Spotlight: Batman/Superman #1

(w) Greg Pak
(a) Jae Lee and Ben Oliver


** SPOILERS ABOUND! **


Batman/Superman #1 is already being touted as the best #1 since the initial 'New 52' relaunch in September 2011. I'm inclined to agree. You'd be hard pressed to find another debut issue in the lineup that has as much grace, style, and readability as Batman/Superman #1. The creative pairing of Greg Pak and Jae Lee is an instant success and is simply stunning to behold. What really makes this issue shine, though, is how new it actually feels. Batman/Superman has been marketed as a series chronicling the early days of both the Dark Knight and the Man of Steel, and this initial arc is about the duo's first meeting.

The whole "first meeting" thing has been done on a number of occasions, in various mediums, but there's one major element that connects all these depictions: how each character feels about the other. Batman always just considered Superman an overly optimistic boy scout-type who had the luxury of trusting people because he was a demigod, while Superman saw Batman as a depressed loner who relied too heavily on fear and anger to drive his mission. Pak's Batman/Superman #1 basically throws out the old handbook and gives these two major players an entirely new relationship.

But a lot is different in the 'New 52', which means Batman and Superman's relationship must be based on something different. In the old universe, both men knew of the other prior to meeting, which gave them to chance to develop preconceived notions about one another. Batman/Superman #1 begins in a time when Clark was still sporting the tee shirt and jeans costume, and Batman was still an urban myth. The term 'superhero' hasn't been coined yet because it's not a reality yet. This is the world where Batman and Superman meet for the first time; not with a population that knows and accepts what superheroes are and mean.

Both men, interestingly enough, become defensive in the face of the unknown. 

For Batman, Superman represents the culmination of what he cannot learn: superhuman abilities. There is no tactical compensation for super speed and a punch that can crush a semi truck, only quick thinking and dumb luck. Bruce immediately assumes the worst and defends himself against an alien he's sure is intent on destroying him. Batman's response wonderfully conveys the type of paranoia and over-analysis he's known for, but it also reminds us how foreign and frightening a seemingly invulnerable man must seem to a mortal man.

Superman, on the other hand, becomes aggressive when he misinterprets Batman as a criminal attempting to murder a child. He's "fought bullies, mobsters, and neo-Nazis", but Batman is the first real monster, "a murderer dressed up as a bat." Clark's ability to sense heart rates distinguishes Batman's as the most calm, the most collected, the most like a murderer when everyone else is scared out of their minds. The nature of Superman's abilities and his relative inexperience at this stage in his career both lend to his snap judgement about Batman's intentions.

Jae Lee's artwork really seals the deal. Few artists can truly depict emotion through body language, yet Lee makes it look easy. The way Batman's body crunches in when Superman slaps him away, Clark's stance as he incinerates a TV set falling directly above him, the way the children in the opening scene interact -- all of these ar examples of how Lee's amazing art lends to the storytelling.

Batman/Superman #1 is a triumph. This is the right book at the right time with the right creative team. Though Ben Oliver hands the artwork for the last seven pages, Lee's influence on the tone throughout is evident. Greg Pak has such a handle on both characters, their inspirations, their passions, their fears, and their impulses as young men. This is the series that I didn't even know I wanted, and now I would write a strongly worded letter to DC if they said I couldn't have it anymore.

GRADE

10/10

Spotlight: Superman Unchained #1

(w) Scott Snyder
(p) Jim Lee
(i) Scott Williams

Was it that hard to produce a non-Grant Morrison Superman book, DC?

Superman Unchained is exactly what I've been wanting from Superman in the 'New 52'. Now, I loved Morrison's run on Action Comics, but it was a high-concept story that was difficult to follow month to month. Then there's the eponymous series that was mishandled from day one, only to be given to Scott Lobdell who has managed to drive the title even more into the ground than it already was. Letting Scott Snyder take a crack at the Man of Steel was a great decision that has resulted in the single greatest Superman issue of the 'New 52'.


** SPOILERS AHEAD! **


My favorite part of Superman Unchained #1 is when Clark is reentering Earth's atmosphere while attempting to divert a falling satellite from crashing into a populated area. While speeding toward Earth, Superman experiences the same sensation of free falling as he did when he was a boy jumping from a silo into a giant stack of hay. It's not the most bombastic or exciting part of Superman Unchained #1, but it's extremely important to the Superman mythos, in general.

Many writers attempt to humanize Superman through the use of the character's inner psychological conflicts. Since Clark is a god among men, a lot of good storytelling comes from analyzing just how he handles himself beyond fighting villains or stopping alien invasions. Superman: For Tomorrow was one of the most successful examples of this kind of narrative. But then it became commonplace. It felt like Superman's emotional turmoil was becoming the focus instead of the lining that gave meaning to Clark's actions.

Snyder's decision to make Clark reminisce about his life in Smallville is meaningful because it rarely ever happens. Sure, there are flashbacks to random moments here and there, and the Kents are always at the forefront of Clark's thoughts, but specifics have been few and far between. The story of the Colder Jump shows Superman's humanity. And not through the lens of holding back his strength or doling out sage advice to mere humans, but through being human himself. Everyone has triggers that set memories into motion -- Superman's are just a little larger than life. For all the times Clark talks about Smallville, it's great to finally experience a real connection to the Man of Steel's life as just a Man.

This scene is one example of Snyder employing a theme that basically juxtaposes the ordinary against the extraordinary. Clark is remembering life in Smallville at the same time he's literally moving a building-sized satellite through our planet's atmosphere. The theme continues into Superman's conversation with Lex Luthor, which takes place in a helicopter that Clark is holding upside down. Both Clark and Lex speak to each other like they're sipping tea at a Parisian cafe even though one is an alien Jesus figure and the other is a hyper-intelligent sociopath bent on destroying Superman. By the end, it's clear that the theme has been present throughout the issue. More or less, Superman Unchained #1 gives readers a good, basic view of what Superman does day to day. Clark never breaks a sweat, his voice never falters, and his step never misses. An extraordinary life is simply life to Superman.

Superman Unchained #1 is what readers have been waiting for: a true flagship title for the Man of Steel. Scott Snyder so fantastically taps into what makes Superman great that I actually found myself disappointed that the issue was over and that there wasn't any more to read. If Snyder can do with Superman what he's done with Batman in terms of overall character development, Superman Unchained is set to be one of the best series of the 'New 52.'

