REVIEW: TEEN TITANS #16

(w) Scott Lobdell and Fabian Nicieza
(a) Brett Booth

I usually take the time to express my opinions on a given comic book issue as best I can. I put effort into what I write because the people writing and illustrating the comics I read put effort into the work they produce. Unfortunately, Scott Lobdell and Fabian Nicieza seemingly do not respect their readers enough to not treat them like dimwitted know-nothings, so I'm not going to give the same effort I usually give for this review of Teen Titans #16.

First off, Red Robin's internal monologue at the beginning of the issue is as ridiculous and asinine as ever, but the real kicker is that Lobdell tries to convince us readers that Tim Drake and Jason Todd are so close, they're like brothers. Any fan of DC knows that this is a BIG FAT LIE. In what world are Tim and Jason close? The one where Jason died before Tim was even introduced into the Batman mythos? Or the one where Jason came back from the dead and tried to kill Tim, who was Batman's sidekick at the time? I would say he was Batman's Robin at the time, but we all know how Lobdell dropped the ball on that one. 

Also, Tim says there's no one he'd rather have by his side than Red Hood when facing the Joker. Really? Not Batman? Or Batgirl? Or Nightwing? Or any of the other people in the DC universe that are more trustworthy than Red Hood? What an absolutely stupid idea. Seriously, Scott Lobdell, stop insulting my intelligence.

Oh, and the big thing.

WHY DOESN'T RED HOOD SHOOT JOKER? Jason has his gun the entire time he's conscious. If 17 issues of Red Hood and The Outlaws, not to mention years of pre-'New 52' character development that stayed in-continuity, have shown that Jason has no problem using a gun to kill people, why doesn't he lift his arm up and unload into the Joker? Because Scott Lobdell can't write. It's such an obvious plot hole that can't be ignored.

Almost forgot about the gas bomb dummy Jason shoots up instead of the Joker because Joker apparently had all the time in the world to keep talking to Red Robin and Red Hood while also escaping without them noticing him replacing his body no more than ten feet away. WHAT? I nearly closed the book at this point because there's no way this could have happened in a way that would make sense.

There's a lot of dialogue to hate in Teen Titans #16, but my favorite bit of awfulness comes from Wonder Girl speaking to Arsenal who is right next to her: "So, Arsenal isn't the moron he made you out to be." Like nails on a chalkboard, this sentence sounds. She refers to Arsenal in the third person then references some unnamed person who described Arsenal with no further information. So frustrating.

And Raven pops up for no reason other than to awkwardly set up the next arc. And Lance from Team 7 is around for some unexplained reason. God, I just wanted it all to end and it just kept going.

In conclusion, this issue was awful. Just awful.

GRADE

.5/10

And the '.5' is only because the stupid fight between Red Hood and Red Robin was kind of cool looking. Kind of.

EXTRA! EXTRA! (JAN 23-29, 2013)

Green Lantern Corps #16
(Tomasi, Pasarin)

Green Lantern Corps #0 back in September introduced Guy Gardner's family, a plot element that's continued throughout "Rise of the Third Army" as Guy's illustrious rank in the Corps is stripped and he's forced to go back to Earth, disgraced and powerless. Peter J. Tomasi has done a great job fleshing out Guy's downward spiral that comes to a head this month in Green Lantern Corps #16 as the Third Army goes after Guy. With guest stars B'dg and Simon Baz from the pages of Green Lantern, Tomasi is building up to next week's explosive finale of "Rise of the Third Army" that will lead into "Wrath of the First Lantern", an event that promises to change the cosmic landscape of the DCnU.

GRADE: 8/10

Red Hood and The Outlaws #16
(Lobdell, Green II, Faucher)

While definitely on the 'not terribly relevant' end of the spectrum for "Death of the Family" tie-ins, Red Hood and The Outlaws #16 does provide an interesting crossover between the title and the Teen Titans who join Arsenal and Starfire in searching for their respective Red-titled leaders. This issue is about setting up the future of Red Hood and The Outlaws by touching on Roy Harper's surprising past with Killer Croc, a look at the mysterious Dr. Hugo Strange, as well as an epilogue about Deathstroke pointing toward some re-envisioned classic Titans/Deathstroke action! Of all the titles he's writing for DC, Scott Lobdell's work on this series is the best: it's relatable and meaningful, it's not saturated with internal monologue, and the characters feel like real people instead of an idea of what people should sound like. Even though the Joker is hardly a focus of this chapter in "Death of the Family", the tie-in label is still valid because Joker's actions have caused a lot more consequences than even the Clown Prince of Crime could have anticipated.

