Reviews of Comics from Wednesday 3/25

Abigail and the Snowman #4
Story & Art: Roger Langridge

Roger Langridge wraps up his story of a girl and her Yeti with an action packed double sized issue, as Abigail and Claude flee the government agents who have been chasing them, specifically the one-eyed monster hunter, who will stop at nothing to make sure if the British government can't have Claude, no one will. The issue has car chases, a helicopter with machine guns, and some mortal peril. The man from the government clearly has no problem hurting or killing Abigail to get at Claude, which leads to some pretty scary moments. But the violence never moves beyond something you'd see in a PG rated movie, and I think we underestimate kids: something can have some scares and some serious moments and still be all ages. Those are teachable moments, moments that can spur a discussion. But while there's more action in this issue, and a last minute reversal, as the other government agents decide they don't like the way this newcomer is willing to do anything to get what he wants, including hurting a little girl, the heart of this book is still the friendship between Abigail and Claude.  The concern they share for each other when in peril, the joy in the photo montage page as Abigail wants a few more pictures of memories with Claude before he leaves, and the wonderful scene of their reunion at issue's end will warm the coldest of hearts. Abigail and the Snowman is another charming delight from Roger Langridge, who is one of those creators whose work I always look forward to. With this series complete, I hope he has something else for us soon.

Batman and Robin #40
Story: Peter J. Tomasi
Art: Patrick Gleason

After forty issues (plus a zero issue, and a Futures End one), Pete Tomasi wraps up his run on Batman and Robin. Damian, still super powered, gets to go on a big adventure with the Justice League, fighting a giant robot attacking Japan. While this is a very cool action centerpiece to the issue, and shows off Patrick Gleason's skill at drawing big action, it isn't what the issue is really about. No, this issue is really about how much Damian has grown as a character, not just from the beginning of the series but from his introduction. This isn't the killing machine trained by the League of Assassins. No, as Batman points out, during the battle with the robot he works with the team and keeps his emotions in check. But more than that, when we return to Wayne Manor, we see that Damian has made a gift for Bruce and Alfred, something the haughty psychopath he once was never would have done. We get glimpses of everything that this book has done for the character over its run, including Damian's Bat-pet menagerie (Titus the dog, Alfred the cat, and Batcow). I don't think it's a major spoiler or surprise that Damian loses his powers by the end of the issue, since I doubt anyone thought them permanent. I liked that Batman created the situation with the robot to have Damian bleed off the last of his super energy, but did it in a way that allowed Damian to have a big adventure and not in a dictatorial way. Maybe Batman has learned as much about parenting along the way as Damian has learned about himself. While this Wednesday will see a final annual from Tomasi, this issue would serve as a perfect coda to everything this book has done to make Damian the character that he is now.

Django/Zorro #5
Story: Quentin Tarantino & Matt Wagner
Art: Esteve Polls

Now past the halfway point, Django/Zorro is starting to roll towards its inevitable, blood soaked, Tarantino-style conclusion. After Don Diego donned his Zorro costume last issue, the native slave labor of the self-styled Duke of Arizona is starting to stir. And the Duke has decided that Django, seen in proximity to them, is behind it and should be interrogated. After a brief fight between the Duke's guards and Don Diego and Django, Don Diego is able to arrange a meeting with the Duke, and needs Django to steal into the Duke's study to find evidence that he has concocted the whole dukedom plot as a land grab. And to allow Django to more easily slip into the mansion, Don Diego provides Django with a special outfit. So much of what has made this book great has been the interaction between Django and Don Diego, with Django continually perplexed by Diego's demeanor and attitudes, and Diego's completely charming and friendly demeanor. Despite all of this, the highlight of the issue was a flashback of Django's to his time travelling with his friend, the former dentist turned bounty hunter Dr. King Schultz. Schultz was a strong presence in Django Unchained, very similar to Don Diego, in that his urbane exterior masked a capacity for violence, but at his core he was a good man. It was a delightful scene to watch Scultz put a pair of racist thieves in their place while teaching Django an object lesson. It's a great scene, pitch perfect in its dialogue; I could actually here Christoph Waltz delivering the dialogue. Django/Zorro has been slow building, spending a lot of time with character, getting us to understand who these people are, with only brief flashes of violence. I think we're heading towards a climax worthy of the blood soaked conclusion of Django Unchained, and I wonder if there will be a new Zorro once the story is over.