GRADE

9.5/10

Action Comics #19

(w) Andy Diggle     (a) Tony S. Daniel

Of course...of course Andy Diggle left Action Comics after only one issue...

Because there is no sarcasm expression in written form (yet), I'll make it clear: DC editorial is letting some of their BEST talent walk out.

Action Comics #19 is a great issue. Seriously; after Grant Morrison's 18 issues of crazy, Andy Diggle gives readers a story that's incredibly interesting without having to unwrinkle your brain afterwards. It's Superman battling giant alien monsters. And the best characterization of Lex Luthor I've seen so far in the 'New 52'.

This is supposed to be the flagship Superman title (until Superman Unchained, of course), and keeping Diggle would have been in DC's best interests because this man knows how to write the Man of Steel. Morrison stretched Superman to limits we've never seen before, and now Diggle is bringing him back to reality a little bit. Besides Action Comics, the only other solo book is Superman, which Scott Lobdell has driven into the ground. If you're looking for straightforward Superman action, Andy Diggle's Action Comics is for you. Action Comics #19 balances Clark's life as a reporter (and human) against his life as Superman more organically and smoothly than any issue of Superman or Action Comics before it. Diggle understands the need for this balance and he approaches it with a "less is more" attitude that simply works.

UNFORTUNATELY, Diggle is yet another casualty in DC's iron-fisted editorial rampage. It seems that unless you are Grant Morrison, Geoff Johns, Scott Snyder, or Jeff Lemire, DC is going to edit the every-loving hell out of your work to the point that you'll want to no longer be associated with said work. So all we get is this singular issue from Diggle. Arc artist Tony S. Daniel will be taking over scripting duties from Diggle's plotting, but it's not going to be the same because Daniel is not as strong a writer as Diggle.

Action Comics #19 shows such great promise from such a fantastic writer that it's hard not to think about Andy Diggle's problems with DC editorial while reading. First, his timeframe was pushed back a whole month to accomodate Grant Morrison's desire for an extra issue, then he was given the "WTF" directive (something many DC writers had to contend with by shoehorning a 'major revelation' into their stories) that became his first issue for the title, then he and editorial butted heads even further which caused his departure from the title.

In the end, all we can do is appreciate Action Comics #19 for what it has become: a sign of amazing potential that won't be fulfilled. 

GRADE
9/10

The Week in Revue (Mar 27-Apr 2, 2013)

------- Spotlight

Guardians of the Galaxy #1
(w) Brian Michael Bendis     (a) Steve McNiven
THE GUARDIANS RETURN TO THE MARVEL UNIVERSE!

------- DC Reviews

Batman Incorporated #9

(w) Grant Morrison     (a) Chris Burnham

WHAT HAPPENS IN THE MOMENTS AFTER THE DEATH OF DAMIAN WAYNE?

The Flash #18

(w) Brian Buccellato     (a) Marcio Takara

THE TRICKSTER ACCUSED OF MURDER? AND A SPECIAL CROSSOVER WITH...DIAL H!

Justice League Dark #18

(w) Jeff Lemire and Ray Fawkes     (a) Mikel Janin

THE CONCLUSION TO "THE DEATH OF MAGIC!"


---------- mini reviews
Aquaman #18

(w) Geoff Johns     (a) Paul Pelletier

"DEATH OF A KING" BEGINS HERE! A NEW ARC IN THIS ACCLAIMED SERIES!

Superman #18

(w) Scott Lobdell     (a) Kenneth Rocafort

H.I.V.E. MAKES IT'S NEW 52 DEBUT AS THEY TRY TO TAKE OVER METROPOLIS!

Teen Titans #18

(w) Scott Lobdell     (a) Eddy Barrows

FALLOUT FROM "DEATH OF THE FAMILY" AND THE DEATH OF DAMIAN WAYNE! GUEST STARRING THE SUICIDE SQUAD!

------- Marvel Reviews

Age of Ultron #3 of 10

(w) Brian Michael Bendis     (a) Bryan Hitch

MARVEL'S POST-APOCALYPTIC EVENT CONTINUES!

Uncanny Avengers #5

(w) Rick Remender     (a) Olivier Coipel
WONDER MAN, WASP, AND SUNFIRE JOIN THE UNCANNY AVENGERS!

Young Avengers #3

(w) Kieron Gillen     (a) Jaime McKelvie

MORE AMAZINGNESS FROM GILLEN AND MCKELVIE ON THE LANDMARK SERIES!

---------- mini reviews

Fantastic Four #5AU

(w) Matt Fraction     (a) Andre Araujo

AN "AGE OF ULTRON" TIE-IN ISSUE!

The Superior Spider-Man #6AU

(w) Christos Gage     (a) Dexter Soy

AN "AGE OF ULTRON" TIE-IN ISSUE!

Justice League #18

(w) Geoff Johns     (a) Jesus Saiz

Geoff Johns is taking the same route Cartoon Network's Justice League did in 2004 by expanding the roster of the League in anticipation of bigger, more ferocious enemies in the future. Honestly, it would have been nice to see more of the core team's adventures and interpersonal relationships before diving into team expansion. Sure, this is Justice League #18 and the 'New 52' has been around for close to two years, but in the modern age of decompressed storytelling, 18 issues has only produced a handful of conflicts that the League has faced. 

Back in the day, 18 issues could have been 18 different stories, a different approach to team building, but one that offered a more robust look at how said team works as a unit. Today, it's still somewhat unclear how the core League members truly work together, how their personalities play off each other, and how that affects their behavior. Johns has done an excellent job delivering character development where possible, but it's still frustrating to see new members coming in at this point. And that's not even mentioning Justice League of America, which also sees Johns bringing lesser known characters into the spotlight. It's just a geyser of new characters, it seems.


** SPOILERS AHEAD! **


Justice League #18 is an exciting issue because we get to see so many faces in one issue. With Hal Jordan out of the picture for the time being, and the near-destruction of Boston in "Throne of Atlantis", Batman and Cyborg decide it's time to reveal the Grid, a circumstantial database of all the world's superheroes. I say circumstantial because the entire Grid was a side-effect of the persistent flow of information into Cyborg's always-connected mainframe. Since he's basically a living supercomputer, Cyborg shares the curse of overabundance with Superman -- they're both continuously aware of almost everything around them. The difference is that Clark hears everyone while Victor processes digital information terabytes at a time. Thus, over the five years of the League's existence, Cyborg inadvertently collected all the known information on every superhero on Earth.

