hero” has no problem killing the villains and using any means necessary to foil their plot. The most interesting part of this story is that he does have a moral code; if only he doesn’t want to see the bad guys get away with it.

Winick’s characterization of Jason Todd is far more complex than other writer’s. It has been slowly developing over the last several issues. He’s not trying to throw the character out there and see what sticks, as has been the case in other titles, but rather he’s meticulously incubating a fully developed and compelling protagonist.

This is Jeremy Haun’s second issue on art duties and his rendering has gotten that much better. Early issues of “Lost Days” had rigid panels with a different art team. Haun gives the book a much more international spy thriller feel, complementing the plot very well. With Haun’s panels, the art has moved beyond workable and become a full partner in telling this part of Jason Todd’s story.

There are many elements to this series worthy of praise. The series should rightfully be praised for its use of Talia al Ghul as a mother figure to Todd. Winick writes her as an actual multilayered character rather the wooden prop who has no effect on any plotline. That is tell-tale Winick. His portrayal of characters always comes from a more emotional place. Of Winick’s trademark narrative tools, the one “Lost Day’s” lacks is his overtly witty and pithy dialogue. Wouldn’t work here, and he adjusts his style accordingly. From a narrative perspective, “Red Hood: Lost Days” is an evolving tale, meant more to suggest the correct direction for Jason Todd than what has been published in the last several years. Winick is recovering what essentially is his creation, and he’s not letting the past influence his future…unlike Jason, who’s letting every part of his past direct his future. It’s an interesting dichotomy between writer and character.

Chew 14: Waiting for 15

2010-09-30T22:15:00.004-04:00

Review: “Chew” #14

Writer: John Layman

Art & Colors: Rob Guillory

Publisher: Image

A unique perspective, stunning and original art, and dark comedy have been the hallmarks of Image Comic’s “Chew.” Just shy of 15 issues, the series has never failed to disappoint with its cache of oddball characters and absurdist plots. Writer John Layman and artist Rob Guillory have the uncanny ability to blend one off stories with long-form storytelling. With issue #14 the duo touches on several of the overarching plot points, weaving new aspects and complications to essentially create a big set-up for their 15th issue next month. The plot points are solid contributions to the twisted world of “Chew,” but somehow the overall comic issue feels disjointed.

Perhaps it’s the pressure of establishing the basis for a milestone issue? Perhaps it’s the weight of so many layered narrative lines? Perhaps it’s simply timing? “Chew” 14 is not a bad issue; it just lacks some of the punch of previous installments. Rogue FDA agent Mason Savoy is back after several issues away and reveals that he’s out to uncover the truth about the chicken ban. Tony is settling into a relationship with Amelia. Both of them have baggage from previous relationships, so for the first time their coupling faces a bit of an obstacle. All of these develops have moved the story forward, but they’ve also placed the title in a holding pattern as we await the much hyped issue 15.

That doesn’t stop artist Guillory from delivering his usual quality panels. From page to page, his blend of the creepy and cartoony with exaggerated lines and proportions are the perfect complement to the story unfolding. It’s actually quite rare for an artist to so capture the essence of a particular title, especially to the point that you can’t image anyone else drawing it. But that’s the reality of “Chew.” Guillory’s contribution can carry the book itself, which is beneficial when the odd set-up issue is needed.

“Chew” is plainly a damn good series. While this particular issue doesn’t equal the quality of previous efforts, the set-up it provides for the various plot points is essential; essential to the potential success of the next milestone issue. That’s a lot to live up to, but Layman and Guillory have proven if nothing else they know how to handle it. “Chew” wouldn’t have been as successful as it has been if they didn’t.

