Reviews of Comics from Wednesday 8/5

Detective Comics #43
Story: Brian Buccellato
Art: Fernando Blanco 

I'm going to miss Brian Buccellato's run on Detective Comics when it wraps next month. It's been a nice mix of crime and super heroics, definitely the best use of crime comics plot points in a DC Comic since the reboot. This issue opens right on the heels of last issue, with Bullock and the Batman support team of GCPD officers rushing to help Batman, whose armor has been incapacitated by the assassins called La Morte. We've been seeing in Batman as well as here that Jim Gordon doesn't need the armor to be Batman, but the splash page of this issue, of a beaten but unbowed Gordon standing over two of the three La Morte hitmen is a great moment for him. But it also points out that Gordon isn't Bruce Wayne: three talented assassins is what Bruce would have called a warm up, and one of these guys got away, along with the power core to the Bat armor. The remainder of the issue follows three separate plot threads. One is Gordon, who feels like he's failed letting La Morte steal the core. Buccellato strikes a good balance between keeping Gordon from seeming self-pitying, but also making it clear how serious he takes this and how this failure has effected him. The remaining member of La Morte, meanwhile, goes and presents the power core to the person who hired him to steal it: The Joker's Daughter. Frankly, this is the first time I had any misgivings about this story. I haven't been a fan of this new Joker's Daughter since her introduction; she struck me as one of those instances where a character was introduced with some head and suddenly she was everywhere without enough time being spent on her personality. But her with a cult of Joker smiling underdwellers, and the final page revealing what she needs the power core? I'm willing to suspend my suspicion of the character because that's some very cool stuff. We also see La Morte has a second contract in Gotham, one with Stafano Falcone, but the who on that one remains to be seen next issue, and I'd place money it ties into the third plot of the issue. Bullock finds out pretty early in the issue that his partner (and lover) Nancy Yip is dirty, and Bullock tries to figure out what she's into. Buccellato writes the best Bullock since his heyday in the Moench/Grant/Dixon '90s run, and I like him as this gruff but good cop. It's sad to see him confront Yip, to deal with Montoya and Internal Affairs, and then to talk about what needs to be done with Batman. We come back around to the scene that was in the preview for this run that came out after Convergence, and I know there's more to it, since we know no one involved is a cold blooded killer. Next issue is going to have to wrap up a lot, including an assassination at a circus, the fate of Yip, and a giant Joker robot. That's a tall order, but I think Bucellato and Blanco can pull it off.

Nailbiter #15
Story: Joshua Williamson
Art: Mike Henderson & Adam Guzowski

Wow. That's how you end an arc, my friends. With last issue ending with our core cast of protagonists facing down the seemingly unstoppable Bucakroo Butcher, and the Butcher having stabbed Alice viciously, I though we'd get a chase story through the tunnels. And we do, but there's so much more in the issue. The final flashback to a young Sheriff Crane sets up this issue's big reveal, and I'll get to that later, but I have to stress how much these flashbacks in this arc have helped not only flesh out Crane's character, but have actually built some real sympathy for our titular serial killer, Edward Charles Warren. That is only enhanced when Warren lures the Butcher away and gives Crane and Agent Finch the directions out of the tunnels to save Alice. He also gives Finch and Crane additional clues to the mystery of Buckaroo, but that will have to be dealt with when the series returns, as Warren is overtaken by the Butcher and his (her?) master, who I've taken to calling The Doctor, and the threat against his loved ones that the Doctor levels at the defeated Warren is made all the more horrifying by one of the big reveals at the end of the issue (SPOILER WARNING): Alice is Warren and Crane's daughter. Since we're entering a skip month before the next arc begins in October I might have to go back and reread the series to date, because that's a major blow. I don't remember Alice mentioning she's adopted, but there's no reason she should have, and I don't feel this was a cheat in the least. As a matter of fact, with a distinct possibility of there being something genetic in what creates Buckaroo's serial killers, it makes Alice's own fears she's turning into one all the more chilling. I love Mike Henderson's design for The Butcher, and I can't stress enough how much his art helps make this book; the atmosphere in the tunnels, all the work he's done to make the characters distinct and emotive. You'd think this would be enough for one issue, but we also get further evidence of what the Doctor's ministrations did to FBI Agent Baker, and last two page spread that is a shocking twist that left me wanting to grab the next issue right there and then. I can now safely say that Nailbiter is my favorite horror comic on the market, and if you are even the least bit a fan of good horror fiction, do yourself a favor and get caught up before the next arc starts.


And Dan Grote visits World War II with a drugged out writer/artist team and Airboy...

Airboy #3

Story by James Robinson

Art by Greg Hinkle

When last we left this book, James and Greg, its creators and stars, had introduced Golden Age public-domain hero Airboy to their world, complete with alcohol, drugs and some light transphobia. Getting fed up with that quickly, Airboy – through means yet to be explained or explicitly illustrated – transports James and Greg to his world, where it’s still World War II, London has been bombed by the Nazis and steampunk battlesuits prowl the streets.

