Reviews of Comics from Wednesday 10/12

Darth Vader #25

Story: Kieron Gillen

Art: Salvador Larroca & Edgar Delgado and Max Fiumara & Dave Stewart 

Darth Vader has been a consistent high point of Marvel's new Star Wars line. It's been a slow burn of a series, where all twenty-four issues and an annual have built towards this final issue. Dr. Cylo, the mad scientist who has been Vader's adversary throughout the series, first attempting to replace Vader in Emperor Palpatine's eyes and then to take over the Empire itself, faces his final battle with Vader this issue, and its a testament to artist Salvador Larroca. Vader is a force of nature, silent and terrifying. I went through and counted, and Vader has no more than fifteen word balloons throughout not just the battle, but the entire issue, many of which are one or two words. And Vader's face is covered the entire time, so an artist can't even fall back on facial expressions. So Larroca uses body language to show the readers what is going through Vader's mind, much of which is, well, pretty much murder. Beyond the battle with Cylo, we get a scene between Vader and the Emperor which is one of my favorite scenes between the two in a long time. It shows the twisted relationship between the Sith, how manipulation and betrayal are so central to everything they represent, and makes the reader feel for Vader in a way, as the one mentor figure he has left applauds him for betrayal. The final scenes of the main story show Vader dealing with his underling Dr. Aphra, and shows that while Palpatine has embraced the ideal of betrayal as strength and rewards it, Vader most assuredly has not, and we see Vader deal, quite harshly, with his other Imperial nemesis, this one a political foe, Grand General Tagge, and while I don't want to give too much away there, well, if you've seen the original Star Wars trilogy, you know what happens when you screw up in front of Vader, something Admiral Ozzel, who stood there and watched maybe should have learned from before the events of The Empire Strikes Back. But the final two pages take Vader in a different direction, as we get a silent view into his mind, and see him considering a much less violent confrontation with his son, Luke. This issue shows all manner of aspects of Vader: warrior enforcer, apprentice, leader, and father, and through that shows just what an incredibly nuanced character he is, no matter what words he speaks. The two epilogues to the issue are interesting in their own right. One is a brief scene that sets up Dr. Aphra's upcoming series, and helps establish her new trajectory and her supporting cast (the Wookiee bounty hunter Black Krrsantan and the evil droids Triple Zero and Beetee-One ). The other is a silent piece, set on Tatooine, as we see the results of what Vader has done to the Tusken Raiders, the Sand People. It's a chilling little story, and is hard to write about without laying it out point by point, but needs to be seen. I'm going to miss the Darth Vader ongoing series, it's powerful narrative and dark turns, but I'm looking forward to see where Gillen takes the Doctor Aphra series.

The Fix #6

Story: Nick Spencer

Art: Steve Lieber & Ryan Hill

In most cases, I have a hard time with stories where there are no redeeming characters, Even stories starring anti-heroes or downright villains show a nuanced portrayal of those characters, like Darth Vader in the previous review or Walter White in Breaking Bad. However, The Fix, Nick Spencer and Steve Lieber, is the exception to this rule, as there is not a single character in this book who has a redeeming characteristic. When the principal character who is the least morally reprehensible is the crooked internal affairs cop (with the exception of Pretzels the dog. Pretzels is the best), you know you're in for a ride. This issue gives us a new one of lead character Roy's crooked side businesses, trafficking in stolen celebrity personal items. And frankly, this is far from the worst thing we've seen Roy do, but it's the fact that he's actively employing meth addicts to do it that makes it even more reprehensible. The story of how Roy met Matty, the chief meth addict, is one of the darkly comedic things that makes The Fix work so well. I mean, I honestly laughed out loud so hard I doubled over and got a very strange look from my wife, and when I tried to explain why it was funny, the look just got stranger. In theory, bum fight shouldn't be funny, and in real life practice they aren't, but in the twisted world that Spencer and Lieber have created, the whole sequence is utterly hilarious. And as we understand exactly what Roy has been up to, and exactly where this has gone, and exactly what Roy has planned for Matty's friends who he assumed are responsible for the death of the starlet he had them rob and he assumed killed, well the hole he dug just keeps getting bigger. And the big reveal of what this has all been about, what the killers were looking for, well, I don't know if it would work in any other comic, but it sure as heck works here. If all of that wasn't enough, we get two scenes away from Roy, and if you were hoping for characters you could empathize with and see as light in a corrupt world, you are in the wrong place. We get a scene that further develops the mayor of L.A., who has a... unique habit during press conferences, and one with Donovan, the movie producer, and his really interesting fantasy life. The thing that keeps me coming back to this book, aside from the twisty plot, the comedy, and the excellent Steve Lieber art, is the fact that these characters have to get their comeuppance sooner or later, and I just can't wait to see how big a hole they can dig before they fall into it. And after this issue, I can't wait to see them all get what's coming to them more than ever, in the best possible way.