Nemesis 3: Insert Adjective

2010-09-23T22:24:00.004-04:00

Review: “Nemesis” #3

Writer: Mark Millar

Artist: Steve McNiven

Colorist: Dave McCaig

Publisher: Icon/Marvel

There is something vaguely interesting about Mark Millar and Steve McNiven’s “Nemesis.” In some ways it’s the further evolution of the anti-hero, much in the way that horror characters have come to be seen in such a light. In other ways, it’s a provocative idea to take a character with all the skills and resources of Batman and make them completely immoral and depraved. It’s shocking and surprising, but for all the adjectives that could be applied there is the simple question of whether the comic has any substance? It has violence (in spades), but is there a point?

The anti-hero has changed over the last 20 years. Perhaps it started to turn even earlier with the debut of the Punisher? This type of hero was typically defined as being the antithesis of the romantic hero, usually represented by the Arthurian character Lancelot. They are also the opposite of the tragic hero, universally represented by Shakespeare’s Hamlet. Anti-heroes can be socially awkward nerds (Spider-Man) or violent amoral revenge-seekers (Punishers) or pop-culture witticism-inclined assassins (Deadpool), but until recently they haven’t been murderous psychotics. Millar and McNiven didn’t invent or start this new variation of the anti-hero, but they are attempting to capitalize on it.

In their story, the world’s most notorious super-criminal has left a trail of bodies across Asia. Now he’s set his eyes on Washington, DC’s chief of police, the man he blames for arresting his parents and ruining his life. After kidnapping the President, Nemesis has been captured, which he claims is all part of the plan. Issue three picks up with just after his apprehension.

“Nemesis” is without a doubt high concept, which means that it’s somewhat entertaining. However, it is completely devoid of substance. It’s pure shock, the product of a hyper-violent and underdeveloped teenage mind. Given co-creator Millar’s track record of creating deplorable narratives, it fits perfectly in his library. A saving grace for the book would be if it was original. It hardly is. “What if Batman was a villain?” Probably every sociopathic comic book reader has thought it, but Millar and McNiven decided to produce it.

What’s the point? Is there a deeper meaning? Or is this just for shock value? With this third issue, it seems that the latter is the answer. What’s really sad is that artist McNiven has delivered some very good panels, particularly the silent four page violence-fest in this issue. There is a kinetic energy oozing from the gore-athon. Yet, even with what McNiven delivers, the book overall lacks enough redeeming qualities to be recommended to anyone.

Thankfully “Nemesis” will end with one more issue. Aside from the atrocious nature of the book, the other major disappoint is that with such a high concept, Millar and McNiven have thus far failed to really explore the deep ramifications of “Batman as villain.” It’s sad because it could have been intriguing. But why develop something with the slightest hint of intelligence when the lowest common denominator quality will get you paid. That just might be the point.

DMZ #57: Identity Lost and Found

2010-09-22T19:26:00.002-04:00

Review: “DMZ” #57

Writer: Brian Wood

Artist: Cliff Chiang

Colorist: Jeromy Cox

Publisher: DC/Vertigo

It’s easy to dismiss the last few issues of Vertigo’s “DMZ” as being simple one-and-done filler comics, but you would be mistaken to think that these stories don’t have a larger impact on the series as a whole. The story arc, “Collective Punishment,” has been a very good vehicle to slow down the series and reflect on the current political and military environment since the nuclear explosion.

Writer and series co-creator Brian Wood is taking the opportunity to examine life in the Manhattan DMZ through the eyes of several characters. In issue 56, the world of enigmatic Chinatown gangster Wilson became a little clearer. With “DMZ” 57, Wood and guest artist Cliff Chiang look at what’s become of failed suicide bomber Amina. Her previous appearances emphasized the inherent loss of faith and identity that occurs in the middle of a bloody and terrifying warzone. No longer the brainwashed weapon of fanatics, she’s on her own: no friends, no family and nowhere to be completely safe. She was an empty shell, but in this issue we see how much of her humanity has returned. It’s a startling portrait told in a smooth voice that is as calming and tragic as the story itself.

Shockingly, Amina discovers an abandoned baby outside her window. Risking everything she’s struggled to maintain, she takes the infant in and cares for her. Through this interaction, this tender connection to life at its most fragile, we are shown how Amina was much like the child, helpless, and how she was able to discover the strength to survive.