But it's just that: only the known information. Justice League #18 not only showcases established heroes like Black Canary, Zatanna, Firestorm, and Nightwing in a new light, but also gives minor and new characters a chance to shine with a chance at membership in the planet's most exclusive hero club. While the current members of the League all understand the where they are and what the stakes are going forward, most of the invited candidates have no idea what they're in for. It's this juxtaposition that provides a nervous tension that simmers throughout the issue. Even Nightwing and Batman's short interaction reflects their relationship post-"Death of the Family". And how could it not be awkward? Six of the most powerful beings on the planet are judging and choosing new colleagues to patrol everything, not just a city or neighborhood beat.

There's no escaping the fact that Justice League #18 is a good old-fashioned prelude issue. There's so much being set up from beginning to end that it's hard to squeeze a story-proper out of an issue like this. Fortunately, Geoff Johns stands up to the task and makes the entire affair feel completely fluid and natural. My bias for the structure of character development aside, JL #18 hits all the right marks. At the end of the day, it's really hard not to like seeing so many familiar (and some unfamiliar) faces in one issue.

GRADE

7.5/10

mini Reviews (Mar 6-12, 2013)

---------- mini DC reviews

Earth 2 #10
(w) James Robinson     (a) Nicola Scott

"Tower of Fate" begins this month in Earth 2 #10 as James Robinson introduces Khalid Ben-Hassin, the all-new Doctor Fate. A quick flashback reveals that Khalid initially rejected the power he was destined to hold, though his encounter with the helmet containing said power left him with sporadic and uncontrollable spurts of magic, as well as some sort of psychological issues. Robinson is doing a phenomenal job building Earth 2 from the ground up, making sure to focus on the entire forest instead of just the trees of the yet-to-be-formed Justice Society. The villainous Wotan also makes his 'New 52' debut as the malevolent, yet surprisingly polite seeker of the power of Fate for himself. All of this combines to make Earth 2 #10 a strong and impressive opening salvo to "Tower of Fate."

GRADE: 8/10 

Stormwatch #18

(w) Peter Milligan     (a) Will Conrad

Stormwatch has been an oddity in the 'New 52' -- it came out of WildStorm, it's not a very high-selling title, and it sits aside from most of the DCnU proper. With Jim Starlin taking over the title next month -- seemingly complete with a revamp of the title -- Peter Milligan brings his final arc to a close by ending the Engineer and bringing some closure to Apollo and Midnighter's relationship. Though it feels rushed, Milligan does a great job tying up some of the loose ends from his run, and we finally get to see that kiss between Apollo and Midnighter that's been building since they met. I've quite enjoyed this series so far, and Stormwatch #18 is a great end to a awesome run.

GRADE: 8/10

Superman #17
(w) Scott Lobdell     (a) Kenneth Rocafort

And just like that, "H'el on Earth" meanders to a close as ridiculously as it began -- with H'el no closer to his goals and us readers no closer to actually understanding anything about this inane new villain who felt more like a toy for Scott Lobdell to fling around and smack against things than a real threat worthy of any attention. I will always make time to mention Kenneth Rocafort's exquisite artwork because, at this point, it's the saving grace of Superman, akin to Michelangelo painting the musings of pimply teenager who think's it's funny to use 'hell' as someone's name. "H'el on Earth" has been nothing but annoying, and Superman #17 takes the cake for it's "payoff" of the coming of the Oracle, an entity teased for months only to sit there like a giant bump on a log and do absolutely nothing. In the end, it really should have been a Supergirl event seeing as she was the real focal point of the entire story with H'el, she helped him along the way and had to battle inner demons whilst doing so, then she makes a massive sacrifice in the name of justice -- instead, the entire event was a cobbled together mess that made little to no sense and ended with a big, fat whimper.

GRADE: 4/10

---------- mini Marvel Reviews

All-New X-Men #8
(w) Brian Michael Bendis     (a) David Marquez

A whole lot happens in All-New X-Men #8: the two Angels have their weird you-are-me-and-I'm-you moment, the Avengers get savvy to what's going on in X-Men Land, seeds of dissent are planted, and something happens on the last three pages that changes everything for this series going forward. Brian Michael Bendis again proves that his unique brand of interpersonal storytelling is perfect for the X-Men, and that his premise for the original X-Men living in the present is a lot more viable as an ongoing series than anyone anticipated. The emotional nuance present throughout All-New X-Men #8 gets down to the core of Bendis' story: these young X-Men are here to stay, for better or worse, and with all the hurdles that come with it. All-New X-Men is one of the best series Marvel currently publishes and it gets better every issue.

GRADE: 9/10

Iron Man #7

(w) Kieron Gillen     (a) Greg Land

Tony Stark's tryst into deep space continues with a lot of talking and a trial --  it's not nearly as boring as it sounds. Charged with over a dozen different crimes concerning his part in defeating the Phoenix Force, Tony receives help from an unlikely source -- a Rigellian Recorder designated 451 -- and takes his chances in trial by combat against the best of the Voldi warriors, which proves to not be as difficult as Tony imagined. Kieron Gillen's take on Iron Man is peculiar in it's hit-or-miss quality; each issue either impresses with it's wit and subtly, or fails at grasping what makes Iron Man so interesting. Iron Man #7 contains a bit of both, which leaves me satisfied at issue's end, but not incredibly so.

GRADE: 6.5/10

Review: Young Romance - The New 52 Valentine's Day Special #1

(w) Ann Nocenti, Cecil Castellucci, Ray Fawkes, Peter Milligan, Kyle Higgins, Andy Diggle
(a) Emanuela Lupacchino & Jaime Mendoza, Inaka Miranda, Julius Gopez, Simon Bisley, Sanford Greene, Robson Rocha & Julio Ferreira

Since last October, DC has been celebrating the holidays with it's Li'l Gotham digital series written and drawn by fan-favorite 'chibi' artist Dustin Nguyen. For Valentine's Day, DC decided to go a different direction with an anthology issue of stories about young heroes in love. Interestingly enough, none of the characters from the Young Justice family of 'New 52' titles are featured in this issue, with Batgirl being the youngest featured character. But more on that later. Young Romance: The New 52 Valentine's Day Special #1 is an attempt to take advantage of a relationship-based holiday by highlighting some of the various romantic relationships littered throughout the DC universe. Unfortunately, this collection of six stories never manages to rise above mediocre because more that half of these stories just feel completely contrived and unnecessary.