Hard Case Crime: Peepland #1

Story: Christa Faust & Gary Phillips

Art: Andrea Camerini & Marco Lesko

The Hard Case Crime label is an impressive publishing initiative that has presented both reissues of classic noirs and new stories in the best noir and crime fiction styles, and I became familiar with their novels by the publication of two original works by Stephen King, The Colorado Kid and Joyland. And when I heard they were going to partner with Titan Comics to produce new crime comics, I was excited, and I'm pleased to say that Peepland, one of their inaugural offerings, is an excellent crime comic. I chose to try this series for a couple of reasons. Firstly, the writers. I'm familiar with Christa Faust only by reputation, but Gary Phillips has written some amazing crime comics over his career, most notably to me the Vertigo mini-series Angeltown and from Boom Studios The Rinse. The setting also appeals to me. The comic is set in New York City in the mid-80s, back before the city was sanitized. I was a kid back then, so it's not like I spent any time wandering those red light districts, but I know people who did, people who tell stories of Time Square before Disney rolled in, and so I get a sense of the city I love from bygone days. And this comic is set deep in those red light districts. Starring Roxy, a peepshow performer, the comic starts with a man running for his life from two thugs before hiding a video cassette (remember those?) in Roxy's booth. Pretty soon, the police are involved as the man, the producer of a Girls Gone Wild-esque series of pornographic videos, is dead and more than one group is looking for the tape. Roxy is a sympathetic protagonist, and presented in a real way: she's not the sex worker who's just doing it to pay her way through law school or some similar trope, but is someone who does what she does and has a life outside it, an uncle slowly dying of AIDS when AIDS was a short-term death sentence, an ex-boyfriend, and curiosity about that tape that is going to get her in trouble before the series is out, I have no doubt, especially when we see what's on the tape. Aside from our lead, we get plenty of other characters, all fitting into a classic crime/noir mold: other dancers and performers at Peepland, thugs and toughs, hardnose cops; this might be set in the 80s, and the events might only work in that particular era, but it's got a gritty feel right out of the best 40s noirs. In case the title didn't make it clear, by the way, this is a comic for mature audiences, with nudity and lots of bad language, but it's also for mature audiences because it's smart and complex, with characters and a mystery that will appeal to readers who are looking for something to really dig their teeth into.

And Dan Grote's back with a very special issue of Deadpool...

Deadpool #20

Story by Gerry Duggan

Art by Matteo Lolli and Guru-eFX

In which Deadpool stops someone from committing suicide through violence.

Let that sink in for a second.

We’ve all seen superheroes talk ordinary folks off the ledge, literally and figuratively. Superman arguably did it best in All-Star Superman.

Deadpool is not Superman. Hell, he’s barely a superhero. He’s a guy who often wants to be good but doesn’t know how because he’s lived a life of violence and insanity. Which is why he gloms onto other superheroes – Spider-Man, Captain America, etc. – and demands to become their new best friend whether they like it or not.

On this night, a young woman named Danielle is staring down at the street from the roof of the Schafer Theatre, formerly the home of the Avengers’ Unity Team, the Mercs for Money, and Deadpool. Wade leads with “Don’t jump!” and follows with “Parker Industries is just a few blocks down.”

Now, things have been pretty crappy – well, crappier, I guess – for Wade lately. His wife has been cheating on him, his team has abandoned him, his base was destroyed. Frankly, if this were the Joe Kelly era, he’d be in the depths of a sadomasochistic pity party and probably push her off the building himself.

Instead, Wade takes her to see Hamilton and lets her go on a ridealong while he beats up deadbeats as part of his pro bono work. Along the way, Danielle learns useful things like the best way to get bad guys to come to the door (Yell “Sexy maids!”) and when to kick or blow down said door and begin delivering beatings. Danielle even picks up a bat at one point and joins in the fun.

“Violence solves everything if you’re good at it,” Wade insists.

Their magical smashy-smashy tour ends at the emergency room, where Wade drops her off for pre-arranged help.

“I’m smart enough to know I’m dumb enough that I can’t help you,” he says. “But they can.”

This isn’t Wade doing the right thing to impress Spider-Man or Agent Preston or Cable or any of his usual over-the-shoulder angels. Nobody’s watching. This is Wade doing genuine good the best way he knows how, while remaining completely in character and recognizing his own flaws. This is Gerry Duggan once again teaching a master class on how to develop a chaotic-neutral quasihero.

After Danielle walks into the ER, Wade finally finds the perfect thing to say: “You gotta remember: No matter how bad things get … that life is fluid. There’s always the chance that something great is waiting around the next corner. (Steps in dog poop) You just have to find a way to keep rounding corners.”

In other words, “You’re much stronger than you think you are.”

Deadpool’s been teasing a showdown with Madcap for months now, but recent issues have had next to nothing to do with that. This issue is no exception, but it’s also probably one of the best standalone ‘Pool issues ever.

