(Marvel – writer: Chris Yost; art: David Lopez)

I’ve really enjoyed each issue of Avenging Spider-Man, especially with Chris Yost at the helm. This month’s issue, however, is far short of Yost’s usual output. While it features the Punisher, his role in the story is minimal, and when Yost starts throwing in a few other villains, the result is a comic that lacks a centralized focus and instead meanders from scene to scene in a rather disjointed fashion.

The one positive about Avenging Spider-Man #22 is David Lopez’s art. There’s a fineness to the visuals, one that makes the images crystal clear and smooth. Even in the moments where we get inside Otto’s Spider-Man mask, Lopez finds a way to communicate the story without losing the sharpness in his designs.

The same can be said of his action sequences. Otto battles Mysterio, Punisher and Hobgoblin in this issue, so Lopez has his work cut out for him. But he shows up ready to impress and the result is a comic with awesome clarity, even when its story fails to be as good.

The reason is that the story is a bit too jumbled. Punisher’s impetus for wanting to kill Mysterio is never really stated, and while Yost refers back to Spider-Man’s killing of Massacre in Grand Central Station, we’re never really given a conversation between Punisher and Spidey about the incident, at least one that shares Frank Castle’s violent tendencies and the ways they consume him. He mentions to Spider-Man that when you cross a line and kill someone, you can’t come back, but there’s no real impact in this statement. It’s said as he runs away from a fight.

While Avenging Spider-Man has been playing with the mystery of Otto collecting his old Sinister Six foes and keeping them trapped in containment units in some secret lair, this issue of the series goes off on a tangent, and unfortunately the result isn’t very good. While David Lopez delivers on some impressive art, the story fails to reach the same level of greatness. Hopefully, Yost can turn it around and get back to business next month.

———

Batman #21

(DC – writer: Scott Snyder; art: Greg Capullo)

We’ve seen origin stories before. Hell, DC had a whole reboot shaped on creating new origins for its characters. So while Scott Snyder isn’t necessarily treading new ground with his “Zero Year” arc, he’s definitely trying to show how Gotham needed Batman, and how Bruce Wayne came to understand that he needed to embrace his heritage.

A lot of Snyder’s work has centered on history — he began with Gates of Gotham, moved onto “The Court of Owls,” and is now backing up to give the in-between. We’re seeing Bruce develop into Batman, but from several different perspectives. We’ve already come with the “established” view, we’re shown a Gotham overrun by crime, then we’re brought back before the city fell; finally, we’re shown Bruce as a little boy, before he discovered the cave under his house and before his parents died.

For all of its viewpoints, the comic never loses its thread. This is due to strong writing by Snyder, who finds ways to mesh his timelines through connective dialogue and interconnected plot lines. There’s the usual wink and nod to the origins of iconic Batman gadgets and visuals (like the giant penny), but the story is more concerned with giving readers a different view of Batman’s beginnings. Snyder’s definitely walking in the shadow of those who have tried and succeeded to do the same before (I’d be remiss not to at least mention Frank Miller’s seminal Batman: Year One), but this is a different writer and a different focus, and it succeeds.

Greg Capullo is, as usual, fantastic in his art. He’s part of the reason the comic is so seamless. Capullo draws a much younger Bruce to help readers follow the thread, and he has a bit sparser style than usual. He eschews a lot of background detail and relies instead on white space, but to dramatic effect. Danny Miki’s inks are also responsible for this clarity of style as the images are much more refined than usual, and the panels much sharper for it.

After the way Snyder opens the comic, with Gotham in disarray (for example, the subways are underwater), I’m curious to see how Batman will restore the city to greatness. We know it happens; we have the luxury of seeing this world from a perch in the distant future. But there’s a lot of work to do.

But if Scott Snyder has proven one thing, it’s that he knows how to write a damn good Batman story, and this is more evidence of that fact.

———

Superman: Unchained #1

(DC – writer: Scott Snyder; art: Jim Lee)

Bannen’s Book of the Week: I love Superman. I love everything about Superman. The character, unfortunately, has suffered from editorial malaise for a very long time. I mean, how do you write the story of a god living among mortals? But this isn’t any type of god — this is a god who is perfect in every sense of the word. He doesn’t suffer from issues of morality or conscience, he has no dark tendencies, and he looks for the best in everyone whom he encounters.

So how do you make him interesting? You hire Scott Snyder to write him.

(I know it’s a bit of pandering to have the same writer appear twice in a weekly review, but these comics were too good not to write about.)

Superman Unchained isn’t a home run. It’s a bit disjointed in its pacing and transitions, but it’s a damn solid book, and it offers readers a glimpse of the kind of character Superman could be, especially in the capable hands of Scott Snyder and Jim Lee.

The story begins with a bit of history, tying in the bombings of Hiroshima and Nagasaki. But we quickly learn that the way these events occurred is different than how we thought. Fast-forward to modern day, and we’re thrown right into the action as Superman spends his time stopping a bunch of satellites from falling into Earth. The action is intense, and Snyder goes out of his way to show just how powerful Superman is. In fact, I would say that Snyder makes him imposing as well as strong, and he’s not afraid to make big blue a little angry.

We get a bit of time between Superman and Lex Luthor, but this is mostly set up for a future plot which we can only assume will have adverse affects on Kal-El. Snyder also includes a tiny bit of Clark Kent in this, but his time is only three pages of the entire comic. Snyder seems intent on establishing that this is Superman’s book, and while Lois and Jimmy appear, the story is clearly not concerned with them, at least not yet.

As for the art? Jim Lee draws a spectacular Superman — I don’t think many people would argue with that. Lee uses fine pencils, and Scott Williams scales back on the cross-hatching for a much more detailed look. The comic includes a full-page pullout which really showcases Lee’s abilities as an artist, and coupled with Alex Sinclair’s colors, Superman Unchained is a visual triumph.

Maybe I’m still on a high after viewing Man of Steel, but I loved this book. I feel like we’re finally getting a really good Superman story, and one that does justice to the character. This is the first step towards something great, and Scott Snyder deserves the accolades for this achievement.

(Icon – writer: Mark Millar; art: John Romita Jr.)

While other issues of Kick-Ass have begun with a brutal beating or some type of blood-spattered violence, issue #1 of volume three opens on a more subdued note. What Mark Millar really explores is the ennui and languor of the superhero circuit. This kind of exploration moves Kick-Ass into a whole different realm than its previous incarnations and makes for one of the best reads of the series so far.

Millar approaches the stagnation of the superhero doldrums with humor, opting for a series of mildly comical vignettes that track Dave’s life as he settles into his persona as a hero, grieving for the loss of his parents, balancing his time between work and courageousness and trying to lead a group of people who are more interested in the idea of heroism than the actual act.

This writing is at times clever but other times frustrating. The linchpin of the series seems to be Hit-Girl, and with her locked away, Dave loses some of his edge. Millar breaks down the logistics of superheroics in a way that draws attention to the minutiae of the job. Just how does Spider-Man break into a sealed building? And how does Batman make his terrifying entrances? In Dave’s world, these are difficult questions, grounded in a reality that destroys the luster of the superhero life.

To this end, the comic is really not as flashy as the previous entries. Even John Romita Jr.’s finishes lack their usual sheen. Instead, the art seems to echo the general malaise of the situation. By the end of the issue, it’s clear that Dave is no hero, and that in order to become one, he has to make some significant life changes. He seems more in love with the idea of a superhero than the responsibilities.