To begin, there are a lot of logistical issues with Young Romance. As I mentioned earlier, Batgirl is the youngest hero included in this anthology. I wouldn't normally call this a problem, but the other meaning of the title is that the relationships featured are new ones, which is also a flawed claim. Aquaman and Mera have been together for years, and there's no indication that their story takes place early in their relationship. Superman and Wonder Woman have been together for a while now, for all intensive purposes. And what about all the other relationships in the 'New 52'? Instead of featuring, say, Kid Flash and Solstice, Superboy and Wonder Girl, or even Jason Todd/Roy Harper and Kori'andr, DC decided to create some new relationships out of thin air. I enjoyed seeing Nightwing find someone who can keep up with him, but the fact that Dick's story simply "END"s -- instead of possibly leading into something else like the other stories -- stops the momentum cold and leaves a bad taste in the mouth. Why create something new only to give it the "bottle episode" treatment and throw it away at the end?

Narratively, Young Romance suffers at the hands of writers who don't normally handle these characters. Or in Ann Nocenti's case, mangles them. In "Think It Through", Batman and Catwoman's first meeting is basically just a flashback. Unfortunately, Nocenti only looks into the past to reveal how shallow Selina Kyle truly is before bringing readers back to the present day so Selina can remember all the things Batman said to her the first time they met. Yep: instead of actually showing Batman and Catwoman conversing, Nocenti decides to leave that all to ethereal dialogue boxes. It's an inane decision that makes absolutely no sense considering she had the ability to show the intimacy instead of telling it. Also, Batman's advice makes him sound like a misogynistic ass. Peter Milligan's "Seoul Brothers" is probably the best of the bunch because Milligan has been writing those characters and their relationship for quite a while. Aquaman and Mera in "The Dreamer" are also entertaining, but the Victorian-era love story that just so happens to mirror the current day almost exactly is grating from Cecil Castellucci's 'wink wink' attempts at cleverness.

As a first major attempt at a holiday themed anthology issue for the 'New 52', Young Romance feels like Maid in Manhattan when it should have felt like Sleepless in Seattle...or the other way around. I don't know which romantic comedies are considered good or bad. The point is that though entertaining, Young Romance feels underdeveloped, or perhaps overanalyzed. There's a lot of potential in these kind of issues, but this one misses the mark.

GRADE

6.5/10

EXTRA! EXTRA! (Jan 30 - Feb 5, 2013)

Avengers #4

(w) Jonathan Hickman (a) Adam Kubert

After a brilliant opening salvo, Jonathan Hickman brings Hyperion back into the fold of the main Marvel universe with a beautifully written and drawn backstory outlining Hyperion's journey from his dying universe into ours, as well as a great main story about A.I.M. scientists experimenting on one of the Origin Bomb landing sites. Hickman is not one to let plot points dangle, and even though Ex Nihilo and Abyss aren't trying to remake Earth anymore doesn't mean their actions don't have lasting consequences. It also takes a lot of talent to make A.I.M. scientists feel like a real threat, but that's exactly what's happened in Avengers #4, which turns the fledgling terrorist organization into a dark and foreboding group that has agendas we won't see for a while yet. Even though Avengers #4 brings the focus to Hyperion, the entire issue still feels as big and grand as previous three.

GRADE: 9/10

Batman, Incorporated #7
(w) Grant Morrison (a) Chris Burnham

As Grant Morrison starts winding down his years-long Batman epic, Batman Incorporated #7 introduces a more lethal and less subtle version of Leviathan than we've ever seen before. And even though we know Talia al Ghul has been behind it all, it's the concept behind Leviathan that's become the true villain; Leviathan cannot be defeated because Leviathan is an idea to inspire fascist terror worldwide the same way Batman is an idea to inspire fear in his enemies. At this point, Batman Incorporated is the best Batman series currently being published, most due to the fact that Batman's history wasn't erased with the 'New 52', meaning Morrison's epic stayed in-tact and we're finally getting to a conclusion nearly seven years in the making. Grant Morrison has been molding Batman into a specific image for a long time, and Batman Incorporated #7 signals the beginning of the end, both for the Morrison era of Batman, as well as the war between Batman, Talia, and Damian Wayne -- something that will surely have huge ramifications for the Bat Family's future.

GRADE: 9/10 

Superman #16
(w) Scott Lobdell (a) Kenneth Rocafort

Yet again, Scott Lobdell comes up severely short with Superman #16, a "H'el on Earth" chapter that basically only serves to reiterate what's been happening in Superboy and Supergirl, even though those aren't very interesting either. Really, nothing happens in this issue beyond plot exposition and a blink-of-the-eye fight between Superman and H'el  that's over before the next panel -- there's nothing redeeming about Superman #16 because there's nothing new. The only saving grace for this issue is Kenneth Rocafort's gorgeous artwork (how they get such a talented artist to stick with such an awful writer is beyond me). "He'l on Earth" has been a generally disappointing crossover that hasn't offered much in the way of quality storytelling, cool revelations, or interesting character development.

GRADE: 6/10

THE WEEK (JAN 30 - FEB 5, 2013)

Featured Review

Green Lantern Corps Annual #1
(w) Peter J. Tomasi
(a) ChrisCross

"Rise of the Third Army" finished up with this oversized annual issue! Now that the Guardian's new army has ravaged the universe, how will the Green Lantern Corps stop them? Find out here! Plus, GLC Annual #1 also leads into the next Green Lantern Family crossover, "Wrath of the First Lantern"!

Reviews

Aquaman #16
(w) Geoff Johns
(a) Paul Pelletier

"Throne of Atlantis" continues this week as Orm the Ocean Master declares all-out war on the surface world! Plus, remember how the monsters from "The Trench" got out a few issues back? Well here they come to eat your face off!

Batman and Robin Annual #1

Batman and Robin Annual #1
(w) Peter J. Tomasi
(a) Adrian Syaf

Hawkeye #7
(w) Matt Fraction
(a) Steve Lieber

The hurricane issue. All of Matt Fraction's royalties from this issue's sales are going directly to Hurricane Sandy relief. So, make sure to drop by your LCS and maybe pick up more than one copy if you've got the money to spare this week!

