(MOVIE REVIEW) JUSTICE LEAGUE - THE NEW FRONTIER

Directed by David Bullock
Written by Stan Berkowitz and Darwyn Cooke
Produced by Michael Goguen, Stan Berkowitz, Sander Schwartz, Gregory Noveck, and Bruce Timm

Original artwork from the comic book series.

As long as superhero movies have been made, fans have been critical. Even the best of films - like, say, The Dark Knight - have their detractors who wished it were more like the comic book. At to an extent, they can't be blamed; the point of adapting a comic book into a film is to please the fans while simultaneously attracting new fans. When a studio thinks too much about mass appeal (like with Green Lantern), the results were horrendous. And while staying as accurate as possible can have it's downsides (Watchmen got a little long in the tooth), a screenplay faithful to the source is usually better.

One of the best examples of this theory is Justice League: The New Frontier. The 2004 six-issue limited series was such an astounding achievement; it re-imagined the origins of the Justice League of America under the McCarthy-era scrutiny of communism and secrecy, with vintage American-style art that complimented the story perfectly. When DC announced the animated film adaptation of The New Frontier, many were skeptical. With such a unique story and art style, could Cooke's tale of intrigue and mysticism be successfully adapted? The answer is a resounding 'Yes'.

Set after the Korean War, the film follows the founding members of the Justice League as they make their ways toward a first meeting to battle an enemy called the Centre, voiced by the commanding Keith David. In an age of distrust, all the members of the Justice Society have retired, and superheroes are a thing of the past. The New Frontier explores superheroism as a metaphor for the USA's own fear of the unknown during that time. It's an interesting juxtaposition to the real-life decline in popularity of comic books during the 1950s, after the 'Golden Age' of the Justice Society, and before the 'Silver Age' of the Justice League.

Cooke also provides alternate histories for Green Lantern Hal Jordan and Martian Manhunter. Jordan is re-imagined as an ex-soldier who fought in Korea before becoming a test pilot for, you guessed it, Ferris Aircraft. J'onn J'onzz, on the other hand, keeps his arrival on Earth intact, but alters the way he connects with humanity by giving him television as a means of absorbing information. J'onn morphing into Bugs Bunny and the dead air Native American chief was just as nostalgic and Americana as in the comic.

Overall, the central plot of The New Frontier isn't the focal point. So much so that the Centre is hardly delved into beyond being old as sin and spawning dinosaurs, for some reason. To a degree, the Centre somewhat resembles Lovecraft's Cthulu in it's design and raw, evil nature. The New Frontier is more about how a new generation of heroes comes together to save the world. As a Green Lantern fan, it's hard watching the entire film with Hal Jordan resisting the ring. But when he finally puts it on, it's game over. Cooke is one of the rare writers that understands the scope of Green Lantern's power, and it's refreshing to see that conviction animated.

Justice League: The New Frontier is by and far my favorite DC animated film. Existing outside the flimsily-connected world of all the other films, Darwyn Cooke's epic tale exceeded it's expectations by keeping true to the source material, using the comic book's same visual style, and casting a great team of voice actors to bring the characters to life (I mean, Kevin Conroy's great for Batman, but Jeremy Sisto? Awesome). Bringing actual panel scenes into the mix is the icing on top of the cake that makes this film just so damn good. It's an homage to a great piece of graphic literature that does the original justice.

GRADE:

A+

(COMIC REVIEW) SAGA #1

Written by Brian K. Vaughan
Artwork by Fiona Staples

This marks the first review of a title not published by DC Comics on "The Endless Reel". Since I began this blog, I've focused exclusively on the 'New 52' relaunch. Starting in April, though, I'll be branching out a bit, with coverage of Marvel's Avengers vs. X-Men. But right now, I'd like to offer a look at one of Image Comics' newest titles, written by the masterful Brian K. Vaughan (Y: The Last Man, Ex Machina) with artwork by Fiona Staples (Jonah Hex).


Saga is fantastical as it is minimalistic. Within this first issue, all the information you want to know is given, without informations dumps or overly-descriptive introductions. In so many ways, Saga represents the best of what comic books can offer - as a medium - moving forward, right alongside titles like Locke & Key, The Cape and Powers. Melding fantasy and sci-fi elements with natural storytelling has given Saga a unique style that's simply engrossing.

In a nutshell, beings from the planet - called Landfall - are at war with beings from the planet's moon - called Wreath. After much fighting, both sides realize that destroying the other would cause them to spin out of orbit and be destroyed. It was agreed that the war would be outsourced to other planets until the entire galaxy became engulfed in the conflict, forced to choose a side and fight.

It's a pretty intense setting, but one that Vaughan introduces slowly, through context clues and a journal-like detached voice poking metafictional holes in the story. He understands that his new world is a bit complex, but also that being led through it is no fun. The issue begins with a birth and includes a police chase, a battle between magic and robots, robots as royalty, and a look at the religious and political views of both sides of the war. Again, this seems like a lot of information, but again, Vaughan brilliantly shows what he's trying to say.

It would be easy to rely on Fiona Staples' artwork, as it perfectly convey's this new world of science and magic. He lines are rough and her style could come off as messy to many readers, but her technique is indicative of a deep understanding of her form. It's hard to look bad if you're trying, normally, but Staples makes the unkempt look of the book feel natural and organic.

Already I'm excited at the prospects for Saga. With such a wide open (literal) universe to work with, Vaughan and Staples have large shoes to fill with this series' second issue. I'll be covering the rest of Saga as it continues, month to month.

GRADE:

A+

(COMIC REVIEW) Green Lantern #7

Written by Geoff Johns
Artwork by Doug Mahnke, Keith Champagne, Christian Alamy and Mark Irwin

Ever since the Geoff Johns and Co. introduced the extended spectrum of emotional colors into the DC pantheon, the Indigo Tribe is given the least amount of panel space. At first, this seemed like an storytelling decision, one made simply because there were too many characters interacting at the same time, and the Indigo's were mysterious enough to be kept vague. After a while, I assumed the lack of content featuring the Indigo Tribe was an editorial decision, one that came from polls and marketing numbers that showed readers preferred the Red Lanterns or Agent Orange to the enigmatic tribe that doesn't use English on a regular basis.

Now, it's pretty obvious Johns has had plans for the Indigo Tribe for quite some time. The last time we really saw the Indigo Tribe was way back during the "Blackest Night" event when Indigo One kidnapped Black Hand from under everyone's noses before presenting him as the newest tribe member. It was a haunting scene, one that threw into question everything readers had thus far assumed about the Indigos. Sometimes, not knowing the threat is worse than knowing just how bad it is, and Johns is definitely playing that card with this plot.

Basically, Sinestro read the Book of Black and saw the end of the Green Lantern Corps - an idea that's been seeded throughout Green Lantern since the relaunch - and now he needs Hal's help to stop it from happening. In true Green Lantern style, the Indigo Tribe shows up to corral Sinestro for themselves. Over on Oa, the Guardians are getting pretty hardcore, talking about murdering a Corpsman. It's a little uncomfortable, but I'm sure that's exactly what Johns wants.