Reviews of Comics from Wednesday 4/6

The Fix #1
Story: Nick Spencer
Art: Steve Lieber & Ryan Hill

There are a lot of great crime comics out there, that focus on smart criminals pulling of million dollar heists and getting away scot-free with the money and the police left in the dust. The Fix, the new crime series from Nick Spencer and Steve Lieber, published by Image, is... not one of those. At all. It is instead a crime story more in the Coen brothers school, a tale of incompetent and venal criminals in way over their heads. Roy (our narrator) and Mac are literally partners in crime. They're also partners on the police force. They're crooked cops who are also flat out crooks; they don't just take bribes and look the other way, but the opening of the issue sees the two of them committing a robbery. At a nursing home. Because they owe the local mob kingpin a bunch of money because of gambling debts. From illegal robot fights. And not cool future-tech robots, but old school Battle Bots type robots. I know that was an excessive use of sentence fragments, but I wanted to use it to emphasize how completely out there and funny this book is. I don't want to use the words tongue-in-cheek, because that implies a sort of send up sensibility, and this comic doesn't have that. It's not parodying crime stories, but playing the tropes straight while dropping people into them who aren't the usual hard bitten crooks. Despite being a self-admitted bastard, you can't help liking Roy; he might not be the kind of guy you want to hang out with, but he's definitely fun to read about. And since this is set in L.A., you know he's got a movie deal waiting to be optioned so he can get out of the deep doo-doo he's in, and the guy in the movie business he knows? Well, he's not exactly the most stable and normal guy either. Pretty much every character you meet throughout this first issue works against expectations, or in the case of Donovan, the producer, is such a broad stereotype that you can't help but be horrified and amused at the same time. When Lt. Malone of Internal Affairs shows up, you're expecting this to turn into a sorry of these two guys trying (and probably failing if their track record is any indication) to avoid being caught for the nursing home robbery. Only, oops, Malone works for the big mob boss. And Josh, the mob boss? He's this stay at home dad, who cooks organic and is an anti-vaccer. Only when he knows the guys don't have the money he's owed, he begins to discuss, "Carving out their taints." It's darkly funny, very blue, and reads breezily; the first issue has no ads, an expanded page count, and it takes time to read in he best way. here are all sorts of odd little moments too, things involving vintage pornography, Donovan's weird "romantic" life, and a drug-sniffing dog named Pretzels, who may be this year's canine character find, that just add to the air of caper gone bad. Having read and loved this issue, I now need to track down the trades of the creators' previous crime comic, Superior Foes of Spider-Man, which I have heard is a similar crazy caper book, but with capes and tights. If you're going through crime comic withdrawal, waiting for all those books announced at Image Expo to start, you need to go and read The Fix.

Star Wars: Poe Dameron #1
Story: Charles Soule
Art: Phil Noto

While Rey and Finn were the new characters who got the most screen time in The Force Awakens, I felt like every time Oscar Isaac appeared on screen as fighter ace Poe Dameron, he stole the show. I've always been a sucker for Star Wars stories focusing on fighter pilots, and so a new series about the adventures of Poe before the events of the film was something that I've been looking forward to. And with creators with some previous Star Wars credits (Charles Soule wrote the Lando mini-series and is writing the current Obi-Wan and Anakin one, while Phil Noto drew Chewbacca, as well as plenty of spot illustrations for Star Wars fiction), I had set the bar petty high. And while the first issue didn't speak to a lot of the questions about the character many fans have about him, it was a great debut and a fun adventure story. Set directly in the run up to the events of The Force Awakens, this issue sees Poe given the assignment by General Leia Organa to locate Lor San Tekka, the character played by Max von Sydow in the opening moments of the film. The issue does a lot of set-up, introducing members of Poe's Black Squadron, many of whom are drawn from background pilots in the film, and setting them off on their mission. The opening of the issue is actually in media res, as Poe flies through a series of tunnels and caverns, and Noto draws hem ably; dog fighting and flight can be a daunting task to draw, and panels of starfighter flight can easily become confusing, but Noto knows what he's doing. Poe's adventure lads him to meet The Creche, a sect that is dedicated to protecting a giant egg that they believe will birth some kind of cosmic messiah, and who have clues to Lor San Tekka's whereabouts. These interactions allow us to see a different side of Poe, one that is more diplomatic and less action based. But things look bleak when Poe finds a tracker on his ship, and Noto gets in one great shot of the arrival of The First Order, setting the bar high for what will be an exciting battle next issue. The issue also has a back-up story, "SaBBotage," written and illustrated by Chris Eliopoulos, about Poe's droid, BB-8, playing matchmaker for a fighter pilot and a repair technician. It's a cute story, and made me miss he classic Star Wars Tales anthologies from Dark Horse, where this story would have fit perfectly. A solid starting point for more stories set around he events of The Force Awakens, Poe Dameron #1 is a solid Star Wars comic, with a strong adventure, a touch of humor, and interesting new worlds, which is everything I want out of Star Wars.

Steven Universe: Too Cool for School OGN
Story: Ian Jones-Quartey & Jeremy Sorese
Art: Asia Kendrick-Horton w/ Rachel Dukes & Leigh Luna w/Andy Leigh R

Steven Universe gets to have lots of cool adventures, without very having to worry about the mundane, day-to-day stuff most kids have to go through, like school. But when Steven's friend, Connie, takes Steven to school for show and tell because he's bored and wants something to do, well, you can imagine that chaos is in the offing. Pretty soon, the school principal is insisting Steven stay in school to learn to properly socialize with kids his age, and get beyond his fantasies about being part alien and having alien friends. Following on he heels of successful original graphic novels based on Adventure Time and Regular Show, this new Steven Universe story works far better as a full graphic novel than it ever would as single issues; based on a story by animated series produced Ian Jones-Quartey, the narrative would have felt unnaturally choppy as monthly comics. Instead, we get a story that not only explores how Steven interacts with kids his own age, but get an exploration of Steven's relationship with Connie. The animated series has done a great job of establishing that relationship, making it deeper and far more rich than you'd expect from kids in middle school, but this story places them not in Steven's sphere, where they usually are, but in Connie's, and the quiet, usually reserved Connie is not as patient with Steven as he draws attention to her in ways she is unused to. But these are passing storms, as Connie and Steven are the best of friends, and Steven might be a good influence on Connie's social life, as people notice her. But Steven, as is usually the case, is followed by the usual madness of being a part alien, and when a giant snail monster attacks the school, it's not Steven, but Connie, who not only figures out how to stop it, but leads the other kids. I love the spotlight that Connie stands in, and how nicely balanced the story is between the day to day of school and Steven's adventures with the Gems and the monster attack. And the end of the story has a nice message about being yourself, something that is an ingrained part of the Steven Universe, well, universe. The back up story, "Yard Sale," from Josceline Fenton, who is writing the current Steven Universe mini-series, has Steven and the Gems going to a garage sale at the home of Vidalia. It's a sweet story that demonstrates just how nice a kid Steven is, and ends with a punchy little joke, on that fans of the show will appreciate. Hopefully, this volume will be successful and we'll se more Steven Universe graphic novels, as this one was great fun, especially as we wait for new episodes.