The Valiant #4
Story: Jeff Lemire & Matt Kindt
Art: Paolo Rivera

The Valiant, the first event that touched every corner of the Valiant Universe concludes with an ending that is as bitter as it is sweet. The Immortal Enemy, the monstrous entity that seeks to kill the Geomancer, has defeated all the heroes who were set before it, and only Bloodshot stands as the last line of defense between it and Kay McHenry, the current Geomancer. As with the last issue, we really have two stories here, one with Bloodshot and Kay, and the other with Gilad Anni-Pada, the Eternal Warrior and guardian of the Geomancer, unlocking a mystery box sent from the future by himself that he is told will be the one thing that can stop the Enemy. The battle between the Enemy and Bloodshot is brutal, the kind of fight you can only have between two beings that can pretty much recover from any wound. I have to give writers Lemire and Kindt a lot of credit for seeding the fact that Bloodshot has no memories of who he once was throughout the series, making it an important part of his interactions with Kay, and paying it off in the big fight with an enemy who relies not just on physical might but on playing with the worst memories of his victims. The big moment of the issue was when Kay finally stands up to the Enemy. Still wearing the face of Mr. Flay, Kay's childhood boogeyman, Kay stood up to Flay to help save Bloodshot. One of the very cool tricks of the issue is once Gilad touches the mystery box with the weapon in it, we see a five minute countdown that continues to play out even when we move away from his scene, clicking off time in the lower right corner of each page. It adds to the tension of the already intense battle. I'm really loathe to talk about the last few pages, as they are really full of not only some major surprises, but events that completely toss the status quo of the Valiant universe on its ear, setting up Bloodshot Reborn, and hopefully another Eternal Warrior mini-series, since Gilad's final narration screams for a follow up of its own. I'm amazed how Valiant was able to have a crossover that was completely contained in one book, was of high quality, and really did affect its universe. This is great comics. And in a couple months, it will be out in trade for $9.99, so if all my words of praise have gotten you curious, then you'll have no excuse to not check it out when that happens.

Reviews of Comics from Wednesday 1/21

Batman and Robin #38
Story: Peter J. Tomasi
Art: Patrick Gleason

It's a bird! It's a plane! It's... Damian Wayne? Yes indeed, Damian is back from the dead, and he has superpowers. Now that Damian is back from the dead after the events of Robin Rises, it's time to establish the new status quo. Pete Tomasi and Patrick Gleason, one of the longest running teams on any book since the New 52 reboot, start to look at Damian and how he reacts to the new powers he received after his resurrection. And it starts out rough. Damian was always impetuous at best, and flat out aggressive at worst, and the new powers he demonstrates aren't helping. Flight, invulnerability, and super strength are a suite of powers that can be easily abused, and Batman clearly is concerned that Damian, who has a history of homicide, might just abuse them. We see a patrol, and Damian flings himself into danger with no concern. In all fairness, if I knew I was bulletproof, it would be hard for me to not just go for it. But Damian has once again proven he has a hard time taking orders, and so once again, Batman scolds him. But as the issue progresses, we see Damian's death and return have left more scars than he lets on. It's nice to see that Damian is suffering nightmares about the circumstances of his death; death has to be traumatic, especially at the hands of someone you loved. The trauma of death and resurrection is something rarely touched on in super hero comics. And after Damian's nightmare, he once again disobeys Batman and flies off. Tomasi then once again uses Alfred as the voice of reason to Batman, telling to have a little faith in Damian. I think Alfred might have some experience dealing with an angry, traumatized young man of exceptional abilities. Tomasi and Scott Snyder on Batman have both done tremendous work with the relationship between Batman and Alfred, really making Alfred the sage adviser who Batman listens to and is almost always right. This is not the Alfred of Gotham, this sort of gruff, angry badass uncle. I like an Alfred with a real paternal streak, something that really works when he serves as a father figure to all these young men. The issue ends with Damian going to Atlantis to tie up a thread from the "Hunt for Robin" story, and it's a scene that really shows the growth that Damian has gone through since his introduction as a spoiled brat. Seeing how Damian reacts to the deformed clones of himself is touching, witnessing that Damian has really learned to care about others. I'm hoping that Tomasi and Gleason continue their run for quite a while after Convergence to further explore the changes to a character that I've come to really love.