Justice League Dark #16
(w) Jeff Lemire and Ray Fawkes
(a) Mikel Janin

The Superior Spider-Man #2
(w) Dan Slott
(a) Ryan Stegman

Dan Slott promised he would address the issue of rape between Peter and Mary Jane now that Peter is actually Doc Ock. I was very impressed with the first issue, so hopefully Slott can keep the momentum rolling!

Teen Titans #16
(w) Scott Lobdell
(a) Brett Booth

Extra! Extra!

Avengers #4
(w) Jonathan Hickman
(a) Adam Kubert

Batman, Incorporated #7
(w) Grant Morrison
(a) Chris Burnham

The Flash #16
(w) Francis Manapul and Brian Buccellato
(a) Francis Manapul

Superman #16
(w) Scott Lobdell
(a) Kenneth Rocafort

X-Men Legacy #5
(w) Simon Spurrier
(a) 

REVIEW: JUSTICE LEAGUE #16

(w) Geoff Johns
(p) Ivan Reis
(i) Joe Prado

Last fall, a number of DC creators, editors, and executives started talking about how 2013 was going to be a year full of changes for the 'New 52'. Geoff Johns' epic "Throne of Atlantis" could have been a simple crossover between Justice League and Aquaman -- a natural move since Johns writes both series -- but it's slowly transforming into a turning point for the entire DCnU.

Justice League #16 sets up the final pieces for the inevitable war between Atlantis and the surface world. The issue is thick with anticipation -- the difference between war and peace lies with Aquaman's ability to temper the Justice League's justifiable anger over the tidal wave that decimated the eastern seaboard against his brother Orm's anger over the perceived attack on Atlantis. At some points, Aquaman is literally standing between the League and Orm, stopping all hell from breaking loose. Aquaman's ethical quandary over how to proceed -- standing with the League and demanding justice from Orm, or adhering to Atlantean tradition by forsaking the entire surface world -- is a central theme for the entire sequence. The one unfortunate element of this situation is that all the character behave in cliche superhero fashion of punching first and asking questions later. Batman, in particular, acts particularly out of character for a hero who understands the intricacies of how fear compels people to do unspeakable things. But traditional superhero tropes aren't enough to detract too much from this stellar issue. 

But there's a lot more to Justice League #16 than just the beachhead confrontation between the League and Ocean Master. For one, Dr. Shin has been an important and central character in Aquaman since the first issue, so it comes as no surprise that he's a target of a team of Atlantean assassins who believe Shin is a key figure in turning the tide of the coming war. Being the foremost human expert on Atlantean physiology puts the Doctor in the unique position of finding a weakness to exploit. Johns also properly introduces Dr. T.O. Morrow into the 'New 52' with his suggestion that S.T.A.R. Labs employ his nameless "android" to take control of the weather from Orm, who has used his mystical staff to conjure up a series of deadly storms. It's just a passing remark, and the idea gets shot down by Cyborg's dad pretty quickly, but not before a certain Dr. Magnus and his Metal Men are also mentioned. Being the Chief Creative Officer for DC, Johns has a lot of freedom to include little nuggets of foreshadowing. Of course, the biggest "holy sh*t" moment comes with the final splash page that points to a bold new direction not only for Justice League, but also the DCnU at-large.

Justice League #16 is a fun issue full of intense action, plot-advancing story, and an ending that will get most any DC fan excited for the future of the series and the 'New 52'. Already, a tidal wave has destroyed the east coast of the United States. That's going to last for a while, and a war with Atlantis is going to change the landscape even more. Since last Free Comic Book Day, we've known that 2013 would bring "Trinity War", the first major 'New 52' crossover that would effect the entire line. "Throne of Atlantis" may or may not be a prelude to this massive event, but it's setting the standard for 2013 being about big ideas and big changes.

GRADE

9/10

REVIEW: SUPERMAN #15

(w) Scott Lobdell
(a) Kenneth Rocafort

One of the biggest identifiable problems with the 'New 52', thus far, has been consistency in characterization between titles. Often, a character will act a certain way in a team setting, and a completely different way in his or her solo title. Unfortunately, both Superman and Superboy are at the top of the list when it comes to broken character development. Superman as portrayed in Action Comics has been vastly different from the Superman seen in the eponymous series and Justice League. Similarly, Superboy is written as an emo kid just trying to figure it all out in the pages of Superboy, but here, in Superman #15, Scott Lobdell has turned Kon-El from an antisocial basket case into a cheesy kid sidekick who wouldn't be out of line saying something like, "Aww, shucks, Superman! What're we gonna do now!?"

Superman #15 really stretches the whole "He'l on Earth" tie-in label because H'el does not show up at all. We get to see him in two panels, in flashbacks, in the background both times. It's not out of line to want to have some sort of interlude that deals with side issues, but Lobdell basically uses the entire issue to focus on Lex Luthor. And really, it's for no reason at all. Superman claims that he's come to Luthor looking for help, but in reality, as Lex puts it, "You would have figured out H'el's plan the instant he made his way into the fortress and got his hands on the artifacts you keep there." So why does Superman take the time to visit good old Lex? He's there to make himself angry. H'el is the most powerful adversary Superman has ever faced, and now he needs to give himself motivation to take on this new threat with everything he has. Beyond his meeting with Luthor, Clark seems to be taking a rather militant and stoic approach to his relationship with Superboy, speaking in short, curt sentences and generally not being very helpful before scolding Superboy like a father figure.

Now let's talk Superboy. Why has he turned into a Boy Scout all of the sudden? For over a year, Kon-El has done nothing but disregard orders, chastise those of authority, and generally do whatever he wants. Now, because Superman has lent him the Kryptonian armor for medical purposes, Kon has turned into some weird 1950s version of himself. "Man you are hardcore!", uses only four words to disassemble an air of sophistication Superboy has been trying to build since he first woke up in Superboy #1. Then "...if we're trying to get H'el the hell out of our your house, what the heck are we doing here?" reminds me how little regard Lobdell has for the green line when writing in MS Word. From a literary standpoint, there's no reason to craft such awkward sentences. 

Don't even get me started on, "You're still recovering from H'el nearly splitting you genetically in two". The first of the two examples could just have easily read as, "Why are we here if we're trying to get H'el out of your house?", while the second example could quite effortlessly be revised as, "H'el nearly ripped you apart at the genome, and you're still recovering." These obviously aren't the only ways to rewrite these sentences, but it just shows how easily good grammar and effective syntax can be.