GRADE: 8/10

Supergirl #16
(Johnson, Asrar)

While I was a big fan of Supergirl since it started, I've found myself liking it less and less every month, starting with the departure of series co-writer Michael Green II, then with the "H'el on Earth" tie-in issues that feel so forced I almost want to just stop reading the book until all this Kryptonian stuff is sorted out. Supergirl #16 continues the odd trend of reworking Kara's unique personality; instead of being the bold, independent thinker she'd been for 13 issues thus far, Kara's become a slack-jawed servant to the whims of H'el, a guy who couldn't look more evil and despicable if he tried. Homesickness can go a long way in influencing actions, but it's hard to balance Kara's total support of H'el's obviously insane machinations against her previous, well-adjusted self. I'm hoping we'll get the Kara we all know and love back after the conclusion of "H'el on Earth."

GRADE: 7/10

Uncanny X-Force #1
(Humphries, Garney, Miki)

With a title that requires this series to somewhat live up to the spectacle of it's predecessor, Sam Humphries and Ron Garney's Uncanny X-Force is about a new era for some of Marvel's leading ladies, as well as Puck, the mystical dwarf from Canada. But I digress because UXF (v2) is actually very fun and entertaining -- Storm and Psylocke are working together to find and stop classic X-Men villain Spiral from peddling her hive-mind hallucinogenics to club scene ravers. So far, there's not a lot to explain exactly why all these characters will eventually join forces (including Fantomex offshoot Cluster), but that's not the point of this first issue: it's to show how Betsy Braddock -- the only remaining member of the previous X-Force team unless you kind of count Cluster -- hasn't moved on from what happened with that team and how those lingering emotions are making her life unlivable. This volume of Uncanny X-Force has the potential to be one of the coolest 'Marvel NOW!' series going forward, but it's going to take a voice of it's own that's not drowned out by other female-centric books like the non-adjectived X-Men or even Fearless Defenders.

GRADE: 7.5/10

REVIEW: BATMAN #16

(w) Scott Snyder
(p) Greg Capullo
(i) Jonathan Glapion

Batman #16 is probably the weakest issue of "Death of the Family" so far. Tie-in issues aside, Scott Snyder and Greg Capullo's Joker narrative has been one of the most intense and terrifying Batman stories in years, bringing the 'New 52' a Joker that has lost the little humanity he may have still possessed and now intends to make the world as meaningless as he perceives it to be. Unfortunately, Batman #16 is pigeonholed as the fill-in issue, complete with guest stars and a cyclical plot point that doesn't amount to anything by issue's end.

A big part of Batman #16 is showing how the Joker's plans are starting to fall apart the closer Batman gets to the heart of the matter -- with every advantage Batman gains, Joker's scheme loses traction. And this month, part of the plan includes some of Batman's most notorious enemies: the Penguin, the Riddler, and Two-Face. Why are these villains included in the plans of a whack-job whose return has been characterized by destroying personal relationships and alliances? Well, because they're important to Batman, and what's important to Bats is important to Joker. Including these rogues in his grand spectacle -- even if only for one act -- is telling of Joker's true emotional disparity when it comes to Batman. Since his return, Joker has insisted that he's necessary to keep Batman strong and to challenge the Dark Knight where others cannot. Batman #16 makes it more clear that it's Joker who needs Batman in a demented hyper-dependency kind of way. Perhaps in the year he was gone, Joker came to realize he was nothing when not standing against Batman. But, that's just the conjecture of one blogger. 

Other than Joker's twisted sensibility, not much goes on this issue. Batman journeys through Arkham Asylum, but the entire sequence feels rushed, like Batman could have spent an entire issue being poked and prodded by Joker's various booby traps and hired men, both regular and super-powered. In fact, Batman's quick trip through the spooky asylum puts Joker's plans in jeopardy as not everything is in place when Batman arrives. Cue extended sequence of monarchy metaphors relating to Batman's place amongst his rogues, and that's basically the entire issue. Near the end, Joker proves that when it comes down to brass tacks, Batman becomes weak as a result of his family, but didn't we already know that? And I'm assuming that's going to be part of next month's big finale, so why did Joker have to point it out to all of his villain friends? It just seemed like unnecessary plot development for an issue that wasn't all that stupendous.

Almost every other review I've read for Batman #16 praises the issue for showing how twisted Joker is, but haven't we been reading about how twisted the Joker is for the past three months? I'm all for taking the time to flesh out a story, but the events of this issue didn't do much more than reinforce already established ideas by throwing more Batman villains at us. I'm all for seeing Greg Capullo draw more Bat-villains. In fact, I'm all for Greg Capullo drawing more of everything because his art is incredible. Joker's stretched-face look has been creepy the entire run of "Death of the Family", but for some reason, he looks even more insane and broken than in previous issues. 