Lumberjanes #10
Story: Noelle Stevenson & Shannon Watters
Art: Carolyn Nowak

Somehow, I'm not surprised that the day at Lumberjanes camp where everyone can just kick back and do their own thing is not as relaxing as it sounds. The second arc of Lumberjanes begins with Mal and Molly going off to have a picnic while April, Ripley, and Jo decide to try to get some of the more mundane badges that monster hunting time preclude (they promised to not do anything exciting til Mal and Molly get back). While the trio provide the comic relief throughout the issue, with April frustrated about getting the boring badges, the issue's heart is Mal and Molly on a date in the woods before the action starts. I've rarely seen those early sparks of infatuation and love played out as well in comics as I have here. As Mal talks about her friends at home and all the fun she would have had if she hadn't been shipped off to camp, artist Carolyn Nowak paints Molly's face showing all the doubt that someone can feel when they think that the person they have feelings for doesn't have the same depth of feeling for them. After ten issues, it's really impressive how well rounded these characters are, and how much the reader has come to care about them. Of course, this is Lumberjanes, so pretty soon the craziness starts, as Mal and Molly see the Bear Woman, and follow her through the woods and fall through a time portal behind her. There's another charmingly awkward moment as the girls land in the past in one of the classic romantic adventure poses and there is some adorable blushing. And not only are there time portals, but pretty soon there are dinosaurs! And you know anything with dinosaurs gets a thumbs up from me. Lumberjanes is one of my favorite comics coming out right now, and it looks like it will be moving into even surer footing now that it's into its new life as an ongoing. Also, the issue title of "Absence Makes the Heart Grow Fondant," is one of those puns that is so groanworthy that I have to laugh; I love those puns.

The Valiant #2
Story: Jeff Lemire & Matt Kindt
Art: Paolo Rivera and Jeff Lemire

The Valiant finds a way to move from its excellent first issue into an even better second issue. After the stakes and characters were established last issue, this one brings the Eternal Enemy front and center, hunting down neophyte Geomancer Kay McHenry in the form of Mr. Flay, a boogieman from a childhood story Kay loved. Co-writer Jeff Lemire draws the storybook sequences, which works perfectly. Lemire's style is slightly off the norm, not the same realistic lines as series artist Paolo Rivera, and that art works because of the fairy tale aspect of the story and because it seems of another world. Speaking of Rivera, his work on Mr. Flay/Eternal Enemy is really impressive. It's an incredibly creepy design, both in it's hideous monster form as the Enemy and as it's evil gentleman form as Flay; that sort of elderly gentleman thing hearkens back to classic vampires and The Gentlemen from Buffy the Vampire Slayer, and is great horror trope. Aside from Kay and the Eternal Enemy, with see Eternal Warrior and Ninjak retrieve someone who will be of use in this battle, and an end of issue appearance from Bloodshot painting him as a white knight, a role he will be unaccustomed to, I am sure. There's also a last page that is so classically superhero that it made me smile. I've realized that The Valiant takes a lot of classic tropes, not just the monster, but some superhero tropes, the hero's journey for Kay, the man haunted by his past failures for Eternal Warrior, and shines them up and fits them together as if they were meant to be together all along. It's a perfect introduction to the Valiant universe, while still rewarding long time readers. Seriously, if you like superhero stories, The Valiant is a book not to be missed.


And Dan Grote bids a fond farewell to a Matt Signal favorite...

All-New X-Factor #20

Words by Peter David

Art by Carmine Di Giandomenico, Will Sliney and Lee Loughridge

Cue up the sad Boyz II Men song. Either “End of the Road” or “It’s So Hard to Say Goodbye to Yesterday.” Your choice. We’ll wait.

We here at the Matt Signal have made no secret of our love for Peter David and his band of misfit mutants, so without belaboring the point, we’re sad to see another incarnation of X-Factor go after only about a year in service.

But David and artist Carmine Di Giandomenico go out the only way they possibly could: with robot sex and a cliffhanger ending that would make Alf jealous.

If the upcoming Secret Wars is intended to be a greatest-hits tour of the Marvel Universe before it ends, All-New X-Factor #20 is the Peter David version of that. In addition to the book’s main cast, we get a visit from Miguel O’Hara, aka Spider-Man 2099, who offers a glimpse into the rewritten future. Without spoilers, it’s a future David fans have seen before.

The good news is, it looks like David wants to pack up his pets and move them to his other book. X-Factor’s final pages reveal Serval CEO Harrison Snow’s true intentions for the team, which tie in closely with the world of future Spidey. Also tying things together neatly is Spider-Man 2099 artist Will Sliney, who drew the O’Hara scenes.