Kick-Ass 3 has a promising start. The muted beginning only builds anticipation for the eventual action. The third act in any movie, book or play is where the conflicts converge, and I think we can assume the same of Kick-Ass 3. It may not have the same flash as Millar’s earlier work, but it’s some of his best. The character exploration adds layers to an otherwise action-heavy story, and I for one look forward to seeing how the series will play out.

Knowing Mark Millar’s usual M.O., we’ll see actions and explosions soon enough. Until then, this will have to whet our appetites for more.

———

Green Lantern #21

(DC – writer: Robert Venditti; art: Billy Tan)

With Geoff Johns leaving Green Lantern after an historic run, fans could rightfully share their trepidation at the idea of a new writer. After all, Johns resurrected Green Lantern, created a detailed mythos, and pushed the character into the spotlight enough that Warner Brothers took a chance on a Green Lantern movie. So how would the new creative team fare against these odds?

Very well, in fact.

Robert Venditti borrows from Geoff Johns in the grand scope of the storytelling, but he lays a foundation for the future of the series. He introduces some interesting and mysterious concepts, letting fans know that he’s not afraid to carve out his own niche in the Green Lantern universe.

The issue deals with Hal Jordan taking on a major leadership role. Due to his storied history, the New Guardians appoint Jordan as head of the Green Lantern Corps, a job that has its own myriad of challenges. But when a mysterious force shows up and drains the central power battery, the story takes an exciting and intriguing turn.

Venditti perfectly captures the basics of Hal Jordan: his tenacity to lead and his love for Carol Ferris. Venditti spends a lot of time on Hal’s relationship, and this focus gives readers hope that Hal will once again face threats on his home planet rather than gallivanting across the universe.

Venditti isn’t afraid to shy away from intergalactic threats, but he brings the series back to its earthly roots – more in dialogue than action – and hints at Hal being Earth’s Green Lantern rather than keeping him away for so long. Venditti still plays with the conflict of Hal’s duties to the Corps and his duties to his friends and family, but these conflicts – as simple as they seem – are more present than at any time in Johns’ work.

With the change in author also comes a change in artist. Billy Tan takes over for Doug Mahnke, but his work is just as impressive. He draws characters with detail, and illustrates sharp and skillful imagery. Richard Friend helps in this instance, providing taut inks à la Jim Lee to accentuate the sharpness of Tan’s art without losing the uniqueness of his style. A few of the distance shots are a bit blurry, but the rest of the book is magnificent, including the vibrancy of its colors.

If you were afraid the quality of Green Lantern would dip with Johns’ departure, fear not. Green Lantern is as good as ever, and Robert Venditti is a worthy successor to Geoff Johns. I only hope the series is as good from here on out.

———

All New X-Men #12

(Marvel – writer: Brian Michael Bendis; art: Stuart Immonen)

Bannen’s Book of the Week: Brian Michael Bendis is in a unique position, because the majority of events about which his characters talk in this month’s issue of All New X-Men are issues that he created. Therefore, he understands their lasting impact, and he explores this in issue #12 of All New X-Men. The result is a comic that retraces the origins of the X-Men, and one which reminds readers of the long and storied history of the series.

Part of what makes the issue work is Bendis’ character interactions. While Jean tries to reconcile the Scarlet Witch’s previous actions, Scott Summers and his brother have a nice brotherly chat that connects them before all of the current issues occurred. It’s both sweet and saddening, as we know that Scott is too far gone at this point to understand just how much he’s strayed from his humble beginnings.

The other thing Bendis does well is building the mystery. I was curious to see how long he could keep the series going before the concept got stagnant and the quality dipped. After two successful arcs, however, I don’t see that in the near future of All New X-Men. The series is well crafted and a smart exploration about a comic’s beginnings and endings. Clearly, Bendis wants us to see where the X-Men began and how far they’ve come in the past 50 years.

The comic is also quite packed, both in its story and dialogue. This type of writing creates a conundrum for the art team, because they have so much to accomplish in such a short amount of space. Perhaps because of all of this density, Stuart Immonen’s art is not as sharp as we’ve come to expect. Some of the later parts of the book are muddled and foggy-looking, possibly due to a printing mishap, but maybe because Immonen had to squeeze some of the more expository moments of the story into denser panels. Either way, the change is noticeable, yet not completely distracting. The lack of clarity, however, raises eyebrows for those of us familiar with Immonen’s usually crisp style.

Nonetheless, All New X-Men is an excellent read. The comic bridges years of continuity together to remind readers that the X-Men have quite a story to tell. And while the events of their lives were not always positive (hell, the majority of their lives is filled with conflict), it has defined who they are.

In a world where people are looking for heroes, they need look no further than comic books, for within are the people who overcome adversity by picking themselves up and dusting themselves off. If only we could have such courage in our daily lives.

(Marvel – writer: Brian Wood; art: Olivier Coipel)

Know what X-Men #1 is? A textbook example of how to draw in new readers. This is one of the best-constructed stories I’ve ever read, not because it’s particularly amazing (though it is damn good), or visually perfect (though it is damn close), but because it strips away a lot of excess to deliver a comic that invites you in, regardless of your past history or knowledge of continuity.

In essence, this is a book written for comic fans.

Writer Brian Wood eschews years of continuity by stripping the story down to a base level. Jubilee is returning to Xavier’s School (now known as The Jean Grey School for Higher Learning), but this time she has a baby in tow. On her way, she calls X-friends for help, and suddenly an evil is unleashed upon the world.

Simple, really.

Wood uses the best-known X-women so readers with even a tenuous understanding of the X-Men will feel right at home, and he constructs the story in a very linear fashion. The ease with which the comic flows makes reading it a joy, and before you know it, you’re at the end and wanting more.

The only time the issue loses its smoothness is in a sequence involving a train. The intent is to lay the seeds for some deeper mysteries surrounding Jubilee’s adopted baby, but the action it involves feels really unnecessary. Even Oliver Coipel doesn’t give much time to it, ending the sequence in a few uneven and opaque panels.

But everything else Coipel does is impressive. His character faces are fantastic for the way they emote, and like David Marquez, Coipel eschews excessive inks (with fellow inker Mark Morales) for a series of clean and sharp visuals, particularly in close-ups. I was often struck by just how powerful Coipel makes these women look, and he leaves no doubt that they can handle themselves without the likes of Wolverine or Colossus running in to save the day.

X-Men #1 is a great book. It’s tightly structured and engaging, both in the story and art, and it offers itself openly to new and old readers alike. Plus, it puts the female arm of the X-Men front and center, showing that the ladies don’t need men to help them.

The girls definitely have everything under control.

———

The Wake #1

(Vertigo – writer: Scott Snyder; art: Sean Murphy)

When I read that Scott Snyder, one of my favorite writers, and Sean Murphy, one of my favorite artists, were going to team up on a book, I was immediately excited. Snyder has been a mainstay for Vertigo for a few years now, ever since he started the incredible American Vampire, and Sean Murphy is fresh off his highly praised series, Punk Rock Jesus. Could they put out a product that would be a perfect mesh of Snyder’s writing abilities and Murphy’s stylized and engaging art?

Yes. Undoubtedly, unequivocally yes.

The Wake has a lot of things going for it in its debut. The comic relies heavily on establishing the mystery of an alien life form found at the bottom of the ocean, but it takes its time getting there. This only builds the tension over the course of the issue, though, and the methodical nature of the climax gives the comic a weight of confidence and a strong enough introduction to get readers excited.