“DMZ” by all accounts is a brutal series about war and violence, power and weakness, but Wood has always tempered the nature of the comic with tender moments. In this issue, he excels at it. The story is simple, pointed, but also layered and built upon the ashes of over a dozen issues. There is a panel in the middle of the comic that epitomizes exactly what this issue is about. Amina, knowing that she’ll be torn from the infant she rescued, begins to cry. It’s a simple panel amongst many, but captures the heart of the story so concisely that it’s hard to ignore.

Chiang’s art for this issue complements the simplicity of the story remarkably. He adapts his signature style to fit perfectly with what Wood is trying to say. The lines are smooth and clean. His proportions are just right, as the panels and layouts take on a realistic feel. The emotions on each character’s face are thoroughly thought out reflecting the emotional weight of the story. The colors by Jeromy Cox are a bit subdued, but they are matched to exactly the type of narrative Wood is crafting.

From beginning to end, art to words, “DMZ” 57 is a well constructed comic for longtime readers. By pausing the title with these single issues, Wood has pushed the series forward and heightened the emotional connections readers have with the people and places that have been the backdrop to series protagonist Matty Roth’s odyssey. The depth coming out of these issues will only aid the tone of the series at it drives to its end. “DMZ” is so thoroughly imagined it’s hard not to be engrossed in this book, and issue 57 is no exception.

Spider-Man #641: Between Limbo & Purgatory

2010-09-10T22:13:00.009-04:00

Review: “Amazing Spider-Man” #641

Writer: Joe Quesada

Artists: Paolo Rivera, Joe Quesada, Danny Miki & Richard Isanove

Publisher: Marvel

We’ve come to the end of the “One Moment in Time” story arc in “Amazing Spider-Man.” The journey has been fraught with ups and downs. While the storyline has filled in major continuity gabs in the title, its resurrection of the controversy surrounding the removal of Peter Parker and Mary Jane Watson’s marriage is as fresh as it was several years ago. To call it awkward feels like an understatement. But Marvel chose this route to explain what happened between Peter and MJ, and to explain why no one remembered Spider-Man’s identity after he unmasked during another storyline. Regardless of the emotion “One Moment in Time” has brought back, it’s been a fair attempt at addressing the problems created by the “One More Day” reboot. The execution has been hit or miss, and that is probably why the last several issues of “Amazing Spider-Man” have been more miss than hit.

There is a lot of emotion invested in the characters of Peter and MJ. As previously noted, they are a classic couple in comics. Like Paul Newman and Joanne Woodward, it’s hard to imagine them apart. But that’s what Marvel did in an attempt to reboot the sagging title. After years of marriage the powers-that-be felt it best to reset the clock. The wisdom of that decision is to this day debatable. But that’s where we are, so it’s difficult to analyze and critique the narrative fairly.

“One Moment in Time” has been very mechanical. It went to work and did the job without much finesse…save for the artistic contribution of Paolo Rivera. His work has consistently been the highlight of the last four issues. It’s regrettable that the substandard art by Marvel editor-in-chief Joe Quesada had to share the same issues. Even handicapped in “Amazing Spider-Man” #638 by having to fill in pages for the 1987 classic “Amazing Spider-Man Annual” #21, Rivera’s pencils excelled where others might have failed. It didn’t allow him the room to really let loose, but that would come in the following issues. “Amazing Spider-Man” #641 is no exception. Rivera delivers some classic minimalist panels that are only slightly derailed by the inconsistent and alarmingly out of proportion pages created by Quesada. If not for Quesada trying to blend scenes from “Amazing Spider-Man” #545 – the issue that concluded “One More Day” – this issue might have jumped out of the controversial box and into the plain good comic bin.