“Like something Mignola would draw,” James comments, referring to the creator of Hellboy.

How do the two creative types adjust to being thrust into the middle of a warzone? Well, after a plane buzzes them on a rooftop, James gets a massive erection, and Greg poops himself.

In need of a place to hide and clean Greg’s soiled trousers, Airboy takes them to his secret hangar and introduces them to his running crew. There’s Skywolf, who wears a wolf’s head atop his own; the Flying Dutchman, who is not Belgian; Iron Ace, who flies in full knight’s armor; Black Angel, who dresses in leather; and, finally, Valkyrie, Airboy’s lover, whom Greg almost immediately shags, condemning himself and James to greater self-induced punishment ahead (and giving readers another peak at his self-drawn endowment).

Hinkle’s layouts really shine in this issue, now that he gets to draw fighter planes and bombed-out landscapes. There’s a great splash page of the three leads climbing up the wreckage of a building, in which the reader is forced to follow the word balloons from the bottom left up, retraining the reader’s eyes and exploring metacommentary about the Assassin’s Creed games in the process. The color work is also phenomenal, as James and Greg remain painted in the muted blues of their world against the brighter – but still simple – pallet of Airboy’s.

What is actually happening – be it a dream sequence or drug-induced hallucination on the part of James, Greg or even Airboy – has yet to be delineated. That said, the morgue in Airboy’s hangar includes one particular body that deepens the mystery, though I’m not entirely convinced it’s a mystery the creators plan to – or even need to – explain.

Reviews of Comics from Wednesday 7/1

Detective Comics #42
Story: Brian Buccellato & Francis Manapul
Art: Fernando Blanco

The first issue of Detective Comics in the new Batman era got a bit lost for me last month, as it was released the same day as the new issue of Batman that really introduced Jim Gordon as Batman, despite having good things to say for it. This second issue is not only just as good, but might even be better than the first. While Jim/Batman does show up, both in and out of costume, this issue, and I think this book in general, has the feel of some of the best old GCPD stories from the '90s, and even a touch of Gotham Central, as Harvey Bullock is clearly the main character of this title, not Batman. While we open with a really cool fight scene between Batman and a gang of skull painted assassins called LaMorte, assassins with tech designed to take out the new Bat-mech suit, the thrust of the issue is Bullock trying to come to terms with his new status quo. I'm super-excited that Renee Montoya is back, and it's interesting to see her in a lighter tone. From "Half a Life," when Two-Face outed her, through her appearances as the Question, Renee was a haunted character. I can imagine people familiar with her exclusively through her time as written by Greg Rucka might see this more confident, less tormented Renee as a departure. But if you read her in the '90s, when she was first introduced, this Renee is close to that, a good, strong officer of the law. I love the interplay between her and Harvey, both when they're getting along and when they're fighting. Bullock's anger when he thinks Renee might be internal affairs is also perfectly in character; with the exception of Jim Gordon (and his late, old continuity wife, Sarah) Bullock has always had a problem with authority figures, and his somewhat old school rough cop attitude has caused problems with IA before. There's a lot of building blocks in this issue, with Bullock realizing that his partner/lover Yip might be hiding something from him, and I like that this book is focusing on the Batman support unit of the GCPD, as it's fleshing out exactly how Batman now relates to the city. Fernando Blanco's art is outstanding, sharing some of the git with guys like Michael Lark and Steve Lieber, artists I associate with GCPD, so I feel he's a great fit for the title now that Francis Manapul is off art and soon will be leaving the title. I'm glad that each Bat-title is getting more and more of its own flavor in this new DC era, and as the police/crime book, I think Detective Comics has a lot of potential.

Groot #2
Story: Jeff Loveness
Art: Brian Kesinger

"How Groot Met Rocket..." would be an apt description of this issue. I was a little worried when Skottie Young left his delightful Rocket Raccoon ongoing, and it was replaced by this new Groot title; after all, Groot can only say one sentence. But last issue's adventure with Rocket was fun, and left Groot floating in space, and this issue sees Groot thinking about how he met his pal. He also bumps into a space bus and accidentally terrifies everyone as some sort of floating space monster, but that's just an amusing aside. The main flashback sequence sees Rocket and Groot meet while both locked up in a jail in space. I like how Jeff Loveness builds the relationship. Rocket isn't friendly at first with Groot, which makes sense, since Rocket isn't exactly known to be friendly. But when the guards pick on Groot, Rocket stands up for him, which is a perfect character beat for Rocket, who I think views himself as a defender of the little guy, even though most little guys are bigger than him. The rest of the issue is them getting to know each other more, and Rocket warming up to Groot, and eventually learning to understand Groot's language, although the how  that isn't explained, which I don't mind, This is a fun comic, an all ages book, and I like that we're really just watching these two character on an adventure, not encumbered with any of the continuity of the ongoing Marvel universe epic.

