Reviews of Comics from Wednesday 11/18

Batman Beyond Unlimited #10
Story: Derek Fridolfs & Dustin Nguyen/ Adam Beechen/ JT Krul
Art: Dustin Nguyen & Derek Fridolfs/ Norm Breyfogle/ Howard Porter

DCs anthology of stories from the world of Batman Beyond continues with the conclusion of the first arc of Justice League Beyond. Writer/artist team of Derek Fridolfs and Dustin Nguyen have a great feel for all the characters on their team, and while there are some nice character beats in this issue, with Superman saying goodbye to an old friend, Bruce having a brief moment with a surprise old flame, and the reunion between Big Barda and Mister Miracle, the story was more an amazing and gorgeous action piece. While half the team fights the Kobra cultists, Superman and The Demon Etrigan face down the giant serpent they have summoned. Nguyen draws an excellent Demon, and watching him cut loose on the giant serpent is awe-inspiring. In the Superman Beyond segment, Superman is settling into the new identity he has taken up as firefighter Kal Kent, but a mysterious alien pops up that seems to have not so good intentions for the man of steel. The Batman Beyond segment continues the "10,000 Clowns" story. The Batman family is all back, with Dick Grayson helping the future Batman, Terry McGuinness, and Catwoman Beyond on the street, while Tim Drake runs the Bat computer. Taking story elements from the first Batman Beyond comic mini-series and from Batman Beyond: Return of the Joker, the story is full of action and character. While the heroes fight off a legion of suicide bombing Jokerz, the Joker King gives his frightening world view, and heads to the hospital to have a final talk with his family, including his sister, Terry's girlfriend, Dana. But Bruce Wayne, dying of liver failure, happens to be with the Tan's, and the issue ends with Bruce smiling as he plans to fight one final Joker. Aside from the breakneck pace and great story, the Batman Beyond segments are drawn by Norm Breyfogle, one of my favorite Batman artists of all time, whose work is always something to look forward to. There are few comics that cram as much good stuff between their covers than Batman Beyond Unlimited, so if you're looking for more bang for your comic buying buck, this is great place to start.

Batman Incorporated #5
Story: Grant Morrison
Art: Chris Burnham

This issue of Batman Incorporated sees a return to the future from Batman #666, and if you thought things couldn't get worse from their, you were wrong. Framed around Bruce telling Damian he must return to his mother to avoid the dark future, and seeing Damian's heartbreak, we see the vision of the future Bruce had while travelling through time on The Return of Bruce Wayne, the one he has been trying to prevent all along. With a Joker plague on the loose, the only sane people in Gotham are left stranded in Arkahm Asylum, surrounded by armies of the mad. Damian finds a baby that he thinks might hold the key to curing the plague, and brings it to Jackanapes, one of the villains who cameoed in the previous future story, who seems to be a superintelligent molecular biologist gorilla. The story ends with the twist of a metaphoric knife, where the scheme of Leviathan comes to fruition, with the destruction of Gotham. This series seems to be taking the loosest view of New 52 continuity, with appearances by the Outsiders, and with the appearance of Dr. Hurt, a character who is inextricably linked to Darkseid, a character whose interactions with the heroes of the DC Universe seem to have changed greatly. But I take this as an example of one of those cases where continuity doesn't matter as much as the story were being told. Morrison is telling a story of Batman and Talia playing an intricate chess game  with Gotham as the board and Damian as a piece, and I'm curious to see who is put into check next.

