The Kiss That Sort of Shook the Comics World

Okay.  Back in earnest.  Here we go.

So by now you've probably at least heard the news that Superman and Wonder Woman share a passionate kiss at the end of Justice League #12.  It's certainly been making the rounds in comics circles, and major news outlets are at least taking note of the fact that Superman is kissing someone other than Lois Lane.  Images of Jim Lee's cover have flooded the Internet, and the hardcore fanboys and fangirls are lining up on both sides of the "Will it last?" question.

Regardless of how one may feel about this development--which, thus far, consists of a single kiss--I find it more than a little shocking that this is such a big deal.  It's not even like it's never happened before.  Since at least the 1980s, there have been stories and indications that show how Superman and Wonder Woman could be a good match.  In the alternate reality story Kingdom Come (which, by the way, is excellent, and I can't believe I haven't reviewed yet), Superman and Wonder Woman not only get together, but she is pregnant with Superman's child.

I suppose another factor in the shock and discomfiture of this pairing has a lot to do with the fact that this is NOT Lois Lane, who we are taught to think is "The One And Only True Love" Superman is supposed to be with.  This may be true in the movies--which, despite their popularity, are not real source material--but the comics tell a very different story.  Aside from Lois Lane, Superman has had other, admittedly more minor or less timely love interests--Lana Lang admittedly being the only one who jumps readily to my mind (my knowledge of Superman trivia is not as extensive as other areas).  Superman fans, feel free to help round out the list for me.

Our cultural obsession with the "one true love" thing is something I find off-putting, particularly in a necessarily timeless (and time-bending) medium such as comics.  I don't know how many articles I've already read where people are essentially saying, "Superman and Lois WILL get together eventually.  I know it will happen.  This is just a temporary thing."  It's like they can't stand the idea of ANY OTHER romance working, simply because the Lois Lane one worked so well, and nothing else will possibly compare.

Little question:  How do you know it won't compare as well if you don't explore the other possibilities?

I've said it before and I'll say it again: superheroes are one of our modern mythologies.  Mythologies are necessarily open to reinterpretation, revision, and re-telling.  Things should happen in a more or less organic way and be respectful of the audience, but aside from that, anything goes.

And a little thing about the New 52: it's a perfect point to reinterpret it characters' lives.  We've already seen quite a few controversial changes, such as Victor Fries's motivation for becoming Mr. Freeze, Bruce Wayne possibly having a sibling (!), and so forth.  If these things are fair game, then so are relationships and who loves who.

I've also personally felt superhero relationships with "civilians" were too contrived to work.  I've never been a huge fan of Spider-Man's marriage to Mary Jane, and have usually longed for him to have companionship who could survive on the same level as he could.  This is many times as true with Superman and Lois Lane.  I mean, Spider-Man's arch nemeses are supervillains, like the Green Goblin, Doc Ock and the Kingpin.  Superman's arch enemies include Lex Luthor, Brainiac, Darkseid, other pissed-off Kryptonians... basically cosmic-scale adversaries, for the most part.  How the hell is Lois supposed to be kept safe against them?  Wonder Woman is not only able to defend herself against these threats ably, but she has her own rogues gallery to contend with.  She'll be likely saving Superman's hide once in a while.

I've never been a huge fan of either of these heroes individually, but I find myself saluting Geoff Johns and Jim Lee for this development.  Only time will tell, of course, but I think there's the potential for a lot of awesome, creative, and fresh storytelling with these two as a potential couple.  They can play on each other's level, and they are both outsiders within the Justice League.  And in this new interpretation of the DC Universe, I think this is a promising glimpse of things to come.

Comic Review -- Batman Annual #1: First Snow / Scott Snyder, James Tynion IV, and Jason Fabok

WARNING: FAIRLY BIG SPOILER IN THIS REVIEW!  I usually do spoilers in my reviews, but since this is a pretty big one, I'm taking extra pains to make sure people know.  Please consider yourself warned.

I really like this cover!  It's an iconic depiction of Mr. Freeze, and an appropriate one, given both his involvement in Night of the Owls and this first real exploration of his character since the New 52 began.  The glaring red goggles and the snow owls are also a clever touch.  The whiteness of his ghostly image across the background also points up his obsession with the cold.  Excellent work here.

Slightly after midnight of the Night of the Owls incident, Freeze, recently captured and detained at Arkham, abruptly breaks out again and makes his way to Wayne Enterprises, intent on killing Bruce Wayne and leaving Gotham behind forever.  He makes a stop at the Iceberg Casino, to get his ice guns from his "friend" Oswald Cobblepot, aka the Penguin, and arrives at Wayne Enterprises to find Nightwing and Robin waiting for him.  They know about his involvement with the Court, and have no intention of letting him escape punishment for it.

After dispatching them, Freeze goes to the penthouse suite to find Batman waiting for him, with Nora's cryo-tube on display for his benefit.  Freeze tells Batman that he will not be kept from the woman he loves, and Batman responds that Nora is not his wife, and that Freeze's love for her is nothing more than an extension of his obsession with the cold.  Freeze acknowledges this, and they struggle briefly.  Batman subdues him by overloading his suit with the same formula Freeze made for the Court of Owls's Talons.  Freeze is unable to move, and Batman and Nightwing take him back to Arkham.

Bookending the story is a haunting tale involving a young Victor Fries and his mother, when both would go to a snowman building contest.  In the first story, we see how his mother falls into a lake during his youth.  Fries is older in the second story, and his mother is considerably more frail.  In a troubling sign of his impending sociopathy, Fries wheels his mother into the water that nearly killed her years ago, saying it is time for her to finally rest.

The reveal of the issue.

I've said it before, and I'll say it again: Scott Snyder knows how to tell a good story.  I'm not sure where his contributions end and James Tynion IV's begin, but this particular narrative is powerful in several ways, and for several reasons.  It re-establishes Freeze as one of Batman's rogues gallery in a definitive way since the New 52, with the new twist that there is no Nora Fries, just a Nora that Victor Fries was obsessing about due to her condition.  It makes for a subtle but spectacular reinterpretation of the character, and while I can't say it's a change I would have necessarily agreed with , it nevertheless makes Freeze an even more interesting--and insane--character.

Another touch that I'm really liking with the New 52 Bat-titles is how, when applicable, things look very much like they've come directly out of the undeniably awesome video game, Batman: Arkham City.  From the look Penguin's Iceberg Casino, to Freeze's overall physical presentation (though I will admit there are some notable differences), it's neat to see these things from such a well-received game making their mark on the source materials of the comics.

Freeze's origins are also reintroduced, first through the framing story of Victor's obsession with the cold and his mother's injury in the frozen lake, and then through the occasional flashback as Freeze makes headway on his quest to kill Bruce Wayne, who he blames for taking Nora from him.  Bruce Wayne is seen as the heartless businessman who has kept Fries from his research to save Nora, even as he gives perfectly sound business and scientific reasons for making the decisions he does.  It's well-handled material, that gives a critical insight into Freeze's character between the action of him trying to "take back" Nora and kill Wayne.

My one nitpick that I have with this story is the unbelievably quick time frame in which it takes place.  Freeze is not incarcerated for more than a couple of hours at most before breaking out again?  Really?  I mean, I have no doubt that he was quickly returned to Arkham after the Red Hood and company beat him around, but to be able to plan and execute an escape from a new cell in such a short window of time?  It probably would have been better if this had been a follow-up to Night of the Owls, with this story set a few weeks after everything else took place.  Just my opinion.

Artistically, I have to say I'm very impressed with Jason Fabok's work on this issue.  He employs a clear, realistic style that still manages to flow well in the action scenes and allow for a wide range of expression in the characters.  I do like Freeze's look, though I'm still wondering about the fact that his suit has no sleeves.  Still, I'll accept it for now in the way I accept Snyder's new twist on the character: reluctantly and cautiously, but with hope that it'll make for something cool in the future.

Overall, this was a highly enjoyable issue.  I generally don't go for annuals, but I'm glad I picked this one up. Even if you're not into Night of the Owls, you'll want to read this story to see the new take on Mr. Freeze.  The artwork is excellent, and the writing is great.  Highly recommended.

Comic Review -- Red Hood and the Outlaws #9: Who Are You?-- --Hoo? Hoo? / Scott Lobdell and Kenneth Rocafort

There's a lot of red going on in this cover, and it's just confusing enough to distract me from what's going on.  After a couple of seconds, I can find Red Hood and his Talon dance partner for this installment, locked in mid-air combat as they fall.  The Talon looks good, but something about Jason just doesn't look very dynamic.  I know the mask probably doesn't allow for expression, but I also don't think the pose is very good.  The detail around the buildings is beautiful, but overall, I'm not that impressed with this cover.

Red Hood, Starfire, and Roy Harper all seem to in Gotham on unrelated business when Alfred's call to arms goes out regarding the Court of Owls' assault on the city's power brokers.  They happen to be nearest to Mr. Freeze, one of the Court's targets, and go to the Chinatown section of Gotham to protect him.  Several problems abound, however: Freeze has no wish to be protected, and has taken to fighting off the Talons by converting Chinatown into his own personal frozen bunker.  Furthermore, Freeze has been implicated in the current madness, having perfected a method for reanimating cryogenically preserved bodies--which the Court has used to resurrect their legion of Talons tonight.