Nailbiter #14
Story: Joshua Williamson
Art: Mike Henderson

I'm not sure if Joshua Williamson is moving his serial killer horror comic, Nailbiter, to its endgame, but he's certainly ramping up the tension and starting to give us some answers. After last issue's horrific final page reveal, we see exactly what Reverend Fairgold's plan is, and that might make his little act of cannibalism all the creepier, as it's all to get rid of Edward Charles Warren, the Nailbiter. But as Warren's reluctant protectors, Sheriff Crane and Agent Finch cart him off, they don't take him to jail. Instead, they insist he show them what he has learned about the history of Buckaroo and how the town continues to give birth to serial killers. What we get is a gorgeous and atmospheric scene, where artist Mike Henderson shows descents into caverns and submerged Aztec temples. It's a creepy scene from a comic that has done a tremendous job of building atmosphere from issue one. Nailbiter is a master class on tension and mood, not just in individual scenes (most notably the scene where we saw Warren hiding under the Sheriff's bed a few issues ago), but in the way the whole two feels. I can't think of another series since Starman that has built the personality of its setting as well as this. And I love the buts of background we get on the Buckaroo Butcher phenomenon. It's not enough to tie everything up, not in the least, but it happily whets my appetite for more. And I was happy to see a brief return of Alice, the teen who believes she is destined to be the next Butcher, as brief as it was. She and Sheriff Crane have been my favorite characters in the series, and I hope her fate isn't sealed in this issue, although this is a comic that doesn't shy away from a body count. I also absolutely loved the flashbacks to Warren and Crane as young lovers on the night of their prom, and the early sign of Warren's slipping. More than that, the fact that Warren resists the urge to kill Crane and leaves a note for her is actually touching. I like that we're seeing more of Warren as a character, and not just the sort of grinning killer he's been since the series started. Joshua Williamson recently wrapped his excellent supernatural caper comic, Ghosted, and that ending showed me this is a guy who knows how to pay off his readers. While I know that Nailbiter will have as great an ending, I do hope there's some more time before we see that end.

We Stand on Guard #1
Story: Brian K. Vaughan
Art: Steve Skroce

It's an embarrassment of riches when we have multiple titles from Brian K. Vaughan on the racks. While Saga is a space opera war story centered around the idea of family, We Stand On Guard is set on Earth in the not too distant future. I was going to say it was more grounded, but that would be doing Saga a disservice, since that comic, despite being set in worlds unknown with magic and superscience, is emotionally one of the most grounded comics out there. We Stand On Guard is set in a world where the USA is at war with Canada, and we readers are following the Canadian side of things. We open with the first salvos of the war, and see our protagonist, Amber, lose her parents to a bombing. Flash forward twelve years, and Amber is now alone in the wilderness and fighting off a robot dog, only to be saved by Canadian freedom fighters. Vaughan gives us snapshots of who each of these characters are, and even gives on, Booth, a great speech about how Superman is Canadian (read it to get the full impact, but it's great). And then a giant walker mech shows up, and we get a great scene of The Two-Four, the name of the resistance, taking it down. While Vaughan does his usual strong job building character and writing clever dialogue, it's Steve Skroce's art hat floored me this issue. Skroce is an artist who doesn't do a lot of comics anymore, working mostly as a storyboard artist in Hollywood, but I've been a fan since he drew Cable and X-Man back in the '90s for Marvel. His gorgeously detailed art is perfect not only for the characters faces and body language, but he draws a mean robot. The giant walker and the robot dog are rendered beautifully, and the action scenes are some of the best I've seen in years. The first issue of We Stand On Guard is a strong start to a new series from two creators I'm glad to see still working in comics.