Oh, and I think this bears repeating: This book has robot sex in it. Suffice it to say Cypher and Warlock are now eskimo brothers.

Reviews of Comics from Wednesday 7/16

B.P.R.D.: Hell on Earth #121
Story: Mike Mignola & John Arcudi
Art: Laurence Campbell

So many of the B.P.R.D. stories have been so big lately, that I forget what wonderful creepy little stories the book can do as well. That's not a complaint about the big stories, as "Reign of the Black Flame," the last five -parter, was one of my favorite action/horror stories the series has ever done. This issue wraps up a two part story that takes place both in the present and flashbacks to 1949, and features four of my favorite characters in the who Mignola-verse; in the present, it's Kate Corrigan and Professor J.H. O'Donnell, and in the past it's Professor Bruttenholm and Hellboy. Instead of ancient Lovecraftian horrors and men with flaming heads, this is really a haunted house story, or a haunted artifact story, with some possession tossed in for good measure. The daffy professor has accidentally unleashed an evil force that has possessed Kate, and now it's up to Liz Sherman, Panya, Fenix, and Carla Giarocco to figure out what is going on and to save Kate. In the past, Bruttenholm and a young Hellboy, who insisted on going on his first field mission, confront the necromancer whose spirit is wreaking havoc in the present, and that confrontation ends with Hellboy making a decision that I hope is going to play into the events in the upcoming Hellboy and the B.P.R.D. mini-series. It's also nice to see the good guys get an unqualified win; so much of Hell on Earth has seen our heroes fighting a rearguard action to stop the world from slipping deeper into the abyss, so even if it's a small one, a real victory is nice to see. I also want to give a real shout out to Laurence Campbell, whose moody, shadowy art worked beautifully in this story. B.P.R.D. has featured art form some of my favorite artists in comics, including Guy Davis, Tyler Crook, Ryan Sook, and of course Mike Mignola himself, and Campbell looks to be another artist in a long line who is going to burn up these pages with some really terrifying art.

Fables #142
Story: Bill Willingham
Art: Mark Buckingham & Eric Shanower

First things first: SPOILERS ahead for anyone who doesn't read Fables in singles. Trust me, you don't want to be spoiled. Move along to the next review, nothing to see here. It seems like Bill Willingham has been building to this last, mega-arc of Fables for quite some time, and now that the events have started to unfold, they're unfolding rapidly. Bigby Wolf, a broken monster thanks to the machinations of Miss Douglas, has drawn the attention of the mundies, the normal humans of New York, and is killing unrepentantly.  Grimble, the troll turned sparrow, has finally found someone who understands him. Winter, Snow and Bigby's daughter who is now the embodiment of the North Wind, is gathering her vassals for the final battle. And Snow White and Rose Red's fates seem to be moving on a bullet train to confrontation. All of these disparate plot elements are balanced, so none of them feel particularly rushed or forced. It's an intricate piece of work, similar to the finals major arcs of Sandman and Starman. The part that has me most curious is the mundy reaction to Bigby's monstrous attacks; the Fabletown community has done its best to keep out of the limelight for centuries, but this looks like their downfall in that respect, and I'm curious to see how that plays into the series climax. It's great to have Mark Buckingham going full steam ahead for this final arc, and especially his monster Bigby is something to behold. This arc also includes back-ups featuring, "The Last _____ Story." Last issue's Flycatcher story was a cute one page story, but this issue's is far more sinister. Featuring art from legendary Eric Shanower, it features Sinbad and shows that, even though the Empire of old has fallen, that is not the end of Empires, and Willingham hints that he might finally be able to use the grand villain he originally planned to be the Adversary. And if he doesn't, well, it's still a great nod for those of us wrapped up in Fables history.