After breaking up Freeze's fight against his Talon, Jason pursues the escaping Talon while Roy and Starfire attempt to protect and contain Freeze.  Freeze, however, is not having any of it, and takes direct aim at Starfire, whose physiology protects her, and who only gets angrier at Freeze's hostility.  Jason's Talon leads him to an empty lot where the circus used to be, and Jason deduces that he was an acrobat in that circus prior to being a Talon.  The Talon reveals himself as Xiao Loong, a former acrobat, and asks Jason to help him end his life on his terms instead of the Court's.  Roy hits Freeze with an electric arrow while he's fighting Starfire, and Jason brings Freeze's unconscious form to Batgirl at the Bat signal, telling her let Bruce know that he helped out against the Talons tonight.

I tend to be something of a completionist when it comes to certain story arc events.  Night of the Owls is definitely one such storyline, and while I may not review every single issue I read, I can assure you that I'm reading all of this event.  The tie-in from Red Hood and the Outlaws was one I was initially going to skip reviewing, but its relevance to Mr. Freeze's part in the whole Court of Owls drama has led me to include it, along with Batman Annual #1, in this week's reviews.

Since this issue is the first hint we get of Freeze's involvement with the Court, it's like a light bulb goes on in your head when it's revealed.  Freeze, working with the Court.  The Court of Owls, employing assassins from decades and centuries past, who are vulnerable to the cold.  Cold, with which Freeze is obsessed and in which he has a personal expertise.  Doubtless, Freeze has had a hand in enabling the Court to resurrect their preserved assassins!

While not too much is touched on about it here, it's amusing in the mean time to just see Freeze on display.  His arrogance and obsession with being left alone are fun to behold, to the point where he takes a shot at Starfire for offering to protect him, pissing her off immensely.  I don't even know much about Starfire, but I wouldn't even want to consider doing anything that would put me in her crosshairs.  So, either Victor Fries is that stupid--highly unbelievable--that arrogant--believable, but even he must realize his low chances against a super-powered extraterrestrial--or just that desperate to be done with all this nonsense.

This is my first taste of this title since the New 52 began, and while I can appreciate the idea of these people not actually being a team, it's a little odd to see Starfire and another guy fighting more or less alongside Jason, who's always been a loner since his "rebirth."  They know too much about one another and stick together too much to be as loosely affiliated as the premise of this title suggests.  They even take orders from Jason, making him their unofficial leader.  It's really not in step with what I expected.

The Xiao Loong side story also didn't work very well for me.  This Talon and Jason go from being combatants to confidantes in the space of a single page, for no plausible reason that I can see.  The only thing I seem to be able to connect is that Jason reminds Xiao of the Haly's circus he was part of in his former life, and that alone seems to bring the Talon out of his devotion to the Court.  It seems a pretty weak ploy, and not something that would have plausibly worked on an agent the Court spent so much time, money, and resources on conditioning for obedience.

I was not impressed.  Which is sad, because I think with a little more development, I think this plot point could have worked.  Instead it just seems very throwaway.

Artistically, I think this is a fairly solid issue.  Rocafort knows how to draw a variety of action scenes, facial and body types, and environments convincingly.  Freeze looks menacing, Starfire looks unbelievably hot in her ridiculously skimpy costume, and Jason looks convincing in his costume and action shots.  His few shots of Batgirl are actually pretty stunning, and his depiction of an unmasked Xiao Loong, while not enough to make me forget the drivel that plot point was, was still striking and sympathy-inducing.  Pretty good work on that front!

Overall, I'd have to say this title, along with what's currently happening in Teen Titans, really helps make the justification that Scott Lobdell should consider toning down his workload.  He has good ideas, but doesn't do the legwork to develop them properly, and it shows in the lazy, lackluster writing.  The artwork is good, and Freeze's involvement in all this make it a component to the larger story, but not a necessary one.  I did enjoy it, but couldn't help the feeling that it could have easily been better.  Recommended.

Comic Review -- Nightwing #9: The Gray Son / Kyle Higgins, Eddie Barrows, and Andres Guinaldo

Great cover on this issue.  Nightwing and Cobb the Talon are locked in a vicious, intensely personal duel, and the intensity comes through nicely.  It really sets up the premise of the issue, and the artwork, colors, and setting really make it pop.  Very good work.

Nightwing, who is now bleeding like a stuck pig, instructs the mayor to hide himself in a panic room before starting a duel with another Talon, his great grandfather.  As their fight spills out into the streets of Gotham, we alternate between Cobb taunting his descendant and seeing glimpses of both Cobb's past life and the way he had primed the Grayson family line--the "Gray son"s of Gotham, as he'd called them--for service to the Court of Owls as Talons.  Hearing all of this, Nightwing, who has lured Cobb into the subway, bursts the lines containing liquid nitrogen, putting Cobb on ice and rendering him ineffective.  He takes Cobb into custody, stating that he doesn't believe destinies exist, signifying his right to make his own choices about his life.

Another compelling part of the Night of the Owls saga, this story nonetheless had me asking about the sudden onset of snow, which I couldn't remember seeing in any of the other related issues.  Then I remembered that Victor Fries was attacked by the Talons in Red Hood and the Outlaws #9--also a Night of the Owls story--and that the mayor's office could be located relatively nearby, as Fries--or Mr. Freeze, as some may better know him--can be rather... well, cold when dealing with unwanted guests.  So, question raised and quickly answered there.

It was a little creepy to me that Cobb had seen Nightwing and Batman in the cave earlier, and then recounted the episode to Dick during their fight/discussion, but I suppose the Court of Owls in general has been a rather creepy idea.  Cobb's obsessive succession planning for the Talons was also a little unsettling, particularly when you consider that Dick likely would have become a Talon if not for the tragedy at the circus that took his family from him and eventually led him to become the first Robin, then Nightwing.  I also felt like Cobb was Darth Vader to Dick's Luke Skywalker, alternatively taunting him about what a disappointment he was and then trying to persuade him to join him as a Talon.

I did enjoy all of it though, from the creepiness of Cobb's obsession to their wide-ranging and vicious fight to Dick's resourcefulness and outsmarting of his dear ol' great granddaddy.  It all flowed very nicely, and even the flashbacks interspersed throughout the narrative didn't feel like too much of a disruption to the present-day action.  It was well-handled, with enough character development to give Cobb a personality, balanced with the action and dynamics of Nightwing's fight with him.

Artistically, I continue to enjoy Eddy Barrows's pencils.  He really likes to make Nightwing bleed, and the scenes of a bloody, struggling Nightwing are actually among some of the most beautiful illustrations in this issue.  I also have to give props to Barrows and Guinaldo on their action scenes and the detail on the faces of the people they draw.  It all strikes a fine balance between realistic and cartoony that really works for this story.  Excellent work.

Overall, this was an enjoyable installment of the Night of the Owls saga.  The story moves along nicely, the action and drama are taut, and the artwork is wonderful.  Definitely a must-read for Nightwing fans, and anyone wanting more Night of the Owls.  Highly recommended.

Comic Review -- Batman and Robin #9: Robin Hears a Hoo / Peter J. Tomasi, Lee Garbett, Andy Clarke, Ray McCarthy and Keith Champagne

Okay, this is a pretty awesome cover.  I don't know much about Damian Wayne's Robin--and so far don't like much of what I've learned about him--but something about this shot really makes me really root for him.  I'm not sure if it's the double under-hand grip on the swords, the fact that a boy of single-digit age is dauntlessly facing a trained adult assassin in sword combat, or the colors, composition and line work, but the effect is for me to just say that this cover rocks.  My biggest issue with it is that there's really no swordfight between Damian and the Talon in the pages of the comic.  Otherwise, great job there!

Robin receives Alfred's distress call and at first tries to join them at the Batcave.  Alfred reroutes him to a nearby target on the Court's hit list, General Benjamin Burrows, who Damian reaches just as one of the Talons takes out several of the general's men while they're on a training exercise.  They start to escape, but Burrows is injured, and Robin has to drag him to his command post.  When they reach his men, Robin tells them to set up a perimeter and commands them, in the style of a general, to repel the Talon with gunfire until they run out of ammo and the Talon manages to take them out.

Standing over the general, the Talon begins talking about how Burrows is actually the descendant of another man whose family he was supposed to have wiped out over 200 years ago--his hit on Burrows is a matter of personal fulfillment of his duty as the Court's assassin.  Before he can finish his task, Robin shoots him through the head with a grappling line, and strings him up on a tree branch, admitting that he and Talon have more in common than he'd care to admit.  Severing the hanging Talon's head with a sword, he escorts the limping general to safety, commenting that whatever it was, the assassin had actually died long ago.

This was an interesting introduction to Damian Wayne as a character for me.  I'd only seen snippets of him in previous comics, and I really hated what I'd seen.  He was a pint-sized, know-it-all, Mary-Sue character in a Robin costume who made for an unworthy successor to Tim Drake (I'll admit I'm biased here--Tim was my Robin, when I started reading Batman comics as a teen).  Here, he's presented in a less over-the-top manner, as a kid who's perhaps aware that he's grown up sooner than he should have, and acts more adult and matter-of-fact than I've seen him do in the brief glimpses I'd seen previously.