Reviews of Comics from Wednesday 1/7

Detective Comics #38
Story & Art: Brian Buccellato & Francis Manapul

Detective Comics continues to be the most gorgeous comic coming out on a month-to-month basis. Not in a sexy way, but in an exciting, dynamic way. Whether it was the traditionally exciting Batman stopping the explosion from the end of last issue scene or the bank robbery at the end, or the quieter moments on Matches Malone talking to a snitch or Batman shaking down Mad Hatter, every moment brims with energy. I have a particular affection for Batman's other secret identity, his undercover in the mob identity Matches Malone, so any time Matches pops up I'm pleased, and to see how Batman can use Matches for more than just getting dirt, but to test the crooks he gave another chance to, gives that identity a bit of nuance. The A-plot of the issue continues the return of Anarky story. I like the way the creators are playing Anarky. Many stories with Anarky over the years made him out to be a homicidal whacko at one moment and this petulant child in the next. In the world of Anonymous, I feel like the character has a renewed purpose and message, a character who really works, especially because the idea of someone with the know how erasing all of our digital background and giving us all a clean slate is something not out of the realm of real possibility. The new design for Anarky is closer to his look from Batman: Arkham Origins than to his original costume, which is more grounded in reality, as Anarky's original costume is a bit goofy with the long neck and robes, and might be telling about his secret identity. I feel like we're being presented with two suspects for Anarky, and I'm completely unsure which it might be. Is it Sam Young, Gotham City councilman who had some dirty dealings with the Wayne Enterprises exec Anarky killed last issue and seems to be using Anarky's attack as a platform to run for mayor, or is it Lonnie Machin, the original Anarky from the pre-New 52? If it's the former, it wouldn't be unprecedented; a similar fake out happened in Nightwing Annual #1 with the identity of the new Firefly. And the end of the issue certainly seems to indicate Machin isn't a suspect. But I think Buccellato and Manapul might have something up their sleeves. I'm also curious how the Mad Hatter plot is going to fit in; it might be an unrelated subplot, but I think it might have more to do than it seems now. Buccellato and Manapul have breathed new life into Detective Comics since coming on the book, and this story is their strongest yet.

The Fade Out #4
Story: Ed Brubaker
Art: Sean Phillips

As the first arc ends, I have to say that I think The Fade Out is the best Brubaker/Phillips collaboration since Sleeper. And that's not to put down any of the intervening work; Criminal, Incognito, and Fatale are all brilliant. I just have a real love for Sleeper, something in it struck me, and this is a book that hits a similar cord, but in a very different way. The Fade Out is like the best historical fiction, dancing in and out of the real world in ways that make you ask exactly what they're creating and what actually happened. If you know anything about the Golden Age of Hollywood, you know that all that gold did not glitter, and this is a series about murder, loyalty, and what it takes to get ahead. This issue sees Charlie Parrish, the series principal protagonist, going to a Hollywood event to show off the new starlet of the movie he wrote, the one who replaced the woman who was murdered in the first issue, the murder Charlie knows more about than he can remember. He interacts with most of the series principals along the way, lecherous leading man Earl Rath, his old writing partner Gil Mason (who is on the Communist blacklist now), Dottie Quinn, PR girl, and Maya Silver, the starlet. What initially seems a scene that is just there to show off exactly what a scumbag Rath is and to maybe give Charlie a further hint at what he doesn't remember about the night of the murder through his drunken haze turns out to be something much darker by issue's end. And the web connecting the characters draws tighter, as what wasn't a date with Dottie might have been more. Along the way, we also get an appearance by Clark Gable, mentions of Ava Gardner, and a photo of then Screen Actors Guild president Ronald Reagan. These appearances give the issue a sense of veracity. The issue's end deepens the mystery at the center of the series, adding a new element that might just make Charlie's ties to it all the more dangerous to him. A murder mystery/conspiracy story with compelling characters and a setting that allows Phillips to show off his artistic talent makes The Fade Out a must read.

Nailbiter #9
Story: Joshua Williamson
Art: Mike Henderson

Every time I think Nailbiter can't get any creepier, if finds a way, and that's the finest compliment I can give a horror comic. This issue has a lot going on in it, the least of which is the payoff to the end of last issue and a new Buckaroo Butcher with his bees. Poor Finch, former NSA intel agent on the outs, winds up once again looking like he's not quite right, although he has discovered more of the tunnels that seem to honeycomb below the town of Buckaroo. There are clues to the conspiracy that seems to lie behind some of what is going on in Buckaroo, but no answers yet. The centerpiece of the issue is the introduction of Mr. Crowe, the school bus driver who we see at the beginning of the issue has driven more than his share of the Buckaroo Butchers, the serial killer Buckaroo seems to create as its chief export. What happens to Mr. Crowe, as he drives children to school who are fascinated by the Bucthers is something dark. It begs the question where the Butchers stop and people who are broken by living in a town with such a dark history and reputation begin. I want to see where the story with Mr. Crowe goes next issue to see how far down the path of madness we've seen so much of in Buckaroo he has gone. But if you're looking for a scene that packs all the best, most violent cut punch a horror and suspense comic can pack, you go no further than the scene where Sheriff Crane comes home. Finding Reverend Fairgold in her house, she has an exchange with the preacher before sending him off, and then lies down in her bed, where... Now why would I spoil the surprise? It's a punch right out of the best urban legends and horror stories, and Mike Henderson is at the top of his game in how he presents the sequence, making it all the creepier. As the clues mount and the horror factor amps up, Nailbiter goes beyond all expectations to present human horror; if you're suffering withdrawal from Hannibal, Nailbiter is the book for you.