Our heroine, a disgraced NOAA agent named Lee Archer, is brought into the fold due to her knowledge of sea animals and some mysterious tragedy located in her past. What she discovers in a deepwater drilling station is terrifying and a great hook for the future of the series. Archer is damaged goods, and her naiveté makes her a perfect lead. Readers can easily connect with her so that, going forward, her discoveries will be all the more compelling.

The comic is equal parts The Abyss and The Thing, giving a sense of desolation to its characters at the bottom of the ocean. Snyder frontloads the exposition, giving the readers the requisite information at the onset, before moving forward with his tale. We’re no closer to understanding what the series is about by the end of it, but we’re definitely invested.

This is also due to Murphy’s rough-hewn art. When the story moves below the surface, Murphy’s ability to convey mood is overtly present and the creature reveal at the end of the issue is chilling. A few times he gets a little crazy with the ink lines so that character’s lips seem stretched at the corners, but this is a minor distraction, as everything else in the comic is sharp.

The Wake is full of intricate details and interconnections, as illustrated by the cryptic introduction and epilogue of the story. There’s enough going on here to keep readers invested, and I wholly recommend this series. I don’t think you’ll be disappointed.

Even in its first issue, The Wake looks like a surefire hit for Snyder and Murphy. Like Jaws, it may keep some people out of the water this summer, especially if what we see here is waiting below the surface.

———

Earth 2 Annual #1

(DC – writer: James Robinson; art: Cafu & Julius Gopez)

Bannen’s Book of the Week: While the cover of this issue hints at the reveal of the new Batman of Earth 2, the comic is really about Al Pratt, better known as the Atom. James Robinson spends the first part of the issue showing us how Al came to get his powers and the ramifications of this, but then he unleashes some of his best action sequences of the series. The comic is a darker turn for Robinson, but the results are easily his best work to date.

We start by learning about Al Pratt’s past and his connection to the military. Robinson works backwards, from Pratt’s inheriting of his powers to the moment when he used them, then to present day as he hunts down a known war criminal. What works best about this story is the way Robinson explores post-traumatic stress disorder in soldiers, and how Pratt’s own experiences help him to come to terms with his role as the Atom. Robinson humanizes Pratt while at the same time empowering him, particularly when he displays his powers.

The comic really breaks down into three acts, the second of which shifts from story to action. We get to see Al throw down with a giant robot in Phnom Penh, a concept that Robinson is able to make both realistic and awesome. The pacing of the issue is also well done, and the comic transitions nicely between its act breaks. The only hiccup is a panel involving Hawkgirl, which feels out of place with the rest of the tale. It’s a minor distraction from the finale, though, and when we see who Robinson introduces in the epilogue, longtime DC and Jack Kirby fans should be very excited for the future of Earth 2.

We’re also introduced to the new Batman of Earth 2, and while we don’t get more than a taste, it’s enough to whet my appetite for more. His moments are every bit as energetic as the Atom’s, except they’re tinged with Batman’s ferocity and intimidation. The mystery of his appearance is, obviously, not explored here, but Robinson definitely made me want to know more. I hope we’ll see the new Batman appearing in Robinson’s ever-expanding world.

In every section of the comic, Cafu and Julius Gopez draw some impressive imagery, particularly in the fight scenes. They’re also able to slow the story down when it demands attention. They convey the tenseness of Al’s meetings with his therapist with aplomb, and the settings are perfectly drawn, giving life to the images on the page. This is true for the action as well as the darker and more serious moments of the comic. Each facet of the story is visually captivating.

I don’t want to say that I was surprised by how good Earth 2 Annual #1 is, but I was definitely not expecting it to be so serious. Robinson’s kept the story pretty light so far, even with the “Tower of Fate” arc, but here he deals with more serious characters and the shift in tone is noticeable and better.

The future of this series looks bright, especially when seen through this lens. James Robinson should be praised for his work on Earth 2. It is definitely a book worthy of your time.

(Image – writer: Joe Casey; art: David Messina)

One of the initial solicitations I read for The Bounce was something like, “A hero with a bong.” I thought, therefore, I would find myself reading a comic that glorifies pot and stoner antics (like Pineapple Express).

The Bounce is nothing of the sort. Instead, the comic is a surprisingly detailed story with an intriguing concept, interesting characters and impressive art. I recommend buying this book immediately!

The story is about a pot smoker named Jasper Jenkins. Jasper has an interesting superhero ability – he can bounce. Imagine a man made of rubber, and then imagine him throwing himself off the walls of a room. That’s basically Jasper’s power. But while the concept sounds silly, Joe Casey pulls it off. When Jasper first appears in costume, his ability proves remarkably impressive.

Plus, Casey has a clearly-fleshed-out world involving other superheroes, a salamander-eating scientist and a doorway to a world of people with powers. The comic only strays into usual ground once when it introduces its high-strung assistant district attorney, but besides this, Casey has an impressive amount of originality in his story. And the final page takes the comic in a completely different direction than expected.

Additionally, David Messina’s art is superb. His characters are impeccably detailed, and each image is rendered with the utmost clarity. The action sequences, in particular, are well done, and they perfectly capture Jasper’s ability to bounce off walls. While we haven’t gotten much of an explanation of Jasper’s abilities, we’re given a good idea of them when he fights a villain known as The Crunch.

The comic plays with the silliness of superheroes, but it also does a great job of establishing the fictional world in which they live. Any doubts I had about this series were allayed five pages in. The comic is definitely worth the time, and I can’t recommend it highly enough.

———

The Superior Spider-Man #10

(DC – writer: Dan Slott; art: Ryan Stegman)

Ryan Stegman’s return to the art of The Superior Spider-Man is always a treat. His work, as usual, is fantastic, and this month’s issue is excellent for both its story and its visuals. Even if Peter Parker doesn’t exist right now, he’s definitely not missed in Superior Spider-Man #10.

After Peter was banished from Ock’s brain last month, his body is now purely controlled by Otto Octavius. The same grim violence we’ve seen before is on display again. Spider-Man is both vicious and effective, as he spends the issue beating the piss out of some of his villains.

Slott also gives us some time with Peter outside of the costume, and here’s where the series starts laying the seeds for its future conflicts. Because as much as people think Mary Jane is just a vapid model, she knows Peter Parker. And she knows when he’s not being himself. Bring in the clever and intelligent police officer, Carlie Cooper, and now Otto’s got a big problem on his hands – but one which he can’t see.

And as mentioned before, Ryan Stegman’s work is superb. The comic is a visual treat due to Stegman’s abilities. His action shots are always well done, and they capture Otto’s brutality. Furthermore, Stegman has a way of making caricatures of each person, so people who appear in the comic are uniquely defined. Villains, in particular, benefit from this.

The Superior Spider-Man is a home run this month. Otto thinks he’s banished Peter, and he’s been able to fool most everyone else (including the Avengers). But I like how Dan Slott utilizes the ladies in Spider-Man’s life to show that the people who know him best are his women, and they see through Otto’s attempts at playing the role. I’m torn because I want Otto to be found out, but at the same time Spider-Man is better for having Otto in control.

And Dan Slott is a genius for creating this conflict.