One of the most telling moments in the comic, for me, was how he started for the Batcave--showcasing both his loyalty to his father and his youthful impulsiveness--yet how he calmly and immediately accepts Alfred's orders, realizing that there's a larger picture at play as well as the fact that Alfred and Batman likely have things well in hand at the Cave.  It's scenes like this that make me like and respect a character more than fighting ability, or whatever knowledge the writers want to insert to show that he's smarter than the adult soldiers with whom he's arguing.  Good job on the characterization there, Peter Tomasi!

Artistically, I enjoyed Garbett's line work as well as Clarke's illustration of the Talon's monologuing--he actually did a pretty good rendition of George Washington.  Garbett must have enjoyed drawing so many decapitations and beheadings, as there were plenty to go around this issue.  It was therefore a fitting end to the Talon's "life" in this comic, when Robin took a sword to him.  He's also good at showing Robin's diminutive size against a larger foe and the adults around him, making his deeds and poise all the more impressive.  Kudos!

Overall, this was an action-packed and fairly intense issue, where a boy's wits are pitted against the assassin's fervor as he tries to protect his target from the Talon's wrath.  The artwork is good, the writing flows nicely and has some good character moments, and the plot is well executed.  Definitely worth a read for Night of the Owls and Batman fans, and not a bad stand-alone.  Highly recommended.

Oh, and by the by... I loved the title for this story!

Comic Review -- Batman #9: Night of the Owls / Scott Snyder, Greg Capullo, Jonathan Glapion, and Rafael Albuquerque

This would be a slightly confusing cover if you haven't read this series up to now, with the Cylon-Batsuit staring out at you over what I assume is Wayne Manor.  It's exceptionally bad-ass if you know what's going on though, and the Talons caught in the reflections of the mask's visor actually look daunted.  This is why you do not mess with Batman, ever.  He prepares for everything!

Batman has picked up where he left off in the last issue, coming out of the Batcave's armory in a tank of a Batsuit designed to withstand environmental extremes.  He throws down on the group of Talons, taking a large number of them out before they overwhelm him... and then get trampled by Batman's dinosaur statue.  Batman heads out into Gotham, makes his way to Arkham Asylum (covered in Detective Comics #9), and heads to Lincoln March, who dies just after handing Batman a piece of paper.  Reading it, Batman tells Alfred he knows where the Court is... and that he's going to burn their house to the ground.

In a follow-up story, Alfred's father, Jarvis Pennyworth, recounts the story of his association with the Wayne family, and how he blames himself for the Wayne family becoming enemies of the Court of Owls.  He implies that, if Alfred has indeed read the letter, whatever Jarvis has done, Alfred likely knows what the cause is.

I've made no secret of how much I'm enjoying the Night of the Owls crossover going on amongst the Batman family of titles.  The last issue of Batman sent a shiver through me when I finally put it down, and the follow-up in Batman #9 continues to lay down the sense of epic, creeping dread that has been so expertly delivered in this series and the tie-ins to this story.  Now Batman has decided to actively push back, and as all Bat-fans know, things are about to get seriously ugly... for the Court of Owls.

One thing that is spot-on and which never falters is Batman's sense of confidence.  Whether it's commenting that he can simply play harder as he lays into the Talons or coolly knocking the last one out with the Batmobile as the Talon tries to escape, it never fails to impress me.  This is a guy who has looked into the abyss many times, and always makes whoever's on the other end blink first.

I was saddened by Lincoln March's death, but I'm also a little suspicious of it.  He hung in just long enough to gasp a message for Bruce Wayne to Batman.  I don't know if he's just a figure intended as a springboard of sorts for Bruce, or if he's faking his death and is somehow aligned with the Court, but I can't claim either would really surprise me at this point.  I really would have liked for March to have been an actual, live, genuine BFF for Bruce Wayne.  If anyone needs a civilian bromance, I'd say it's him.

The Jarvis Pennyworth storyline kicks off an interesting and potentially very vital look at the relationship between the Pennyworths and the Waynes, and seems to center on a secret they are keeping from the family they serve.  I'm eager to see what happens next, as the Pennyworths' influence over the Waynes, while subtle, must not be for nothing, and the sinister nature of whatever information they've concealed from them doubtless holds a vital link to the Court.  More, please!

I've said plenty about how much I love Capullo's artwork in this series, so I'll only say this time that he maintains his usual high standards very well.  I saw a lot of hate for Albuquerque's artwork in last issue's additional story, and am more than a little puzzled.  While I admit it's a different style than Capullo's, it's very beautiful and fitting to the tone of the stories.  I can't help feeling people are punishing the artwork simply for not being Capullo's, and I don't think that's right.  Albuquerque's artwork is sinister, evocative, and an excellent fit for the tone of the Night of the Owls storyline.  I for one hope to see more of it!

Overall, this is a strong continuation of this storyline.  I continue to bow to Scott Snyder's take on the Batman mythos, as well as the evocative and striking artworks provided by Capullo and Albuquerque.  If you haven't read Night of the Owls, do yourself a favor and start.  I think this will go down as one of the classic Bat stories.  Highly recommended.

Comic Review -- Detective Comics #9 / Tony Daniel, Sandu Florea, and Szymon Kudranski

I like this cover a lot.  Batman is taking on three Talons and holding his own, when just a few issues ago in his self-titled series, he was having a hard time with just one.  The colors and composition make for an intense, dynamic action sequence that strongly ties in with the Night of the Owls event for this issue.

In this installment of the Night of the Owls, Batman has taken the fight to the Talons, specifically the ones that have come after Jeremiah Arkham in his own Arkham Asylum.  When the doctor realizes his facility really is under attack, he makes a deal with one of his patients--Roman Sionis, the Black Mask--to protect the asylum.  Black Mask does so, but Batman realizes what he's doing and shuts him down quickly.  Realizing Arkham had been in league with Black Mask, Batman knocks him out and takes him off the island, intent on dropping him somewhere he'll be safe on his way to the next target.

This being my first foray into Detective Comics since the New 52 relaunch, there's probably a lot of details I'm missing in this review.  One of the first things I noticed was how very much the look and details of this Arkham Asylum are modeled after the awesome video game Batman: Arkham Asylum, from the look of the facility to the inclusion of security guard Aaron Cash, a character I knew from the game.  I could have my details mixed up, of course, but my first intro to that character was from that video game, and he will forever be associated with it in my eyes.

While this is obviously one chapter in the wide-ranging and fast-paced Night of the Owls storyline, it carries the feeling of a task without any real weight.  Daniel does a fine job of writing it, to be sure, but it seems Batman is making one stop on the way to another--which, to be fair, he is.  Arkham, to my thinking, would be a fairly low-priority target for many reasons, not the least of which is that he's always been portrayed as a naive or corrupted, if not outright insane administrator.  Frankly, I'd be more focused on saving the mayor, the police commissioner, the city comptroller... many others would take priority over Arkham.  But that's just me, and obviously Batman is a better man than I am. :)

Artistically, I have to admit, Daniel has quite a bit of talent, handling both storytelling and penciling duties with a delightful aplomb.  His illustrations are wonderfully detailed, and about as realistic as you can get in comics while still maintaining a hand in the grotesquely fantastic.  Arkham's designation as a mental institution is played up in its dinginess and desolation, from the orange uniforms of its patients to the bare, almost decaying appearance of various rooms.  Great work.

Overall, this is a good read in the Night of the Owls saga, though its necessity to the rest of the story won't be determined until the whole thing is said and done.  The artwork is great, and the telling of it from Arkham's perspective makes for an interesting narrative device.  Batman fans will definitely enjoy it.  Recommended.

Comic Review -- Batwing #9: You Have Been Judged Unworthy / Judd Winick, Marcus To, and Ryan Winn

Interesting cover, with a dynamic composition and a breathtaking angle.  Batwing's struggle with this Talon emphasizes how dangerous these assassins are, with Batwing defending himself from a vicious assault from above.  The artwork is nice, and makes me want to see what happens in the pages within.

We open with a conversation between the members of the Court of Owls, who are talking about retiring Alexander Staunton, presumably the Talon featured in this issue.  David and Matu, meanwhile, have come to the Batman, Inc. headquarters to get some upgrades for the Batwing armor.  Lucius Fox invites them to a gala the corporation is hosting, and David reluctantly attends.  He has a difficult time hiding his disdain for a corrupt African politician, but is reigned in my Fox, who tells him that sometimes personal sacrifices have to be made for the greater good.

It isn't long before the gala is marred by a gasoline fire, prompting David to find and don the Batwing armor.  Alfred's call for help against the Talons goes out to Matu, who relays the information to David, who arrives just in time to distract Fox's Talon from murdering him.  They fight, and David gauges the Talon's regenerative abilities while they do so.  Finally determining that extreme measures are needed, he blows the Talon's arms off by using explosives designed for blowing locks.  When he's congratulated by the politician he'd expressed disdain for earlier, he punches him out, telling Fox that that is how they compromise in Africa.