Unbeatable Squirrel Girl #1
Story: Ryan North
Art: Erica Henderson & Maris Wicks

I admit freely, I never thought I'd pick this book up. My exposure to Squirrel Girl is limited to her appearances with the Great Lakes Avengers, and I have no particular feeling for the character. But the advance buzz was so good, and having just finished the fourth volume of Ryan North's work on Adventure Time, a book rife with the humor and sadness that permeate the best episodes of the cartoon on which the comic is based, I figured why not give this book a try. And it is outstanding. Doreen Green, the titular Squirrel Girl, is a charming lead; she's a little spacey without being ditzy, loves what she does as a super hero, and is excited to start college, Marvel's catch all school Empire State University. The issue has its share of action, starting with Squirrel Girl defeating some muggers to the tune of the Squirrel Girl theme song (you know the one that sounds suspiciously like the classic Spider-Man one), and has a throw down with Kraven the Hunter, who she defeats not with her fists but with a clever gambit. We also meet Tippy-Toe, Doreen's pet/sidekick; I don't know if previous appearances have had Tippy-Toe's speech appear as words only Doreen understands or just as symbols, but I'm glad North chose to have the squirrel speak, as it gives the reader someone Doreen to talk to and give exposition to. And upon arriving at ESU, readers are introduced to characters who I assume will be the principals of our supporting cast: Tomas, who offers to help Doreen move her boxes and is tossed for a loop by her quirky demeanor, and Nancy Whitehead, Doreen's prickly but good at heart roommate. Erica Henderson has a delightful, light style that works perfectly with Squirrel Girl's world, and Maris Wicks adds to it by drawing the illustrations for the trading cards Squirrel Girl uses to determine who the villains are, cards narrated by Deadpool in his inimitable voice. This is the most all-ages comic that exists from Marvel, more so than Ms. Marvel or Rocket Raccoon, finding a perfect balance of character, action, and humor; and yes, it is a very funny comic, both in character and in situation. I would love to know why the "T" rating was decided on for the book, but regardless of that, this is a book that can be shared with anyone. Oh, and if you do pick the issue up, be sure to check out the text along the bottom gutter of the page; North got his start doing a webcomic, Dinosaur Comics, and as webcomics usually have hidden scrollover gag text, he places similar jokes down there both in Adventure Time and here, and it's worth reading.

Before we move on to Dan's review of the week, I just wanted to call out some of the announcements from last week's Image Expo. I love how Image uses the expo to announce projects and build buzz around their existing books; it feels like they're really excited about comics, something that's missing from some other publishers.

- The creative team of the incredible first arc on Marvel's recent Moon Knight series, Warren Ellis, Declan Shalvey, and Jordie Bellaire, reunite for a sci-fi series very much in the Ellis mold called Injection.

- A.D.: After Death is an original graphic novel from Scott Snyder and Jeff Lemire about a world after the cure for death has been found.

- From Jeff Lemire (as writer this time), with art by Emi Lenox, is Plutona, where a group of kids find  the body of the world's most famous super hero. It made me immediately think of Stand by Me, which Lemire states as an influence.

- Sons of the Devil is a thriller from Detective Comics writer Brian Buccellato with art by Toni Ifante With how impressive Detective has been, I want to see Buccallato work his own suspense series.

- I'm always willing to try out new James Robinson, and Heaven, with art by Philip Tan, is the story of mankind going to war with God and his angels, and I'm on board since if Supernatural has taught us nothing else, it's that angels are dicks.

- I Hate Fairyland is from Skottie Young, known for his darling Marvel babies variants and work on books like the Oz adaptations. This book seems like the reaction to years of having to be so nice, as he has a protagonist who murders her way through a children's book world.

- Not one but two new projects from Matt Signal favorite Brian K. Vaughan! Paper Girls, with a excellent Cliff Chiang on art, is about four paper girls making deliveries the day after Halloween, when something weird happens, and We Stand Guard, with art by Steve Skroce, where,100 years from now, Canada must fend off an invasion from mechs from the USA.

- Last but most assuredly not least is a new mini-series from the always incredible Darwyn Cooke. Revengeance is a three part murder mystery set in Toronto, which is Cooke's first long form story that is not licensed or adapted from another work. He says he wants to play with form and storytelling, which for anyone who has seen what he's done with style his Parker series knows means it's going to be quite a ride.


And now, from Dan Grote:

Ant Man #1

Story:  Nick Spencer

Art: Ramon Rosanas and Jordan Boyd

Last week, Marvel released a two-front Ant-Man assault: a teaser trailer for this summer’s movie starring Paul Rudd as Scott Lang and Michael Douglas as Hank Pym, and a new comic centered on Lang, the second Ant-Man, written by the mastermind behind the dearly departed Superior Foes of Spider-Man, one of the best series you didn’t read.

The print Ant-Man won, on account of it had all the heart and humor the trailer didn’t appear to have time for.

Like the nonheroes of Superior Foes, Lang is a loser. He’s out of work, divorced, separated from his daughter, can’t hang on a superhero team for very long and maybe lost a step after spending most of the past decade dead-ish. He wears his costume in public hoping people will recognize him, but more often than not he’s mistaken for Pym.