Robin Rising: Omega
Story: Peter J. Tomasi
Art: Andy Kubert

Scott Snyder and Greg Capullo's Batman has been the crown jewel of the New 52 Batman family, and rightly so; it's a gorgeous roller-coaster ride of a Batman title, with new ideas and amazing art. But the absolute heart of the Batman family has been Peter Tomasi's Batman & Robin. Tomasi, more than any other current writer of Batman, understands the emotional weight that Batman is under, and has done beautiful things with Batman's relationship not just with his currently deceased son, Damian, but with the rest of the Batman family. It's a book that has dealt with doubt, grief, and love better than most mainstream superhero comics could dream of. And now, after the quest to find the bodies of Damian and his mother, Talia al Ghul, stolen by her father, Ra's al Ghul, Batman finds himself trapped into an alliance with Ra's against the forces of Apokolips. The issue, which begins the "Robin Rising" story is mostly an action issue, with Batman, Ra's al Ghul, Batman's dog Titus, and Frankenstein battling Parademons and other minions of Darkseid lead by Glorious Godfrey to retrieve a Chaos Shard, a mystical artifact desired by Darkseid. Andy Kubert is an artist at home with massive amounts of kinetic action, and this issue gives him that in spades. And when the Justice League shows up, it's even more exciting. While all of that makes for a great comic, the first few pages, where Batman recounts his time with Damian, is the highlight of the issue. It's heartbreaking to see Batman go through everything he did, and then to lose the son that he had come to love and who had come to love and respect his father. The end of this issue sees Batman beginning a quest to retrieve Damian's body from Apokolips and to see him returned to life. I'm excited to see if he can pull it off.


And that's it for this week's reviews. This actually marks the 200th post here on The Matt Signal, so I want to thank you all for reading so far. Wednesday marks Batman Day, the day DC has set aside for celebrating Batman's 75th Anniversary, so expect a post about the things I love about Batman, and some more Batman goodness over the next couple weeks. I look forward to 200 more posts!

Reviews of Comics from Wednesday 4/16

Batman #30
Story: Scott Snyder
Art: Greg Capullo

The final arc of Zero Year begins here, and "Savage City" answers some questions that have been in this book since the first page of the first part of the story. After the end of the last issue, we see exactly what the Riddler has had planned for Gotham all along, and its not what I expected. There is a touch of the Dark Knight Rises in the story, but Snyder has done a great job over the course of Zero Year of picking and choosing the best of Batman's history and working them together, and his use of the last of the Nolan films is no different. Bruce is recovering from the trouncing the Riddler has given him so far, and its good to see a young Batman who still has doubts; Miller's Batman in Year One, while inexperienced, had that singularity of purpose that epitomized Miller's Batman, the Batman who was always right on the edge of madness. Here, Bruce isn't sure if he can really beat Nygma for a moment, despite feeling he needs to and of course making the decision to with little doubt. It's also great to see Snyder's Jim Gordon as a man of action who doesn't give up. Gordon as tough guy also really has its origins in Miller (although there were times in the earlier Bronze Age before where Gordon proved that he was a good cop), but here we see him working with whatever and whoever he can to get Gotham back. After the somewhat tenuous relationship between these two characters the story started with, it's nice to see that they've now grown to the point where the friendship readers are used to is something that can be built over time. The Riddler is often a character who is hard to write, coming off as silly or simply obnoxious, but Snyder gives him a real air of menace, of being a threat to Batman. Snyder has each of his characters pitch perfect, and does something fun with his new character, Duke Thomas, the young boy who saved Bruce Wayne. Snyder has spent the past year fleshing out the early days of Gotham, and now the endgame is in motion. Buckle up; it's going to be a bumpy knight.

Batman and Wonder Woman #30
Story: Peter J Tomasi
Art: Patrick Gleason

The quest for the body of Damian Wayne continues, as Batman heads to Paradise Island, chasing Ra's al Ghul, who plans to resurrect his grandson, and Batman's son, by using a Lazarus Pit he knows to be on the island. One of the first things that impressed me about this issue was how it deals with a lot of the events that are currently playing out in Wonder Woman (it didn't hurt that I has just read the most recent issue of Wonder Woman right before this issue). I'm hoping that this gets some people who might not have tried Wonder Woman to give that book a try, as it is excellent as well. We see Aleka, Wonder Woman's chief Amazonian antagonist, interact with Batman, and we see just how near the edge of things Bruce is right now. It's interesting to see how Tomasi deals with Bruce and his feelings for his lost son, and Wonder Woman and her feelings for her lost mother. The emotional connection between the two characters is something I've always enjoyed, be it in Joe Kelly's JLA where he teased the possibility of a relationship, to other Justice League stories that simply play the two as good friends. And the end of the issue, where Bruce reflects on the choices Damian made in life as a sun rises over Paradise Island, is touching; writers are mining some excellent character material out of Batman through the death of Damian. In the middle of the issue, between the Amazonian politics and the introspection, we get a battle between our heroes and Ra's al Ghul's League of Assassins, as well as an ancient monster trapped in Paradise Island's Lazarus Pit. Artist Patrick Gleason draws the hell out of that monster and the combat. He also does the introspection well, with great facial expressions from Batman as he rages at Aleka, but boy, that monster was something creepy. The team-up book has a long tradition in comics, and Tomasi and Gleason have done a good job with this one. As the end of the "Search for Robin," story nears its end, as much as a new Robin centric book will be nice, I'll miss this format when the book becomes Batman and Robin again.