GRADE:

B-

(COMIC REVIEW) Batman and Robin #7

Written by Peter J. Tomasi
Artwork by Patrick Gleason and Mick Gray

And just like that, Batman and Robin picks up exactly where it left off last month; no flash-forwards, no frills. Even from the first pages, this has been my favorite issue of Batman and Robin thus far. I'm sure this is partly due to the completion of Peter J. Tomasi's first story arc and the satisfaction that comes with following a plot for months toward it's climactic conclusion. It's also because this is such a solid issue.

Morgan Ducard and Bruce go head to head this month, a proper bout that brings out the emotional instability in both men. Morgan still blames Bruce for 'stealing' his father away, and Bruce wants to kill Morgan for hurting Damian, and nearly does before stopping himself to show his son the meaning of restraint. The fight is incredibly fun to read, with expert shading from Mick Gray complimenting Patrick Gleason's subtle, yet descriptive pencilling.

The final pages, in which Damian murders Morgan - even after Bruce stopped himself from doing the same thing - are a terrific build-up for the next arc. My only complaint: Damian getting all religious with the "Forgive me, Father, for I have sinned," shtick. It's annoying and grating. Other than that small snafu, Batman and Robin #7 sits at the top, in terms of quality, for this series thus far.

GRADE:

A

(MOVIE REVIEW) Superman - Doomsday

Directed by Bruce Timm, Lauren Montgomery, and Brandon Vietti
Written by Duane Capizzi and Bruce Timm
Produced by Bruce Timm, Gregory Noveck, Bobby Page, and Sander Schwartz

In DC's first 'Original Animated Movie', Bruce Timm is handed the reigns to the Man of Steel's death. Based on the hyper-popular "Death of Superman" storyline from the early 90s, Superman: Doomsday reworks the general premise of the original tale into a more film-friendly version that nevertheless still makes for a great narrative. Instead of mucking up the story with multiple Supermen, and the weird Blue Suit, Timm took the core ideas - Doomsday, resurrection, and a fake Superman - and made them more prevalent.

One of the main issues with Superman: Doomsday, is it's pacing. Within the first 25 minutes of this nearly  90min film, Superman has already battled Doomsday and failed. It all moves so quickly, you barely have time to register the breadth of Doomsday. In the comics, good ol' Grey n' Pokey was a force to be reckoned with, something that couldn't be taken down at all. In this film, all we get is some vague notion that this monster might be unstoppable and that Superman might not even be able to help. The audience is only asked to accept this for a few minutes, though, as the fight between Superman and Doomsday comes to end rather quickly, leading to Superman's death in the arms of Lois Lane.

Violence in the DC Animated Universe (DCAU) has always been left off-screen or scaled back, but Superman: Doomsday does a great job taking advantage of the PG-13 rating by adding some blood, some obvious deaths, and some neck snapping for those who want a little more realism in their animated superhero direct-to-video films. After Superman's funeral, things get a bit shaky, not only for the narrative, but also for the general 'fun factor' of the movie. Superman re-appears in Metropolis, and does a pretty good job keeping it safe once again, before we learn that it's a clone Lex Luthor made. I don't know if it's just me, but I'm pretty tired of Superman cloning as a plot device. I understand it was a part of the original story, but so was Cyborg Superman and Superboy. It just seems lazy to rest of the laurels of Clark Kent's copycats. Part of the problem stems from the fact that this movie is based on a story that was 15 years old at the time of production. Everyone knows that Superman comes back and saves the day, and it's very hard to give that same story a fresh take after so many years.

The rest of the movie mostly focuses on Superman reclaiming his city from his clone, whose extreme methods border on fascism. The final battle between the Supermen mirrors the fight earlier in the movie between Superman and Doomsday. As the faux-Superman is operating at peak efficiency, he easily beats down Clark, who hasn't had enough time to fully heal from his 'near-death.' As the two continue to duke it out, it becomes apparent that the real Superman cannot win the fight. As the clone Superman attempts to reason with Clark, he tells him that "I'm a reflection of you, if you were stronger," to which Clark responds, "[You're] my reflection in a cracked mirror" before getting that adrenaline rush that Supes often does right before he defeats the villain.

While Superman: Doomsday doesn't get everything right, it certainly conveys the death of Superman in a fun and entertaining way. The story might not be carbon copied from the comic book pages, but it's spirit is there and that's what mattered. Bruce Timm knew he couldn't recreate months and months of stories in 90 minutes, so he chose the best elements and made them work. If the two acts of the film were more evenly portrayed, it would have been a much stronger movie.

GRADE:

C+

(COMIC REVIEW) Justice League International #7

Written by Dan Jurgens
Artwork by Aaron Lopresti and Matt Ryan

Justice League International quickly became one of my favorite titles to read back around issue four. The team is solid, their relationship is existent, but not fully-formed, and Jurgens was allowed to keep Batman, if only for the first arc - which ended with an explosion that potentially killed them all. My only reservations about the JLI thus far have been about their status quo amongst the superhero world. Up until this issue, Booster's rag-tag team has been backed up by the United States government, giving them just a little bit of legitimacy in a world dominated by bureaucratic red tape and by-laws. This issue explores the aftermath of the explosion and how it has affected the team.

The narrative bombs starting falling when Fire and Ice are found, both with critical wounds due to the blast. As soon as they're taken care of, August General emerges from the flames with the corpse of Gavril Ivanovich, the Red Rocket. Though he was short lived, this iteration of Red Rocket was one of my favorites. Instead of drenching the character in Russian nationalism, Jurgens decided to give him a realistic, modern take on his home country and how it fits into the world. Kicked out of the actual Red Rockets, Ivanovich was as much a Russian as he was a JLI member, and it really was sad to see him go.

Andre Briggs and Emerson Esposito are the next to go. Searching through the wreckage, Booster finds their scorched bodies and weeps for them. In an issue that could have come off as really cheesy and forced after only six months of storytelling, Jurgens finds a groove and doesn't diverge. The emotion feels real and the subsequent anger and frustration are understandable and relatable. Even Batman's exit leaves you feeling less comfortable, as the team just keeps getting smaller.

The fight between Booster and Lightweaver was fun, but ultimately just the set up to introduce Batwing into series and onto the team in upcoming issues. It makes perfect sense, now that there's a Batman in Africa, but it still seems weird. I'm not a fan of Batwing, and I hope Jurgens keeps his panel time to a minimum in the tradition of the real Batman.

GRADE:

A

Movie Reviews, AvX, Classics Revisited

Hello Readers!

About a week back, I posted a short apology about the lack of TV show reviews, despite my original plan to go live with regular TV coverage starting in March. Due to family circumstances and job-related responsibilities, I've been unable to even begin my TV coverage. Due to my increased workload, along with a general exhaustion, I've decided to cancel TV show coverage for the foreseeable future. Trying to take on a weekly schedule of TV shows was proving much more daunting than I had anticipated, and I did not want to do it half-way. In or out, and unfortunately, this time, it was out.