Superman #15 is an interesting read if you're curious about Lex Luthor in the present day. Other than that, Superman and Superboy are not written as themselves, and it's very off-putting. As much as I disagree with how Kon-El has been handled up to this point, it's even more frustrating to see all the character development go out the window in the name of a shaky crossover. I usually like Kenneth Rocafort's artwork, but here, even his beautiful pencilling gets dragged down by the weight of the dialogue. For an event that's felt rushed and half-asked since it started, Superman #15 hits the brakes hard and provides more of an interlude than anything else. It's not terrible, but there's simply not a lot going on.

GRADE

6/10

THE WEEK (JAN 2-8, 2012)

FEATURED REVIEW

New Avengers #1
(Hickman, Epting)
Jonathan Hickman's Avengers is already a homerun as far as I'm concerned, so I very much am looking forward to what he's got planned for New Avengers, which he's teased as being focused on the Marvel Illuminati attempting to stop the universe from colliding with another!

Batman Incorporated #6
(Morrison, Burnham)
Things have been getting increasingly better in Batman, Inc, and it has to do with Morrison finally breaking into some plot advancement instead of muddling around in mythos and talk of legacy and destiny.

The Flash #15
(Manapul, Buccellato)
Flash was absent from Justice League#15 due to Grodd's invasion of Keystone City. That's how important Francis Manapul and Brian Buccellato's "Gorilla Warfare" storyline seems to be -- that DC is cool with not having Barry hanging with the League for a while. And it makes sense because "Gorilla Warfare" is just so damn good.

Justice League Dark #15
(Lemire, Nolan)
What more can I say about Jeff Lemire's Justice League Dark other than it's one of DC's best current series. The fallout of "War for the Books of Magic" has left a void in the magic stability of the DC universe, and it's up the JLD to figure out how to get things working again.

Superman #15
(Lobdell, Rocafort)
"H'el on Earth" has been piecing itself together since Superman #13, a prologue issue that did little to build up this so-called major crossover. Scott Lobdell's narrative in Superman seems to be the primary storyline, though a lot more has been revealed and/or told about H'el -- and the story in general -- in the pages of Supergirl and Superboy thus far. Hopefully, Lobdell has something up his sleeve to really get this crossover to the next level, whatever that means.

Teen Titans #15
(Lobdell, Booth)
Finally, Teen Titans crosses over with Scott Snyder's "Death of the Family" as Red Robin has apparently been taken hostage by the Joker in Gotham City. Naturally, the team rolls out to save dear old RR, but what does that mean for a group of kids with no prior experience with the Clown Prince of Crime?

Extra! Extra!

All-New X-Men #5
(Bendis, Immonen)

Batman: The Dark Knight #15
(Hurwitz, Finch)

Red Lanterns #15
(Milligan, Sepulveda)

Talon #3
(Tynion IV, Snyder, Ryp)

REVIEW: JUSTICE LEAGUE #15

(w) Geoff Johns
(p) Ivan Reis
(i) Joe Prado

I'm torn in my feelings about "Throne of Atlantis".

I really want to like the story, and I very much want to understand how this is a bold, new direction for both Aquaman and Justice League. This week saw the release of the first two parts of "Throne of Atlantis" within Aquaman #15 and Justice League #15 respectively. Since Geoff Johns is writing both titles, he's not limited to cooperating with other writers to convey a singular tale. Instead, this is more like Johns featuring Johns--the characters feel fluid throughout the narrative because they're being written the same way each time, and the story itself is strong because the whole thing is Johns' brainchild. While this situation should have birthed some amazingly epic crossover, the whole idea kind of falls flat. We've seen Atlantis rise up before, and it's kind of starting to get old. I know this is the first time it's happened in the 'New 52', and for that reason, I'm willing to give Johns the benefit of the doubt when it comes to world-building (seeing as he's DC's Chief Creative Officer). And that's why I'm torn over this crossover as a whole: Johns is doing the best he can to make a rather dated idea more appropriate for the modern age, and while it's there are some general missteps made, there's also a lot to like in these pages.

Let's look at the missteps first. I'm worried "Throne of Atlantis" is getting dangerously close to Ultimatum territory in terms of needless death and unapologetic detriment to that universe at-large. In fact, the splash page of the tidal wave looming over Metropolis is eerily similar in look, tone, and feel to the wave Magneto sent to destroy New York City. Upon closer analysis, the similarities become even more apparent. Both Magneto and Ocean Master unleash a massive force of nature upon an unsuspecting human population in an effort to drastically alter the status quo. Both villains are purposefully left out of the issue wherein they cause the destruction, mostly as a means of making them more sinister and foreboding. Lastly, both Magneto and Orm lash out because someone or something is manipulating their emotions through death or destruction.

Now for the good. The fact that Geoff Johns has developed this entire crossover means he's got a lot up his sleeve. There are bound to be plot twists, double-crossings, hidden agendas, and shocking fallouts. Even though the events depicted in Justice League #15 mirror other comic book stories, Johns writers some of the best interpersonal relationships around. For "Throne of Atlantis", he's included a number of plot elements that have been building in both Justice League and Aquaman since their respective beginnings. We see Batman and Aquaman putting aside their personal issues with each other and working together to stop some of Scarecrow's henchmen. The normal, civilan dinner shared by Superman and Wonder Woman gives Diana perspective as to how Clark manages his life outside the League. And Cyborg's slow-burning narrative with his father continues to spotlight Victor's isolation and need to feel human.

The good outweighs the bad, in the end. Justice League #15 has some glaring weaknesses in terms of basic premise, but Geoff Johns' solid character work makes up for it. Additionally, bringing on the stellar Aquaman artistic team of Ivan Reis and Joe Prado was a dynamite choice on DC's part. While Jim Lee's pencils are good, I've always liked Ivan Reis' facial expressions and Joe Prado's depth in shading. I'm excited for "Throne of Atlantis" because I really like stories like this, and I'm confident Johns will do it justice.