Before Watchmen: Silk Spectre #4
Story: Darwyn Cooke
Art: Amanda Conner

The first Before Watchmen to reach its conclusion, the final issue of Silk Spectre does a good job of wrapping up all the threads that the series has built. While Laurie Jupiter, the young Silk Spectre, deals with her boyfriend disappearing from her life, Hollis Mason, the original Nite-Owl comes to talk to her and bring her home. Meanwhile The Chairman moves to get rid of all the evidence of his scheme and anyone who might know anything about it. The whole action part of the series, with the manipulation of the flower children, has struck me as secondary to the more personal story of Laurie trying to start a new life away from her hovering mother, and that has been the parts of the story that have interested me the most. Cooke does a great job of portraying Sally Jupiter as a woman who cares about her daughter, but is completely unable to show it, and more who just doesn't understand how to not say the wrong thing. It doesn't make the reader forgive Sally's needlessly cruel and confrontational attitude, and maybe not even understand it, but you don't see her as a monster either. The series ends with the first meeting of the Crimebusters, a scene directly from Watchmen, and a scene that has been featured in nearly all the series so far. It's interesting to see the scene told from the point of view of each of the characters involved, and I wonder if that was something that each writer was asked to do. The art on this series by the always excellent Amanda Conner was outstanding. I can think of few artists who draw better and more expressive faces, and so the scenes that are talking scenes are visually interesting. This has been one of my favorite of the Before Watchmen mini-series, and one I recommend highly.

Gambit #6
Story: James Asmus
Art: Diogenes Neves & Al Barrionuevo

The new Gambit ongoing (his third, if you can believe it) has proven to be a fun superhero-meets-crime comic. James Asmus has a good feel for crime, as evidenced by his cowriting the current arc of Thief of Thieves with Robert Kirkman, and this issue sees Gambit involved in what might be the biggest heist of his life. As I mentioned in this past Friday's recommended reading, MI13 is appearing in this arc, so its not too surprising that Gambit, who has fallen afoul of international criminal mastermind Borya Cich and is currently strapped to a bomb, has to go steal Excalibur, still in the possession of MI13 agent Dr. Faisa Hussain. This doesn't go well, and leaves Gambit to the not too tender mercies of Pete Wisdom, who wants to know exaclty what Gambit was up to. But with international criminals, things aren't always what they seem, and pretty soon Gambit and MI13 are in the middle of a firefight with Cich's henchmen, and the real object of their raid becomes clear. Asmus is writing a Gambit who is the perfect rogue (no pun intended), with a devil may care Han Soloesque grin and just enough scruples to know that working for Cich is something he needs to get out of not just because it's someone controlling him, but because Cich is a really bad guy. He also handles Wisdom well, having the protective Wisdom particularly miffed that Gambit went after Faisa, once of Wisdom's people. Things end with Gambit in a bad place and Wisdom on his heels. I kind of now want a series with Wisdom and Gambit doing The Odd Couple thing, only with more trenchcoats and accents.

Star Wars: Dawn of the Jedi - The Prisoner of Bogan #1
Story: John Ostrander
Art: Jan Duursema

John Ostrander has been doing some great work on Agent of the Empire, but he's never more on fire than when he's working with one of his regular artistic collaborators, so seeing him and Jan Duursema together again for  the second Dawn of the Jedi mini-series is a treat. Picking up shortly after the previous series ended, most of this issue is spent with Xesh, the Force Hound who crashed on the Jee'dai (the name of the order that will someday become the Jedi) homeworld of Tython last arc. Xesh has been banished to the moon of Bogan, where he encounters Daegon Lok, a former Jee'dai who the order banished when he had a force vision and seemingly went mad. It seems Lok's vision was correct, presaging the arrival of The Rakatan Infinite Empire, but that doesn't mean he hasn't fallen to the Dark Side. Xesh is an Ostrander protagonist, pulled in multiple directions and unsure of what is right and where he should be going. Xesh and Lok are off on a Butch and Sundance mission to assemble a Force Saber, the weapon of the Force Hounds, but its clear that before this is done, the two will come to blows. Aside from these two characters, we stop in to see the three Jee'dai journeymen who confronted Xesh in the previous arc, and the Rakata and another Force Hound who are preparing to hunt down Xesh and his masters. Ostrander and Duursema are setting up a lot of action for this arc, and moving the pieces of what will most assuradely be war between the Jee'dai and the Rakatans into place. I just hope that, with the probable changes on the horizon for Lucasfilm Licensing and comics due to Disney's purchase of Lucasfilm, we get to see the payoff.