———

Green Lantern #20

(DC – writer: Geoff Johns; art: Doug Mahnke)

Bannen’s Book of the Week: This month’s issue of Green Lantern concludes Geoff Johns’ nine-year run on the comic. At 60 pages in length (and a whopping $7.99), Green Lantern #20 is an epic, touching and unbelievably brilliant end to one of comics’ greatest-written series.

Johns writes the comic in the vein of The Dark Knight Rises, providing closure to every aspect of Hal Jordan’s life. The result is that Johns gives us not only the end of the “Wrath of the First Lantern” arc, but he also gives us an end to the entire Green Lantern Corps. Johns ties up every loose end, bringing the series full circle and redirecting it back to its roots in Green Lantern: Rebirth.

Green Lantern #20 is also a return to form for Johns, who crafted such epic series as “Sinestro Corps War” and “Blackest Night.” Green Lantern #20 runs in the same circle, making itself a grand tale both in its action and characters. You’ll have no doubt by the end of the issue that Hal Jordan is the greatest Green Lantern ever.

The issue is all action, and it uses an elderly Sinestro as a narrator. The result is a distance from the time depicted in the comic, and the time from which we learn about it (as shared through the eyes of a newly-inducted Green Lantern). Johns also goes back to “Sinestro Corps War” and “Blackest Night,” resurrecting both the Sinestro Corps and Nekron and utilizing both to create some harrowing character moments. While the First Lantern’s end is a bit anticlimactic, getting to his defeat is totally worth the wait. Plus, Johns gives Hal some closure on his relationship with his father and the incident which pushed him towards his role as Parallax and the destruction of the Green Lantern Corps.

And the art! It’s evident why Doug Mahnke took a break from Green Lantern for the past few issues. He needed all of his time to draw this one comic – and the result is stellar. Every panel is expertly detailed, and every character is rendered with the utmost care and precision. The imagery never loses its clarity, and Mahnke gets to draw some impressive and heroic poses for Hal.

Additionally, Alex Sinclair and Tony Avina color every page of the issue, and both of them deserve an award for their work. In fact, every person who contributed to the art of the book should be congratulated, because no image looks out of place, weak or blurry. Everything about the book is geared towards making it the greatest of endings for one of comics’ greatest heroes.

And I have to admit to being sad to see Johns leave Green Lantern. His work redefined the character and built a new fan base of impressive proportions. He definitely caused me to tear up because his work is really unparalleled. Seeing Johns step away from the writing duties is like saying goodbye to a good friend. I feel like, over the years he wrote Green Lantern, we forged a relationship with him because he wrote comics for people who love comic books.

Truly, in the pantheon of great comic writers, Geoff Johns is a first ballot selection, and Green Lantern #20 is more proof of that. It’s hard to say goodbye, but if we need proof of his greatness, we have this comic.

(Image – writer: Nathan Edmondson; art: Konstantin Novosadov)

At 46 pages long and with a cover price of $3.50, Nathan Edmondson’s The Dream Merchant is definitely worth the buy. But is the comic actually worth your time?

Tentatively, yes – if the comic has a bit more to offer in its next issue.

My hesitancy is due in part to the art. Konstantin Novosadov illustrates The Dream Merchant, but the visuals never quite settle, and they’re often inconsistent between panels. Faces, in particular, suffer from a lack of uniformity from panel to panel. Novosadov’s style is definitely unique, and he can turn up the detail when he needs to (like when he illustrates the cloaked, sinewy villains). But sometimes, his jagged, pointy character designs work against the softness he’s trying to portray.

Nathan Edmondson’s story is about a boy, Winslow, who can escape into a dream world that feels a bit too real. He’s joined in his quest by an admiring hospital cook who shares books with him and a mysterious stranger who knows all too well about Winslow’s dream world. Neither role in the story is fully formed yet, so for now, the girl, Anne, just feels like a romantic interest more than a lead character, and the old man, known as the Merchant of Dreams, is nothing more than a creepy old man with a cane.

And here’s a bit more of my hesitancy. The Dream Merchant hasn’t shown me that it’s truly an original piece of work. A lot of the elements in this story have been used before; they’re old tropes. The comic has work ahead if it plans on making a solid impact. So far, it hasn’t strayed from the pack. But Nathan Edmondson is talented, and this is only the first issue.

The Dream Merchant has promise, but it needs to define itself better – both in its story and its art – in the next issue. I’m interested in Winslow as a character, and I want to see more of the enigmatic dream world into which he transports. Hopefully, Nathan Edmonson obliges and gives The Dream Merchant the staying power it needs.

———

Supergirl #20

(DC – writer: Michael Allan Nelson; art: Mahmud Asrar)

Talk about a fun read!

Issue #20 of Supergirl is a fluid, smartly-written action fest from its first page to its last. Writer Michael Allan Nelson scripts a funny and engaging story that addresses some major aspects of Supergirl, including where she came from, how she’s related to Power Girl and just where Power Girl’s costume came from.

That’s right, Power Girl’s back in her old “window with a view” suit, and Mahmud Asrar outdoes himself in this issue.

Each panel is chock full of detail, and each illustration is smooth and sharp. Asrar’s faces, particularly, are expertly drawn and unbelievably expressive. The comic hinges on some pretty well-placed humorous beats, and Asrar captures these with aplomb. We know that Supergirl is powerful, but Asrar goes to great lengths to show us that she is still untrained, and when we see Power Girl, we know that she’s the real brawn in this situation.

Nelson’s story avoids the characters ever throwing down with each other, and this change of pace makes for an original meeting. Watching them battle Kara’s security systems, instead, is equally entertaining and interesting, especially how the computing system processes two versions of the same person. But they work in tandem, and neither one outshines the other. If this issue was meant to whet readers’ appetites for a future team-up, I’d call it a clear success.

Between the strong and lively writing and the dynamic and gorgeous art, Supergirl is a win on every level. I was thinking of dropping the book a few issues back, but now I’m fully committed. I didn’t know if anyone could write as well as Mike Johnson, but Mike Allan Nelson is a worthy successor. And now is a great time to jump on board the series.

Especially if we’re in for more issues like this.

———

Ultimate Comics Spider-Man #23

(Marvel – writer: Brian Michael Bendis; art: Dave Marquez)

Bannen’s Book of the Week: Ultimate Comics Spider-Man opens with a very clear statement of purpose. On the first page are the words, “One Year Later,” meaning that Brian Michael Bendis has chosen to jump the story forward an entire year after Miles Morales’ mother died in the previous issue. I have to admit that I was immediately furious. Skipping a whole year seems lazy. A year’s worth of personal turmoil for Miles, seeing the fallout from his mother’s death and seeing his father wake up from a coma to find out his wife is dead are all tossed aside in the blink of an eye.

But dammit, the comic is good.

Bendis makes the issue about Miles coming back to the idea of being Spider-Man, but every moment is tinged by his loss. Miles definitely looks like a different person, and while we didn’t see him immediately try to pick up the pieces, we see that he’s trying to move on as best as he can. It’s heartbreaking.

Miles’ father has changed as well, taking on a sage role. He plays up the more practical side of their loss, and I have to give credit to Bendis for avoiding all the old tropes associated with losing a loved one like anger, alcoholism or depression. Instead, we see a family dealing with a tragedy in the best way it can.

To this end, the guest stars make the comic. Ganke, Miles’ best friend, has the best lines. And when Miles encounters Jessica Drew and Gwen Stacy, we can’t help but feel for him. This is also due in part to David Marquez. His sleek art stylings are crisp and detailed. Faces, in particular, benefit from his abilities. For example, in the year we haven’t seen Miles, he’s grown up a lot. Marquez captures this transition perfectly, introducing us to a hardened, volatile Miles. His face in the opening shot says it all.