In an effort to make up for the cancellation of television on "The Endless Reel", as well as giving me more content to write, I'll soon be starting a slew of new special features that I'm really looking forward to! Starting tomorrow, I'll be posting (MOVIE REVIEWS), which will cover movies connected to the DC Comics universe. Starting with animated films, I'll begin with Superman: Doomsday before tackling Justice League: The New Frontier, then the rest of the DC Universe Animated Original Movies before delving into old Batman: The Animated Series-era animated flicks, then into live-action from 1978's Superman to 2011's Green Lantern.

I've already pledged to cover DC's two major events this summer; Before Watchmen and the first 'New 52' crossover, "Night of the Owls", and now I've got a few more special events coming your way. I will also be covering Marvel's "Avengers vs. X-Men" event. I know that this site has been - up to this point - exclusively DC Comics-related. And for good reason, I've stayed out of Marvel's universe for some time. But now, the Big M is looking to really just have a good time. They're only releasing the main series and an AvX: VS. series dedicated to huge fight sequences. As far as events go, it's not massive, and it sounds cool enough to cover without having to read obscure X-Factor issues. These posts will be tagged as (AvX REVIEW)s.

Along with the new events being released this summer, I'd also like to go backwards and review some classic stories that I feel stand the true test of time and resonate with readers, even years later. I'll be covering DC: The New Frontier as a two-part comparison between the comic series and the film, Green Lantern: Rebirth, Batman: Hush, and Superman: For Tomorrow. This series of posts are (CLASSICS REVISITED).


Stay tuned to "The Endless Reel" in the coming weeks for more information about scheduling for these new features. I look forward to writing them and I hope you look forward to reading!

- Jay

(COMIC REVIEW) Action Comics #7

Written by Grant Morrison
Artwork by Rags Morales and Rick Bryant

After a few issues in Grant Morrison's Fun House, things are back on track for Action Comics, taking us back to the action that fell to the wayside at the end of issue four. And while the Legion side-story-that-connects-to-the-main-story was nice, it's great to get back to the main tale.

New Troy, one of the many massive neighborhoods in Metropolis, has vanished. In keeping with Morrison's look into the evolution of Superman's powers, Clark pushes himself to run thousands of miles per hour faster than he ever has so he can launch himself into the stratosphere and board the alien ship he sees with his "Zoom Vision", as he calls it. Morrison is obviously having fun with Superman's origins, taking almost any opportunity given to convey more specific detail and really give the character a solid foundation beyond his 'boy scout' persona.

It's revealed in this issue (and months earlier to Superman aficionados) that the Colony is simply Morrison's re-envisioning of Brainiac, one of Superman's oldest and most ruthless enemies. And while most of the issue is spent setting up the next issue, which features the fight between Superman and the Colony construct, it does so with grace, giving Superman little room to move - figuratively and literally - until he snaps. It's a wise move giving Clark such a dilemma of morality so early in his career as Superman; it makes him more relatable and easier to not hate. In the artwork department, Rags Morales and Rick Bryant rip it up again. In an issue mostly set on an alien spaceship with mood lighting, Rick Bryant's shading really makes a splash.

The only complaint I can give Action Comics at this juncture, is that it's moving too slow. After two months of (technically) side stories, I was ready for some big action and instead, got the build up to said big action.

GRADE:

B+

Late Start, Kiddo

So, I know this week was supposed to mark the official addition of (TV REVIEW)s to the mix of regular posts. It obviously hasn't happened. And while DC only released Justice League #6 as part of the 'New 52' this fifth week of February, I didn't write up a review. I want to apologize to any and all of my readers who were looking forward to TV critiques and a review of Justice League #6.

Due to a family emergency, I've been working a lot more at my day job recently. The fact is, I've been so exhausted after 10 hour days at a cupcake shop that I simply don't want to write when I get home. I'd rather watch my shows and read my comics then go to bed, so that's what I've been doing.

This next week isn't looking a whole lot better on the day job front, unfortunately. That being said, I'll continue to put out as much content as I can. (COMIC REVIEW)s will be up later this week, but TV coverage may wait until the second week in March. I'll post again with more information as soon as I know it. Hopefully, I can get back to normal and start posting TV reviews sooner rather than later.

- Jay

Summer Blockbuster: Before Watchmen

Summer means different things to everyone. For kids and teenagers, it's a time of relaxation and pure bliss because there's no school. For college students, it's a time to work and maybe take more classes. For hippies it means festival season is in full swing, for water parks it means business, and for the comic book industry, it means big crossover events, and this summer DC Comics has the coolest one.

***

Issue #1 covers for all seven mini-series and back-up.

As reported by many news outlets, the biggest - and most controversial - of these  is Before Watchmen, a look into the world of the Watchmen before the events of the original series by Alan Moore over 20 years ago. With some of the industry's biggest names in writing and artwork signed on, DC is going all-out and releasing seven mini-series complete with an ongoing back-up story and a bookend epilogue at the end of the summer.

Watchmen co-creator and author Alan Moore has publicly stated his distaste with the new series, likening DC's actions to writing a "Bible II" without consulting God. Moore's stance reflects his feelings toward the live-action feature film version of Watchmen released in 2009 to critical and popular praise. Many of the writers and artists attached to the project have come to their own defense stating their intent to enrich the world of the Watchmen, not to sully it as Moore believes.

Each of the main characters from the original Watchmen has their own title - Rorschach, Nite Owl, Comedian, Silk Spectre, Ozymandias, and Dr. Manhattan - as well as Before Watchmen: Minutemen which will focus on the first superhero team, the Minutemen, who operated decades before the Watchmen. The seven mini-series will be released intermittently, one issue per week, throughout the summer months until they finish up with Before Watchmen: Epilogue. At the end of each issue, a two-page back-up story featuring the Crimson Corsair will run the entirety of the event and finish up in the pages of Epilogue.

Stay tuned to "The Endless Reel" for weekly coverage of Before Watchmen as it unfolds this summer.

(REVIEW) Superman #6

Written by George Perez
Artwork by Trevor Scott, Nicola Scott and Brett Smith

George Perez's run on Superman has been taking it's sweet time, creating a current-day world for Superman. While Action Comics and Justice League are focusing on the origins of characters, it's nice to see Perez giving ol' Supes the proper treatment of a standard storyline. And a rather good one, at that.

Last we left Metropolis' savior, he was acting more like a dictator than a benevolent protector - martial law and a near-murder before Supergirl shows up in this issue's opening pages. During their fight, the real Superman wakes up in orbit around Earth. Before impostor Supes can deliver the final blow to a mostly-defeated Supergirl, Clark swoops in to correct the situation. He tells his city the truth about the alien impostor and immediately leaves Metropolis before Gen. Lane's strike force arrives.