Reviews of Comics from Wednesday 8/29

American Vampire #30
Story: Scott Snyder
Art: Rafael Albuquerque

The current arc of American Vampire continues, taking us deeper into the 50s and one of the title vampires Pearl's hunt for the coven of vampires who attacked and nearly killed her human husband.  Pearl continues working with her sire, the first American vampire, former wild west outlaw Skinner Sweet, who is now forced to work with the anti-vampire organization the Vassals of the Morning Star. The fight between Pearl, Skinner, and the vampires is a beautifully choreographed fight sequence, and artist Rafael Albuquerque does an amazing job with it. The fact that the vampires now know the one weakness of the American breed makes the battle all the deadlier, and makes Skinner's treachery all the worse. Scott Snyder does a great job of balancing the incredible action scenes with the more personal moments of Pearl's time at Henry's bedside, her flashback to when he proposed, and the choice she makes at the end. The cliffhanger is heartrending, not an action based one, but one that has deep resonance with the personal lives of all of the principal characters of the series. Snyder promised in interviews that this is the arc that will change everything in the world of the series, and it looks like he's not pulling any punches, and I can't wait to see where he goes with it.

Before Watchmen: Minutemen #3
Story & Art: Darwyn Cooke

 Darwyn Cooke is a master storyteller, and this, the third issue of his written and drawn Before Watchmen: Minutemen mini-series, showcases his talents as both writer and artist. The issue is told primarily in a classic nine panel grid, which is used so infrequently in modern comics, but was the way Dave Gibbons structured the original Watchmen, making this issue as much an homage as a prequel. The issue also uses an interesting narrative; part of it told by Hollis Mason, the original Nite Owl, through his recollections and memoir, while it is also told by a narrator who is not revealed until the end of the issue. Cooke plays with expectations on the second narrative, starting it off as seemingly a sexual encounter before using the story to reveal it's something else entirely. While Cooke is clearly using Nite Owl the most, being he is the narrator of much of the story, he has done an excellent job of fleshing out Silhouette, the female vigilante who was one of the minor characters from the original series. Her quest to protect children from those who would abuse them is noble, and she is dedicated to doing real good far more than most of her teammates. Knowing Silhouette's tragic end just makes the development of her character more tragic, and the story all the more engaging.

Locke & Key: Grindhouse
Story: Joe Hill
Art: Gabriel Rodriguez

Joe Hill and Gabriel Rodriguez's Locke & Key is one of the best modern horror comics on the market, and the inspiration for the best un-picked up TV pilot I have ever seen (Thank you IDW and NYCC 2011 ), and one of the comics I look forward to most when it comes out. This is a book that is going to get a full recommended reading come November, when the final mini-series chronicling the current generation of the Locke family is released, but I had to do a review of this one shot. Locke & Key is a series that has always done an amazing job of balancing the truly frightening with the very human, a coming of age story with magic keys and things from beyond reality. But as the title suggests, this is not a story that is going to be full of tender moments. In the 1930s, a trio of criminals attempt to use Keyhouse, the home of the Locke family and the magical keys, as a point to escape the law, and when they take the family hostage, things go poorly. For the criminals. The comic has the feel of a classic, pre-code horror comic, with the criminals receiving their due comeuppance. Artist Gabriel Rodriguez's style, while clearly recognizable as his own, has an edge here that fits the grittier tale he's telling. The backmatter in the issue is a treat for any fan of the series: architectural layouts of the entirety of Keyhouse, with views of the interior and exterior, with annotations from series writer Joe Hill. If you like horror comics and have never tried Locke & Key, or have already visited Key House, this is an issue not to be missed.