The comic wouldn’t be complete without some action, so Bendis throws in a pretty intriguing cliffhanger involving two of Marvel’s most beloved characters making their appearance in the Ultimate Universe. I’m sure the end result of the “Spider-Man No More” arc is to bring Miles out of retirement, but I can’t bank on the idea. Bendis has proven – with Ultimate Spider-Man in particular – that he’s not afraid to take chances with his characters. If we see Miles back in action, I don’t think he’ll have the same looseness and jocundity. If anything, I’m afraid of the Spider-Man we’ll see.

So while the “One Year Later” starts off feeling like a gimmick, it ultimately works in Bendis’ favor, as he delivers one of the best issues of Ultimate Comics Spider-Man to date.

(Image – writer: Steve Niles; art: Tony Harris)

If you want me to get on board with any media – be it a movie, a book or a comic – give it a noir feel, 1930s clothing and weapons and a whole bunch of gangsters. Chin Music has all of that. Except, well, the comic doesn’t really tell us what it’s about, lacks basic transitioning between scenes and relies heavily on its opacity.

And therefore, Chin Music is a disappointing read.

Granted, the comic has potential. I was immediately hooked by Tony Harris’ gritty designs, rough-hewn inking and simple palette. The shadow-heavy visuals do more for the comic than any of the words or actions. Much like Ben Templesmith’s work in Ten Grand, Harris’ art lays the foundation for the tone of every scene. Sometimes it’s a bit too chaotic, and these panels suffer from the same lack of connectivity that the comic suffers from. But the final pages – with their sharp colors and smooth finishes – make up for any visual mistakes.

The story, however, needs work. I gather that Chin Music involves spirits, seers, mysticism and Eliot Ness, but I really have no idea how these ideas intertwine. Steve Niles gives the readers less than bare bones, so that a magic bullet fired five pages in kills a character on the last page.

I think.

I really have no way of making any connections here because Niles fails to lay the bread crumbs for us to follow. Instead, the comic is a hazy mashup of some interesting art while a story sort of exists, in some ethereal plane, without presenting itself clearly.

Yet even with all of this, I’m still very intrigued by Chin Music. It’s loaded with cool elements that many comic fans would find worthy of their money, including a skeleton crawling through a desert!

I just hope that Steve Niles puts up a better show in the next issue, because if he wants readers engaged in his story, he has to give them something to go on.

———

Batman and Red Hood #20

(DC – writer: Peter J. Tomasi; art: Patrick Gleason and Cliff Richards)

In the wake of Damian’s death, Bruce is reeling between supporting characters, and this month’s issue features Bruce’s former Robin, the Red Hood. Unlike the previous issue, however, this issue is caught between two worlds, and its odd, mid-issue shift ruins an otherwise interesting and exciting story.

Peter Tomasi separates the issue into two parts: the first deals with Carrie Kelley, and the second deals with Jason Todd. Carrie’s moments are great, and we see her confidence and intelligence when she shows up to return money Bruce gave her as payment for working with Damian on acting lessons. We also see how easily she could slip into Bruce’s life. Tomasi plants a few seeds with this notion, giving Carrie a reason to keep showing up, but when he veers away from this, the comic becomes much darker and, really, much more strange.

The second half of the issue deals with Bruce and Jason hunting down a group of assassins who tried to kill Damian a while back. Bruce’s reasons are pretty straightforward: he’s angry about his son’s death and wants to take it out on someone. But when Tomasi reveals Bruce’s true reasons for asking Jason to tag along, the issue becomes more like a rehash of Batman’s encounter with Frankenstein. Basically, Bruce needs Jason to help him resurrect Damian.

The brutality of their fight with the mercenaries is pretty awesome, and Bruce shows a much darker side than we’ve seen before, even allowing Jason to use guns during their attack. And while I appreciate Bruce’s fight with Jason, his demented reasoning is becoming the overall driving force for the story. I would hope that after what we’ve seen from this series, Tomasi has more planned than just having Bruce bring in random associates to help him bring Damian back to life.

The artistic team, as well, takes on two different roles. Pat Gleason gets the first half of the comic, and then Cliff Richards takes over when Batman and the Red Hood attack the assassins in Ethiopia. Richards’ artistic styling is a bit too clean for Batman and Robin, and his characters come off looking a little stiff. Gleason, however, has a much more organic styling to his art, so the images are unique and powerful.

Batman and Robin is still a worthy buy. While I found the premise a bit of a rehash of last issue, I still appreciated the originality of Tomasi’s story. Bringing Jason back to the site of his death is a bold move but also very off-putting. I just don’t think it’s something Bruce would do, even in his grief-stricken state.

The final page offers promise for Tomasi to switch gears completely, even if it comes out of nowhere, but I like seeing that he has plans beyond showing Bruce being devoured by his sadness. Hopefully, we’ll see Carrie Kelley take a bigger role in the story to fill Bruce’s void. While he won’t be healed, he’ll at least have something towards which he can put his attention and effort.

———

Avenging Spider-Man #20

(Marvel – writer: Christopher Yost; art: Marco Checchetto)

Bannen’s Book of the Week: Avenging Spider-Man #20 has a simple enough premise: Otto is going to break into a S.H.I.E.L.D. Helicarrier and free Dmitri Smerdyakov – a villain better known as the Chameleon. Otto doesn’t make his reasons clear just yet, but what Chris Yost shows is that even the best laid plans of the master planner aren’t always successful.

In fact, sometimes other villains are up to no good as well.

Yost places Otto front and center, hitting the comedic beats with impeccable timing and crafting a slick tale of sabotage. Otto is at his arrogant best, but now we see him starting to understand how people around him perceive Peter’s persona. Much like the Chameleon, we see Otto playing Peter’s part well, even getting his trademark humor down pat.

Because Spider-Man narrates the entire issue, the story never loses its flow or thread. The transition between scenes is handled so well and so cleverly (through the use of Otto’s all-seeing Spider-Bots) that only the introductory pages feel out of place. In fact, the story is so strong that the prologue could have easily been removed. Yost does well enough with the main story that he really doesn’t need any setup at all.

Additionally, Marco Checchetto is superb. He uses a lot of moment-by-moment panels, giving the issue a movielike tone; the comic is also heavy on tight sequential shots. Plus, Checchetto’s fine pencils are supplemented nicely with some impressive inking. Chameleon, in particular, looks maniacal and terrifying because of the inks. A lot of Spider-Man’s villains lack a true sense of danger – they’re a lot of brute force rather than psychotic emotions – but Chameleon really takes on a darker and more threatening tone.

The final page of the comic is a brilliant segue into the next issue, and I can’t wait to see how Yost plans to wrap up this story. Avenging Spider-Man is a consistently good book, but this week’s issue is fantastic and easily my pick of the week due to its solid story and strong art. Peter may be gone, but Otto definitely knows how to handle the spotlight.

(Image – writer: J. Michael Straczynski; art: Ben Templesmith)

One of my favorite comic series of all time was Midnight Nation. Between J. Michael Straczynski’s epic story and Gary Frank’s impressive art, I was hooked from beginning to end. So now that Straczynski is returning to Image, I have nothing but high expectations for Ten Grand.

And this may be why I was a little disappointed.