GRADE

8/10

REVEW: ACTION COMICS #15

(w) Grant Morrison
(p) Brad Walker and Rags Morales
(i) Andrew Hennessey and Mark Probst

Action Comics has been a bit wonky recently. Yes, Grant Morrison is a weird writer, and yes, his entire take on Superman since issue one has been alternative, to put it lightly. But something about the past few issues ha been even more fractured and seemingly unconnected than usual. I didn't much like last month's Action Comics #14 because it dealt with a situation with which we, the readers, had no prior knowledge or backstory. It felt very much like Morrison simply dropped a story he wanted to tell right in the middle of an already complex and highly cerebral storyline. Mrs. Nyxly has been a mainstay in Action Comics since Clark Kent first moved to Metropolis in the first issue and rented a room in her building. New readers to either Superman or Grant Morrison would not have picked up on the significance the odd name at first, but fans knew immediately that this would have something to do with Mister Mxyzptlk, a longtime supporting character/villain of Superman's. Action Comics #15 reveals a lot about not only Superman's early days, but also about Morrison's run with the Man of Steel and the 'New 52' universe at-large.

Basically, Mxyzptlk is a 5th dimensional magician capable of producing new dimensions on a whim. Old Mxy created a bunch of three-dimensional universes with which to produce heroes for him to challenge and defeat, all in an effort to please the King-Thing Brpxz of Zrfff. Turns out Superman is the favorite of this multiverse because he's the only one who has ever won against Mxyzptlk, and has done so repeatedly. Of course, being a 5th dimensional being means Mxy's challenges aren't necessarily direct or even perceivable in the third dimension--all the hardships throughout Superman's life have directly or indirectly come from Mister Mxyzptlk's interference. Clark continues to "win" because nothing can keep his spirit down--he can persevere through anything Mxy throws at him. If you strip away the layers and layers of thick mythology, you find a simple tale about overcoming obstacles and becoming stronger for it.

There's a lot more packed into Action Comics #15--the meaning behind the golden angels from last issue being one of the most interesting for me--that brings Grant Morrison's vision closer to fruition. It makes sense, as his run is coming to a close with Action Comics #17 in February. The Man of Steel has never been weirder. Well, alright...he was weirder in All-Star Superman, which was also written by Morrison. There, Morrison had the freedom to do literally anything he wanted with Superman without repercussions because it didn't exist in the main DC continuity. Here, with Action Comics, Morrison received a similar amount of freedom, except this time the task wasn't to simply tell the best Superman story possible--it was to create Superman anew from scratch. And while that meant having to adhere to some modicum of new continuity, having his run set in the past has given Morrison the ability to make the 'New 52' universe as weird as it can be.

GRADE

8/10

EXTRA! EXTRA! (NOV 28-DEC 4, 2012)

All-New X-Men #2
(Bendis, Immonen)

While the first issue of this series wasn't the big spectacle many predicted, All-New X-Men #2 fills that void by offering up the first encounter between the original five X-Men and the current state of the world. There's still a lot left to be explained (about the space-time continuum's continued existence, Hank McCoy's desperation, current-Cyclops' whereabouts, etc.) but that's not what this issue is about. Instead, Bendis takes his time to flesh out the sudden juxtaposition of the younger Cyclops, Jean Grey, Angel, Beast, and Iceman against the arguably dystopian future they've come to experience. There's a lot of raw emotion this issue, and it's definitely enough to make me hungry for more, which is more than I can say for the first issue. Now that we also know that Bendis will be writing Uncanny X-Men when it relaunches in March, it will be even more interesting to see how he'll incorporate what's going on in All-New X-Men with UXM.

GRADE: 8.5/10

Aquaman #14
(Johns, Woods, Perez)

Now that "The Others" is all finished up, Geoff Johns is moving Arthur Curry right along into "Throne of Atlantis" that will cross over with Justice League and will feature the League up against the 'New 52' Ocean Master, a.k.a. Aquaman's brother. Aquaman #14 is a prelude to the event, and wears the title well by planting the seeds for at least four different plot lines going forward. Even though there's a lot of story here, it's still just set-up for the actual event, so by the end of the issue, there's a feeling of incompleteness that I just couldn't get over. Aquaman is still one of DC's strongest titles, but this issue definitely left me wanting for more.

GRADE: 7/10

Batman Incorporated #5
(Morrison, Burnham)

Grant Morrison is blazing through Batman, Inc. with one amazing issue after another, bringing us to Batman Incorporated #5 which takes readers into the future of Gotham after Batman is dead and Damian Wayne has taken up the mantle. It's a horrific future, one in which Gotham has been overrun by a super-contagious strain of the Joker serum, turing everyone into grinning raving lunatics. Part of what makes this series so palpable is Chris Burnham's artwork -- he manages to make you thoroughly uncomfortable while keeping your attention nonetheless. Just like most visions of the future, this might not happen, but if Morrison's predictions come true, DC's got some pretty bleak times ahead.

GRADE: 8/10

The Flash #14
(Manapul, Buccellato)

"Gorilla Warfare" continues this month as an army of intelligent apes invade Keystone City while their leader, Grodd, has captured the Speed Force for himself and can now keep up with Flash. It's a terrifying visual -- a massive, hyper-violent ape with super speed -- that really acts as the focal point of the issue. Grodd was insanely powerful before he got speedy, and now he simply lays waste to Barry while his troops attempt to fell the Rogues who have become quite the formidable fighting team when the pressure's on. The Flash #14 moves the series in the right direction by bringing Solovar back into the mix and entertaining the idea that Grodd's insane quest for power might not be all that insane.

GRADE: 7.5/10

Superman #14
(Lobdell, Rocafort)

And just when I thought I could handle Scott Lobdell after Superman #13, he goes ahead and puts out Superman #14 to remind me that he just doesn't know how to write quality comics anymore. Superman #14 squanders all the mystique and genuine characterization that the previous issue had established -- for some reason, Lois is angry at Clark still, Supergirl is just plain bratty, and H'el himself is little more than a generic villain wrapped up in what looks like a new villain just because the name wasn't used prior to the 'New 52'. This guy is just Zod...or any other Kryptonian that's come to fight Supes over the decades, and it's really disappointing to see so much hype over so little.

GRADE: 4/10

THE WEEK (NOV 28-DEC 4, 2012)

FEATURED REVIEW
FF #1
(w) Matt Fraction
(p) Mike Allred
This has got to be my most anticipated 'Marvel NOW!' series besides Young Avengers. It feels like Matt Fraction and Mike Allred are creating a book that's going to be something extremely special in this day and age. Don't miss it.

Reviews

Aquaman #14
(w) Geoff Johns
(p) Pete Woods
It's the aftermath of "The Others" and an unofficial prelude to next the upcoming "Throne of Atlantis" crossover with Justice League. The effects of Black Manta and Aquaman's face-off will be covered, I'm sure, and Ocean Master is making his 'New 52' debut!