The Sixth Gun #24
Story: Cullen Bunn
Art: Brian Hurtt

"Winter Wolves" the new arc of The Sixth Gun, begins with this issue, and it seems like the cast of this weird western are in for a hard road. The Sword of Abraham, the order of warrior priests attempting the stave  off the apocalypse, are given a prophecy of doom from the mouth of the corpse of General Hume, the undead villain who has sought the six magical guns. Gord Cantrell, separated from the rest of the cast, continues to try to find his allies, while something has found him. But it's our hero and heroine, ne'er do well Drake Sinclair and possessor of the titular Sixth Gun Becky Montcrief, who are in the worst way. Drake and Becky are being pursued through a suddenly (and mystically) winter environment by the namesake of the arc, frightening mystical wolves. Cullen Bunn and Brian Hurtt are one of those great writer/artist teams who work together seamlessly. The story moves at a breakneck pace without seeming rushed, and the art is clean and cool, mixing both realistic looking characters with a great ability to showcase magic and monsters. They produce a great comic that blends horror and western into a dish that leaves you wanting more. Comics have always done a great job of blending these genres (DC's Jonah Hex stories over the years have been key examples), but The Sixth Gun takes it to a new level, building a continuing narrative and mythology that deepens with each arc.

Reviews of Comics from Wednesday 6/6

Before Watchen: Minutemen #1
Story & Art: Darwyn Cooke

So, here it is: the first issue of Before Watchmen. I went in with some trepidation, I admit. As much as I love Darwyn Cooke's work, and I LOVE Darwyn Cooke's work, this project has raised more dander than pretty much anything that I've seen among comic fans, and all the vitriol is a major reason why I wanted to create this snark free zone. And now having read the first issue, I have to say... I'm glad I did. There is something of a case of what I like to call "first-issue-itis" here. There's a lot of information, a lot of set-up, and not a ton happens to forward what I assume will be the plot of the rest of the mini. But it was done so darn well, and the art was so beautiful, that I barely noticed.  Basically, this issue felt like a really well done handbook, giving you profiles and background on who each of the Minutemen are. If you haven't read Watchmen in a few years, which I hadn't, it was a nice way to remind you who each of these characters are, especially since none of them are from the main cast of the original. Being that it's set in the 30s and 40s, it speaks to Cooke's artistic sensibilities. I'm sure Cooke can do stuff set in the present and the future, he was after all a designer on Batman Beyond, but between DC: The New Frontier and his Parker work, Cooke's style makes me think of a bygone era. I am looking forward to the rest of this series, and to the other Before Watchmen minis. I hope they can all live up to this opening.

Creator-Owned Heroes #1
Story: Steve Niles / Jimmy Palmiotti & Justin Gray
Art: Kevin Mellon / Phil Noto

The same week that Before Watchmen, which has caused one of the most polarizing debates one creators rights in comics history, came out, we also get the first issue of this, Creator-Owned Heroes, which is, like it says, a book that spotlights work that is, well, creator owned. I picked this up partially because I like to support creator owned books no matter what, partially because I found it appropriate to buy it because of when it was released, and partially because I happen to really like the work of Palmiotti & Gray. Toss in a story by Steve Niles, master of modern horror comics, and an interview with Neil Gaiman, and I was sold. The book lives up to the sum of its parts; a comics anthology that also features interviews and articles, all of which are interesting and fun. We get the first chapters of two serials, both of which have me curious.  American Muscle, the Niles story, with art by Kevin Mellon, is a group of people wandering a ruined and dystophic future story. Nothing new there, but Niles has always been good with character, which shines through, and there seems to be a twist coming in what caused this particular collapse of society that is hinted at here. Trigger Girl 6, by Palmiotti and Gray, is a spy/action/thriller. Again, this is just a short chapter, but it sets up an interesting premise, and makes me want to know the origin of the Trigger Girls. Phil Noto's art is dynamic and the aerial battle scene, that I don't want to talk about too much so as not to spoil it, it really a thing of beauty. Aside from the interview with Gaiman, there are also various articles about the origin of this project, an interview with cosplayers who have crafted a real world Trigger Girl costume, and some convention photos. This is a great package, where you get a lot of bang for your $3.99, and is well worth picking up.