It turns out, nanotechnology is the root of this arc's events. From a world whose nanotech could repair any damage doled out to the planet or people, the 'Collector of Worlds' - who makes it into a disappointingly small amount of panel space - wanted their science to add to his own. In a narratively simple malfunction between technologies, the planet's nanotech went berserk, leading to it's connection with Superman (which we apparently don't get to see until next month's Action Comics), bringing it to Earth. Since it's memory matrix-whosit-whatsit was damaged, it tried to 'fix' Metropolis, then Superman himself by creating a replica out of nanites.

And while the last few pages sort-of just fizzle out with lengthy explanations, at least there's a Superman vs. Superman brawl to pad it out. The real value in this first Superman arc is the lead-up to the Summoning arc that's been referred to in Stormwatch.

GRADE:

B

The Endless Reel TV Schedule

At the beginning of February, I posted an (UPDATE) outlining the next stage of 'The Endless Reel', which included new titles being added to the comic book monthly lineup and the addition of television shows to the mix of regularly-covered content. Starting in March, all comic book reviews - posts currently tagged (REVIEW) - will become (COMIC REVIEW)s to differentiate from the new (TV REVIEW) tag I'll be using for television shows.

Of course, unlike the monthly schedule of comic book releases, television shows take breaks and hiatuses between seasons, during the winter, etc. As much as I can, I'll be updating the TV SCHEDULE page of the site to let readers know when to expect a new review. As I don't have cable, I won't be viewing episodes as soon as they're aired. For now, I'll be posting each show's episode review on the following day after it's air date.

So, without further ado, here are the shows that will be coming soon to 'The Endless Reel's regular coverage!


SUNDAYS

Once Upon A Time (ABC, 9pm)
Based on Disney's extensive pantheon of fantasy and storybook characters, Once Upon A Time is a Lost-style serial about an evil curse that has trapped these fairy tale characters in the real world, stuck in Storybrooke, Maine, a town cut off from time. If it sounds a little confusing, it is. Much like Lost before it, series creators Adam Horowitz and Edward Kitsis have crafted a rather complex plot that weaves together events in the real world and fairy tale flashbacks that 'reformat' the classic stories into a rich, cohesive mythology that expands with each episode.

American Dad! (FOX, 9:30pm)

Of all the Sunday night animated shows that FOX airs, American Dad! is consistently the funniest and most overlooked. Stan Smith is a conservative CIA agent who lives with his family in fictional Langley Falls, Virginia. His wife, Francine, is the epitome of a trophy wife while his kids, Haley and Steve, leave much to be desired in Stan's eyes. Joined by an effeminate, costume-obsessed alien named Roger and a fish with the mind of a man named Klaus, American Dad! might have been little more than a Family Guy rip-off for it's first few seasons, but since 2008, it's been better than Family Guy or the deplorable The Cleveland Show. I mean, they did a whole episode with My Morning Jacket.

MONDAYS

Being Human (Syfy, 10pm)

Based on the UK series of the same name, Being Human is the story of a vampire, a werewolf, and a ghost who all live in a house together. Sounds kitschy, right? Well, the vampire and werewolf work together at a hospital and they rent a house - in an effort to lead a more 'normal' life - that just so happens to be haunted by a ghost, so it's not like they've formed some supernatural team. The first season followed it's British forefather pretty closely, but the current second season has taken it's own, fantastic course.

TUESDAYS

New Girl (FOX, 9pm)

Zooey Deschanel is a controversial person. Some people hate her because of her 'twee' attitude and acting style, while others love her for her work with M. Ward as She & Him and their subsequent albums. Or vice-versa. In New Girl, Deschanel is allowed to let her character, Jess, nearly explode with happiness and positivity, a natural exaggeration of her public persona. What makes the show great is how Jess' quirks affect the three guys she's come to live with. While the premise is rather flaky, the jokes are solid and the storytelling is fun.

WEDNESDAYS

Modern Family (ABC, 8:30pm)

I've yet to meet someone who's seen Modern Family and hasn't enjoyed it. Set up in the loose mockumentary style like that of The Office, ABC's take on a current-day extended family is loads of fun. Starring heavyweights like Ed O'Neill (Married With Children) and Julie Bowen (Ed, Boston Legal, Weeds), Modern Family gives us a glimpse into the lives of the Pritchett Families. This minimal premise sets the stage for amazing family interactions and multi-story narratives. This show has been the favorite at the Emmy Awards two years in a row now and looks to make it a hat trick at next year's ceremony.

Happy Endings (ABC, 9:30pm)

If you haven't watched Happy Endings, do yourself a favor a go find a stream of it somewhere on the internet. The 2010-11 TV season was rife with shows that focused on a group of friends, all in different places relationship-wise. Only one survived the wrath of Neilsen, and it was the best one, by far. Happy Endings is a Friends-style show about six friends living in Chicago. What makes this series different from all the others is it's rapid-fire joke style couples with increasing attention to detail and character development. Every week, it gets better and I just don't know if there even is a plateau.

THURSDAYS

Community (NBC, 8pm)

Rejoice! After a cancellation scare followed by a three-month waiting game, NBC finally announced the return of Community for Thursday, March 15. Seriously one of the best shows on TV right now, Community tells the continuing tales of a study group at a community college in fictional Greendale, Colorado. It's never really been about college, though. The show itself is a metacommentary on the television medium, ranging from sitcom satire to full-on theme episodes and alternate timelines. It's never received the ratings it deserves, but critics and fans alike know it's the smartest, wittiest, most metafictional show on TV, possibly in history. Watch it. It's on Hulu Plus and the discs are available from Netflix. Seriously, check it out.

Parks and Recreation (NBC, 8:30pm)

Originally derided as a fairly lackluster The Office copy, Parks and Recreation hit it's stride in Season 2 and hasn't stopped. Amy Poehler's mockumentary about Pawnee, Indiana's Parks and Rec. department gets better every season. Similar to The Simpsons, show producers and writers have created a whole world in Pawnee, one populated by some of the weirdest, dullest, most proud, normal citizens in the country. It's so much fun to have your favorite minor character that only pops up every ten episodes or so with a one-liner that's just too funny to handle. Also starring funny man Aziz Ansari (30 Seconds or Less), Rashida Jones (The Muppets, The Office), and Aubrey Plaza (Funny People).

The Office (NBC, 9pm)

Though it meandered somewhat through the first half of this eight season, The Office is starting (finally) to get back on track after Steve Carrell's exit last May. With James Spader and Ed Helms now - somewhat - filling the hole that the ever-needy Michael Scott left, producers and writers have been finding it difficult to balance the show's other characters and feature them more prominently. While still a great show, it hasn't hit the highs we saw with Michael.

FRIDAYS

Grimm (NBC, 9pm)

Along with Once Upon A Time, NBC's Grimm attempts to bring fairy tales into the modern world of storytelling. But while OUaT takes the serial approach, telling one massive story over the course of a season, Grimm is told in the procedural format with each episode's story coming to completion before the 43 minute mark. In Portland, Oregon, Detective Nick Burkhardt is told by his aunt that he is a Grimm, a descendant of the Brothers Grimm who wrote the seminal 'Grimm's Fairy Tales'. Now able to see the monsters around them for who they truly are, Nick must balance his work as a detective against his clandestine title as a Grimm.