The first issue goes a bit heavy on history – new readers need the exposition, quite frankly – but it ups the page count to compensate. That said, I could have used a box or two explaining why Lang’s daughter, Cassie, is in middle school when just a few years ago she was in the Young Avengers. Was she de-aged when she was resurrected? Feel free to tweet @danielpgrote if you know.

The book also relies on a big-three cameo from post-Axis, Jerkface Iron Man, who pits Lang against some special guests from Marvel’s more critically celebrated titles for a security job at Stark Industries. Look for the gag early on referencing everyone’s least favorite Iron Man story.

There’s a twist at the end that sets up the true premise of the book, as well as its true setting, that keeps the whole thing from falling into the cliché of the ex-thief who becomes head of security because he can think like the bad guys. Here’s hoping Spencer can keep Ant-Man fever going till the movie premieres this summer.

Reviews of Comics from Wednesday 12/3

Detective Comics #37
Story & Art: Brian Buccellato & Francis Manapul

Regular creative team Brian Buccellato and Francis Manapul return to Detective Comics after a two part fill-in story to introduce Anarky to the New 52. I like Anarky as a character, always have, despite some overuse in the late 90s, and I think in a world where government gridlock and income inequality are in the news every night, a character who is against the wealthy and the government seems to fit a certain zeitgeist. Hints were dropped to Anarky in issue 34, and Harvey Bullock and his not-partner-but-sort-of-partner Detective Margaret Yip are looking into the mysterious A symbols. We get a nice scene with Bullock and Yip talking about how they view Christmas and the New Year, how one sees it as a chance to start fresh, and the other sees it as a year where every open case goes down as unsolved, and how Bullock sees his cases and the GCPD as his life; Buccellato and Manpul are writing a great Harvey Bullock, and I'm glad to see him getting a spotlight. This is shown in comparison to Batman and Alfred, with Alfred taking Bruce on a walk on the grounds of Wayne Manor with Titus, Damian's dog, and Alfred insisting Batman have some, "Bruce time," something Bruce doesn't like the phrasing of, since he feels it makes him sound like he has multiple personalities. The primary action of the book involves Anarky killing a crooked Wayne Enterprises employee (one who was introduced in the previous arc, making it look like the creators are playing a long game with lots on interconnected plots, which I like), and then hacking Wayne Enterprises and setting everything networked to the system to blow. Batman, Bullock, and Yip, with a hand from Lucius Fox, attempt to evacuate the building, seemingly to no avail. I was pleased to see the creators using Anarky's established hacking skills, and not just changing him to be some murderous thug with a chip on his shoulder. I also want to throw credit to Manapul for drawing the CREEPIEST Mad Hatter ever in a scene at the beginning of the issue where Batman fights ol' Jervis Tetch. When he reappeared in  Batman: The Dark Knight, Ethan Van Sciver drew him in grotesque detail to the point he felt a little too realistic for a character who is so outside the norm. Manapul's style captures that madness and the creepiness of the Hatter perfectly, with some very clear influence from the original John Tenniel illustrations in Through the Looking Glass. There are a lot of questions left with the return of Anarky, and I'm looking forward to seeing the answers from Buccellato and Manapul.

Fight Like a Girl #1
Story: David Pinckney
Art: Soo Lee

Action Lab Entertainment publishes one of the best all ages comics on the racks, Princeless, a book that tosses fairy tale tropes on their ear and has a heroine who is tougher than any Disney princess, and I accept the blasphemy of  saying anyone is better than a character from Frozen gladly. This week, Action Lab released a number one of  a new series, Fight Like a Girl, which looks to capture the same magic. And while Princeless is still in a league of its own, the first issue of Fight Like a Girl is a solid introduction to its protagonist and its world. Amarosa has a brother who is dying, and since no doctor can save him, she goes before a council of gods from a mixture of pantheons, and asks to take a series of nine trials, which if she succeeds, the gods will cure her brother. It's a classic conceit, and it's presented well. We see a little on Amarosa's life outside the mystical realm, but mostly this issue is letting us understand the stakes. We get to see the fairy that is Amarosa's gods' provided sidekick, and we do get to see the first trial, where Amarosa confronts a shapeshifter who attacks her in the form of a T-Rex. So girl with a bat versus T-Rex doesn't seem too fair, but when the bat turns into a chainsaw, I feel like we're entering Scott Pilgrim territory, with that blend of realism and fantasy, which is a sweet spot I'd be happy to live in. But what grabbed me, and elevated this to something I'd like to talk about is that fact that the shapeshifter isn't s ravening monster. When we first see her, she's a in the form of a young woman. And while she's clearly a monster (she has to absorb other living things to enable her shapeshifting), she doesn't just attack Amarosa; she gives her a chance to walk away, and only takes action when Amarosa makes it clear she isn't going anywhere. And in the end, the shapeshifter points out to Amarosa how proud her family must be of her for killing someone who was willing to just let things go. I hope that thread, that idea of how far you're willing to go to do what you feel you need to, and at what point do you become something worse than what you're trying to kill/stop, is explored further. It's heady stuff for an all ages comic, but I feel we don't give kids enough credit for deep thought. So if, like me, you're feeling some Princeless withdrawal, I'd snag Fight Like a Girl.