Ten Grand tells the story of Joe Fitzgerald, a grizzled hit man with a broken heart and a connection to the occult and necromancy. The thing that gets the plot rolling is the return of an old villain whom Joe knows is dead, plus a promise of redemption from an ethereal presence in Joe’s life.

But as to why? We’re not sure. His history with the villain is barely given, and while we see some moments between him and his dead wife, they’re a bit too clichéd to have much of an impact. I mean, I’m sure the guy loved his wife, but why is he so desperate to see her again? Granted, the comic is only in its first issue, so these ideas may solidify in the future, but it’s a lot to ask readers to trust you rather than giving them a tangible reason to return.

One thing that is immediately noticeable is Ben Templesmith’s art. Known for his work in Steve Niles’ 30 Days of Night, Templesmith uses his gritty style with aplomb, crafting mood-heavy panels that evoke emotions better than the words. Straczynski’s writing hurts Templesmith’s work a little, particularly when the comic bounces, unevenly, between different points in time, but Templesmith has an ability to shade the art in a way that conveys the change in setting. Ten Grand is better for it.

The comic has a smattering of cool things – like Joe’s angel alphabet keyboard – but these are passing ideas rather than sticking points. The originality of the series is present, but not fully formed, and so JMS has a lot of work ahead of him if he wants to keep readers on board.

Hopefully, issue #2 goes far in addressing – and fixing – these problems.

———

All New X-Men #11

(Marvel – writer: Brian Michael Bendis; art: Stuart Immonen)

So what happens when two groups of X-Men, from different time periods, meet up with each other for a classic showdown?

Bendis happens.

In his wordiest issue of All New X-Men to date, Bendis explores the ramifications of the modern day dysfunctional X-Men encountering their young, naïve selves. The result is a comic that is loaded with showdowns, mental battles and a defection or two. The final page, much like the previous issue, teases another meeting of the past and present, but I couldn’t help the excitement I felt at the prospect of young Scott Summers meeting his brother.

Amidst all the chaos of the issue, Stuart Immonen is the one constant. Every visual is rendered with sharp clarity and even in a sea of faces, no two characters look alike. Wade Von Grawbadger’s inks are also on display as he uses incredible precision in his finishes. Coupled with Marte Gracia’s colors, the book is a visual treat.

And given the amount of dialogue that occurs, I would be remiss in not recognizing the stellar work of Cory Petit. At no point was the thread of the conversation difficult to follow, nor did it hinder the movement of the eye across the page. Lettering a comic must be difficult, but lettering a comic like this – with excessive words- is a feat. Petit deserves as much of the credit as anyone else for making this comic as coherent as it is.

I love All New X-Men, and each issue has been worth the price of admission. Bendis is clearly enjoying himself, and the comic is solid because of the passion with which he writes the characters. I have no idea what will happen, or how long Bendis can keep this story going, but based on what I’ve seen so far, I’m sure the results will be spectacular.

———

Animal Man #20

(DC – writer: Jeff Lemire; art: John Paul Leon)

Bannen’s Book of the Week: Sometimes a book takes such a dramatic turn away from its usual methods that the result is surprising and stellar.

Animal Man was that book this week.

Rather than deal with the traditional aftereffects of Buddy losing his son, Lemire chooses to show Buddy’s remorse through one of his movie roles. The character of the movie, like Buddy, has a strong connection to his son, and we see his rise and fall as the movie, entitled Tights, eerily mirrors Buddy’s own life.

Beyond that, Lemire humanizes his hero by removing everything mystical about him. He’s not shown doing a single super-powered thing, and his reticence to accept his fame (in the film) only makes his current predicament so heartfelt. The character’s arc, though, is much more hopeful, so when the final moments are pieced together – between the movie and the real world – the emotion lands with incredible precision, giving a palpable ache to Buddy’s mourning.

The book also works because of John Paul Leon’s gritty, tonally-heavy artwork. In the spirit of David Aja, Leon employs heavy shadows and smooth inks, creating a comic that conveys its emotions without words even being present. This works particularly well in the dialogue-free panels, where the solidarity and sadness of the character pervades the page.

I’ve enjoyed Animal Man from its inception, but the book was always tied in with Scott Snyder’s Swamp Thing. Maybe now, freed from any major crossovers, Lemire will have the space to tell the story he always wanted. Writers know that superheroes are only interesting if their alter egos have interesting conflicts as well. Clearly, Lemire knows how to amp up the sadness, solidify the depth of his hero and offer new readers an in to his comic.

And if this issue is a harbinger of things to come, count me in.

(DC – writer: Brian Azzarello; art: J.G. Jones)

At the end of Watchmen, Alan Moore offered one of the greatest climactic moments of comic history, specifically when Adrian Veidt said, “I did it thirty-five minutes ago.”

Brian Azzarello attempts the same twist, but without the same impact.

Before we read Before Watchmen: Comedian, we knew Edward Blake was an apathetic, self-righteous man whose black-and-white view of the world ran contrary to the gray nature of humanity. (That is, save for Rorschach who, in an odd way, shared a similar view on the dark and haunted nature of mankind.) And after reading Before Watchmen: Comedian, we see Edward Blake as a man whose black-and-white worldview runs contrary to the gray nature of humanity.

In other words, the path we’ve seen Comedian tread is nothing new.

Disappointingly, Brian Azzarello offered a different view to the harried hero when he posited the idea that Blake was not behind the assassination of John F. Kennedy. In fact, Kennedy’s assassination had such an impact on Blake that he carried the loss of his friend through the entire series. The change is explained in an offhanded manner, given no more than a line of dialogue as a punctuation for an odd change of history.

So why the sudden change of heart? Why does Blake turn against the men who have defined and supported him? Azzarello offers no answers save for a bleak impetus predicated on keeping a lie safe, much like the original Watchmen. But Blake’s immorality and amorality are nothing new, so the final page doesn’t come as any shocker. Even when Blake tries to flagellate himself in the name of his crime, the act comes off as mystifying, completely in opposition to his standards and morals.

The only positive is J.G. Jones, who finally seems to have nailed the visuals after six issues. Panels are clearly illustrated, and where the initial art of the series made historical figures look anything but lifelike, the final pages are a testament to Jones’ ability to craft photorealistic imagery.

At the end of its run, Before Watchmen: Comedian is a poor entry into a mediocre series. In Watchmen, Blake was berated by Laurie for raping her mother. Blake’s response was, “Only once.”

We can only hope DC has the same response when asked about more Watchmen titles.

———

Talon #7

(DC – writer: Scott Snyder and James Tynion IV; art: Guillem March)

In the previous issue of Talon, Snyder and Tynion delivered a bomb when they revealed the secret history of Sebastian Clark and the role he’s played in Calvin Rose’s life. In this issue, the writers amp up the danger, as Calvin not only has to deal with the repercussions of that knowledge, but the fallout and how it involves the remaining Talons.

For starters, this issue is a much better view of the partnership between Calvin and Casey. Up to this point, Casey Washington has been a bit player in Calvin’s life, but the vitality of her role really comes through in her resourcefulness and her intelligence. If you thought she was nothing more than a romantic foil for the lead, you’ll learn just how important she is to the overall story.

But I have to fault DC for its splash covers, because the addition of Bane would have been better served had it not been revealed on the front page. Except for this minor hiccup, Talon offers readers a strong and action-heavy tale complete with a powerful climax that will definitely draw readers back next month.