Portlandia (IFC, 10pm)

Fred Armisen (Saturday Night Live) and Carrie Brownstein (of Sleater-Kinney, Wild Flag) have an interesting take on America's chillest of cities. To them, Portland is a unique place, populated by the hippies, the bourgeoisie, and the yuppies. With skits that connect and characters that don't become overbearing or annoying, Portlandia is one of the freshest and most addictive sketch comedy shows in some time.

SATURDAYS

Young Justice (Cartoon Network, 10:30am)

Last year, Cartoon Network started airing Young Justice, then put it on break for six months before brining it back for a few episodes then putting it on hiatus again. Without even a full first season finished, Young Justice will start airing new episodes as part of CN's "DC Nation" block of programming. Based (really) on an incarnation of the Teen Titans, this show's Young Justice team is comprised of Robin (Dick Grayson), Kid Flash (Wally West), Superboy (Conner Kent), Miss Martian, and Artemis (Artemis Crock) with Red Tornado as their liaison to the Justice League. Excellent animation style and a solid writing staff make this a series any DC Comics fan should watch.

Green Lantern: The Animated Series (Cartoon Network, 10am)

Back in November, Cartoon Network previewed Green Lantern: TAS for their "DC Nation" block of shows that would start in January 2012. Obviously, CN missed the original mark, but Green Lantern: TAS is indeed coming back on Saturday, March 3. With Bruce Timm (Batman: TAS, Superman: TAS, Batman Beyond, Justice League, Justice League Unlimited) as Executive Producer, old-school DC Animated Universe fans should look forward to a similar art style (albeit in CGI) and narrative flow.

I hope you all like the choices I've made for coverage and I look forward to reading your comments!

(REVIEW) Teen Titans #6

Written by Scott Lobdell
Artwork by Brett Booth and Norm Rapmund

After five issues of their new origin story, the Teen Titans still aren't a coherent team and it's becoming a bit frustrating. Why did the first issue feature Superboy - front and center - when he isn't a part of the team and doesn't it look like he will be in the near future? And while Teen Titans may have coasted along on momentum for the first few months, the past few issues have been disappointing.

This trend continues with issue six. Now that Superboy has beat all of them down without breaking a sweat, it's time to move on to some awesome new storyline, right? No. Instead, we get more of a one-shot story about how Kid Flash was sped up too much by Superboy's telekinetic powers, so he's in danger of going so fast that he literally phases out of existence. SNORE! This exact story has been used in speedster stories more times than DC is willing to admit. It's a staple of speed-having superheroes, but in 2012, it's a total and unwarranted cliche that should have been avoided. Since they're not important enough for the Justice League to answer their call, the Titans call Virgil Hawkins, a.k.a. Static, though no one seems to know he's a superhero. After some scientific mumbo-jumbo, Virgil and Red Robin go to work trying to fix Bart Allen. And the payoff isn't even great! In the end, Virgil develops a suit to keep Bart's erratic speed in check. That's right comic fans: Kid Flash must wear his suit or he will die! It's such an annoying plot twist that I almost rather Lobdell had simply left Bart alone and let him keep wearing Red Robin's old costume.

Elsewhere in Titan world, we get some seriously awful dialogue between Wonder Girl and Brick Boy (alright fine, Bunker) wherein Miguel reveals that he is gay in the most blunt and unnatural way possible. It's honestly hard to read - like those moments in TV shows that are just simply too embarassing and you can't help but cover your eyes. Also, the villain for the issue was terribly unoriginal. I mean, Grymm? Seriously, it's not that hard to think up names.

So, in conclusion, we get an issue that basically revolves around getting Kid Flash a new costume and putting the kids up against a foe that isn't Superboy. Unfortunately, the issues persistent over the past few months have stuck with Teen Titans, making it more of a chore to read than fun.

GRADE:

C-

(REVIEW) Green Lantern: New Guardians #6

Written by Tony Bedard
Artwork by Tyler Kirkham, Batt, and Nei Ruffino

It's just another day for the Rainbow Rangers. After last month's rather weird foray into the...artificial solar system...this issue is all about the fightin'. At the end of issue five, we see a priest incur the wrath of Invictus, some sort of guardian god. I'll argue that they should have thought up a better name - maybe not one used as the title of a rather recent hit movie. Nonetheless, Invictus is a beast. And while us loyal readers are still nowhere near anything resembling a plot, it's fun to see the Rainbow Rangers together, slinging rings and kicking ass.

Invictus shows up to bring the pain to the ring-bearers, who he claims are "Sinners!" whose darkness can be defeated by his light. As the fight plays out, he doesn't seem to be wrong. One by one, the Lanterns fall to Invictus' power as he lays waste to their constructs. The only hint of a storyline still lies in Glomulus and his orange tint acting as a spark for violence. Invictus sees Glommy and immediately starts babbling about the orange beast and his power.

I really wish there was more to write about, but that's pretty much it - Invictus beatin' up on Lanterns. By the looks of it, next month might give us some insight as to what's going on, but for now, it's still a mystery and damn frustrating one at that. Art-wise, things are still a clean and crisp as ever. I noticed some weird coloration in Kyle Rayner's hair from time to time, but other than that, things were looking good.

(REVIEW) Aquaman #6

Written by Geoff Johns
Artwork by Ivan Reis and Joe Prado

Most characters throughout DC history have some sort of world built around them. While each publisher's universe mostly exists as a coherent setting for a majority of their books, individual characters bring their own villains, their own back stories, supporting cast and their own, unique set of problems to solve. Aquaman's "character world" is one of the most interesting. Atlantis, as a comic book idea, exists as a world removed from our own - much like aliens, only living under our oceans.

Aquaman #5 is all about the disconnection between the sea and the surface. Instead of focusing on Arthur, Geoff Johns chose to highlight Mera, Arthur's wife. In the 'New 52', Mera has never ventured into human civilization, which gives Johns a whole world - literally - to play with. Unfortunately, he chose to talk about sexism. Now, I'm all for tackling social issues in comic books. DC has a long history of making social and civil issues a part of their stories. But in this case, Johns misses the mark and it comes off as paltry. It's a bit disconcerting, on her first visit to actual human society, that Johns would immediately put her in a situation to be objectified. It's pandering to an idea that Atlanteans must have a bad impression of surface-dwellers due to bad experiences. Honestly, I'd hoped Johns would have taken a more experimental route with his Human-Atlantean relations.

All in all, it was still a great issue. Mera's show of force is so much fun to read, and Ivan Reis' artwork is fantastic in conveying the action. The water looks like it's moving and has more density than normal, facial expressions are rich and textured, while the lanscapes are subtly shaded and colored. Unfortunately, exceptional art can't save the story from being a tad boring. I'll wait patiently to get back to Atlantis' origins...until next month.