Justice League Dark #14
(w) Jeff Lemire
(p) Lee Garbett
The conclusion of "War for the Books of Magic" brought Frankenstein and Amethyst into the fold as new members of the JLD. Jeff Lemire will "pick up the pieces" from the encounter with Nick Necro and get the next exciting arc going!


Superman #14
(w) Scott Lobdell
(p) Kenneth Rocafort
Being a 'Superman' event, technically, I guess I should have assumed we wouldn't get a bulk of the "H'el on Earth" story until an actual issue of Superman. Hopefully, Scott Lobdell can shed some light onto the machinations of H'el...please.

Teen Titans #14
(w) Scott Lobdell
(p) Ale Garza
Red Robin is missing -- presumably due to the events of "Death of the Family" -- so the Titans head to Gotham to look for him. Good idea, right? Nope.

Thor: God of Thunder #2
(w) Jason Aaron
(p) Esad Ribic
Jason Aaron continues his absolutely amazing new run with Thor: God of Thunder and the menace of the God Butcher. Esad Ribic's art seriously adds a whole new level of depth to the story, and Aaron's haunting tale of three eras is riveting.


Uncanny Avengers #2
(w) Rick Remender
(p) John Cassaday
It's been eight weeks since Uncanny Avengers #1, which is a little disconcerting. This is Marvel's new flagship series, and it's second issue was nearly a month late. Fortunately, Rick Remender and John Cassaday is a team I -- and many, many other fans -- am willing to wait for. Early reviews are putting this issue on a pedestal, so hopefully it lives up to the hype.

Extra! Extra!

All-New X-Men #2
(w) Brian Michael Bendis
(p) Stuart Immonen

Batman Incorporated #5
(w) Grant Morrison
(p) Chris Burnham

Batman: The Dark Knight #14
(w) Gregg Hurwitz
(p) David Finch

The Flash #14
(w) Francis Manapul and Brian Buccellato
(p) Francis Manapul

Red Lanterns #14
(w) Peter Milligan
(p) Miguel Sepulveda

REVIEW: JUSTICE LEAGUE #14

(w) Geoff Johns
(p) Tony S. Daniel

Justice League #14 brings the conclusion to "The Secret of the Cheetah", last month wherein Wonder Woman's best friend, Barbara Minerva, was possessed by the Amazonian goddess of the hunt and driven crazy by the power. I'd never read too much that included Cheetah in the pre-'New 52' days (probably saw her in crossovers, etc.), but I can't imagine she was anywhere near as cool as Geoff Johns' reinterpretation -- it's like going from tofurkey to a honest-to-goodness Thanksgiving bird! This month, we discover how Barbara Minerva's actions are more nefarious than we previously believed.

At the end of JL#13, Cheetah sank her teeth into Superman and turned him into a rabid man-cheetah bent on taking down his comrades. This is a cool plot development -- the Cheetah is either as strong or stronger than the Man of Steel -- but it's not given the opportunity to go anywhere before the League discovers the Cheetah's weakness and uses it on Clark. The appearance of the ancient tribe who worships the Cheetah as the goddess of the hunt isn't interesting enough. Sure, they've got a lot of insight on the Cheetah as a deity, Barbara Minerva's intentions, and how to save Superman's life, but it all comes at the cost of too much expository monologue. 

Instead of making this story arc a bit more fluid and organic -- perhaps with a full issue of cheetah-controlled Superman hunting the League members -- "The Secret of the Cheetah" feels rushed and compressed. Promotional material form DC states that the "road to 'Trinity War' is paved through Justice League #14'. With nothing else to go on, I can't really say what that connection might be. Then again, Johns is a master as subtle build-up to explosive results, so there's a big possibility I'll be reading "Trinity War" next year, and I'll come back to JL#14 only to see something I'll tell myself should have been obvious.

GRADE

7.8/10

REVIEW: ACTION COMICS ANNUAL #1

(w) Sholly Fisch
(w) Max Landis (Back-Up)
(p) Cully Hammer
(p) Ryan Sook (Back-Up)

While reading this issue of Action Comics, I was reminded of the age-old question pondered by superheroes and frat boys the world 'round: if I went crazy then would you still call me Superman? It's a really, really bad song and the line itself is awful, but it actually has a meaning. It hearkens to the unyielding need to be loved no matter what and the subsequent madness that comes from trying to attain said love. In the case of Clay Ramsay, that need manifests itself as the Kryptonite Man, or K-Man. Action Comics Annual #1 is a full-out awesome comic book good time. That's right -- I used six adjectives in a row to describe a single issue. It's that good. I don't want to make it sound like I haven't been enjoying Grant Morrison's run on the series, but Sholly Fisch plays the story with flare instead of poignance. For a series heavily embroiled in mythology and thick narrative, Action Comics Annual #1 is lighter and more easily enjoyable, even considering the circumstances of the issue's events.

Clay Ramsay -- the man a young Supes stopped after years of beating his wife -- is still bitter with rage at the Man of Steel for destroying his life. Ramsay signs up for a "government" program that will give him powers beyond Superman's by way of kryptonite. This is the first time kryptonite has been used in the 'New 52', and Fisch does an amazing job introducing the xenomaterial (as an substance from outer space is to be known now, I guess) while not immediately making it evident that it can affect Superman so aversely. The battle between Superman and K-Man is a total page-turner, with each panel more engaging than the last. It's difficult to convey enlightenment, but the point when Ramsay recognizes that the kryptonite radiation is a force unto itself against Superman is so spot-on that I found myself literally smiling.

The inclusion of John Henry Irons and his extended tale is a major plus for Action Comics Annual #1. Irons was last seen helping out in Metropolis when Superman went off to battle the Collector of Worlds up in space. His return here is not only welcome, but completely organic and fluid -- in no way does his presence feel forced or stressed at all. Fisch uses Irons as a metaphor for how superheroes really affect humanity; they inspire hope in people, and for us to strive to be our best. After aiding in the clean-up of Metropolis, Irons decides to spread his knowledge across the globe in the form of a "socially responsible tech company" called SteelWorks. Fisch understands that in the modern day, a man like Irons wouldn't take a moniker and become a superhero in the same fashion as the Justice League (he even has Irons explain it to Superman).

Action Comics Annual #1 is an example of how 'Annual' issues should play out; a fun story, great character writing, and fantastic cultural insight. 

GRADE

9/10