Reviews of Comics from Wednesday 3/30

Captain America: Sam Wilson #7
Main Story
Story: Nick Spencer
Art (Steve Rogers): Daniel Acuna
      (Sam Wilson) Angel Unzueta & Matt Yackey

I picked up this anniversary issue of Captain America for the back-up stories, not having much hope for the main one. I haven't read much else about Standoff, the current Marvel event, and the cover made me roll my eyes; I maxed out on hero vs. hero battles about a year and a half ago. But the cover was misleading; the various current and former (and future) Captain America's don't fight in this issue. Instead, we get two narratives. The first deals with Sam Wilson, the current Captain America, running across Bucky Barnes, the original Cap's former partner and a former replacement Cap, as they make their way through the S.H.I.E.L.D. prison called Pleasant Hill, a town where the spy organization used a reality warping Cosmic Cube to make the incarcerated super criminals think they were ordinary citizens. The other half of this story sees the original Cap, Steve Rogers, who has been aged to what his age should be since the removal of his Super Soldier Serum, travelling first to get medical help for head of S.H.I.E.L.D. Maria Hill, and then to find the Cosmic Cube fragments that have gained sentience and taken the form of a little girl.

It's  lot of story  forty pages just for this main piece, and I like the focus on the idea that these men who have all wielded the shield of Captain America are brothers. Right now, Steve and Sam are on the outs for a reason I'm unsure of, but they still both think of each other fondly, and I think that's an important thing. If you're a fan of Cap, you'll also see three of his main adversaries in this issue: Baron Zemo, Crossbones, and... a third I don't want to spoil. But most important is how Steve is fighting his way across Pleasant Hill, and how he keeps fighting, even though he is physically far from his best. That's part of what makes him Captain America, whether he has the shield or not: he never quits. He faces down Crossbones, who he is physically no match for, and even as Crossbones pummels him to death, even as he prepares to die, he thinks about his life and he's happy how he lived it. It's a beautiful scene, but this is superhero comics, so you know there's more that happens there, and the end of this issue sets up the already announced Captain America: Steve Rogers series. It's a good lead off story, one that I didn't feel lost in despite not having read this title or the crossover it's taking part in before.

Prsentation
Story: Joss Whedon
Art: John Cassaday & Laura Martin

Joss Whedon and John Casaday tell a story set during World War II, and tells the story of a the destruction of Cap's original shield, and a meeting with a group of  army officials and ad men as they look for a replacement. The story is a bit on the nose, as Whedon can be when he's making a point, but the point, the difference between a shield and a gun, is an important one to make, and the art from Cassaday is as stunning as it usually is. The story is a solid fit for an issue that celebrates the history of Captain America, and what it means to be a defender of the innocent.

Catch Me If You Can
Story & Art: Tim Sale
Colors: Dave Stewart

Artist Tim Sale does double duty, writing this mostly silent story that could serve almost as an epilogue for the recent Captain America: White series he did with his constant collaborator, writer Jeph Loeb. Full of big panels and splashes, including a gorgeous two page spread that follows Cap through a Hydra base, the story's only words are a flashback to Steve as a young boy at the kitchen table with his mom, receiving a last gift from his late father. It tugs at the heart strings, and is a sweet story, the kind you expect from a character like Cap; it's not down in the dark, but spotlights Cap's long life and the warmth of him personally

Pas De Deux
Story: Greg Rucka
Art: Mike Perkins & Andy Troy and Frank D'Armata

This was the story I bought this comic for. Greg Rucka hasn't written a lot of Cap, although he won an Eisner for a Cap short he wrote some years ago, so I was excited to see him back with the character. The story has Steve and Black Widow going to the ballet to stop a Latverian prima ballerina who defected from being assassinated, with Widow dancing in the company and Steve in the audience. While there's a little bit of action, as Steve stops a team of Latverian snipers, much of this issue is about Steve Rogers first time seeing real ballet, The back and forth between Steve and Natasha is charming, the banter between old friends. And more than that, it's a discussion I've had with people: the idea that ballet (or in my case theatre) is an expensive art form for the elite, and not something everyone can enjoy is a problem that isn't going away. Mike Perkins art is especially gorgeous, showing the parallels between fighting and dance, the artistry of motion in both Steve Rogers fight with the assassins and Natasha's dancing. But the panel on the fourth page, I read as Steve looking in wonder at the ballet speaks to the power of art, and makes me smile. On top of all that, this has one of my two favorite pieces of dialogue in comics this week:

Steve: I saw The Nutcracker once. Bored me to tears.
Natasha: That is like saying I saw Sharknado, therefore all movies are a waste of time.

Any story that gets that in there wins. That is all I have to say.