Justice League #29
Story: Geoff Johns
Art: Doug Mahnke

As Forever Evil limps to an end, we actually get one of the best tie-ins yet, with the resolution of Cyborg's battle with The Grid in Justice League #29. So much of The New 52 is gory, and dark, and at times hard to look at. While this issue does have a couple of gorier moments, it is actually full of happiness and hope. The Metal Men are inherently silver age characters, crazy robots who want to be human, but it would be very easy for writers to try to make them edgy and modern. Instead, we see them as they always have been: hopeful, helpful, and just a bit goofy. It's also good to see Cyborg out there, really up front and making a name for himself. The problem with a team book is usually that the characters in it are in their own books and that's where the that character gets most development; this is why a team book usually has one or two characters who are unique to that book to allow character growth and a central arc. This issue wraps up Cyborg's development from his first appearance, with Cyborg coming to terms with his own dual nature. As for the villain, The Grid, his arc is also wrapped up, with him dealing with his inability to feel emotion; that Pinocchio syndrome ends with a dark little twist. The issue ends with a cliffhanger that ties into the final issue of Forever Evil, which is still three weeks to a month off, but if you ignore that last couple pages, it's a great resolution to one of the plots that has been running since the first issues of the New 52. It feels like the end of the first act of this new regime is really playing out.

The Unwritten: Apocalypse #4
Story: Mike Carey
Art: Peter Gross

Speaking of endings, the first arc of the final year of The Unwritten ends with the return of a couple of characters and a revelation or two. Tom Taylor gets to finally have it out with his father, the manipulative Wilson Taylor. Tom has been through so much, and has learned so much about his past, its good to see Tom confront Wilson and have it out when they're both in their right minds, have their memories, and are alive. Tom gets a pleasant moment where he gets his private reunion with Lizzie Hexam, his love interest, and after he drifts off to sleep, he heads off to meet with the person he thinks can help him defeat Pullman, the man responsible for the collapse of stories. Madam Rausch, the puppeteer who can effect reality, makes her final plans clear, and how Tom factors into them. It's a strange and somewhat creepy confrontation, when Rausch demands her boon for giving Tom the information he needs, and while he accepts it, I feel there's more to this than what we've seen, despite Madam Rausch saying this is the last time she will see Tom. The presence of the fictional friends Sue Sparrow and Peter Price, which seem to be with him even when he is out in reality, and who seem to see him as Tommy and not Tom, is a sign of the continuing slippage between reality and the fictional world. With these deeply nested stories, the wheels within wheels, I am going to miss The Unwritten when it wraps in less than a year.


And on a couple of Batman 75th Anniversary related notes:

I really do intend to get around to writing some general Batman posts in celebration of the 75th anniversary, I swear, despite having missed the actual 75th anniversary.

I will be doing weekly analysis of the weekly Batman: Eternal series. The next couple weeks are busy for me, but I will be doing the first four issues daily after Free Comic Book Day, and then moving on to a weekly piece after that.

And if you haven't seen them, check out the two animated shorts that have been released for Batman's anniversary from Bruce Timm (Strange Days) and Darwyn Cooke (Batman Beyond). They're amazing.