And Guillem March’s work is only getting better with every issue. The art is rendered with impeccable clarity, so much so that Batman’s appearance is reminiscent of the Chuck Dixon/Graham Nolan era of the late 1990s. March knows when to turn on the grit to give Batman his usual imposing personality, but where I was most impressed was in the Casey Washington drawings. Through March’s strong and sharp pencils, Casey is brought to life in such a way that she exudes power, much more than is expected by readers.

Talon has established itself, with aplomb, in the Batman universe. Calvin Rose is a great lead, and the series has plenty of twists up its sleeve, enough so that readers will be happy to return each month for the next round. And with Snyder and Tynion on the writing duties, readers can feel confident in spending the money on a book whose worth will be more than evident by the final page.

———

Manhattan Projects #11

(Image – writer Jonathan Hickman; art: Nick Pitarra)

Bannen’s Book of the Week: Newer books have a tendency to fall flat after their initial arc. The story becomes stale, and the writer clearly reveals his or her inadequacies with an ongoing series. Luckily, Manhattan Projects is not such a book. After several mediocre entries into its catalogue, the series returns to form with a powerful, well-crafted issue that goes beyond the established duality of its characters to deliver an unexpected twist into an already twisted world.

For starters, Hickman spends the issue humanizing Yuri Gagarin and Harry Daghlian, the talking skeletal frame seen since the beginning. The comic is more about the relationship between the two friends rather than reminding readers that one more character in this universe is not who he says he is. Hickman gives readers a cool twist in the climax, but he spends the majority of the issue on the relationship so that the ending is not so much shocking as touching, and a reminder of the friendships we form and the lengths to which we go to keep them healthy.

Additionally, the plot doesn’t move much farther forward. If you want a story of super geniuses discussing super-intelligent ideas, this comic is for you. But if you’re looking for a smooth entry into the series, you’ll find yourself lost. Clearly, Hickman is writing for an audience who’s stuck with him, and we’re rewarded with some impressive revelations.

And Nick Pitarra’s art has never looked finer. From its simple opening design of a chocolate sundae to the final shot of the Earth from the moon, every panel is drawn with impressive detail, sharp inking and a color scheme that goes far in bringing the images to life. I cannot praise the artistic team enough in this issue, for a multitude of reasons.

Look, if you’re not reading Manhattan Projects already, you’re missing out. Jonathan Hickman has crafted one of the most original worlds in comic history, and Nick Pitarra has brought it to life. If you’re tired of the same old major publisher stories, give Manhattan Projects a try.

I don’t think you’ll be disappointed.

(DC – writer: Sterling Gates; art: Pete Woods and Fabian Neves)

Vibe is the kind of comic you pick up due to its light-hearted tone and everyman hero in Cisco Ramon. Cisco is the kind of person most people would become if they were just given superpowers – unsure of the ability, but sure of the desire to help. DC is currently working on building the character enough to see his importance in this summer’s “Trinity War.” But before he becomes a main cog in the DC wheel, we’re given the inkling of the hero he could become in issue #3 of Vibe.

The fight with Kid Flash is obviously a teaser for Vibe’s eventual interaction with the Flash (as seen in Geoff Johns’ Justice League of America). Their scenes together raise more questions than answers, but in a way that would draw the reader back for more. Cisco continues to be likable, and he clearly is trying to understand the role of a hero, particularly one who’s been indoctrinated so quickly.

But I like the way Sterling Gates continuously reminds us of Cisco’s naiveté, as the character is charming enough to withstand it. The dialogue can be a bit tedious, though, and Cisco’s brother (who does nothing but sit around and complain) is becoming a bit of a drag on the series.

Still, Gates makes up for this with some cool moments between Vibe and Kid Flash, as well as giving the comic a great climax involving Darkseid’s daughter. The final page is a strong enough hook for the next issue, but I’d hate to see the writers amp up the danger and drama so quickly and end up burning out the character before he’s had a chance to fully form.

Additionally, the comic has some great, if uneven visuals courtesy of Pete Woods and Fabian Neves. In certain shots, characters are rendered with sharp detail, but in others they appear blocky or muddled. The inking varies as well, sometimes thickly emphasizing the outlines, at other times no greater than a thin yet undefined line. Kid Flash, particularly, suffers from this. Granted, this is a minor occurrence, but the shift in art is noticeable when it happens.

I’m a fan of Vibe even though I didn’t think I’d be. The book has a good premise and an engaging lead. Plus, DC has been able to shy away from the stereotype that killed the character in his initial appearance. Luckily, Cisco has more going for him than just being a walking cliché, and I hope the writers can keep the character interesting in his future beyond “Trinity War.”

———

The Superior Spider-Man #8

(Marvel – writer: Dan Slott; art: Humberto Ramos)

When we last left Spider-Man, he was being arrested by the Avengers in an attempt to show that he wasn’t the old web head they had come to know and love. Slott teased a pretty awesome fight that might finally show that Peter Parker is not in Peter Parker’s body.

But rather than delving more into the battle, and really utilizing Humberto Ramos as an artist, Dan Slott wraps up the major cliffhanger from last month’s issue too quickly for it to have any lasting impact, and instead he moves on to a saccharine story about Otto being a hero.

My problem with this is that Slott squandered a great opportunity to pen an issue that was full of action, humor and revelation. Otto’s knowledge of Peter’s spirit existence is finally touched upon, but not given enough of a strong landing to have a major impact. In fact, it’s given only a few panels on the final page, not going far enough to give the comic the climactic punch it needs.

Furthermore, the villain with a heart of gold trope is miles away from Otto throwing the Vulture into a spotlight, or even shooting Massacre in the head. These incidents set a tonal expectation that Slott has veered away from, but for what purpose?

The main positive of the issue, however, is Humberto Ramos, who crafts some of his best work to date. The Avengers battle, while short, is sleek and clear. The same goes from Ock’s throwdown with Cardiac and the soupy, watery texture of Peter’s spirit. In both instances, Ramos’s work is sharp and detailed. Victor Olazaba should be praised as well for his fine, lush inks and Edgar Delgado brings the imagery to life with his vivid colorization.

The Superior Spider-Man is a visual home run. Unfortunately, its story holds it back from being great, even as it introduces the concept of Peter’s existence and Ock’s knowledge of his being. I only hope Slott can get the comic back on track in the next issue.

To be fair, every issue can’t be great. I have faith in Slott, as he has written some of the best Spider-Man stories to date, so I can’t really complain. A minor stumble every now and then can be forgiven, so I don’t see this being enough to derail the entire series.

Still, I really wanted to see an Otto/Wolverine fight.

———

Daredevil #22

(Marvel – writers: Mark Waid and Chris Samnee; art: Chris Samnee)

Bannen’s Book of the Week: Lately, Matt Murdock has been put through the emotional ringer. For a while he thought he was going crazy, then he found out his best friend was diagnosed with cancer and now he’s battling a villain who seems intent on destroying his life by creating variations of him – other people who have been blinded by radioactive waste.

In this issue, Daredevil battles a villain known as Ikari, a man who can keep up with Matt and who promises him that he will die – but only when Ikari is finally done with him. Waid and Samnee craft a gripping, action-heavy tale that gets us into Matt’s head so we can see his tactical prowess, in addition to his inherited skills.