I'm unfamiliar with Batwing and Batman, Inc., so this storyline is yet again expanding my horizons in that way.  David Zavimbe's depiction as essentially an African, black version of Batman is interesting, and the fact that he works with an organization that essentially supplies gear and upgrades to the Batwing armor gives him (at least in theory) the same access to technology that Bruce Wayne has.  I also like one similarity he has with Batwoman, which is essentially the close immediate assistance of a second party, in this case Matu Ba.  Like Kate Kane's father, he relays information and aide to him essentially in real time, making him by design more of a team player than Batman would be.

David certainly seems to share Bruce's obsession for crimefighting work and defeating opponents.  He's very smart about observing his opponents abilities during their fight, and applies that knowledge liberally to end situations as quickly as possible.  He tests several limits of the Talon's endurance, and finally has no problem blowing off Staunton's arms to end their encounter when he sees how formidable his opponent truly is.  It makes for a familiar feel to a Batman character with a fresh appearance.

Artistically, I think Marcus To brings a steady sense of realism to his depiction of the characters.  He's as good at drawing them in civilian garb as he is at outlandish superhero costumes, and his action scenes are for the most part pretty good.  Occasionally things look a little rushed or minimal, usually during action shots from a bit of a distance, but I can forgive these in relation to the amount of outstanding work in this issue.  Excellent job!

Overall, I enjoyed this outing, and not just because it's another Night of the Owls story--though to be fair, I'm loving this event.  I enjoy the portrayal of Batwing so far, and his intelligence, prowess, and determination.  The action is great, the art is good, and the characters are intriguing.  Definitely a must read for Night of the Owls fans, this story is seriously making me consider adding Batwing to my pull list.  Highly recommended.

Comic Review -- Nightwing #8: Bloodlines / Kyle Higgins, Eddy Barrows, Ruy José and Eber Ferreira

Addendum to this post: I apparently missed a few key plot points while reading this issue, and a sharp-eyed reader pointed them out to me.  I've since gone and made corrections to the original post.  Erroneous original material is struck through, while additions or replacements with the corrections are done in italics.

This of course also affects some of my analyses of this story, which will remain unchanged for the time being.  They were, after all, valid observations at the time I made them, even if they depended on an erroneous first reading.

My apologies for the errors; hopefully this will encourage me to pay a bit more attention in the future.  Thanks to user havok85h on Comicvine for pointing these out to me.

I do like the cover for this issue.  The mirrors behind the Talon depicting the different eras in which he operates make for the suggestion of a timeless threat against Gotham.  Nightwing is at the ready, and willing to fight, while his hapless victim from the early 1900s looks on in abject terror, showing that things operate differently between the times.  It's fantastic artwork, and makes for a great introduction to the story inside.

The narrative switches between two viewpoints for this issue, that of Nightwing, and that of the Talon assassin he ends up fighting against to save Mayor Hady's life William Cobb, one of the Court's Talons.  Having gotten Alfred's desperate transmission from the Batcave, Nightwing intercepts the Talon just as he's about to kill his mark, and a vicious fight ensues.  The Talon Cobb, meanwhile, talks about his life, and how he grew up living on the brink of poverty in turn of the 20th century Gotham, managing to pull himself from the depths by talent and skill as a performer before it was all stripped away from him.  As he gets the drop on Nightwing, who has just defeated the mayor's Talon, he reveals his identity: he's William Cobb, Dick Grayson's great grandfather, his mission: and he's turned his sights to killing his "traitorous" descendant.

Nightwing has always been a favorite character of mine, and the only reason I can offer for not picking up his series when the New 52 started is that there were too many other entry points I wanted to explore at the time.  I know enough about Dick Grayson's history that a re-introduction wasn't necessary, and frankly, I hadn't heard enough about the relaunch title to really be hyped for it.  I figured if anything important enough came up, I'd find my way to the title.

Well, something came up.  And that something would be Scott Snyder, temporarily connecting all the Bat-titles in the thrilling Night of the Owls storyline.

I have to admit, there's a keen sense of satisfaction to see the Court of Owls being such a big threat that it's far more than Batman will be able to handle by himself, and it's fun to see the others jumping in and lending a hand against such a threat.  It stands to reason that following the other Bat-titles for the whole storyline will be optional, but I intend to read them all and see how the story unfolds.  Nightwing's fight against his dear old great grandfather is exhilarating enough, but it's the lead-up that really grabs you, when the power goes out and the mayor's aide sees dead security personnel in the hallway.

Now, I do have some issues with William Cobb being the Talon Dick fights in this issue.  He was, after all, only recently in Bruce's autopsy lab, and I find it deplorable that Bruce wouldn't find some way of keeping him under wraps.  I do, however, see how the story is enhanced by this particular Talon being the one to go after Dick's target, so I'll forgive it, for now.  I just hope the resolution in the next issue makes it worth it.

I have to say, I like Eddy Barrows's work in this issue.  He does a good job with the detail on characters' faces and bodies, and does action and suspense scenes with aplomb.  The fight between Nightwing and Talon is vicious, bloody, and surprisingly well paced for a skirmish that employs the thoughts of both combatants.  Very good work here.

Overall, this is a good lead-in to the larger Night of the Owls story, and sets the tone for what the other heroes will be facing in their own titles.  The art is good, the story is compelling, and the action is dynamic and high-stakes.  Anyone who likes the Batman titles should enjoy this outing.  Highly recommended.

Comic Review -- Teen Titans #8: A Dark Omen! / Scott Lobdell, Ig Guara, and J.P. Mayer

I'm not familiar with the Ravagers, or why they're being reborn here, but I will admit that this is a pretty cool looking cover.  I'm already missing Brett Booth and Norm Rapmund on the art here, but they deliver a nice assembly shot of the team, and the Tron motif here looks pretty good.  Again, not to familiar with the Ravagers, but everything looks pretty stunning here.

The Titans have been captured by N.O.W.H.E.R.E. and its leader, Harvest.  He has each of them subjected to Omen, a corrupted teen who seems to do some kind of psionic strip-mining of their minds while she manipulates reality around them in a water-filled chamber she calls her "womb."  The Titans begin to lose heart, arguing with one another, as they each become victims of Omen's whims.  Subjected to mental illusions and scenarios that keep them from understanding what is real and what isn't, the Titans are eventually led away by another of Harvest's people, Leash, who tethers them to himself and heads for a place called The Colony.  Harvest also refers to the Titans as his "New Ravagers," implying that they will serves him soon, if they do not already.

Okay, Scott Lobdell.

I'm seriously about an issue from dropping this title.  What started off as a somewhat slow-paced, but fun an promising assembly story has dragged on and on, without any real resolution, into a plodding, we-have-you-now tale that is failing to elicit any real emotion from me, and I suspect plenty of other readers at this point.  Now it's about to divert into a storyline called The Culling, and at this point I couldn't care any less about it.  What happened to the fun and action from the previous issues?

If you're going to drag a story arc on for this long, you have got to keep it interesting and compelling for your readers, and we have proof that this can happen.  Scott Snyder's run on Batman has accomplished that.  This story, not so much.  Oh, the Titans are being held helpless as they wait to be "psionically molested" by Omen?  I just don't care anymore.

This is one of those classic cases of how it's better to show than to tell in comics, and in good writing in general.  It might be more interesting if we got a little more exposition on Omen and what exactly her powers do, or if we actually saw some of these horrible secrets the Titans are having forcibly divulged from their minds.  Instead, we get this uppity girl simply saying, "Ooh, I've shown you all your fears and discovered all your secrets," over and over again.  Yawn.

This arc of the story is not helped by the art, where Brett Booth and Norm Rapmund's absence is immediately noticed.  It's not bad overall, and does a serviceable enough job of maintaining the look established by that team, but in some places things and characters look noticeably stretched and unflattering.  Bunker in particular looks a bit too "off" in this issue, like he's been sculpted from dough.  I'll give it another issue or so to settle into the new look, but so far I'm not terribly impressed with it.

Overall, I can't really recommend this issue for comics readers.  It could be my overall ignorance of DC and Teen Titans characters and lore, but it doesn't seem to really give me much reason to care about Harvest, Omen, N.O.W.H.E.R.E., the Ravagers, or even the Titans' fate at this point.  Add in middling-to-not-memorable artwork, and you've got an issue that really leaves you wanting.  Not recommended.

Fix this, Scott Lobdell.  Or I will take my money to another title.

Comic Review -- Justice League #8: Team-Up: Green Arrow / Geoff Johns, Carlos D'Anda, Ivan Reis, Joe Prado, and Gary Frank

Another beautiful Jim Lee cover, and unfortunately the only presence of his during this issue.  Still, it's a winner in my book.  The depiction of an over-matched, harried-looking Green Arrow against the backdrop of an X'd out Justice League, spotlight suddenly on him, looks stunning.  It also fits with the tone, in a comical sort of way: the picture might suggest Arrow as the one who spray-painted the X over the Justice League, but in the story, he's trying--very hard--to get them to let him on the team.