Faith #3
Story: Jody Houser
Art: Francis Portela, Marguerite Sauvage, Terry Pallot, & Dalhouse w/ Spicer

Faith continues on, three for three in issues released and issues I've reviewed. Everything I've said about the earlier issues remains true: the story is charming, with a delightful and fun protagonist who does her best to always do the right thing. While there's some classic, Marvel-style issues of a hero trying to balance her life outside of costume with the one she lives in it, this isn't a book steeped in angst, which is part of its charm. It's a flat out superhero comic. This issue, Faith's life takes some major surprise turns, as she resolves the hostage situation at her job by revealing herself to her boos, and most of the rest of her coworkers find our pretty quickly. I commented initially that these people were pretty broadly drawn, which made sense for characters that only appeared in a couple pages of the first issue, but this issue starts to give them some serious depth. It would have been easy to keep Faith's boos as the "Devil Wears Prada," stereotype, especially after she rewrote Faith's story last issue, but she turns out to be something a little more decent, even if she still demonstrates self-interest. We also get another adorable scene of Faith and Obadiah Archer of Archer and Armstrong video chatting, and I love how Faith brings out Archer's fanboy side. We also get to see the description of exactly what Night Shifters, the hit sci-fi show that Faith, Archer, and other characters love, and I gotta say, the premise is so delightfully bizarre I could definitely see it as a SyFy Channe; original series in a block with some of my favorites like Eureka and Warehouse 13. I now want an issue where Faith and Archer just watch an episode together, and we see the episode on panel and get MST3K-esque heads of our characters watching along with us. I will say I was surprised when I googled this issue and got the covers, as it turns out I got one of the variant covers (Cover B as it turned out) because the big last page reveal of the villains behind the kidnapped psiots that has been the big superhero thing that Faith has been investigating, is given away on Cover A, which is what I used for the post; maybe my Valiant knowledge outside of the Brothers Anni-Pada is still light enough that something I took as a mystery was way more obvious than I thought? Ah, well, you live and learn,and it was a big surprise to me, so that was pretty neat. One last thing: I have to give a round of applause to writer Jody Houser. As Faith is fighting the suited bad guys attacking her office and figuring out her coworkers now know her identity, in her head she spouts off various sci-fi/fantasy swear words. It would have been easy to just have her say "frak" over and over again to keep up the nerd cred. But nope! Houser tosses in a gorram (Firefly), frell (Farscape), fewmets (D&D and other fantasy RPGs), and a true deep cut, Grozit, from my beloved Star Trek: New Frontier novels by Peter David. Brava, Jody Houser, for getting how us geeks think.

P.S,: As I prepared to put this up, it has been officially announced that Faith will continue as an oging series in July, not surprising with how sales and acclaim has been. I am excited to see where Faith goes next, and will be on board for the ongoing.


And this week we have two reviews from Dan Grote...

GI Joe Deviations

Story: Paul Allor

Art: Corey Lewis

The villains of 1980s cartoons sought world domination with the tenacity of the cereal mascots whose adventures were recounted during the commercial breaks. And Cobra Commander may have been the most cuckoo for Cocoa Puffs of them all, forever seeking weather-manipulation devices and the DNA of dead conquerors in his quest to defeat the Joes.

But what would happen if the would-be demagogue got his wish? That’s the subject of this one-shot, part of IDW’s “Deviations” line, which lets creators tell alternate-reality tales featuring the company’s licensed properties.

The book opens where so many episodes of the cartoon ended, with one of the Joes – in this case Roadblock – giving children a public-service lecture, this time on the dangers of talking with one’s mouth full.

But before you can say “And knowing is half the battle,” an explosion rips apart the Joes’ base. Around the globe, strange weather events wreak havoc. Finally, Cobra Commander tastes his greatest triumph as a bolt from above kills Duke, the leader of the Joes.

Five years on, it turns out running a one-world government doesn’t suit the Commander. While he dreams of ways to mess with people by disabling every mobile device on Earth or giving statues laser eyes, his lieutenants – the Baroness, Tomax and Xamot, etc. – talk about practical matters like currency stabilization and STEM education.

“The problem with running the world is, you have to run the world,” the Commander says.

So what do you do when you want to restore chaos to the order you accidentally created? Call in the Joes.

Well, the ones left alive, anyway. Indeed, the onetime global peacekeeping force is down to four members: Roadblock, Scarlett, Jinx and Snake Eyes. The Commander sends Major Bludd to convince the Joes to launch one last desperate raid on Cobra Island. And of course they agree to it.

“So predictable,” an exasperated Bludd says.

The Joes cut a swath through some of Cobra’s lesser baddies, like Big Boa, Croc Master and Nemesis Enforcer (NEMESIS ENFORCER!). Saying anything about what happens beyond that would be a spoiler. Just remember that ultimately, this is a story about Cobra Commander and his addiction to chaos.

Paul Allor does a great job writing from the perspective of villains unsure of what to do with their lives when they can no longer vill. Roadblock aside, the Joes get very little page time at all, which makes sense considering they’ve been reduced to having the effectiveness of gnats. And artist Corey Lewis draws in a style that’s very much manga meets Adventure Time by way of Brian Lee O’Malley, which works given the story’s mix of post-Apocalyptic meets patently ridiculous. (Cobra Commander apparently has been redesigning everyone’s costumes to make them more glam, including his own, which finds a way to combine both his classic head-sack and metal faceplate looks. And spikes.) One of the best touches comes when Cobra Commander visits the Baroness and Destro, who now have children, one of whom has a metal head just like daddy.

If you haven’t been keeping up with the Joes in their regular monthly IDW adventures but still have a fondness for the property, this book will make you want to dig through your parents’ old VHS tapes for that version of GI Joe: The Movie they taped off Channel 11 for you. Yo, Joe.