I won't tell you to not read this issue, because it's one of the main issues of "Death of the Family", but if you're wondering whether it stands on it's own as a good issue, that's up for debate. Sure, it's a penultimate issue to a five-issue-long storyline, but that means there should be a whole lot more going into the end of the issue to ramp up readers for the grand finale! Instead, we get a contrived situation that Batman will obviously escape from because it's Batman. Which is a shame because Scott Snyder truly understands that the Joker's terror doesn't come from his physical prowess, but rather from his mental acuity. Even though the man is a psychopathic, murderous criminal, he's probably the most intelligent, psychopathic, murderous criminal Batman has ever faced.

GRADE

7/10

REVIEW: TEEN TITANS #15

(w) Scott Lobdell and Fabian Nicieza
(p) Brett Booth
(i) Norm Rapmund

In the new year, I've resolved to moderate myself a bit more when it comes to my dislike of certain comic books and/or their creative teams. In that spirit, I'll give it up to Scott Lobdell and Fabian Nicieza for staying consistent in their use of overbearing inner monologue. In issues past, the've confined this technique to the character on-panel, but in the case of Teen Titans #15, Lobdell and Nicieza go the extra mile by injecting Red Robin's awkward and creepily accurate inner monologue into the sequences featuring the rest of the Teen Titans, thereby making Tim Drake an omniscient narrator in the story he's in...and...wait...

Red Robin's personal thoughts seem to predict his teammates exact sequence of actions, and after reading the part of this issue featuring Tim and the Joker, it makes a bit more sense -- Tim's thoughts are being broadcast to the world. There's no other way to explain how Joker knows exactly what Tim is thinking. How Tim doesn't know his mind has been hijacked on that scale is anyones guess. Well, except for Lobdell and Nicieza.

Besides the inner monologue, the rest of Teen Titans #15 is enjoyable. The guest appearance from Batgirl is a welcome addition to a team that doesn't have a lot of direction without a shadowy leader. Wonder Girl stays in character with her needless opposition to Batgirl's driven style. Kid Flash also gets the spotlight, but in a horrific way as his actions lead to a city-wide Joker serum epidemic. While the connection between the Red Robin/Joker confrontation and the terrors befalling the Teen Titans is a rather thin one, it's still fun to see just how broken and twisted the Joker has become. In a way, it shows not only the Joker's madness, but also how predictable adolescents can be, to the point that Joker was able to assume their every move and stay one step ahead the entire time.

Teen Titans #15 is a fun read, if not a strong tie-in to "Death of the Family". Yes, the Joker does indeed psychologically torture Red Robin, but he's been doing that to all the Bat-allies, and this meeting didn't seem to have much meaning to it besides informing Tim that his teammates would be responsible for genocide. Why is Joker going after Tim's teammates? Isn't the whole point of his rampage to get at Batman, not Red Robin? It seems like Lobdell and Nicieza are using the transitive property to justify an attack on the Teen Titans. Hopefully, Tim will get that pesky thought-projecting bug taken care of by next issue so Joker doesn't have as much to work with.

GRADE

6.8/10

EXTRA! EXTRA! (DEC 19-25, 2012)

All-New X-Men #4
(Bendis, Immonen)

Brian Michael Bendis' run on All-New X-Men marches on with the first meeting between 1960s Cyclops and current-day Cyclops, more insight into the paradox of having the original five X-Men in the present day, and some actual NEW X-Men! As anyone could have predicted, Cyclops and Cyclops have a big ol' eyebeam tug-of-war before Magik teleports the Uncanny X-Men out, but it's really the aftereffects of this standoff that fills this issue's emotional quota. The new mutants are Eva Bell and Christopher Muse who can stop time and heal people respectively--introducing new mutants is one of the big advantages of the Phoenix Force repopulating the Marvel universe, and Brian Michael Bendis is making good use of this opportunity. Yet as enjoyable as All-New X-Men has been, I can't help but feel it lacks a core purpose or idea that drives the series; since the original five X-Men can't possibly just stay around forever, there's got to be a bigger picture we're just not seeing yet.

GRADE: 7.5/10

Indestructible Hulk #2
(Waid, Yu)

Mark Waid is working the same magic with Indestructible Hulk as he is with Matt Murdock over in Daredevil--taking a character that had previously been deeply embroiled with inner demons and dark narratives, then giving said character perspective on themselves and how they affect the world. In Bruce Banner's case, that means shifting from obsessing over curing his Hulk affliction to becoming the scientific monolith he knows he can be. Bruce also recognizes that holding in his resentment and anger isn't a good thing, so he confronts a battle-ready Tony Stark--a fellow genius who has never regarded Bruce as a true equal, for obvious reasons--and the two wrestle it out until they gain enough respect for one another to move forward as colleagues. Waid and Lenil Francis Yu are offering up a Hulk that's completely different from anything we've seen before, taking Bruce Banner's stunning intellect to new heights simply because it's never really been done before.