This story is essentially about Green Arrow, who keeps showing up wherever the Justice League happens to be doing their super-group thing.  He consistently gets in a couple of helpful shots, and then gets shot down by the League when he asks them to give him a chance at a spot on their roster.  Aquaman in particular seems to have issues with Green Arrow, hinting at a shared past between the two of them.  When Steven Trevor shows up at Ollie's to tell him there's no place for him on the Justice League, he tells him there is another team he might work better on, to which Ollie responds enthusiastically.  Finally, as the Justice League members discuss their reasons for not allowing others to join them, we are shown a flashback of the entire team fighting against someone they had once allegedly let into their ranks, one Martian Manhunter.  From a far away location, J'onn seems to be able to hear their thoughts, and enigmatically remarks that "They are not ready."

In the Shazam story, Billy Batson is introduced to his new home, along with his adopted siblings.  He's obviously put off at the prospect of having to share house space with other teens and children, and ends up making the young girl, Darla, cry with his callousness.  Mary, the oldest of them, throws him into his room, explaining that Darla's original family just didn't want her, and that he was extremely rude.  When he expresses no remorse, she walks away, astounded at his self-absorption.  He admits he didn't mean to make Darla cry, and notices a face in the clouds as he's looking out his window.  It disappears quickly, leaving him to wonder at what he just saw.

I will say this about the New 52: it's giving me a good opportunity to get acquainted with heroes an characters I simply wouldn't have wanted to bother with in DC's normal continuity.  It isn't that I couldn't do it, but the process of figuring out the good stories to read, finding a decent entry point, and then keeping up with yet another title is just too daunting, both economically and in terms of time management.  Green Arrow and Shazam are both characters I've know of but never really read much of, so I'm liking that they're getting some exposure in this title.

I actually really enjoyed the Green Arrow story.  It's amusing, and Ollie is both charming and at least partially able to hold his own among the god-like entities on the Justice League.  I particularly like that, despite several swats away from them, including some veiled threats from Aquaman and some amusing put-downs from Green Lantern, Ollie's resolve is unchanged.  Wonder Woman being at least mildly impressed with his efforts was also enjoyable, as well as the fact that it widened the apparently simmering issue of whether or not to expand their membership.  And, of course, I'm eager to know more about J'onn's past involvement with the League and how that all went down.

Billy's story was okay.  It doesn't really do much new at this point: we see that he's still a little jerk, though maybe not as intentionally as he comes off.  We see him getting introduced to his new family, which he doesn't take well, and we see him reacting to a face in the clouds that suddenly goes away.  We're getting a setup for more action, which is fine, but I just felt like this installment could have been a little more compelling than it came off.  Hopefully they'll get past all the expositioning soon enough.

Much as I want Jim Lee back on the pencils here, I think the artwork in both stories was great.  D'Anda, Reis and Prado do a good job of creating a look that closely adheres to the visual experience that Lee set up in the first story arc.  It's all realistic yet dynamically stylized, and is great fun to behold.  The Shazam artwork is very crisp and full, with gorgeously rendered detail.  The art styles are very different, yet both work well.

Overall, while I'm a little confused as to the apparent abandonment of The Villain's Journey arc that was started last issue, this was nevertheless a good distraction for this month.  The Green Arrow story is funny, the Shazam story is passable, and the artwork in both is very good.  Highly recommended.

What Are the Ideal Methods of Reading and Collecting Digital Comics?

As a potentially serious digital comics reader, I know there are a range of issues that will affect how I access, purchase, and enjoy any digital comics I read.  The approach I intend to take towards digital comics, therefore, should involve a good deal of consideration, research, and soul-searching before I just charge into the fray.  I'm going to lay out my current digital reading habits, a few of the issues I see ahead of me, my intended approach to collecting digital comics, and what currently appear to be the best options for me with that in mind.

My current digital reading habits mainly involve two pieces of hardware: my desktop computer and my smartphone, an Android-based HTC Vivid.  On the desktop, I mostly just read free samples from marvel.com, on what I assume is their Digital Comics Unlimited interface.  From my Android phone, I have the following apps through which I read comics: Comixology, Marvel Comics, DC Comics, and Dark Horse.

Again, I mostly read free samples through these apps (having sampled Justice League, Hellboy, and several Spider-Man titles), though I did redeem my digital copy of Avengers vs. X-Men #1 through my phone and read that through the Marvel app, and found the reading experience to be decent.  So, while my overall experience with reading digital comics is at the shallow end of the pool, I'm finding Marvel's method of luring readers with a free digital copy to be both enjoyable and deepening in terms of exposure to the medium.

There are a wide range of issues that have thus far prevented me from investing in a dedicated hardware interface for digital comics.  By far the biggest annoyance is the ebook reader wars between the Amazon Kindle readers and the Barnes and Noble NOOK.  Basically, the Kindle has an exclusive deal with DC Comics, where DC graphic novels are only available on the Kindle.  The NOOK, conversely, has offered a similar deal with Marvel comics.  So, by and large, if you want access to both publishers' content, going with either of these options is not feasible.  Finding comic apps on the NOOK at least, is a terribly frustrating endeavor, so that's definitely not a possibility for me at this point.

I'd strongly considered investing in one of these two technologies up until I heard about this.  I would basically just use an e-reader to read comics.

So, versatility and variety are top factors in my approach to collecting and reading digital.  While I don't have a problem downloading individual issues, the option of downloading a trade collecting several issues at once is also desirable.  The problem is, I'm not sure there's a way to do that, with the DC & Kindle/Marvel & NOOK war going on.  Hopefully that'll be resolved in the near future, but I know better than to hold my breath for such things.

At this point, I'm reluctantly forced to conclude that perhaps the iPad is the best way to go, if I want to read on a bigger screen.  It has the most versatility, and from what I can see, the most likelihood of breaking the wall of the e-reader war in the future.  Not only can it act as an e-reader (among other things), but it doesn't seem to have the problems finding and downloading apps that I've seen on the NOOK and read plenty about with regard to the Kindle (even the Fire).  So, reading single issue comics shouldn't be a problem at all.  Whether it can grab trades is something I'm not sure about.  My guess would be no, given that Marvel and DC should currently be available exclusively to NOOK and Kindle, respectively.

I have to admit though, I do have high hopes Google/Android will make a comparable product to the iPad.  I love my Android phone, which I ditched the iPhone for, and it does provide an excellent current medium for digital comics.  It will likely be my preferred reading method, since it has all the capabilities I've seen on an iPad with regard to digital comics and AR functionality.

I would be curious to know how others get their comics digitally, what their favorite programs and apps are, and how they approach collecting in this arena.  Any new information or perspectives are welcome about this, as this is an area of comic books where my perspective is constantly evolving.

Comic Review -- Teen Titans #7: Assault on Project 13 / Scott Lobdell, Brett Booth, Norm Rapmund

*Sigh*, that damn banner again.  I'll get over it at some point, I swear, but for now, I can't help but sigh in exasperation whenever I see it.  Overall, not a bad cover, though not great, either.  I suppose it's a little confusing.  Superboy looks pained and things look tense with the others moving about, but without knowing who Centerhall is up to this point though, I don't care enough for him to want him on the cover.  Everyone else is barely a blip on the cover, and not that well drawn as you get further back.

In this issue, the Titans learn about Superboy's current fate at the hands of N.O.W.H.E.R.E., and rush off to save him.  Well, more like get dragged off to save him, as Red Robin manages to guilt them into going after they rightly point out that Superboy recently almost killed them all.  We also learn of the existence of Danny the Street, who also apparently escaped from N.O.W.H.E.R.E. with Kid Flash, and who has been working for Red Robin for some time.  It appears he was the one responsible for bringing Kid Flash and Solstice to Red Robin's place a few issues ago.

While the bulk of the team engages N.O.W.H.E.R.E.'s forces, Red Robin is caught by Solstice in the records room of the complex, downloading data on the kids N.O.W.H.E.R.E. has been kidnapping.  When pressed, he tells her he's been building a case against them for a long time, to which she reacts with outrage, claiming that he should have been helping kids like her a long time ago, not waiting for evidence.  While it's never made explicit, the story implies that Red Robin incapacitates her and tries to abandon her at N.O.W.H.E.R.E. by telling the team to leave now.  They won't leave without her though, and they are surprised and overtaken by Harvest, who reveals himself as the man who created N.O.W.H.E.R.E.

I have to admit, at this point I'm starting to get twitchy and want this story to wrap up conclusively.  It's not that it was bad or uninteresting, but it does feel like this arc is starting to drag a bit in places.  Can we please get everyone on the same page?  Can we get a strong idea of the Titans' lineup, headquarters, and so on?  We seem to be so locked in startup mode, and dealing with so many twists and turns in the narrative, that by now I'm starting to feel more than a little weary.

While I can easily see Red Robin having a hidden agenda for the raid on N.O.W.H.E.R.E., I'm having real issues with his implied behavior towards Solstice.  Sure, I think she was overreacting and not seeing the bigger picture, but to suggest he would physically attack her, knock her out, and then leave her where she was last imprisoned... I don't know.  I know Tim has trust issues he needs to overcome, but this seems a touch extreme for the boy who is trying to keep all the superpowered teens together and free from persecution.  I'm eager to see how this is addressed, but it better be damn good, as this issue left a bad taste in my mouth where this part of the story is concerned.