GRADE:

B-

(REVIEW) DC Universe Presents #6 "Challengers of the Unknown"

"Challengers of the Unknown" - Part 1

Written by Dan Didio and Jerry Ordway
Artwork by Dan Didio, Jerry Ordway, Ray McCarthy, Andy Lanning and Marlo Alquiza

Last month, DC Universe Presents finished up with Deadman's story, which was quite a satisfying one. This month, the book's second arc begins, highlighting the Challengers of the Unknown, a rather old DC trademark that has made a few appearances through the decades, but hasn't made much of a dent. Dan Didio - who's been working on O.M.A.C. up until now - does a great job reintroducing the mythology behind the Challengers and reinterpreting it for the modern age and the 'New 52'.

With it's new origins as a reality show gone wrong, Challengers of the Unknown (the show in the book) sends six celebrities and an archaeologist out with the show's host to brave the wilderness while simultaneously attempting to outwit the other players and 'win' the competition. Even from this first issue featuring the revamped Challs (as they're nicknamed throughout DC history), there's an obvious sense that the reality show premise is simply there to get these characters out into the unknown.

The story features Nanda Parbat - the mystical place where the revamped Jason Todd trained - as well as a giant ice monster that attacks the team as they attempt to escape the icy mountains via helicopter. It's action-packed and fun to read, both qualities of which have been exemplified by Didio over on O.M.A.C. The only problem with this introduction to the Challs is that we get very little actual background information of any character. Of course, Didio and Jerry Ordway have months ahead of them to establish this team as a part of the new DC universe.

GRADE:

B-

(NEWS) Batman: Night of the Owls Event

from Batman and Robin

Coming up this summer, DC Comics will launch it's first true crossover event for it's 'New 52' line of titles. Based around Scott Snyder's current arc on Batman titled "The Court of Owls", the multi-title crossover will be called "Night of the Owls" and will encompass most of the Batman-related titles currently offered by DC.

For the past week, Comic Book Resources rebranded it's normal Batman coverage column as 'The Owl Signal' and offered daily interviews with creators who will be contributing to the upcoming event. The first article in the series featured Scott Snyder, Greg Capullo and Mike Marts discussing their role in creating the prelude story to the entire event and how the Court grew into a much bigger idea than originally anticipated. The second in the series revealed that Dick Grayson would be receiving two tie-in issues with Nightwing and how Batman's former protege plays a major role in the story's events.

And the owl-related fun isn't restricted to just one time period! Writers Jimmy Palmiotti and Justin Grey will be expanding the Court's influence to the 1880's in All-Star Western #9. In their own interview, the writing dup discuss how they fit the "Night of the Owls" concept into the adventures of Jonah Hex and Amadeus Arkham naturally and how it connects to present-day events. Comic Book Resources has done a fantastic job chronicling the creative influences behind DC's first crossover for the 'New 52' and it's worth checking out.

"Night of the Owls" will extend to such titles as Batman and Robin, Batman: The Dark Knight, Catwoman, Batwing, Red Hood and The Outlaws, and Birds of Prey. Starting in May, I'll be doing special coverage of all titles related to the event. Articles concerning the event will be titled with (OWL WATCH) tag.

- Jay

(REVIEW) Wonder Woman #6

Written by Brian Azzarello

Artwork by Tony Akins and Dan Green

I've said it before and I'll say it again, Brian Azzarello has been delivering fantastic work in Wonder Woman month after month. This 'New 52' reinterpretation of Diana as a demi-god has been a huge boon for storytelling ideas. Azzarello's unconventional take on the gods of Greek myth have been extremely interesting, and coupled with Tony Akins' incredible artwork, this book has been great. This month's meeting of gods is quite impressive, not only from a visual standpoint, but a narrative one as well. Poseidon's massive presence mirrors his domain and wrath, while Hades' eyes are obscured and he prefers to be called 'Hell'.

Diana presents an offer to both Poseidon and Hades; share Kingship on Mount Olympus with Hera as their shared Queen. While both scoff at the idea of sharing a queen, they both also very much want to rule Olympus. When Hera arrives to defend herself from all parties involved, Diana steals a candle from Hades' wax-helmet-thing in an attempt to trap Hera. It's here that Azzarello reveals that Diana's 'plan' to keep Hera on Olympus was merely a cover for the real goal. While Poseidon finds the deceit somewhat humorous, the vengeful Hades is not amused and kidnaps Zola.

While a plot twist like this might be hard to pull off, Azzarello's narrative is smooth, easy to understand and compelling. In Wonder Woman, it comes down to the minor details that really sell the story; Hermes explains how the concept of imagination is nothing more than beings attempting to understand that which they do not; Lennox's off-handed "God a'mighty" causing all three present gods to respond, "Yes?"

GRADE:

A

(UPDATE) New Season, New Ideas

Hello Readers!

And I know there are readers because the Blogger widget-thingy on my stats page tells me so. At the very least, there are those of you who stumble across my little slice of the internet and stay for more than the few seconds it would normally take to judge a humble blog. So, to you all, thank you for visiting 'The Endless Reel.' I love writing and it's cool to know some of you like reading it. Some new ideas are coming to this blog. I've been in-production now for nearly three months and I think it's high time to make a few changes!

First of all, I'll be adding new titles being covered monthly in March and May. For March, I'll begin reviewing Supergirl and Red Hood and The Outlaws on a monthly basis. I've been reading both titles since September and honestly, they've been getting better and better as the months go on. For Scott Lobdell on Red Hood, he's been taking the better ideas behind Jason Todd's troubled past and putting them to use for the character reboot.  While Todd is still a vigilante and prone to violence over reason, his 'camaraderie' with Roy Harper and Starfire serves to balance his short fuse. Over in Supergirl, Michael Green and Mike Johnson started off slow, but have since picked up the pace significantly, leading to a Kryptonian Worldkiller arriving on Earth to battle Supergirl. It's all pretty impressive. Look for both titles starting in March and going forward. In May, DC's 'Second Wave' of 'New 52' titles will be hitting the stands and I'll be reviewing a few of them for your discerning pleasure. I'll be reading Dial H by China Mieville and Mateus Santolouco, and Earth Two by James Robinson and Nicola Scott. Look for both of these titles starting in May. Now for the new part of this post.


Beginning in April, I'll be adding television shows into the mix with comic book reviews and analysis. The name 'Endless Reel' came from my original desire to write a TV show-driven blog that eventually turned into the site you're reading now. Now that I've established some base of quality and regular coverage, I'll be starting TV show coverage in April, just in time to round out the season and be there for sweeps in May and moving into Summer shows. Over the next month, I'll be deciding which shows will make the cut for weekly review. By the end of March, I'll post a follow-up (UPDATE) article outlining the schedule for TV shows. As of now, possible additions to the roster might include Community (if if ever comes back on-air), The Office, Parks and Recreation, 30 Rock, Modern Family, Being Human, and Once Upon A Time. 


Again I'd like to thank those of you who've taken your time to read my blog. Keep up the good work, people!