GRADE: 8/10

Red Hood and The Outlaws #15
(Lobdell, Green II, Faucher)

Jason Todd is not aware that all of his messed up, terrible early years were a result of the Joker's cruel intentions to create a new Robin for himself (as seen in Red Hood and The Outlaws #0). In this "Death of the Family" tie-in, Jason finally comes face to face with the man that beat him to death and who Jason now knows was responsible for all the bad things throughout his life. The problem with Red Hood and The Outlaws #15 is that not a whole lot actually happens by the end of the issue--Joker spends his time proving he knows who everyone actually is, Jason spends equal time feeling less and less confident that the Bat-Posse can defeat the Joker this time around, and Roy takes Kori to Gotham to find and help Jason. There's nothing really inherently wrong with Red Hood and The Outlaws #15, I just felt like there could have been more than just enigmatic clue-hopping and set-up.

GRADE: 7.5/10

REVIEW: NIGHTWING #15

(w) Kyle Higgins
(p) Eddy Barrows
(i) Eber Ferreira

Dick Grayson's adventures in the 'New 52', as a whole so far, have been somewhat up and down in terms of quality and content. After an initial arc dealing with Haly's Circus, Kyle Higgins has had trouble finding his footing with Nightwing, including an underdeveloped arc about a cult of anarchists looking to 'take back' Gotham, and a short story about Lady Shiva, probably one of the most uninteresting villains ever. Nightwing #15, however, swings into action and utilizes it's "Death of the Family" tag to it's fullest. In other Bat-books, the Joker's methodology has been somewhat hazy--while everyone has theories about what's going on, Scott Snyder isn't letting the cat out of the bag, and there's only so much that can be said before a big reveal--this issue sees a very fleshed out attempt to break Dick Grayson. Not Nightwing, but Dick Grayson. This month's Batman #15 included Bruce's assurance that the Joker does not know the Bat family's identities, but it's pretty obvious he does.

Dick is under a lot of pressure. He's the owner and operator of Haly's Circus and he's trying to keep his newfound entertainment business in Gotham City permanently so as to build up the city's profile while also establishing more structured lives for his performers. It's a noble task, and one that Dick's impassioned about, but it's also a project that keeps getting sidelined for Nightwing-related activities. This month, Dick's heroic life meets his personal for the second time in the 'New 52' as Joker frees Raya from Blackgate Prison to make everything even more personal. Joker's shtick for Nightwing is the idea of being a 'knock-off', a pale comparison to the almighty Batman. Higgins employs a classic Batman trope by having Nightwing find Joker in a warehouse that used to make knock-off Wayne Enterprises products. It's poetic justice, and something only Scott Snyder has really been utilizing recently.

Nightwing #15 is one of the strongest tie-in issues for "Death of the Family" yet. Unlike the other Bat-allies, Dick's life is literally crumbling right before his eyes: everything he's spent the last year building is being destroyed in a succinct and straightforward way. This is what Joker's reign of terror needs to feel like across the board, in all the Bat-titles tying into "DotF"--full of terror, death, and lots of Joker's insanity.

GRADE

8/10

EXTRA! EXTRA! (DEC 12-18, 2012)

Batgirl #15
(Simone, Benes)

While Scott Snyder and Greg Capullo's main "Death of the Family" storyline is a vehicle for a much scarier and focused Joker, the model of car seems to be different depending on the title you're reading--last week's Batman and Robin #15 was incredible, but while this week's Batgirl #15 adequately conveys the story, it falls flat more than once. It feels like Gail Simone really doesn't know what to do with Barbara and the Joker together besides dredge up Barbara's feelings of anger and rage, which wouldn't be out of the question normally, but this is supposed to be the sort-of king of all Joker stories (in recent history, at least), and I supposed I just expected more from Simone after a poignant and suspenseful 14th issue. Also, a lot of what was set-up last month in Batgirl #14 doesn't really move forward so much as stays stagnant while the Joker waxes poetic about the hardships of life; not the most interesting use of panel space, but not totally boring. If you ignore the flashback scenes (which I'm sure will be important down the road, but show no indications of being so here), Batgirl #15 is a passable issue that builds upon the greater "DotF" narrative, but only a little bit.

GRADE: 7/10

Fantastic Four #2
(Fraction, Bagley)

After a fun and energetic first issue, Matt Fraction effectively hits the breaks this month and gives readers yet another full issue of build-up to the Fantastic Four's voyage into multidimensional space that's just kind of boring. As well as Fraction writes, it's a bit off-putting to see such utilitarian use of dialogue and narrative--Ben Grimm screaming at Yancy Street seems over the top, Reed and Scott Lang's scientific discussion has no emotional core, and the origin of Darla Deering as a member of the Fantastic Four is very, very weak. Obviously, things pick up next issue, as Reed launches his family into a portal at the end of Fantastic Four #2, but it's just annoying to have to wait yet another month to see Marvel's First Family on their ridiculously awesome adventure. A 'slow burn' story isn't bad, but this issue just feels like filler.