Superboy and Kid Flash have a few amusing exchanges of dialog, as they insult one another during the rescue.  I keep imagining Superboy as sounding like Brandon Routh, and I think more and more I'm hearing Kid Flash as a quick-talking Michael Cera, so it really works on the humor level for me.  I thought their banter in Scott Pilgrim vs. the World was pretty funny.

Artistically, things look as great as ever.  The addition of the NOWHERE villains finally give Brett Booth some more people to draw, even if they aren't developed very well.  Zaniel Templar looks both horrifying and creepy in Wonder Girl's gratuitous and brief solo fight scene with him, and Harvest looks pretty terrifying as well.  I'll be interested to see what he can do next issue.

Overall, while this still makes for an enjoyably continuation of the story, it needs to wrap up soon.  By pushing and extending the arc further and further with more twists and revelations, it's starting to feel less interesting and more exhausting.  I'm willing to keep along for a couple more issues, but unless things get more compelling and less tortuous, I may bow out.  It's a good story, Scott.  It just needs to resolve itself properly.  Recommended.

Comic Review -- Batman #7: The Talons Strike! / Scott Snyder, Greg Capullo, and Jonathan Glapion

Again, the stupid banner at the top.  Get rid of it, DC.  It's really unnecessary and insulting.  Save your ads for somewhere inside the comic, like a proper marketing monster, so we can either read or ignore them.  Stop blorting up the covers with non-comic related banners.

I do like the concept behind the cover design.  Deal with one Talon, and you've still got a legion more of them on the horizon, preparing to swoop down and finish what the first began.  It sets up a good foreboding tone for the story, and helps keep things tense.

Batman has escaped from the Court of Owls' underground labyrinth, though he is far from unscathed.  He's resurrected by the attentions of a girl named Harper Row, who he's apparently met before, and who he warns to leave him alone before storming off.  He's found by Alfred near one of the underground entrances to the Batcave, and waves off any medical care to go right into an autopsy of the Talon corpse Alfred found.  Meanwhile, the Court prepares what appears to be another Talon for a looming confrontation with Batman.

Nightwing shows up while Batman's examining the body, and gives him the basics about the Talon's abilities and how they work.  Bruce also reveals to Dick that the man on the exam station is his great grandfather, and that Dick was going to be chosen to be a Talon, had his parents not died and Bruce not taken him in.  He tells Dick that he now sees that Gotham is a stranger and an enemy, and Dick responds that neither Batman nor the Court is Gotham City.  Finally, we see the Court release a number of Talons at the same time.  Their goal: to retake Gotham City for them, and destroy Batman once and for all.

I'm continuing to enjoy the revelations Snyder brings forth in this story, first portraying the Court as this mysterious, ages-old thing, and then having them kidnap Batman and drive him to the brink of insanity, with Batman finally escaping and using his formidable mind to figure out the method behind their madness.  I'm not familiar with Harper, but her brief appearance raises enough questions that it's likely we'll see her later, hopefully in a more substantial capacity.  I'm definitely keen to see how Batman handles a squadron of Talons.  I have a feeling that he's suffered enough that some serious payback is in order.

I was a little miffed with one particular moment in the story.  Batman punching Nightwing.  From where I'm standing, it was at the very least, clumsily portrayed.  At worst, it was grossly out of character.  I can understand wanting to punch the little bastard in the mouth when he gets up on his high horse, but that doesn't mean you go ahead and do it, particularly when he's supposed to be one of your closest allies and adopted son.  Presumably, he did it to get the little owl deposit from his tooth--that is what happened, right?--but even that's not made explicit.  And really, was it necessary to hit Dick in order to get it?  I wasn't too thrilled with that scene, overall.

Artistically, I'm becoming a big fan of Greg Capullo's work.  The stark, gritty detail of his line work really helps the story pop, and really establishes the dark mood as well as the idea that the setting really is a dark entity all its own.  Again, the eyes he draws on his characters can really make an entire picture.  Keep the hits coming!

Overall, I'm very pleased with this storyline, and can't wait to see what's next.  I'm really hoping we get to see Batman make the Court pay for what they did to him, for coming to Gotham at all, and for just breathing the same air as him.  All that remains to be seen, but in the meantime, I'm pretty well sold on this storyline and eager to see where it goes.  Highly recommended.

Comic Review -- Justice League #7: The Villain's Journey, prologue / Geoff Johns, Gene Ha, and Gary Frank

Okay, my first issue is with the banner across the top of the cover.  I've never liked ads like this, and this one's no exception.  I say this being completely supportive of DC's We Can Be Heroes initiative, but they could have put the ad prominently inside the comic.  This move was just needlessly disruptive, and I don't appreciate it.

Otherwise, I rather like the cover.  It's a Jim Lee, and I'll admit, it's a bit crowded, but it's still dynamic, action-packed, and iconic.  It even supports the story inside somewhat, which is always a plus in my book.  It's clearly an illustration designed for a cover or poster--clearly it makes little sense to engage in combat in this kind of close quarters--but overall, I like the look presented for what it is: a dynamic, en media res representation of the team in action together.

With the new origin story finished and done, we come to what is denoted as the present day.  The League's membership has apparently remained the same for five years, and we have a couple of interesting dynamics going on that are a sharp contrast from the all-out action of the first story arc.  First, we see that the writer from last issue, David Graves, has apparently changed his initially sterling opinion of the Justice League, and is embarking on some kind of clandestine quest to destroy them.  Second, the Justice League is still working on their teamwork even as they take down an emerging threat with little effort.  Colonel Steven Trevor is then shown dealing with the media on behalf of A.R.G.U.S. and Congress on behalf of the League, as their liaison.  Finally, we get a treatise from David Graves, who reveals himself as the person who stole an artifact called the Orb of Ra, and who has discovered the key to destroying the Justice League: Steven Trevor.

I've already seen quite a few negative reviews for this issue, and I'm actually forced to wonder why people seem to dislike it so.  I understand that there's not as much high-octane action as before, but frankly, I could use a break from it by this point.  I'm much more interested in the interpersonal dynamics between the members of the League, and as shown, those who interact with the JL on various levels.  Watching Steven Trevor, with whom I'll admit not being very familiar, deal with his role as human liaison to the modern-day gods and frustrated man whose love for Wonder Woman remains unrequited, lends a sense of anchoring to the narrative that could otherwise easily remove its scope from more human concerns.

I'm also fascinated by the premise promised by the title, "The Villain's Journey," a reversal of the mythological narrative pattern Joseph Campbell described as the hero's journey.  There's a lot of potential for some imaginative storytelling here, especially if Geoff Johns takes this seriously and explores and maybe subverts some of the stages of the hero's journey Campbell sets up in The Hero with a Thousand Faces.  Time will of course tell, but I for one am willing to give him the benefit of the doubt to see how this unfolds.

After all, this issue is more or less bookended by David Graves' observations and foreshadowing. I think he's the one who's intended to be the star of this arc, and I would urge readers and reviewers to keep that in mind for this one before sinking Johns on other areas of the story.  Despite how little he appears in this issue, he's made some key moves in it, and I think we've got a potential setup for a good nemesis for the Justice League.

That's not to say that I have no issues with this segment of the story, but they're fairly minor compared to what I think may be on the horizon.  My biggest issue is that the JL's membership seems not to have changed in the five years since it was formed.  Really?  No one died, left, switched sides, went on to a higher plane of existence, or retired?  They've accepted no other new members since then?  I suppose all of this could have happened, and that they just happen to have their original configuration at this point in time for the story, but that seems awfully convenient as well.

I'm not familiar with Shazam except in the vaguest sense, but I thought the opening of that story was pretty interesting.  I'll be interested to see where it goes, and will continue to read it, though I was a little miffed that it just had to be introduced (and apparently continued) in the pages of Justice League.  Still, I'm willing to give it a shot.  Hopefully Billy Batson's not as huge a jerk as he was portrayed in this first story, but maybe his own hero's journey involves him changing his attitude.  We'll see.

Artistically, I was a little jolted by Jim Lee's absence from this issue (with the exception of the cover), but I do think Gene Ha does a good job in his guest role this month.  It seemed slightly gritty for a story about a high-powered superhero team, but it did a fine job of supporting the narrative.  Batman's angry face in response to Green Lantern's patronizing remarks was pretty amusing, as were the renderings of Spore and his minions at the beginning of the story.  I did enjoy Gary Frank's artwork in the Shazam story quite a bit.  It was very clean, and the linework made for some very realistic illustrations.

Overall, I like the setup and direction for this issue.  I think the story has a lot of potential, and that its focus may not be where a lot of readers think it is.  The Shazam story also promises an epic tale, and starts off well enough.  The artwork in both stories is nice.  Definitely a worthy start for anyone interested in superhero stories, and possibly those interested in studies modern mythologies.  Highly recommended.

Comic Review -- Justice League #4-6 / Geoff Johns, Jim Lee, & Scott Williams

Justice League #4

I like this cover, even if it suffers from "didn't happen in the comic" syndrome.  While Hal and Aquaman do some verbal sparring, there's never any real physical conflict between them.  Still, Jim Lee does his customarily awesome job of making his heroes look epic and badass, as he does with Aquaman, who actually totally wins me over in one scene of this issue.