Readers know the ending without it being said. Mary Jane and Peter are no more. No one remembers Spider-Man’s identity, save for MJ. What was in doubt was the execution, and what Marvel delivers is a half realized effort. Yes, Rivera’s panels in #639 were wrought with strong emotion. Quesada’s dialogue was strong in that issue. Here he’s trying to cram words into balloons that already existed. Not an easy or advisable task. The effect tends to rival vertigo for long time readers. It’s downright lucky that it somewhat worked here and did not turn the entire storyline into a train wreck…what it does to this specific issue is another story. The effect leaves the issue in question in a state of flux. Neither complete nor broken, “Amazing Spider-Man” #641 exists in purgatory – it is neither ready for comic heaven, nor is it ready for comic hell. It’s just there, and thankfully it’s over.

Baltimore Comic Con Wrap-up

2010-09-03T09:00:00.002-04:00

Baltimore Comic Con was last weekend, and like previous years, it was a very good show. The convention is one of the better east coast offerings mainly because it attracts some of the top creators in the industry to a low key and intimate setting. The advantage Baltimore Con has is that the annual Harvey awards are attached; so many comic writers and artists attend to promote their work and attend one of the bigger awards shows.

This was my second year at this Con. I went with the intention of meeting two particular creators, Eric Powell (“The Goon,” “Buzzard”) and Cliff Chiang (“Green Arrow,” “Greendale”).

From Eric Powell, I got a signed copy of his self-published “Chimichanga” #1.

From Cliff Chiang, I picked up a series of pin-ups he did featuring female comic characters in classic pin-up poses.

I also met artist Tom Whalen, whose minimalist style movie posters are attracting a lot of attention.

After two great shows, Baltimore Comic Con is officially on my yearly calendar.

I, Zombie 5: Campy Graveyard Tone

2010-09-02T20:12:00.001-04:00

Review: “I, Zombie” #5

Writer: Chris Roberson

Artist: Michael Allred

Colorist: Laura Allred

Publisher: DC/Vertigo

In the last issue of Vertigo’s pop-horror series “I, Zombie,” more of the world in which the book is set was revealed. We discovered the basis for most of the monsters and ghosts. It was clever, soaked in a deeply existential, while also transcendental, explanation of the spiritual world. The issue emphasized that the tone of the book is its main selling feature. The plot just isn’t strong enough to carry the book itself. With issue five, “I, Zombie” continues the trend of the tone and setting being the strongest piece.

Writer Chris Roberson keeps trying to deliver. You can tell from the investment he’s put into the comic’s set-up. He’s also worked hard to establish some distinct characters. From the recovering zombie Gwen to were-terrier Spot to handsome monster hunter Horatio – these are not bodies taking up space, but each contributing a certain amount to the whole. The main thrust of this issue is Gwen contemplating the proposal from Amon and her budding relationship with Horatio. There are also the revelations that Gwen can’t remember how she died, a symptom of her zombie-ism, and her realization that Horatio is more than he claims to be. Add in Spot’s friend coming to grips with his secret and the paintball vampires discovering the body of their dead compatriot. It’s a lot to work with, but Roberson has fairly well established that he’s working on multiply plot points and layers.

Everything in “I, Zombie” 5 moves along, in fact, that’s a fair assessment of the entire series – it moves along. Nothing overtly magical happens. It’s fairly unspectacular. But, there’s something catching about the book. Perhaps it’s the pop art by Mike Allred. Each issue, Allred has done some amazing pencil work. It’s the main component to the overall tone, doing most of the heavy lifting for the title.

“I, Zombie” is in no way an exciting title. It’s a steady distraction, existing in a place that’s fun and mildly scary. The set-up is inventive; so much so that’s it’s difficult to explain outside of the comic. A lot of thought has gone into it and the tone…you just wish more thought had gone into the plot’s execution from issue to issue. If you’ve been reading the title thus far, there’s no reason to stop, but there’s also no reason to start.