X-Men ’92 #1

Story: Chris Sims and Chad Bowers

Art: Alti Firmansyah and Matt Milla

While the Secret Wars volume of X-Men ’92 introduced the animated mutants of the Extreme Age to concepts created after their time, such as Cassandra Nova, this new story is a nearly pure, unadulterated throwback to the second arc of the adjectiveless X-Men series that began in 1991. Omega Red is here, Maverick, too, the Fenris twins and hints toward the introduction of the Upstarts and their @Midnight-style points system for killing mutants.

(P.S.: Didja see Trevor Fitzroy and Fabian Cortez on the cover? It don’t get more ’90s than that, kids!)

But it’s not a one-to-one match, before you go dragging out your old copies of X-Men #4-7. Instead of a shirtless basketball game between Wolverine and Gambit, we open with the reopening of the Xavier School to students again. A harried, hairy Beast makes his way down the hall, interrupted at every turn by hijinks, to arrive late to his first class, a mix of students from Generation X and the X-Statix (check out the forehead drapes on Doop).

That’s when Maverick comes crashing through the window with the old “They’re coming for you!” message, and the X-Men are forced into a fight with Soviet superheroes the People’s Protectorate – co-led by Omega Red and featuring Ursa Major, who is an actual bear – on the front lawn of the school.

The story also introduces a mysterious new villain, Alpha Red, the apparent precursor to Omega Red, created by the Russians to be their Captain America during World War II. The X-Men did more than a few stories about the tenuous post-Cold War relationship between the U.S. and Russia at the time, so while the “We’ve unearthed another country’s super soldier” bit has been done before, it fits the book’s tone perfectly. Plus, we get to read wonky Russian accents and dialogue bubbles with * that point to narration boxes that say *“Translated from Russian,” just like the old days!

The team lineup has changed since the last series. Cyclops and Jean Grey are taking time off and have been replaced by Bishop, the bandana-wearing, big-gun-carrying mutant lawman from the future, and Psylocke, the telepathic ninja. So for those of you hoping for more of Scott being no fun at all and Jean yelling and passing out every time she uses her powers, better luck next arc.

And as much as I miss Scott Koblish on art (check out his issues of Deadpool if you feel the same), Alti Firmansyah is an A+ replacement. Her work on the Star-Lord and Kitty Pryde Secret Wars miniseries demonstrated her chops for drawing animated, nostalgia-drenched X-characters, including my favorite Gambit since the days of Joe Madureira and the Kubert brothers. I also appreciate her more light-hearted take on Omega Red, complete with “Who, me?” smile and shoulder shrug.

Sims and Bowers continue to nail the tone and voice of the characters both from the ’90s cartoon and the books of the time, with just enough tweaks to add something fresh while capitalizing on the familiarity of it all. If we’re lucky, we’ll get their vision of the Age of Apocalypse as well.

Reviews of Comics from Wednesday 10/14

Batman #45
Story: Scott Snyder
Art: Greg Capullo, Danny Miki, & FCO Plascenia

Just when you start settling into your life as a costumed hero, you get fired. Picking up right where issue 43 left off, Batman is in an industrial furnace about to be burnt into a cinder. He gets out of it by being clever, which is important to show that Jim Gordon is doing his best to take up the mantle of the Bat and while he's not the Batman we're used to, he's got a lot of the same spirit. And once he's out, he does get the living hell stomped out of him by he Devil Pigs, the gang he was trying to stop. Only the timely intervention of the robot suit, which now has some rudimentary AI to aid him and which he dubs Rookie, saves him from an untimely death. And after that debacle, well Geri Powers fires Jim. She does her best to explain nicely, but it boils down to Jim not following orders. I keep waiting for Powers to turn out to be evil (and she actually jokes about that in this issue, and the mention of her nephew Derek in the recent Batman Annual doesn't help put to rest the fact that when I think of the Powers family I think of villains), but I don't think she's evil, I just think she's doing what she thinks is best, and that might not line up with what I expect as a reader. The whole discussion of super colliders and new elements is an interesting analogy for what Snyder is having her do, and I admit I want something made out of an element called Batmanium 206. Meanwhile, we get to see the connection between Duke Thomas and Tam Batman member Daryl Gutierrez, and I admit to feeling dense when I didn't realize that it was Daryl in the previous issue; it adds both to Daryl's place in this story and the resonance of that impressive issue to have a character from it become a central part of the regular cast, and I just think Duke is the best addition to the Batman in a long time. At the press conference where Jim is supposed to resign as Batman, we get a conversation between him and Julia Pennyworth, who is just the person that this Batman needs, someone to encourage him and keep him going, showing that Pennyworths and Batmen are destined to be intertwined. The end of the issue promises a confrontation between Jim and Mr. Bloom finally, and after all the build up, I bet it's going to be quite a fight.

But there's one other plotline in this issue: what's going on with Bruce Wayne. The thrust of the plot has to do with the fact that the artifacts from the Batcave the Joker co-opted during "Endgame" have been dumped in a vacant lot right next to the rec center Bruce works at with Julie Madison. Bruce sees how the children react to the Joker-fied dinosaur and all the memories, and when he can't get it hauled away, he does what Batman does, and he remakes a tragedy into something that you can move forward from. He also actively addresses the things as trophies, and I begin to wonder how far gone his memories are. And there's a part of me that really wants this to be Bruce's happy ending, because dammit but he's happy. He's compassionate and while he no longer has the drive that made him Batman, he's got he same heart, and it's much closer to the surface now. I know Bruce is going to be back in the cowl sooner rather than later, and I know if he was gone for too long I'd miss him, but it's going to be sad to watch him lose this happiness. But that's the kind of pathos that makes a good story, and so I accept it and look forward to seeing where Snyder takes us before it hits.