The impromptu team-up progresses as Aquaman joins the fray, proving to his new teammates that being king of the oceans holds some distinct advantages in the combat arena.  A newly-formed Cyborg assimilates some of the mysterious cubes in the alien invaders, and inadvertently transports himself into the fray of assembling heroes.  But before they can get their bearings, the invaders' titan of a leader shows up, calling himself Darkseid.

The progression of the plot is good, as we get to see everyone's personalities and the interpersonal dynamics involved begin to really take shape.  It's good to finally see everyone getting together and forming an alliance, albeit one out of desperate necessity.  Clearly these are some powerful heroes, with powerful personalities and biases, but they are slowly coming together.  They may bicker about who's in charge and why, but they already know to fight together against a bigger enemy.

I personally loved Aquaman showing up Green Lantern when asked what he could possibly bring to the table of assembled heroes.  He's never been my favorite hero, but I've also always suspected that to be due to poor utilization by writers of his power set and personality.  After seeing him throw down on Darkseid's minions so thoroughly, I'm eager to see what else Geoff Johns and the other New 52 writers do to make him more favorably viewed.

Favorite scene from this issue: Hal telling the truth about himself after coming in contact with Wonder Woman's lasso, and his reaction to Batman laughing at him.

Artistically, I loved the final page shot of Darkseid as he announces himself.  It's all shadow and blazing eyes and brimstone badass-ness, very much befitting such an apocalyptic foe.  I also like the extra uses of splash pages as the action gets more and more epic and intense.  Aquaman's sharks devouring aliens, Darkseid's emergence and intro... things are definitely getting hairier, and the art really plays that up.

Overall, I'm in it for the long haul.  Between the grand scale of the storytelling and the dynamically beautiful art by Jim Lee, there's little reason not to want to see where this story goes.  Highly recommended.


Justice League #5

Decent cover, even if it's missing Batman and Flash from the assembled team pose.  Still, it symbolizes the team's coming together in the story, and looks appropriately grand.

Darkseid's emergence has temporarily knocked out the heroes.  He captures Superman and contemptuously casts a pugnacious Green Lantern aside.  Batman reveals his identity to Green Lantern, and tells him to put his issues aside and work with the other heroes, then allows himself to get captured by Darkseid's aliens so he can go after Superman.  Green Lantern rallies the remaining heroes with a plan, and they head after Darkseid.  Batman, escaping his captors, finds part of the city converted into some hellish processing plant.

This issue sees the Justice League essentially getting their bearings, realizing that Darkseid is going to be anything but a pushover, and understanding that they'll need to work together to bring him down.  There's only a little bit of action, but the pacing keeps things developing at a good clip, and some of the dialog choices really keep the reader entertained.  Green Lantern acting all feisty and going vainly at Darkseid was quite amusing, for example.

We get an interesting sort of "candid" moment between Batman and Green Lantern in this issue, as Bruce reveals himself to Hal in the name of getting Hal to get over himself and focus on being a team player.  It works in the story, but I'm left feeling a little puzzled by the whole thing.  Batman is notoriously cagey about many things, especially his own secrets, so giving up the big one just to make a point feels pretty out of character, at least to me.

Favorite line of the issue goes to Wonder Woman: "It's settled then!  WE BLIND HIM!"  She reminded me of a Klingon in that moment.  A very hot Klingon, but still.

Art-wise, there's visual candy all over the place.  The visuals of Flash and Superman trying to avoid Darkseid's guided missiles were intriguing, and slightly amusing in their Tron-ness.  I also enjoyed the pose of the assembled heroes when Green Lantern tries out his war cry.  The reveal at the end of the issue is breathtaking in a horrific kind of way, as we see the sheer scale of Darkseid's destructive intentions.

Overall, I'm not overly impressed with this issue, but it does bridge the narrative to what I'm expecting to be an exciting finale.  It looks good, but the action is slowed somewhat.  Still, the overall story is very well told, and I can't wait to see what happens next.  Highly recommended.


Justice League #6

This is a breathtaking cover, in that way that makes your stomach lurch.  The JL, bowing before Darkseid?  Fortunately, it's another of those "not in the issue" covers.  It's very well rendered, and indicative of how formidable an opponent Darkseid is.

The Justice League finally take the fight to Darkseid, working together and hitting him as hard as they can with everything they've got, while Batman tries to find and rescue Superman.  Cyborg manages to use the mother boxes to transport the team and Darkseid to Superman's location, and Batman talks him into getting his bearings so he can assist in sending Darkseid back from where he came.  Cyborg is finally able to shut the tubes created by the mother boxes down, ending the threat and destroying all of Darkseid's props as he is expelled from Earth.  They are hailed as heroes, and commit to publicly forming an alliance.

I really did enjoy the narrative bookends employed for this story, where a writer frames the conflict in catastrophic, end of the world terms.  He's in the middle of the fray, his family about to die with him, but for the emergence of these metahumans on the scene, heroically risking all to ensure that there will be a tomorrow for Earth and its people.  It's a little cheesy, but the impact is really felt at the end of the story where he calls them the greatest superheroes in the world.

I'm also impressed with how little Darkseid actually says about his intentions.  It frustrates the heroes, leaving them to wonder what motivates this titanic force of evil to lay waste to the earth.  This adds considerable weight to his presence as an intergalactic hardcase.

It's always fun to watch the personalities at play between the heroes, and in this issue it's especially obvious. Green Lantern's petulance, Flash's diplomacy, and Batman's forward-thinking all make for amusing moments.  That Wonder Woman and Aquaman are hands-on warriors also makes for an interesting bond between them as they engage Darkseid in melee combat in succession.  I think this issue does a good job of playing up their individual presences, as well as their collective awesomeness.

Artistically, Jim Lee continues to illustrate die-hard action and epic heroes with aplomb.  One excellent example of this is the Justice League's fight against Darkseid, as they take turns engaging him and work together to do so.  Everything looks crisp, dynamic and high-stakes.  The two-page splash of Superman flying into Darkseid to knock him into the mother box tubes was a delight to behold.  Finally, the pose near the end of the story of the team is satisfying, as is the cover of them on the final page, where the writer's book comes to print.

Overall, a satisfying end to a fun origin story.  I'll be curious to see if they come back to the present day--remember, this story takes place 5 years before the "present day"--or if they build directly from this endpoint.  This story is a must-have for Justice League fans, readers of the New 52, or anyone who enjoys Geoff Johns's storytelling and/or Jim Lee's epic artwork.  Highly recommended.

Comic Review -- Teen Titans #5-6 / Scott Lobdell, Brett Booth, & Norm Rapmund

Teen Titans #5: Over Before It's Begun
I think the main reason I enjoy this cover is because Bart is featured wearing the red iteration of the Robin costume while running roughshod around Superboy.  I also like some of the faces he's making while he does it. Amusing, without being too obnoxious.

The Titans take on Superboy... and it doesn't go so well.  Kid Flash gets super-charged on his speed, faster than his body can tolerate, before Wonder Girl kicks him loose.  Bunker gets a few shots in before Superboy uses his own psionic gloves to knock him out. Red Robin actually knocks him down, but wastes time trying to persuade Superboy to change sides, and Superboy knocks him out.  Wonder Girl ropes him, but gets dragged underground to the subway, where the train's impact presumably knocks her out, but not Superboy.  And finally, Solstice tries to reason with him, and nearly gets through to him, before he knocks her out.  Victorious, Superboy is nonetheless confused, and heads back to his N.O.W.H.E.R.E. masters, without Wonder Girl, intending to get some answers from them.

This disastrous first outing, while not unexpected, was well plotted.  It shows how each of the team members think, as well as showing that Superboy, for all his power, is far from invulnerable.  Aside from the physical chinks in his armor, it seems the best weapon any of the Titans had against him was persuasion and the ability to make Superboy doubt his station as a N.O.W.H.E.R.E. agent.  In the end, it actually seems to work, as Superboy returns to them without Wonder Girl, their intended target, or any of the Titans, even.  So, in a way, it was a victory, albeit a moral one as opposed to a tactical one.  Tactically, they get their butts kicked.

I was a little disappointed that Skitter didn't show up at the last second and support her new comrades, but I'm hoping she'll make an appearance in the next issue.

Favorite line of the issue belongs to Wonder Girl: "The bird kid just beat the crap out of the super kid!"

Artistically, things continue to be stellar.  This art style is pretty much exactly what I like in superhero comics,  realistic but slightly cartoony.  I think it makes for a good combination of expressiveness, epic action, and some exaggeration when it's occasionally needed.  The brawl with Superboy itself was well depicted, and Booth consistently turns out good work.

Overall, I think this is a good chapter to what is turning out to be a lengthy intro to the team.  I don't think we'll be wrapping this story up next issue, which is fine, but I do wonder how long this will go on.  With that said, as long as things are kept this interesting, I'll definitely be along for the ride.  Highly recommended.


Teen Titans #6: By the Light...