Batman 701 & 702: Melancholy and the Infinite Merged Persona

2010-08-26T21:37:00.001-04:00

Cover to "Batman" 702

Review: “Batman” #701-702

Writer: Grant Morrison

Artist: Tony Daniel

Colors: Ian Hannin

Publisher: DC

“Batman” issues 701 and 702 represent a missing chapter from the “RIP” storyline that nearly saw the demise of Bruce Wayne…if it weren’t that Bruce Wayne actually “died” in an issue of the “Final Crisis” crossover mini-series. There was confusion with the events, as the narrative line didn’t sync up with the two different series. Perhaps it would have been better if Batman died in his own title? Perhaps, but that’s not what writer Grant Morrison did. Now he presents the missing chapter that would have bridged the divide, but in typical Morrison fashion, the resulting two issues are more of cipher than a decisive story. After a mundane milestone 700th issue, could this chapter be what that issue was not? Could it succeed nearly two years after “RIP” ended?

Whenever Morrison takes the writing reigns of a series there are typically more questions than answers. This is true, but particularly true any time Morrison works on “Batman.” It stems from Morrison’s desire to merge all the various incarnations of Batman into one single entity. This was evident in “Batman” 700, as an example, where Morrison attempted to bring a golden age character long forgotten into Batman’s current mythos. It can have a confusing effect, as trying to merge the various narrative threads of 70 years of stories doesn’t exactly leave you on solid ground. Morrison, himself, is a very cerebral writer. This compounds the problem, as the Batman persona has changed and evolved since his debut in 1939. The result is very perplexing…and not in that good, layered way.

Cover to "Batman" 701

For all the uncertainty Morrison brings to “Batman,” issues 701-702 are fairly coherent. But, it’s hard to explain and justify why they are two separate issues. For as startlingly melancholy as “Batman” 700 was, it probably would have been wiser to present these two issues as that milestone. If the missing chapters of “RIP” couldn’t have been presented in 2008, why not use the occasion of 700 issues to reflect on the demise of Batman himself? As it was stated earlier, with Morrison, there are more questions than answers.

The issues play out as entries into Batman’s war journal. They are soaked in a self-reflective existentialism and psychology that is trademark Morrison. The art by Tony Daniel is inspired and engaging. Daniel’s work perfectly matches Morrison’s words, enhancing the narrative that for all its effort is rather ho-hum and stark. After an unremarkable run as writer and artist on “Batman,” it’s a relief to see Daniel do something that doesn’t make you question his significant talent.

For all its flaws, this missing chapter from “RIP” does deliver some significant information, particularly what happened to Batman when he “died.” It was left in question based on the publishing schedule DC pushed through. Never really pausing to reflect on Bruce Wayne’s demise, the company ran from one event to another to yet another. Now we are in the midst of Bruce Wayne’s return (like there was any doubt), and Morrison as the mastermind behind this storyline must fill in any apparent or perceived holes. Holes are the key, as “Batman” 702 indicates. These issues in some way are like a metaphor for the overall transformation of Batman. There are holes from 70 years of stories, and Morrison not only wants to fill them in, but also wants to make them one. That’s probably why Batman died…so Morrison can resurrect him as he sees the character should be…how very clever.

Amazing Spider 640: More Questions to Answer

2010-08-19T21:19:00.005-04:00

Review: “Amazing Spider-Man” #640

Writer: Joe Quesada

Artists: Paolo Rivera, Joe Quesada, Danny Miki & Richard Isanove

Publisher: Marvel

After a rough and soap-operatic outing, “Amazing Spider-Man” is back with the third installment in the “One Moment in Time” story arc. This is the story arc created to fill the holes left by the controversial “One More Day” plot that removed Peter Parker and Mary Jane Watson’s marriage from Marvel continuity. It’s been an interesting attempt at narrative closure: there’s been some wonderful art work by Paolo Rivera; the creative team worked in classic panels from 1987’s “Amazing Spider-Man Annual” #21 in the first chapter of this plotline with limited results; Marvel editor-in-chief, writer and artist Joe Quesada has shown limited skill and a lot of ego in the narrative and execution; and it’s yet to be proven that this four issue arc is any better than a few panels of exposition scattered throughout other storylines.