Nailbiter #8
Story: Joshua Williamson
Art: Mike Henderson

OK, I feel guilty. Nailbiter is one of the best horror comics on the racks, and I've only reviewed it once. Last month's issue featured a guest appearance by Brian Michael Bendis, and it was a great issue, but I skipped reviews that week, but I'm reviewing this week, and so I have to hit Nailbiter. This issue begins the second major arc in earnest (after two stellar one off issues), and we get to spend some time with each member of the cast. Disgraced NSA agent Nicholas Finch continues to follow the trail left by his friend, FBI Agent Carroll, to try to find out not only who kidnapped and beat Carroll into a coma, but the secret of Buckaroo, the town that spawns more serial killers than any other. And his investigation leads him to a small farm that keeps bees. I am not really phobic when it comes to bugs of any kind (rats, on the other hand...), but Mike Henderson has made this book atmospheric from page one, and watching what is going on with the bees, and the sing song of the man in the basement, might make me reconsider that, because even if the bees aren't creeping me out, everything around them is. Meanwhile, the town preacher is ranting against the sins of the town that have brought this curse upon them, and cost him the life of his son, the bully who was killed at the serial killer super store in the first arc. He confronts Sheriff Crane, who was the childhood sweetheart of Buckaroo's celebrity serial killer, Edward Warren aka The Nailbiter, and talks about how prayer is going to stop these horrors. While Finch is usually the center of the action, I think Crane, as well as high school outcast Alice (who also stands up to the preacher), are my favorite characters in the book, and I think the introduction of a local rival with the preacher is going to give Crane more time to shine. And of course, Warren, the titular Nailbiter, gets his moment to shine, in a scene with a reporter that would make The Joker nod in approval. Nailbiter is a study in character and atmosphere, with each issue pulling you deeper into the terrifying town of Buckaroo, and this second arc looks to give us some answers. Or maybe not; with horror, who knows if what you'll get is what you want. Oh, and as an aside, the third issue of Williamson's fantasy series, Birthright was released this week, another book that continues to twist genre and move at breakneck speed, so I'd check that out too, if you aren't.

Secret Six #1
Story: Gail Simone
Art: Ken Lashley

It's baaaaAAAAck! Yes, Gail Simone's team of supervillains make their triumphant New 52 debut in an issue that is different from the old series, but still has enough of the familiar that it's clear we're in for the same insane ride. Gail Simone's trademark mix of humor and violence is well on display in this issue, as we're introduced to the new members of the team that will become the Secret Six: two old members (Catman and Black Alice), two characters from Simone's run on Batgirl (Strix and the Ventriloquist), and two new characters (Porcelain and Big Shot). The point of view character for this issue is Catman, which shouldn't surprise anyone, as Simone clearly loved that character. Catman is a slightly different character in his new incarnation. He seems, if not quicker to anger, far less strategic; when fake law enforcement come to pick him up, he simply starts attacking them with not much of a plan. Still, he tough and a complete badass, which keeps the original Catman formula in place. It's also interesting to see him with some more cat-like behaviors; if you've ever seen a cat shut in a room, you can see that reflected when he's trapped. And that's where he meets the rest of the team, trapped in a room with a big monitor and a voice telling them one will be killed if they don't discover the secret. The dynamic between each member of the team is already starting to build, and each character is distinct: Strix is quiet and haunted, Black Alice is distant and damaged. Big Shot seems to be the one trying to make things work, Ventriloquist is completely insane, and Porcelain seems the most together, which means, if I know Gail Simone, she's the most screwed up of the bunch. Ken Lashley's art is good for the book, dark and violent. His fight scenes are great to watch, as the action is clear, and his Catman has a cocky look to him, although when he realizes he's trapped, the terror bleeds off the page. While I'm going to miss Bane and Scandal, and the bromance between Catman and Deadshot, Gail Simone has proven she can take a concept she has done before and breathe a very different life into it, so I'm excited to see where Secret Six goes.