Fairly epic cover, though it's another "this scene isn't in the story" cover.  Red Robin actually never takes on Grymm, and there's certainly never any danger of the skirmish landing on Kid Flash and Static.  Still, it's a good action shot, and it lends some context to Bart's condition in the aftermath of the Superboy skirmish.

The Titans are starting to limp away from their fight with Superboy, when the N.Y.P.D. try to arrest them.  Skitter shows up and webs them all up, and Kid Flash starts to spark and vibrate violently.  Red Robin takes him to a nearby S.T.A.R. labs office, where Virgil Hawkins, a.k.a. Static, is on duty.  While he works on finding a way to stabilize Kid Flash, Wonder Girl and Bunker square off against another metahuman imprisoned there, named Grymm, who takes over Skitter's mind and tries to use her to escape.  They knock him out, and Virgil uses a prototype suit designed for the Flash to keep Bart stabilized.  It works, and he makes his debut in his new yellow costume, confident and cool.  The team starts talking about a rematch with Superboy, but Red Robin vetoes the idea, saying they need to return to base and prepare for a war.

I'm guessing the character of Jocelyn Lure will be somewhat significant later, especially considering she's apparently some kind of alien (along with Kid Flash), but her appearance is too brief to glean much more than that from her.

The overall story remains interesting, but I wasn't too terribly impressed with the Grymm side-story.  We get almost no explanation of who he is, he repeats key pieces of information unnecessarily and awkwardly, and his existence is never mentioned once Bunker and Wonder Girl get him under control.  I think that story could have been tightened and structured better.

I enjoyed the appearance of Static, who I don't know too much about but have an overall positive opinion of based on the little information I know about him.  I was also amused by Tim's connections to the Justice League, and the fact that he came to Virgil only after trying to get in touch with them.  It makes sense, and furthers the idea that, while Red Robin may be just a kid and not even metahuman, he, like Batman, brings a lot to the table where his team is involved.

Art-wise, I loved Kid Flash's new costume, and the cool debut pose he strikes while wearing it.  Grymm was interesting visually, but odd.  He has a weird mouth line, and apparently never opens his mouth, even though he has plenty of spoken dialog.  I wonder if that was an intentional choice on the part of the artist or writer.  Overall, things continue to look stellar.

Overall, this respite from last issue's high-octane action keeps the character development going, and continues to develop the team's abilities to work together.  I'm curious to see what Red Robin means by preparing for war, but I'm sure it involves dealing with N.O.W.H.E.R.E., and possibly Superboy.  Can't wait to see more of that.  Highly recommended.

Comic Review -- Batman #4-6 / Scott Snyder, Greg Capullo, & Jonathan Glapion

Batman #4: Face the Court
I like the cover for this issue.  Batman in the sights of the Talon, an outline of a Gotham Batman may not know as well as he thinks... it really sets the tone for this issue.  Playing up these elements also shows Batman's obsession with the Court of Owls as a hoax, as well as the Talon's current obsession with killing him.

Batman narrowly escapes the blast from the tripwire he caught at the end of last issue, and heads back to the Batcave, where Alfred attempts to slip him a sedative and get him to sleep.  Dick Grayson, visiting Bruce, finds him awake and continuing to obsess over the Court of Owls.  He explains to Dick about how he looked into it as a child, his curiosity and unwillingness to accept his parents' death as a random act nearly got him killed.  He then journeys into the sewers, where he is ambushed by the Talon, stripped of his utility belt, and dropped into a nightmarish underground maze, where the Court of Owls mockingly greet him.

I have to hand it to Scott Snyder--I'm really enjoying this story.  The subject matter, the way its plotted... it all makes sense, and is plausibly presented in a way that makes Bruce capable of missing the big picture without making him look like a complete moron.  The explanation of how he searched for the Court in the wake of his parents' murder--and how it nearly killed him--makes it clear that, despite his assertions to the contrary, Bruce very well could letting his emotions and past experiences cloud his judgment.  This is in some ways a reassuring reminder that he, like everyone around him, is human, and capable of the occasional mistake.  It just so happens that this mistake may have huge ramifications for his knowledge of Gotham City.

I also really enjoyed the Talon's brief appearance.  It's quick, violent, and brutally effective, as he lives up to his reputation as a tool for the Court.  After he dumps Batman into the labyrinth and leaves him there, you can't help but feel a shudder run through you as you see he's exactly where his enemies want him to be.

Greg Capullo's art continues to impress, though I'm starting to notice that the eyes on his characters look a little too big at times.  It's not a problem, really--the eyes are the most expressive part of the face, one could argue--but it is something I've started to take note of in this issue.  Time will tell whether it works for or against the overall look.  Overall though, everyone and everything looks great.

Overall, I'm hooked.  I've got to see where this ends up going, and what ultimately the Court of Owls is--real, or extremely clever hoax?  The answer will say a lot about not only Batman, but the Court itself.  Definitely a gripping and interesting story for this title.  Highly recommended.


Batman #5: Face the Court
Oh, wow.  Nice cover.  Batman, lying on the ground, covered in blood, trying to pull himself away as the Talon bears down on him, daggers drawn and dripping. The scene is only partially lit and suggests a partially enclosed area.  This looks deliciously grim!

Over a week has passed, with Batman stuck in the Court of Owls' underground labyrinth.  He's delusional, dehydrated, and keeping to the shadows, where he believes it's safe and they won't find him.  Vacillating between fear and rage, illusion and reality, he sees picture galleries of their victims, as well as cameras set up for himself.  Finally, seeing a picture of himself as the latest victim, he is stabbed viciously from behind by the Talon.  The Bat-signal is defaced, prompting Robin to both demand and plead that it be replaced quickly.

The fact that Batman has been trapped for longer than a week by the Court, with no trace, is a pretty big deal.  That they've reduced him to hiding in the shadows, pushed to the edge of his faculties and seeing illusions shows that, whoever they are, they're no pushover group of adversaries.  Something big is going on here, and I'm both horrified and thrilled by it.

I did enjoy the forced perspective mechanism once Batman drinks the presumably drugged water in the labyrinth, where the reader has to turn the comic sideways, then upside down to continue the story.  It's a good mirror of Batman's twisting perceptions and reinforces the suggestion that no one--especially Batman--knows where this is going or how it will turn out.  Very nice and timely use of what could have been a very gimmicky and distracting trick.

Capullo's obsession with the eyes of his characters, which last review I mildly criticized, actually serves him very well here, where shadows and darkness mask all but the most extreme of emotions.  Seeing Bruce's eyes, or specifically, one eye under the torn cowl really drive home just how desperate the situation is, and really works in favor of the narrative.

Overall, this is an eerie and pulse-pounding thrill ride, with an ending that makes you drop your jaw.  While I'm sure he won't die--he never does--I can't wait to see what kind of trouble Batman has to deal with in the next installment.  A wonderfully surreal and nerve-wracking read.  Highly recommended.


Batman #6: Beneath the Glass
Another horrifically good cover here!  I have to give an eager thumbs-up to Greg Capullo for his cover work on this series.  The image of Batman metamorphosing into a man-sized owl is both vivid and grotesque, and probably not far from what Batman is feeling by this point in the story.  I love it.

In an apparent endgame to Batman's time in the labyrinth, the Court of Owls reveals itself to him as the Talon moves in to finish him off for good.  Still plagued by fear and hallucinogens, Batman nevertheless fights back, against the Talon and the Court, using his wits, resolve, and intelligence to engineer an escape from their deadly labyrinth.  With their Talon beaten and broken, the Court members decide to awaken an army of them, to use against the Dark Knight for good.

This was an interesting segment of the story, that does ask the reader to suspend a little more disbelief than usual.  While I'm more than a little skeptical that even Batman can come back from such a thorough psychological and physical beating, I'm willing to chalk it up to that singular strength of will that makes him so special, even if it's just for the sake of narrative license.  What is a little more hard to swallow, in the context of this story, is the Talon's apparent uselessness to the Court after Batman turns the tables on him.  I'm supposed to believe a man who survived a several-hundred story fall like it was nothing, is too beaten and demoralized to come back from a beating from a man who's been starved, dehydrated, drugged, and bloodied for about a week?  I think that is asking a bit much.

It's interesting to note that the Court of Owls doesn't have an age limit, apparently--either that or it's disturbingly easy to qualify for membership when you're young.  This suggests to me that they're some kind of family, which of course begs the question of what Gotham family is rich, powerful, and connected enough to do all of this and keep off of Batman's radar.  If you think the list of possible candidates who could be Batman is short, the list of possible families that could be the Court has got to be even shorter.

Artistically, wow.  The artwork was creepy, nightmarish, and vivid, particularly the illusory sequences of Batman when he's mobbed by the Court.  Some images may even make you sick to your stomach, depending on how sensitive you are--the Owls clucking and possibly touching their tongues to Batman, at one point, are particularly disturbing, on at least a psychological level.  So far Capullo and Glapion have done a wonderful job at keeping this story visually dark, grotesque, and engaging in support of the narrative.

Overall, I'm eager for the next chapter.  More Talons?  A Court of Owls that's so blase about the fact that Batman just escaped them?  If they're only just getting warmed up, I can't wait to see what Batman has to put up with next.  Very highly recommended.