GRADE: 7/10

Green Lantern Corps #15
(Tomasi, Gleason)

"Rise of the Third Army" is becoming more and more of a misnomer because none of the GL titles are actually dealing with the rise of this Third Army, and Green Lantern Corps is a prime example--instead of focusing on the Corps fighting this monstrous parasitic force, Tomasi is focusing on Guy and John exclusively, giving them more personal stories when they should be at the front lines of this incursion. Yes, I know, the Guardians are sneaky and all that, but we're talking about GUY GARDNER, who normally doesn't take crap from anyone, and JOHN STEWART, who's got years of military experience telling him something is wrong. Yet, I like Green Lantern Corps #15, and the story of Guy and his family is told extremely well, it just feels superflous and unnecessary--why do I need to know so much about Guy's father (he's been in three issues so far)? The Third Army seems less like a universe-threatening force and more of an annoyance off in the corner of the of narrative, and if that's how it's supposed to be unfolding, then it's doing so in a clunky and unbecoming manner.

GRADE: 6/10

Iron Man #4
(Gillen, Land)

Things are looking better for Iron Man (not literally, as Greg Land's artwork is pretty underwhelming), as Kieron Gillen puts Tony in his 'Heavy' armor this week for a trip to France to find yet another illegal Extremis virus. Deep in the catacombs of Paris, Tony must fend off a legion of Extremis-infected women who've been stripped of their personality and humanity, effectively making them mindless killing machines. Tony's ethical dilemma over killing people who are effectively dead already is a testament to Gillen's ideals, but the concept struggles to come across smoothly, and the entire issue suffers from a lack of emotional depth. I'm a big fan of Kieron Gillen, but Iron Man has been fairly disappointing since it's fantastic first issue.

GRADE: 6.5/10 

Superboy #15
(DeFalco, Silva)

"H'el on Earth" hasn't been too understandable, so far--H'el himself doesn't have much of a backstory beyond claiming he was Jor-El's assistant, the narrative has been somewhat choppy and fragmented, and the three members of the Super family seem to have weirdly different personalities depending on the title you read. Fortunately, Superboy #15 hits all the right marks by focusing on Superman and Superboy while leaving H'el out of the picture until the very end. The main point of this issue is to show Superboy effectively inheriting Superman's Kryptonian armor, as it's the only thing that can possibly save Superboy's life after H'el's fatal beating. While I still despise Tom DeFalco's inner monologue for Superboy, the narrative is a lot stronger this issue than in Superman or Supergirl, and that's saying a lot for a series that's struggled to find it's footing since day one.

GRADE: 7/10

REVIEW: BATMAN and ROBIN #15

(w) Peter J. Tomasi
(a) Patrick Gleason

After two months of so-so "Death of the Family" tie-in titles, Batman and Robin #15 comes out swinging. Not only does Damian take center stage on his mission to find Alfred while Batman's off tracking down the Joker, but Patrick Gleason's interpretation of the new, faceless Joker might be the scariest and creepiest version of the Clown Prince of Crime yet.

Much of Batman and Robin #15 is a psychological game between Robin and Joker. Damian's only been Batman's partner for a short amount of time, and from what I've read in the 'New 52' so far, it seems like Damian's never encountered the Joker. That's a big deal. Damian already has a penchant for being egotistical and brash when it comes to his ability oppressed by Batman's paternal instincts. Add the Joker's snide attitude and loss of all humanity, and Damian quickly recognizes the Joker is seriously deranged. But when the youngest Wayne sees a video of Joker blinding Alfred by pouring ammonia in his eyes, Damian is all to quick to renounce his oath to not kill anymore by promising to kill the Joker. On the one hand, it shows how determined Damian becomes after he fully understands the terror of Joker's mental instability. On the other, the whole sequence feels rushed and somewhat lacking. If it had only been a page longer, it would have really packed a huge punch. Instead, Damian's promise to kill Joker comes across as childish from a boy readers know doesn't have any philosophical issues with murder outside his father's opinions nagging at the back of his mind.

But really, this issue comes down to one single idea: "Robin's greatest fear is being responsible for Batman's death, and Batman's greatest fear is being responsible for Robin's death." Joker lays it out as simply as he can because that's exactly what needs to be said. Strip away the insanity, the murderous tendencies, and the tricky dialogue, and what you're left with is a character who is actually speaking truths, however twisted they might be--Batman's allies drag him down. They make him weaker because he has to care for them instead of performing at peak efficiency. It might not be what we want to hear, but it's real. This isn't to say that Robin, Nightwing, Batgirl, Red Hood, and Red Robin should be done away with (though, I guess we'll see the status quo at the end of "DotF"), just that we, as fans, need to recognize that one of Batman's weaknesses is his family. Of course, when you add the crazy back into Joker, he wants everyone dead!