- Jay

(REVIEW) Green Lantern Corps #6

Written by Peter J. Tomasi
Artwork by Fernando Pasarin and Scott Hanna

As DC's 'New 52' hits it's sixth month, many plot lines started back in September are coming to a close - or at least getting damn close. With Green Lantern Corps, Peter J. Tomasi has brought us to the end of his first arc. This month's issue was one of the most interesting and fun issues of the series since September. While it's not difficult to 'over-do' a character in a title like Green Lantern Corps, it's surprisingly been done a number of times in the past. The fight against the Urakians comes to a head this month, showcasing not only Tomasi's strength at writing ensemble work, but also for Fernando Pasarin's beautiful art. Drawing tons of Lanterns fighting together, each projecting a different construct, is a difficult undertaking and one Pasarin steps up to with grace and fluid pencilling. Scott Hanna's inking isn't intrusive or loud, and his shading is exquisite.

With a crap-ton (the scientific measurement) of guns and a 'fear bomb' rigged to go off at the center of the Urakian operations, Guy Gardner's secret team goes in head first, relying on the element of surprise, bullets and a whole lot of willpower. Poignantly, Gardner observes, "...they sure as hell ain't immune to lead!" The fight scenes are exquisite and the Urakian's power-conversion system is a classic - if not cliched - human battery concept; the Urak leaders are keeping their people connected to a stargate so they can transport the Central Battery from Oa to Urak, displacing the Guardians' home as the center of the universe.

The big GASP moment came when John Stewart is forced to murder a fellow Green Lantern - Kirrt - before he gives up the codes for Oa's defense systems. And while it seemed (for a moment) that Kirrt may have been concocting a plan, Stewart realized his brother in arms had fallen. With the fate of the entire Corps in the balance, Stewart does what he believes must be done. Of course, we'll see the fallout of his actions in next month's epilogue issue.

As I mentioned earlier, it's been great learning about Green Lanterns other than Guy Gardner, John Stewart and Kilowog. Bringing in the 'Mean Machine' and including some of the better characters from past series - such as Sheriff Mardin, Hannu, and Brik - has been Green Lantern Corps' saving grace. I'm excited to see where Tomasi takes the series after next month's issue.

GRADE:

A-

(REVIEW) Batman #6

Written by Scott Snyder
Artwork by Greg Capullo and Jonathan Glapion

Batman is the best title from DC's 'New 52'. By and far, Scott Snyder has created one of the most engaging Batman stories in years. And he didn't even need to kill Bruce Wayne! For quite a while, DC has used a host of gimmicks to tell more compelling tales of the Dark Knight. Unfortunately, these gimmicks have quickly faded away and brought us back to Bruce, Batman, and the Gotham way. That's why the Court of Owls is ingenius. As a threat that has been operating under Bruce's nose for so long - and throughout the past 200 years - the Court is the best kind of 'evil' for a character like Batman; one that represents the unknown and familiarity at the same time.

After multiple visits from the 'Talon', a bunch of group photos through the years, and a short TV screen appearance, the Court of Owls comes out of the shadows. Broken and defeated, Batman is presented to the Court by their steadfast assassin. The Talon inquires how he should kill Batman, to which they reply "Hurt him, more." It's a haunting scene and one that Snyder nails from beginning to end. The ever-loyal Talon's complete obedience is extremely well written and the Court's own traditions are conveyed as the perverted, sadistic rituals they are. It's fantastic.

Greg Capullo has also been pulling his weight. The artwork in this issue is so smooth and flows so well that you sometimes barely notice the subtle changes from reality to Bruce's dementia. The Court's shift from suit-laced to talon-handed is great, truly showing just how far Bruce is gone and how much effort he must exert to fight back.

After hearing that the first arc of Batman would lead into the "Night of the Owls" crossover event, I knew DC was finally getting it. Good crossovers and events happen organically and come from intuitive ideas. Unlike their mega-event craziness over the past ten years, DC has opted for lower-scale crossovers that enhance the mythos of these characters instead of throwing them into unbelievable situations that are supposed to 'change everything.' And with the final pages of Batman #6, we're given a great prelude to this summer's crossover event as the Court decides to unleash their army of (seemingly) hundreds of Talons across Gotham City, all because Bruce escaped their talons clutches.

This was one of the best issues of any Batman-related books I've ever read, and it's one of the best issues I've read ever. Keep up the good work, boys.

GRADE:

A+

(REVIEW) Resurrection Man #6

Written by Dan Abnett and Andy Lanning
Artwork by Fernando Dagnino

Resurrection Man #6 opens with notes from Arkham Asylum. The notes just so happen to be describing one of the two things I truly fear in life; being locked away in a mental institution with no chance of being let out. I'm not saying I'm crazy, and I know it's an irrational fear, but it's an intense phobia nonetheless. Mitch Shelley has been admitted to Arkham and has been deemed 'insane' because he tells the doctors he can't die and that he has super powers. In this rebooted DC world, the idea of individuals possessing 'powers' is a relatively new one. Thus, Shelley is kept against his will.

Featuring yet another prison break from Arkham (seriously, that place has the worst track record), Shelley becomes savvy to a prison guard taking payouts to cause riots so various criminals can escape in the chaos. It's a simple, yet extremely effective, narrative trope that writer Dan Abnett has made fresh by making his main character unable to do anything about it until he dies. Of course, most of this title's "ah-hah!" moments come from Shelley's resurrections and powers, but it's great seeing it from the perspective of a group of characters whose job it is to gauge sanity.

Fletcher, the aforementioned corrupt guard, incites a cell-break for Sumo, one of Batman's rogues, as a diversion to allow Sumo escape through the service tunnels. Before Fletcher or Sumo can escape, Shelley attacks and brings down the obese super villain. Seeing the man he's tortured for days finally displaying a semblance of power, Fletcher shoots Shelley through the temple even after Commissioner Gordon's expressed cease fire order. Deemed a hero, Fletcher takes medical leave. The final pages show Shelley going to take his revenge against the 'hero' who gambled Gotham's safety against a few bucks. It's a great, single-issue arc that really captures what the 'New 52' wanted to do; present easier-to-digest stories that could be accessible to new readers. Resurrection Man tends to hit this mark more times that not, and each month, Mitch Shelley's journey becomes more and more enigmatic.

GRADE:

A

(REVIEW) Green Lantern #6

Written by Geoff Johns
Guest Artwork by Mike Choi and Alex Sinclair

I just don't know how I feel about Sinestro slinging a green ring again. As the focal point of Geoff Johns' first arc for Green Lantern under the 'New 52' banner, Sinestro's re-admittance into the Green Lantern Corps has been a fairly enjoyable ride. It shouldn't be so much fun seeing Hal Jordan reduced to Sinestro's sidekick, yet Johns has been consistently pulling it off. Yet, this month, we see almost no interaction between the two titular protagonists.