Wolf Moon #1
Story: Cullen Bunn
Art: Jeremy Haun

I think I've said this before, but in case I haven't, I love werewolves. Whether it's the classic movie versions like Larry Talbot from The Wolfman, Joe Kelly's haunted one from Bad Dog, the terrifying one from An American Werewolf in London, or the cute ones like Patrick the Wolf Boy. So, I was interested to see what Cullen Bunn, a writer whose horror and weird tales have always appealed to me, would do with the werewolf myth for Vertigo. And Wolf Moon is a very interesting take. Dillon Chase is a man who is haunted by the wolf, and now he hunts it. His girlfriend is similarly damaged, and she doesn't want him to go, but he must find it and stop it. But what Bunn does that is different is that this is not a werewolf that is transmitted by bite, as is usually the way. No, this wolf possesses someone for the three nights of the full moon and then leaves them, and their life, in shambles. What this does is making hunting the beast all the harder, as Dillon realizes when he has the werewolf in his sights; the person the wolf is riding ill be free soon, and has done nothing wrong. That doesn't mean they don't know what's going on. We do see some of the wolf's previous hosts, and the horror of knowing what they did. "The wolf," says Dillon, "doesn't just reshape flesh and bone... it reshapes lives." This issue is a number one, and so it spends much of its time introducing concept and character, but we still get a brutal attack from the werewolf in a fast food restaurant, drawn by Jeremy Haun. I've been a fan of Haun since Battle Hymn, and while I enjoyed his recent run on Batwoman, I'm glad to see him on Wolf Moon. His wolf is huge, menacing, and looks like it could swallow you whole. There is more going on here, a mysterious someone else hunting, and Bunn has built enough of a mystery to add another layer to his horror. With The Sixth Gun, Bunn's weird Western, wrapping up in a few months, it's good to see he has some more supernatural stories lined up to keep his fans coming back for more.

Reviews of Comics from Wednesday 4/2

Detective Comics #30
Story: Brian Buccellato & Francis Manapul 
Art: Francis Manapul

Detective Comics has had the most creative teams of any of the core Batman comics since the New 52 began. I really enjoyed the last team of John Layman and Jason Fabok, but when I heard the creative team on the (to me) surprise hit title, The Flash, Brian Buccellato and Francis Manapul, were coming on, I was excited, and the book has definitely lived up to that excitement. The first issue is dense, introducing a lot of new characters and concepts, and really setting up what I assume is at least their first arc, if not the themes and characters of their run. We don't get any supervillains in issue, just Batman fighting some street level thugs, although one is addressed as The Squid. This could be a completely new character, despite the name that connects him to a Gotham mobster from the 80s. We also meet Elena and Annie Aguila. Elena is a self made woman who is trying to help Gotham's East End revive, and Annie is her sarcastic, extreme sports motocross driving daughter. Elena is clever, and is able to push all the right buttons to get Bruce to side with her plans. One of the buttons she pushes is mentioning Bruce's son. Damian's death is not public knowledge, and so this is a different blow than she intended. With the return of Jason Todd, Batman lost one of the tragedies that defined nearly twenty years of his character; Damian's death returns that tragedy, and amps it up since Damian was Bruce's biological son. There's also a thread introduced involving a crooked councilman, and the mention of a new drug called Icarus. While the issue might sound busy, it all plays well together and feels like different aspects of one story that we haven't seen how all the pieces fit together. The art is astounding as ever, Manapul is, for my money, DC's top artist right now, with a sense of motion that worked perfectly for The Flash. I wasn't sure how his style would work in Gotham, but it is a home run. The art is gorgeous, and Batman's combat flows. The motor cross scenes are also astounding. And his character beats are equally lovely; the expression on Bruce's face when Elena mentions Damian is heartbreaking. I think that this run is going to live up to the name of the series, playing a long running mystery for Batman to solve; I like it when Detective Comics lives up to its name.

She-Hulk #3
Story: Charles Soule
Art: Javier Pulido

Ok, three issues in I can safely say that She-Hulk has become my favorite comic currently published by Marvel Comics. I love my dark, serious comics (I'm a Batman fan after all), but I also like a comic that has a sense of humor while still taking the world it exists in seriously, and this volume of She-Hulk does exactly that. The issue picks up pretty much where the last issue left off, with Kristoff, son of Dr. Doom, asking Jen (She-Hulk) Walters to represent him in seeking asylum in the USA. Jen gets to spend some time with Kristoff, who carries himself with the air of one who was raised by a megalomaniacal- mad scientist- sorcerer- dictator. From the moment Jen and Kristoff head to the courthouse, we get a scene out of a classic comedy, with Dr. Doom sending his Doombots to find ways to stop Kristoff from making it to the courthouse by the five o'clock deadline. Jen smashes them, steals a Fantasticar from her former Fantastic Four teammates, and even sets up a decoy. Soule does a great job of showing that Jen thinks with her brain as much as her fists, one of the things that separates her from her more famous green-skinned cousin. Pulido does a great job of showing Jen bulking up in combat; I forget that despite being big, she can get much bigger when the need arises. There's also some fun images panels dealing with Kristoff's chauffeur turning out to be a Doombot and Jen smashing it; Pulido makes what could be simple little thing into a great sight gag. The issue ends reinforcing the idea that when Jen takes on a client she will do the best she can for them, even if that puts her in the cross-hairs of a major bad guy. Looks like Jen's off to Latveria, and I have a feeling Doc Doom might regret getting involved in this one.