Through three issues we’ve seen why Peter and MJ didn’t marry but stayed together and how Aunt May is still alive…the whole reason Peter and MJ sacrificed their marriage to begin with. Now Quesada et al begin to reveal why Peter and MJ stopped dating and how everyone forgot Spider-Man’s secret identity (yeah, that was a hole too). It’s a pretty heavy workload for any one storyline, yet somehow it seems that explaining all of these gaps would probably have been better in another form. Of course that would have deprived us of the beautiful artwork of Rivera. His pages from issue to issue have been the highlight and the main reason to pick up the series.

A Rivera Page from ASM #640

It certainly hasn’t been for Quesada’s artwork. In “Amazing Spider-Man” #638 it was workable with a few flaws. In issue #639 it became worse, begging the question of why didn’t Rivera complete the entire issue. In this issue Quesada delivers artwork that can only be described as atrocious. His character renderings are completely out of proportion and inconsistent. From a major publisher, that is simply unacceptable, and the editor-in-chief of the company should know better.

What Quesada does well is the narrative plot. For all the problems “One Moment in Time” has had, the scenes drawn by Rivera have been very powerful. The drama and energy in each panel leaps off the page, creating a sense of urgency that compliments and enhances the script.

There is one more chapter to this storyline and then hopefully the drawn out saga will come to a close. Quesada et al still have a lot of ground to cover, and it’s curious whether they can accomplish the remaining tasks in one final issue. What’s been true is that for all the critical parts of “One Moment in Time,” the story arc has been serviceable. The questions left from the end of “One More Day” are being answered. Are they quality answers? Hardly, but they are getting the job done.

DMZ #56: Pull Back the Curtain

2010-08-13T22:59:00.002-04:00

Review: “DMZ” #56

Writer: Brian Wood

Artist: Nathan Fox

Colors: Jeromy Cox

Publisher: DC/Vertigo

Issues 55 to 60 of Vertigo’s “DMZ” series are described as five one-and-done stories. Don’t let that description fool you. The issues are part of a larger story arc meant to showcase various characters and settings affected by increased military activity and a shifting political climate. It’s an effective means to keep the series going forward, but also slow it down to scope out the scene. Protagonist Matty Roth has been through a lot in the 10 issues prior. He deserved a break. And what better way to emphasize the second largest character, the city itself, than to present stories in an anthology arc.

“DMZ” 56 is the second issue of this arc, and focuses on Chinatown gang-leader Wilson, one of the more interesting supporting characters. Co-creator and series writer Brian Wood pulls back the curtain on Wilson to reveal another curtain, keeping the enigmatic and charismatic ruler of Chinatown a mystery while disclosing more of his back-story.

It’s a fascinating tale of how one of the most powerful players in the DMZ deals with the fallout from the exploded nuke and the US’s increased military activity. Wood doesn’t answer the question completely, leaving much of it open as the rest of the series unfolds. However, the process by which the questions are asked and the story unfolds is as engaging and intriguing as “DMZ” has been throughout.

Guest artist Nathan Fox rises to the occasion and delivers compelling pencils and layouts. His thick panels handle the various points in Wilson life with such energy that he might have designed and created the character himself. Matching Fox’s lines is the color work of Jeromy Cox. Typically colorists are best described as not getting in the way of the story. Here Cox steps up the game, adding texture and shine that deserves recognition as much as Fox’s art.

Some might argue that these first issues of the “Collective Punishment” arc are a bit short. This is where Wood excels, delivering punch and awe in a minimal amount of pages. This arc is off to a great start, with co-creator Wood and his guest artists showcasing the impact of the last several storylines. “DMZ” as a series has never slowed down, and though this arc is meant to pause the title, it’s succeeding in driving it forward.