Batman and Robin #15 is by and far the best "Death of the Family" tie-in issue yet, and is simply one of the best issues of the series overall. Damian Wayne is brash and confident to a fault, and it comes to a head when he faces the Joker, a villain who feeds on traits like overconfidence and uses it to his advantage. This series went through a bit of a rough patch for a few months in the late summer/early fall, but these past few issues have been fantastic. Peter J. Tomasi comes in at a close second for best interpretation of the Joker. And really, the only reason for that is because Scott Snyder developed the Joker's 'New 52' persona, so he's kind of got the best hold on him. If you're looking for a good "Death of the Family" tie-in, but you don't want to go overboard with issues, stick with Batman and Robin.

GRADE

8.5/10

REVIEW: BATMAN #15

(w) Scott Snyder

(a) Greg Capullo

(i) Jonathan Glapion

"Death of the Family" marches along this week in Batman #15 with a sort-of interlude issue for the whole event. This month, nearly all the Bat-books have a connection to "DotF", meaning there's a whole lot more narrative going on all around Scott Snyder's central plot. Of course, this isn't to say that this issue is boring, or any lesser quality than any other issue, it's just not as action-packed and/or thrilling as last issue's edge-of-the-seat chapter. Snyder knows how this story has to play out and what that means for Batman and his extended crime-fighting family. Batman #15 is really what this Joker-centric story is all about: the disintegration of Batman's support system. 

We know the Joker sees Batman as a king of Gotham who can't be his best because he has weights tying him down in the form of his allies. Each new Bat-hero that emerges becomes one more person Bruce has to worry about, just one more body to inevitably find, according to the Joker. He's not wrong. The best part of "Death of the Family" is that the Joker is absolutely right--while Batman might consider himself a loner (along with DC's editorial staff), the evidence of decades of sidekicks, allies, and frenemies says differently. Bruce's penchant for taking in outcasts and turning them into shadowy vigilantes points more to his obsessive need for family rather than his isolationism. Sure, every time a new Robin pops up, Bats gets pretty defensive about taking on a new partner, and he never really approved of Barbara becoming Batgirl, but the end result says that Batman needs a strong, extensive support system to maintain his desired crime-fighting lifestyle. Heck, he created Batman, Inc. just to have more allies/soldiers around the world. Bruce needs his family, and Joker knows it.

This month, Bruce reveals a shocking secret about his history with the Joker than sends Nightwing, Red Robin, Batgirl, Red Hood, and Robin into a hissy fit. The actual information isn't so important as the fact that Bruce kept a major secret from his allies. Bruce attempts to convince the others that Joker doesn't actually know anyone's identity and that it's all just a twisted mind game. The revelations from the past make Bruce's words somewhat hollow in the eyes of the others, and they start to question Bruce's ability to keep a clear head in the midst of this chaos. It very much feels like a turning point for Batman and his allies, that they might never fully trust each other ever again, that this is how the family falls apart.

GRADE

9/10

EXTRA! EXTRA! (NOV 14-20, 2012)

Batgirl #14

(w) Gail Simone
(p) Ed Benes

While last month's "Death of the Family" prologue issue of Batgirl barely contained any Joker references, Batgirl #14 more than makes up for it by throwing Barbara right smack-dab in the middle of the Joker's terrifying schemes. Gail Simone's writing improves significantly this month from last as Barbara's terror and fear over the return of the Joker is positively palpable -- the mysterious caller leading Batgirl to the Joker definitely adds to the air of darkness and horror. Simone is actually tackling two plot lines here, as DC's February solicitations touted the return of James Gordon Jr, Barbara's insane brother who is revealed to the sadistic caller who manipulated Barbara into the Joker's clutches. Not only are we getting Joker-related "Family" drama, but we also get actual family drama between Barbara and her brother -- I'm seriously considering re-subscribing to Batgirl.

GRADE: 8/10

Batman and Robin #14
(w) Peter J. Tomasi
(p) Patrick Gleason

I don't know what Batman and Robin is doing anymore -- after a positively fun first arc featuring an old-yet-new villain tied to Bruce Wayne's past, Peter J. Tomasi has struggled to find solid footing with the series since, and it's starting to get annoying. Of course, Tomasi is very good about making sure each issue he writes includes some relationship-building sequence between Bruce and Damian, but when that emotional journey overshadows the actual plot right in the middle of a generally hectic sequence, then it doesn't work well anymore. And while "Death of the Family" doesn't start up in B&R until next month, the Joker is shoehorned into being the villain behind the 'zombie' outbreak in Gotham, for some reason. It doesn't make a lot of sense, making it feel like DC editorial keeps pushing Tomasi around until they get what they want from each issue.