To begin, readers are treated to Hal Jordan: Street Fighter. Without any ring (of any sort), Hal must stop injustice with only his fist and his wits. This is the kind of 'character development' that becomes surreal very quickly. Hal Jordan hasn't gone a day without wearing green in a long, long time. It's a little odd that he's so adept at hand-to-hand combat after relying on a weapon for years. Fortunately, the laissez-faire approach Johns takes with reality carries the sentiments behind Hal's actions; he finally recognizes that he can still be a hero without being 'super.'

Across the universe, Sinestro is tracking Lyssa Drak, a member of the Sinestro Corps (are they still calling it that?) whom Sinestro...just...wants to track down? It's a little frustrating that Johns omits any reason for Sinestro's actions. Logically, he's looking for rogue Sinestro Corps members, but it's still annoying that there isn't any narrative affirmation. Sinestro tracks Drak to Ogoro, a somewhat backwater planet whose hero, Starstorm, surrendered to Sinestro some years earlier. Starstorm's cowardice made him a pariah to his people, and a rather pathetic character when met by Sinestro in the present.

But the real meat of Green Lantern #6 comes when Sinestro tears a page from the Book of Black, the prophecies of the Guardians kept secret since the beginning of time. (true fans - DC's Blackest Night event was based on the prophecies within the Book of Black.) In a single, full-page panel, Sinestro - and by proxy, the reader - sees fleeting scenes of horrific events to come, including Hal's death by Black Hand, Sinestro claimed by the Indigo Tribe, and the destruction the Green Lantern Corps. A white power ring can be seen near the bottom of the page, apparently in the hands of Ganthet.

And just like that, Geoff Johns starts reeling me back in! If these premonitions are a window into future Green Lantern arcs, it's going to be an exciting road for Green Lantern fans.

GRADE:

A-

(REVIEW) Batman and Robin #6

Written by Peter J. Tomasi

Artwork by Patrick Gleason

Oh, Damian Wayne. What a weird character. Maybe it's because he debuted as Robin at one of the only times in the last 10 years that I wasn't regularly reading comics, or maybe it's just his attitude, but the kid's an oddball, to say the least. Of course, he's be written as a weirdo. Born and raised by Talia Al'Ghul, trained as an assassin his whole (ten years of) life. That kind of childhood is bound to leave a mark. But the real focus of this first arc of Batman and Robin hasn't been Robin, per se. While Peter J. Tomasi has done a stellar job penning the awkward relationship between Bruce Wayne and his son, this arc's been all about everyones daddy issues. The primary relationship, that of Bruce and Damian, is only a lingering idea behind all of this issue's events, as Batman and his Robin don't get any shared panel space.

Damian has teamed up with Morgan Ducard, forced to kill an ambassador Ducard claims has ties to human trafficking. While the tension surrounding Damian's decision to pull the trigger pretty much fade away when he fires nothing, Ducard makes his deceptive nature truly known (like trolling the planet killin' Batman Inc. members and dressing up as a character from Neon Genesis Evangelion wasn't enough). Normally, I'm not a fan of random historical exposition to back-up a story-in-progress, but Bruce's time with the Ducards father and son works a rich story with minimal detail and drag.

By the end of the issue, Damian reveals that he's been playing both Bruce and Ducard! Using his past to solidify the believability of his leaving Wayne Manor, and using his shaky relationship with Bruce to leverage Ducard's trust. It's a brilliant plot twist, one that could have been written much more lazily. Tomasi has done a great job keeping the story engaging while not burning out readers with constant action or pages of expository dumps.

GRADE:

B+

(REVIEW) Justice League International #6

Written by Dan Jurgens

Artwork by Marco Castiello and Vincenzo Acunzo

Dan Jurgens' work on Justice League International has been simply stunning. For a title that could have (and by all rights should have) been a huge disappointment, Jurgens has instead taken a more intimate route with the team of misfit superheroes. With Booster Gold under his belt of creator trademarks, Jurgens understands the social and political implications of superheroes and their place in the grander scheme of the universe. Instead of attempting to make JLI as much of a hard-hitter as, say, Justice League-proper, Jurgens knows where these characters exist on the popularity scale. That's why he's crafted such an excellent tale for them, with Booster Gold at the center.

The alien Peraxxus and his attack on Earth are secondary elements of Justice League Internationl's first arc. While three issues are dedicated to their various skirmishes, the true meat of the this story comes from the character relationships. Andre Briggs is trying to create a team of heroes that the United Nations - and by extension the world - can trust and hold accountable, something they cannot do with the Justice League. The heroes he's chosen are not the best; he knows it, they all know it and his superiors know it.

This sixth issue has been my favorite yet. Heavy on dialogue, most of the issue focuses on Booster convincing the UN Security Council that the JLI is worth it, that they have worth and value to the world. By the end, Booster is ready to solider on as team leader, with or without the UN behind them. It's a pretty great couple of pages with some great character development for Booster Gold. I've always liked Booster (and Blue Beetle Ted Kord) because they're the underdogs. They try so hard and fall so much harder each time. Fortunately, Jurgens is able to somewhat 're-invent' Booster in the pages of Justice League International, giving him a bit more selflessness and making him less silly.

GRADE:

B+

(REVIEW) Action Comics #6

Written by Grant Morrison
Artwork by Andy Kubert and John Dell

In the six issues so far released for Action Comics, Grant Morrison's work has been exceptional. Issue #5's weird - and seemingly unprovoked - jaunt through the past being the exception, Morrison has really been stepping it up for one of DC's most iconic titles.

In this sixth issue, we find our titular hero still sifting through the time-travelling fudge-ups that have led to the involvement of the Legion of Super-Heroes. Morrison takes a few panels to pound in the idea that superheroes only arrived half a decade ago. "Down there, right now, the word superhero has just come into existence," explains Superman to the surprise of no one. I get that DC is trying to drive home the structural integrity of it's new universe, but making Superman come out and literally tell the reader what's going on? That's a bit much, even for Morrison.

Fortunately, the rest of the issue is spent giving us a sort of "crash course" in new-Superman's character history. We get to see the Legion's visit to a teenage Clark Kent kept in-continuity, which was a good choice considering DC has two Legion-based titles on the 'New 52' roster. This is the first we've seen of 'New 52' Lana Lang and Pete Ross, as well as a great few pages where Clark gives his childhood farm to a family in need. Apparently, the Kent's are dead by the time Clark goes to Metropolis. And while the purpose of all these flashbacks and time travel gets somewhat lost in a convoluted plot (from Grant Morrison?!?! REALLY???), the main sentiment is conveyed, leaving readers with a satisfying dose of Superman mythos.

Andy Kubert and John Dell's art is fantastic. The Kubert family is known for bringing excellent work to the table and Andy's work in Action Comics is no different. Full of emotion, believable body movement and that near-unexplainable 'comic book feel', Kubert's art is a good match with the 'New 52's younger iteration of the Man of Steel.

Overall, I was much more impressed with this issue than the last. Simply put, I'm excited to read the next issue, which is one of the main goals a single issue should achieve.

GRADE: 

A