Ms. Marvel #19
Story: G. Willow Wilson
Art: Adrian Alphona & Ian Herring

As the End Days arc for Ms. Marvel wraps up, we get a most unique issue of the series, one where Kamala Khan, our titular heroine, never dons her costume. This entire issue is dedicated not to superhero fights and the craziness that comes with existing in a world with Inhuman, mutants, and  monsters, but what anyone would do when there might be no tomorrow. Kamala spends time with each of the non-super characters who have been an important part of her life throughout the series: her parents and brother, her best friends Bruno and Nakia, and even the local mean girl, Zoe. And each of them shows what a great person and character Kamala is. The scene where Kamala and her mother talk about being Ms. Marvel, and Kamala's realization that her parents have done the best by her and her brother they can is highly mature for a teenager, but it's also perfectly in character for Kamla. That level of introspection is surprisingly equaled by Zoe, who apologizes to Kamala for all the closed-minded things Zoe's said to her; maybe it's the end times that bring out the best in us. And Kamala also has to make her own amends: Nakia, who was clearly one of her best friends when we met her at the beginning of the series had more or less disappeared, and so Kamala has to talk to her and try to make things right. And the scene on the roof where Kamala and Bruno talk? Oh, my heart! It's the most mature discussion of feelings I've ever seen high school students have in a comic, and is frankly more mature than most adults have. It maintains the bond of rust and friendship Kamala and Bruno have, while still really getting to the heart of the complexity of their relationship, and the issue of religion, which has been talked about as the main problem for them being together, is barely a factor in it. I admit to being a bit confused by one statement in the issue though: he people, gathered in the high school gym, waiting for either the end or for the heroes to fix things, decide to have dance, and say that's how we do it in Jersey. I tell you, I was born in New Jersey, I went to high school in Jersey City, not too far from where this comic is set, and I have never been involved in any random New Jersey dancing. Maybe I'm hanging out with the wrong crowd... Ah, well, one way or the other, see you in volume two, Kamala Khan.

Journey to Star Wars: The Force Awakens- Shattered Empire #3
Story: Greg Rucka
Art: Marco Checchetto, Angel Unzueta, & Andres Massa

The time between Return of the Jedi and The Force Awakens is ripe with story potential, and Greg Rucka's Shattered Empire is the first story I've read set primarily in this new timeline. Introducing two new characters, Lt. Shara Bey, a pilot who flew an A-Wing at the Battle of Endor, and her husband, Sgt. Kes Dameron, a commando who helped raid the shield generator on the Forest Moon. After gong off on separate missions last issue, this ones sees them drawn back together, as Dameron's squad finds out about the Empire's Operation: Cinder, a plan to wipe out various worlds, one of which is Naboo, where Bey has flown Princess Leia to meet with the current queen of Naboo. Greg Rucka writes great crime and spy comics and novels, so him writing a comic that focuses on a pair of "normal" Rebels is exactly what I was hoping for an expecting. The first two issues were enjoyable, but this one jumps out at me because of the amazing sequence where, as Imperial satellites devastate the ecology of Naboo, Bey, Leia, and Queen Soruna of Naboo get into the three last surviving Naboo fighters and fly up to destroy the satellites. Not only does artist Marco Checchetto draw the hell out of these scenes, but as the odds get longer, as the Star Destroyer sends wing after wing of TIE Fighters, Bey shows the resolve and spirit of the Rebellion as she is willing to stall for time, and maybe not make it, to give Leia and Soruna the time to destroy the last of the satellites. Fortunately, it doesn't come to that, but it's those moments that stir feelings of some of the best of the EU of old, the Michael Stackpole and Aaron Allston X-Wing novels, about valiant pilots. There are also some great cameos from Lando, Han Solo, and a gorgeously drawn Chewbacca (and speaking of that, you also should check out the first issue of Chewbacca, the new mini-series from Gerry Duggan and Phil Noto, which was excellent), and a particular moment tying the prequels to the classic trilogy and now into the time after. With the new trailer for The Force Awakens dropping in just a couple hours, my excitement for the new Star Wars is getting higher every day, and great comics like this are only helping.



Dan Grote looks at another number one from All New, All Different Marvel...

Sam Wilson: Captain America #1

Story: Nick Spencer

Art: Daniel Acuna

Nick Spencer has made his name at Marvel writing scoundrels of varying levels of endearingness, from the heroic-but-still-a-thief Scott Lang to the heist-happy non-heroes of Superior Foes of Spider-Man.

His newest series gives us a Captain America who is broke and less than universally loved, but not deservedly so.

Sam Wilson has been wielding the shield for a while now, since Steve Rogers was aged, which was only last year, but since then there’ve been more than a few time jumps. Apparently, things have only gotten more difficult. He’s broken ties with SHIELD, where the name Steve Rogers has become a dirty word. He’s an Avenger, but it’s a rookie team and half of them are teenagers with homework and curfews. His philosophical differences from his predecessor have led partisan America to brand him a traitor and a fraud (people still love his bird, though). His solo operation – funded partially with donations from his brother’s ministry – consists of combing through video nuisance complaints and requests to help Moby lookalikes impress Taylor Swift until he comes across someone legitimately in need of help.