GRADE: 6.5/10

Thor: God of Thunder #1

(w) Jason Aaron
(p) Esad Ribic

Jason Aaron's take on Thor Odinson is yet another instance where 'Marvel NOW!' has gone against the grain of my usual comic preferences -- Thor: God of Thunder #1 is the most fun I've had with Thor ever. By looking in on Thor at three different points of his life, Aaron is giving readers a much deeper understanding of the Asgardian god that's been missing from the character for years in the name of plot development (see Siege). Also, Thor's in space for the Present Day sequence, and that's just awesome in and of itself. I was surprised at how much I enjoyed Thor: God of Thunder, and how invested I am in Jason Aaron's dark and twisted tale of the God Butcher.

GRADE: 8.5/10

REVIEW: BATMAN #14

(w) Scott Snyder
(p) Greg Capullo


And here I thought "The Court of Owls" was a big story. Silly me. "Death of the Family" gets expanded big time this week in Batman #14 (and in Batgirl #14). Scott Snyder reveals, with this issue, how well he knows both Batman and the Joker. Obviously, the Joker's absence from the 'New 52's first year was purposeful, but Snyder isn't letting the cat out of the bag all at once. But unlike the Clown Prince of Crime of the past, "Death of the Family" feels like it's going to be chaos with a meaning.

Joker is a villain who has always been unpredictable. So what's the best way to make a terminally unpredictable character even more unhinged? Make him do something Batman can see coming. Last month, Harley Quinn orchestrated a scenario to drown Batman in the same chemicals that turned the Joker into a psychopath. Bruce picks up on the hint and realizes that Joker is recreating their old encounters. Fans and critics alike have been debating for years whether Batman's crusade is effective, if he's actually making a difference in Gotham City, or simply abetting more crime. This is what speaks to Snyder's ability with the Dark Knight -- drudging up the past is the best way to get under Batman's skin, and Joker knows it.

Batman #14 is a stellar issue from beginning to end. Never before has Bruce's 'extended family' been such a focal point of a Batman story to such a degree. Obviously, Alfred Pennyworth was taken from Wayne Manor at the end of Batman #13, and Jim Gordon gets hit his month with a blood-thinning poison. Even without the big reveal at the end, I would highly recommend this issue. The final pages, though, change everything for Batman and the Joker. Scott Snyder is leading the march on a new era for Batman and his allies, and it's going to be a frightening, sadistic, horrifying, absolutely entertaining road.

GRADE

9/10

DARK WAS THE KNIGHT, VOL. 1 (OCT 10-16, 2012)

Welcome to 'Dark Was The Write', a mostly weekly column highlighting some of the less highlight-y titles connected to Batman and his dark city. Usually, the lead Batman title will get it's own review, and secondary issues get some love here! The Batman family of titles is by far DC's largest, so I won't always be covering everything released each week (like, I really don't like Batwoman), but there will usually be a healthy dose of Gotham City's problems represented.

Batgirl #13
"Death of the Family" Prologue
(W) Gail Simone
(P/I) Ed Benes

Batman and Robin #13
"Eclipsed"
(W) Peter J. Tomasi
(P) Patrick Gleason and Tomas Giorello
(I) Mick Gray

Although each of these issues features the same amount of offhanded remarks about the Joker, Batgirl #13 is labeled as a "Death of the Family" prologue, while Batman and Robin #13 is just beginning a two-part arc before rolling into the "DotF" event in December. The only slight advantage Batgirl has is that clown-masked men ambush Barbara and her mom at issue's end. But I'm getting ahead of myself.

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I used to read Batgirl regularly, until about issue four. I didn't understand why, and if frustrated me greatly, but Gail Simone was just not delivering the kind of quality work I'd seen in Secret Six. Alas, I cancelled by subscription, and the last time I saw Batgirl, it was for "Night of the Owls", an event that let me read all the tie-in issues without being privy to the ongoing story.

But I have to say I'm pleasantly surprised by Batgirl #13. In what I can only assume is the conclusion of the current arc, Batgirl faces the deadly Knightfall who's out to kill Batgirl and the rest of the Batman family. In some ways, Knightfall has a point when she explains how Batman and his crew have allowed Gotham to rot. It's the crux of writing meaner, grittier stories when Batman's actions should be cleaning up the city. Only in a comic book city do seven superheroes operate and crime never gets any better. In fact, it seems to get worse with the passage of time. Gotham in the 1960s was probably a very nice place to live, albeit a bit seedy. Nowadays, I struggle to understand how anyone living in this fictional universe even gives Gotham the time of day.

Knightfall is revealed to be Cherise Carnes, daughter to one of Gotham's most influential and powerful real estate moguls. It feels like whenever a writer needs an out of some sort, he/she creates a villain with some connection to Gotham that makes them feel superior to Batman and his cronies. It's usually some sewer-dwelling psycho given unwieldy power, but there also seems to be a good number of 'super rich' families inhabiting Gotham that have a surprising amount of vengeful offspring. I've read this archetype before, is what I'm trying to say, but Gail Simone manages to pull it off without sounding redundant and cliched.