Page after page, the writers build the tension through terse word boxes and tight panels that build upon one another in a fluid and linear fashion. Through this manner of storytelling, Waid and Samnee are able to humanize Matt and his heroic persona. They make his fear palpable, and just when you think Matt’s finally won, they pull the rug out from under us and create a volatile situation that is miles away from safe.

They make you fear for Daredevil’s life.

Samnee also provides the art in the book, and in conjunction with colorist Javier Rodriguez, creates a myriad of crisp and exciting visuals. Samnee uses panel construction with aplomb, shifting smoothly between moments with a unique and impressive style, while Rodriguez adds layers of detail with his sharp colors and impressive shadows. He captures the darkened mood of the book and contributes to Matt’s situation by giving a tonal weight to Matt’s predicament.

With continuously gripping stories, strong characterization and great art, it’s easy to see that Daredevil should be a given on your pull list every month. Waid and Samnee have found a way to keep the series fresh, giving Daredevil varied and interesting challenges each month while reaffirming the eliteness of the character in the Marvel pantheon.

This comic is a surefire win every month, and a comic definitely worth your time and money.

(DC – writer: Gail Simone; art: Daniel Sampere)

If you want a writer who will give your heroine strength, ferocity and courage, you turn to Gail Simone. Batgirl picks up the story of Barbara Gordon’s brother James, a psychopathic killer out to destroy his own family. But the story pushes Barbara into the middle as Batgirl and deals with her struggle to find the ground between being a hero and being a sister.

My initial interest in reading Batgirl was to see how DC introduces its first transgender character (Barbara’s roommate, Alysia). Much like Alan Scott’s reveal in Earth 2, this character’s reveal is not given much fanfare and is matter-of-factly stated. I find this problematic for its overall effects on the story. Having a transgender character doesn’t serve much purpose, at least currently, and if DC is trying to break down barriers, making a tertiary character transgender doesn’t prove their willingness to be inclusive.

That being said, I can see how Simone wants to move on to the story, because she shifts away almost immediately to Barbara and her brother. Unfortunately, Simone’s James Gordon lacks the same panache that Scott Snyder gave him in “The Black Mirror.” Now, he’s turned into a standard bad guy complete with bad guy costume. His motivations are a bit opaque, though, and his turn towards stereotypical villain makes him less interesting.

But the final pages are gripping and intense. Barbara’s showdown with James and her mother make for some great story, and this is where Simone does her best work. Due in part to Daniel Sampere’s choice of focus and the overall moody backdrop of the scene, the climax is every bit as tense as a climax should be, and the resolution changes Barbara’s life forever.

Batgirl deals with a multitude of issues and balances all of them nicely. Gail Simone knows how to keep the reader engaged, as well as to make her heroine powerful. In Simone’s hands, Batgirl is a resilient woman. With Simone at the helm, she can look forward to being a worthy character in DC’s pantheon for years to come.

———

Avenging Spider-Man #19

(Marvel – writer: Christopher Yost; art: Marco Checchetto)

The line between Avenging Spider-Man and The Superior Spider-Man is starting to blur, as Otto’s persona begins to battle Peter’s spirit in the pages of Avenging Spider-Man. Where the story is interesting (if a bit recycled), the real star is Marco Checchetto, who draws some incredible and frightening monsters locked away in Otto’s mind.

This month’s team-up features Spider-Man and Sleepwalker, a guy who roams the “dreamscape” trying to protect people’s minds from evil creatures. Otto finds himself locked away in his own nightmares, dealing with his history as Doctor Octopus, as well as his dark past and his abusive father.

When I said that Avenging Spider-Man treads on recycled ground, this is what I’m referring to. We saw in an earlier issue of The Superior Spider-Man that Otto was abused by his father. Christopher Yost makes this the focal point of the issue, as Otto attempts to free himself from the dreamscape – with the help of Sleepwalker – and hopefully without any lasting scars.

Sleepwalker seems underused here, as readers don’t really get to know him. The story feels bigger than one issue and a lot of their conversation seems truncated and wedged between action scenes. Granted, the action is great, but the journey is over so quickly that it doesn’t have a lasting impression on the reader. And where previous issues of Avenging Spider-Man have given readers a strong foundation in the characters, this one fails to do so, as I know even less about Sleepwalker than I did before.

Marco Checchetto, however, draws some impressive characters. His altered reality of the dreamscape captures the oddness of dreams, and his panel design and construction help to push the chaos of Otto’s mind. Checchetto’s at his best when depicting action. When Otto fights his own father, the fluidity of movement captures the brutality of the situation.

Avenging Spider-Man feels like an organic extension of The Superior Spider-Man, but this works against it somewhat. One used to be able to read the comic without any knowledge of what occurred in the regular Spider-Man series. Now, the book feels hijacked in order to push more of Otto’s plight onto to readers. I’m not complaining, necessarily, but I do find the shift to be pushing what was once a light book into very dark places.

Luckily, Avenging Spider-Man is blessed with good writers and artists.

———

Batman and Red Robin #19

(DC – writer: Peter J. Tomasi; art: Patrick Gleason)

Bannen’s Book of the Week: Peter Tomasi seems intent on pushing the boundaries of Bruce’s grief in Batman and Red Robin. Where the cover introduces the idea of Carrie Kelley becoming the new Robin, the focus is more on Bruce’s attempt to bring Damian back to life (but this time using S.H.A.D.E. agent Frankenstein as a vehicle for his resurrection).

Carrie Kelley is given a great introduction where readers can see her smarts, her wit and her tenacity. She appears a few times throughout the book, and clearly Tomasi has plans for her. She’s every bit as spunky as Damian, but without the years of murderous programming, and she bookends the comic and offers some levity to a very dark story.

Where Tomasi takes a dark turn is when Bruce kidnaps Frankenstein and asks him about the science that brought him back to life. I initially balked at Bruce’s motivation, but Tomasi reinforces the idea that Bruce’s grief overrides his reason. Frankenstein plays the foil and his attempts to rationalize and sympathize are really our voices as readers.

Batman and Frankenstein have a fantastic throw-down where Batman again proves that size and strength are nothing against cunning and tactfulness. Tim Drake’s introduction into the book brings the events of “Death of the Family” full circle and reconnects the broken threads of Bruce’s relationship with his former Robin. Alfred, as well, plays the role of a consoling partner, desperately trying to help Bruce cope while watching him fall apart. His grief is palpable, and he provides another human side to which we can latch onto in a very chaotic book.

My only minor complaint is Patrick Gleason’s Carrie Kelley. Her face never fully forms, and she looks different in every shot. Gleason tries to emphasize her constant movement, but she comes off distorted and goes from looking like she’s 20 to looking like she’s 12. She’s still undefined as a character, so that may be why she’s undefined artistically, but the alterations are noticeable.

Gleason’s Batman and Frankenstein, however, are fantastic. Every moment with these characters is given the utmost attention to detail, and one page in particular, composed of 21 stitched together panels (meant to mimic the stitches on Frankenstein) shows both Gleason’s cleverness and pacing. Frankenstein is imposing and massive, and Bruce is constantly shown as a brooding figure full of rage and violence. The climax of the comic doesn’t help, either, as it only pushes Bruce towards more desperate measures to get his son back.

The comic provides no resolution for death, much like what a grieving parent must experience. While Carrie seems to be a positive addition (as she’s always shown in bright and vibrant colors), how she will break through Bruce’s sadness remains to be seen. But once again, Tomasi pens a fantastic, multi-layered story that is one of the best I’ve ever read.