Earth 2 #2
Story: James Robinson
Art: Nicola Scott

This issue marks the real beginning of the new Earth 2. Last issues was a solid comic, but it was really the last stand of the Trinity and didn't do a lot to introduce us to the main cast of the book. This issue, though, is a vast improvement. I really like the new Jay Garrick. I know a lot of people were making slacker speedster jokes after the last issue, but it looks like he's less a slacker and more just a twenty-something who isn't sure what he's going to do with his life. I do miss the old costumer with the Mercury helmet, but seeing this costume drawn by Nicola Scott on the internals made me like it a bit more. And the idea of a speedster who uses his speed in conjunction with parkour (the French art of roof running) is a very cool idea and a striking visual. Seeing Michael Holt, Mr. Terrific of Earth 1 arrive and be confronted by his Earth 2 counterpart was cool, and the seeming villainy of Terry Sloane, the original Mr. Terrific, leaves a lot of questions to be answered in a good way. No point in revealing everything right off the bat. And now for the elephant in the room: Alan Scott. This seems to be the week of books that raised a hoopla somewhere, even though most comic people really didn't react too much to the whole, "Alan Scott is gay," thing. Frankly, I really liked his portrayal. He and his significant other are together for most of their pages, and nowhere does anyone say any word meaning homosexual or acknowledge that they are anything other than a couple. The dialogue was natural, and I found the scenes between them charming. I hope Robinson can keep that up in future issues.

Swamp Thing #10
Story: Scott Snyder
Art: Francesco Francavilla

Swamp Thing has been a title with a slow build since it's return as part of the New 52. It took nearly six full issues before Swamp Thing showed his mossy hide. This isn't a complaint, as a lot happened in those six issues, but just a statement of fact. This issue, though, even with Swamp Thing back, is not even narrated by him. This issue is narrated by Swamp Thing's arch nemesis, Anton Arcane. There are some fairly major tweaks to Arcane's backstory here, but he's still pretty much the same creepy demon guy he was in his previous incarnations. The story begins with Arcane talking to an unseen person, and as the story continues, it winds up looping around to reveal who that is, in a great little storytelling twist. What makes this issue really pop is the artwork from Francesco Francavilla, an artists whose work on Black Panther and especially his run with Swamp Thing writer Scott Snyder on Detective Comics made him one of the breakout talents of 2011. His art has a wonderfully creepy feel in this issue, and the opening pages of Arcane talking sent a shiver up my spine. The fact that Francavilla colors his own work is impressive, and is clearly part of his overall style, which works to great affect throughout this issue. I hope that he does some more work on this title, or one maybe one of the Bat titles soon. As we get closer to the big Animal Man/Swamp Thing crossover, the stakes in both the books get higher, and this issue does a great job of ratcheting up the tension.

X-Factor #237
Story: Peter David
Art: Neil Edwards

X-Factor is one of the oddest super hero comics on the market, and possibly has been since it came back a few years back under Peter David's pen. It feels at times like the home for mutants and characters that no one else knows what to do with. It has an expansive cast, a continuing story that has last nearly one hundred issues, and that strange sense of humor that Peter David does so well. I've been with the book since the beginning of Peter David's first, early 90s, run on X-Factor, and so am very fond of a lot of these characters. This issue is one of those issues that Peter David is known for: a small character piece that tackles "issues" without turning into a very special episode of Blossom. Over the course of this series and her time away in X-Force, Wolfsbane has been put through the ringer in a way few comic book characters have; she has killed people, been brainwashed, killed and eaten her own father, impregnated by an Asgardian wolf god, given birth to his feral child, and then rejected it. And this issue she's forced to confront that. It's harrowing to read, seeing all that raw emotion dragged to the surface. The issue even plays a similar trick as the one in Swamp Thing, with a scene from the end of the story inserted at the beginning to really sock you in the gut and get you immediately into the story. Another plus for long time X-Factor readers is the return of Rev. John Maddox, the wayward Madrox dupe who has become a minister. Maddox has often been used by Peter David to discuss thorny issues, usually theological, but often personal and psychological, and is a favorite supporting character of mine. And not to have an issue go by that's all doom, gloom, and theology, David still gets to work in the funniest Thelma and Louise gag I've ever seen during the road trip to Rev. Maddox. All this happens, plus a set up for a future arc. More happens in one issue of X-Factor than most arcs of other comics, and I don't think I (or other fans) would have it any other way