To be clear, Spencer is taking a partisan stance with this book. He openly mocks the American right-left divide. The issue’s main villains, the Sons of the Serpent, are portrayed as border-wall loving rednecks harassing Mexican migrants because their leader doesn’t want to press one for English. If they were any more of a caricature, they’d be wearing red “Make America great again” caps over their Cobra Commander-style head bags. They’re still a nice change of pace from Hydra, though.

Wilson isn’t alone in his solo title. Working with him are Misty Knight, one of Marvel’s empirically best women, and the book’s Spencer-iest character, Dennis Dunphy, formerly known as D-Man, who dates to the late ’80s, when original-recipe Cap spent a lot of time fighting and allying with ex-pro wrestlers juiced up by the Power Broker. Now, he’s Sam’s pilot, except they can’t afford a plane. Apparently Sam spent the last of his money on body armor for Dunphy and a sonic cannon for Redwing.

The creators appear to be working toward a Sam-Misty hookup, but then Marvel released a picture last week of Sam smooching on Jane Foster’s Thor in an upcoming issue of Avengers, so who knows what’s going on.

Full disclosure: I dropped the last volume of Captain America, by Rick Remender and Stuart Immomen, after issue 2. I love Sam as Cap, but the execution just wasn’t working for me. Spencer and Acuna’s book (quick shout-out to Acuna’s coloring work, btw), however, so far is hitting the right notes, building character rather than hitting me over the head with big villains. Here’s to their continued success on one of my favorite characters.

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 7/4

Animal Man #11
Story: Jeff Lemiere
Art: Steve Pugh

Animal Man has been one of the very pleasant surprises of the New 52 for me. I enjoyed Grant Morrison's run on the character back in the day, and his appearances in 52, but Animal Man has never been a character high on my radar. But this new series has been an excellent blend of horror and superhero tropes, in the same way its sister title, Swamp Thing, has been. As we approach the crossover between the two titles, Buddy Baker returns from the world of The Red (the world of animal spirits where de draws his power), with some altered powers and a serious grudge against the creatures of The Rot. Buddy is one of only a couple heroes who are married in the New 52, and his family ties have always been an important aspect of the character. Him demanding to come back to life to save his family from the thing that had possessed his abandoned body is perfectly in character, and shows the depth of Buddy's love. The scene where he returns, where he morphs his body slowly from the most primitive life form to the most complex is well written, and Steve Pugh does a beautiful job in using each of the higher creatures with a humanity in its eyes that shows that Buddy is there looking to get out. As the issue ends, we get one final push for Buddy's meeting with Swamp Thing. Can't wait to see what happens when the two horror heroes meet next month.

The Boys #68
Story: Garth Ennis
Art: Russel Braun

Garth Ennis is probably known best as the writer of comics with twists and turns, a slightly sophomoric sense of humor, and over the top violence. But having read the majority of Ennis's major works, there's a lot more below the surface of his writing. He actually has a sentimental heart that comes through in a lot of his characters, and each of his major works has a strong central theme. As we reach the end of The Boys, that theme is coming to the fore: the responsibility of power, and how one is supposed to use it. There's not a lot I can say without spoiling this issue, ir without spoiling aspects of the series if you haven't read it yet and want to, but I can say this: the opening scene of the issue is pure Ennis. Four of the Boys sit around and discuss what to do with their possibly/definitely wayward leader. There's comedy (oh, the Frenchman...), a serious look at what has come before and what to do when one of your own goes to far, and a moment that is shocking and sweet when they all make the choice to do what must be done. The ending is trademark Ennis as well: a violent confrontation between two former friends where only one walks away. The roller coaster ride of The Boys is nearly over, but that doesn't mean Ennis doesn't have a few more drops and loops left.

The Muppets: The Four Seasons #1
Story & Art: Roger Langridge

After talking about the previous Langridge Muppet stories on Friday, I was excited to sit down and read the first of his last four issues, and he did not disappoint. This issue is the Spring story, and is all about love. The guest host for the Muppet Show is an attractive ape who Animal falls in love with, and the two have a whirlwind romance, to the despair of her admirer. It's a sweet little story, with all the Muppet touches, including a particularly hilarious "Pigs in Space" where the crew must turn themselves into vegetables as their ship, the SS Swine Trek, crashes to avoid being eaten by the local carnivores. And if you can think of any other comic where you could read that sentence with a straight face, I'll be shocked and have to track it down.

Thief of Thieves #6
Story: Robert Kirkman & Nick Spencer
Art: Shawn Martinbrough

I picked up the first issue of Thief of Thieves, and I really wasn't feeling it.  I loved all the creators involved, but something here just didn't click with me. I tried the second issue, and that was it, I thought. But John, my partner in crime at Dewey's, told me I should try issue three, and so one day on lunch, I read it. And this was what I had been looking for! It felt like the first two issues were just exposition setting up the action beginning in issue three. Now, at issue six, the end of the first arc, some serious action is going down. It seems that master thief Redmond has sold out his crew to get his son out of jail, but there is much more than meets the eye. Maybe it's a triple-cross, with Redmond double crossing the FBI to get his crew loose and get what he wants. And who knows, maybe there's a quadruple-cross coming down the line. What I think I have come to realize about this book is it's less a crime book, like Criminal, where the actual mechanics of the crime are important, and more a character piece, investigating a man who is trying to make right after years of doing wrong. I do love a good caper, but here the caper doesn't really matter and its not given the page count of something that does. Now, the question is whether Redmond will survive having burned his fellow crooks and the feds. Frankly, things don't look good for him; but isn't that half the fun of it?