The lead-in to "Death of the Family" at the end was sub-par. After reading Scott Snyder's explosive pages in Batman #13, I guess I just expected more. Though, I don't want to get myself into a situation where I'm comparing all the tertiary stories of this event to Snyder's main run because nothing will live up to it. Barbara's mother is attacked by Joker's minions, and three villains (of Batgirl's, I'm assuming) are released from prison by three mysterious strangers (unless they've appeared in the series before, in which case I apologize to regular readers of Batgirl who know these characters' significance) with the death of Batgirl on their minds.

GRADE: 7.5/10

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I don't have a lot to say about Batman and Robin #13. The story is so cliched zombie infection that I don't even want to discuss it. DC is committed to getting it's books out on time each month, and I commend them for that. The downside of this comes when artists aren't up to the task and single issues have a 10-12 person-strong artistic team. It's not terrible this month, but Patrick Gleason shares penciling duties with Tomas Giorello, and it's really one of the most jarring artistic changes I've seen in an issue in a long time. Gleason's minimalist style has worked well for Batman and Robin, showing a more fluid side of how the Dark Knight can be drawn. Tomas Giorello's style, however, leans toward detail and shadowing at every angle. It wouldn't be so frustrating if the art styles were a bit closer matched, but it feels like DC just picked any random artist and said "Finish up what Gleason left behind, kthanks," then left. This was a disappointing issue of Batman and Robin, for sure. Hopefully the "Death of the Family" tie-in issues will be better than this crapfest.

GRADE: 3/10

BATMAN #13

(W) Scott Snyder
(P) Greg Capullo
(I) Jonathan Glapion

"What?! You've heard this one, too?"

Scott Snyder and Greg Capullo have brought back the Joker. I have a feeling this plan to keep Batman's archnemesis out of sight and out of mind for a full year was completely deliberate. There have been interviews where Snyder explains how he wanted to do the "Court of Owls" first, but the opening pages of Batman #13 might suggest differently. Not once in the entire "Court of Owls" arc was I as terrified as I was during this issue. Somehow, Snyder has tapped into the most frightening, pathological version of the Joker ever seen, and it's comic book dynamite.

The opening scene revolved around the Joker returning to Gotham City to retrieve his face from the GCPD. If you remember last year, in Detective Comics #1, Joker allowed his face to be cut off by the Dollmaker, a symbolic gesture towards Gotham and it's citizens more than anything, a sign that he was gone but not gone. It's when the lights go out and a mysterious figure stands in the doorframe that Jim Gordon understands what is happening, and he does everything he can to stop the Joker from going on a rampage through the police department, snapping necks as he goes. The entire scene is absolutely chilling. It's hard to write blackout dialogue - the use of darkness makes it hard to discern who is speaking to whom. But the lettering throughout this scene is what makes it so damn scary. The Joker's word balloons are scratchy, jagged, and nearly broken, much like the man himself. It not only makes it easier to read, but it adds that extra layer of creepiness.

The rest of the issue is mostly dedicated to Batman searching for the Clown Prince of Comedy. First, Bruce is forced to field a volley of communications from Nightwing, Red Robin, and Batgirl concerning Joker's return. Batgirl's the only one Bruce is reluctant to contact, but soon gets chewed out by Barbara herself when she discovers her father was attacked at his job. During the investigation, Joker takes over TV broadcasts and forces an innocent civilian to proclaim the Joker's return before he's shot in the temple. Snyder is amazing at writing horrific melodrama, and this might just be some of the best work he's ever done.

I usually don't discuss artwork too much because visual art is so often in the eye of the beholder. There are, of course, times when it's appropriate to discuss the panels and pencilling because they have some important connection to the story in general. In Batman #13, Greg Capullo works overtime to make sure Snyder's gritty scripts are coming across correctly. Without Capullo's intricacies, the scene with Joker in the GCPD wouldn't have been nearly as haunting, and his Joker re-design is simply the most horrifying he's ever looked. Again, without this level of visual quality, Snyder's words wouldn't have nearly as much impact.

One of the best things about Batman #13 is how much Snyder is able to stuff into one issue without coming across as detail-obsessed (William Faulkner, anyone?) The murder of a man on live television and the claim that Mayor Hady would be dead at midnight all connects back to the Joker's first appearance (according to Batman) and must have some importance in the present. Then there's the Harley sequence! Yes, Harley Quinn adorns the original Red Hood outfit - worn by Joker before he was Joker - to confront Batman, hoping to catch him off-guard and get him away from his cave. That's all I want to give away because the final pages are just so damn amazing.

GRADE

9/10