Reviews of Comics from Wednesday 8/21

Batman and Nightwing #23
Story: Peter J Tomasi
Art: Patrick Gleason

The Batman team-up title wraps up its initial post-Damian arcand its exploration of the five stages of grief with, "Acceptance." I've enjoyed the use of Carrie Kelly in this title since Damian's death, but I think writer Peter Tomasi made the right call in not having anyone or any plotlines in this issue other than Batman and argueably his two most important supporting cast members: Nightwing, the grown-up original Robin, Dick Grayson, and Alfred Pennyworth. Batman's mental state has been fragile since he lost his son, and this issue we see Bruce using Internet 3.0, one of Grant Morrison's concepts from his Batman Incorporated series to run simulations of his actions during Damian's final minutes, trying to prove to himself he could have saved his son. This kind of self-flagellation is not uncommon in Batman's character, or in anyone who is grieving; the question of what you could have done differently is the most haunting one a person can entertain. Eventually he succeeds, but only when Dick joins him in the simulation, reinforcing the concept of family and that some burdens need to be shared. Dick also gets a great speech about how Bruce needs to use Damian's death in the same way he used his parents', as something to drive him forward, not something to wallow in. But its the very end of the issue, where Alfred uses the machine to see what he might have done to keep Damian from ever leaving the Batcave that night, when the full emotional weight of the issue strikes. After Alfred does indeed stop Damian from leaving, thus saving him, he comes out of the simulation to find Bruce waiting. Bruce realizes that he isn't, "the only one who lost a son that night" and he and Alfred embrace. Bruce has not just finally accepted the loss of Damian, but come to see the pain in others, which is pretty big step for someone so tightly insular. Now I want to see this level of empathy and acceptance reflected in the other Bat titles, hopefully moving Batman forward as a character.

B.P.R.D.: Hell On Earth #110
Story: Mike Mignola and John Arcudi
Art: Tyler Crook

B.P.R.D. is one of those comics that is so consistently good that it's hard to pick out one issue that is exemplary; it's just a remarkably solid comic. But the new issue, beginning a five part arc, "Lake of Fire," jumps out at me for two important returns. Firstly, artist Tyler Crook returns. Since Guy Davis left, Crook has drawn the most issues of B.P.R.D., and his art this issue is outstanding. Not only are his monsters in top form, but the moments featuring this issue's other return are just as well done. The other return sees Liz Sherman return to the pages of this comic. Since Liz started the current Hell on Earth by using her power to wipe out a threat but also triggering devastation she has only appeared briefly in a story that was pretty much a Liz story. This issue feels more like Liz returning to the world. While she hasn't encountered any of the rest of the cast yet, I feel like we're moving in that direction, especially as the hospital where Liz is currently laid up in has a new doctor, one we have seen has certain sinister leanings, ones that will surely put Liza back in a situation where she will have to take action. Fenix, the psychic who has caused her share of trouble, has now arrived at the Salton Sea, where the last arc of the Abe Sapien series took place, and has encountered the same group of monster worshippers Abe did, something that I can't imagine is going to go over well with the volatile Fenix. After the past few short arcs, this longer one seems to be a story that is going to have some major ramifications, and I'm excited to see where it's going.

Chew Vol. 7: Bad Apples
Story: John Layman
Art: Rob Guillory

The seventh volume of John Layman and Rob Guillory's Chew begins the second half of the series, and events are really picking up speed. While series protagonist Tony Chu has been through a lot, and gone on a lot of assignments, he has often been a passive character, with events and people acting on him, and him not acting on them. All that has changed. After the end of the last volume and the death of someone close to Tony, he is done with that. Tony is using his powers in new ways and becoming something of a badass. He's storming compounds, using baseballs as deadly weapons, and calling The Vampire out. It's also a sure sign of Tony's evolution to see him finally stand up for himself with his tyrannical boss, Mike Applebee, finally giving him a piece of his mind. This sends a teary Applebee right into the arms of his sometimes love interest, Tony's partner, John Colby, who also shines in this volume. Colby does have a realization about Cesar and Savoy's relationship, which does show just how clever he can be, but at the same time winds up in a real pickle with his personal life, involving both Applebee and USDA director Penya, which leads to some of the funniest pages of the entire series. I won't say anymore, as not to spoil a brilliant page or two. But for all its humor, there is some serious plot momentum and darkness in this volume too. The Vampire continues his collecting of food powers, and is bracing for war with Tony, and the mystery surrounding the Church of the Immaculate Ova only deepens, as it seems they are playing a similar game. The volume ends with something that could lead to answers, or to even bigger questions. Oh, and there's a big two page spread of Poyo versus Pengthulu. Because what would a volume of Chew be without Poyo?

Reviews of Comics from Wednesday 5/8

Archer & Armstrong #0
Story: Fred Van Lente
Art: Clayton Henry

Archer & Armstrong has been one of the most consistently enjoyable titles out there since its debut, and after two very solid arcs, including the return of my favorite Valiant character, the Eternal Warrior, we take a step back and get to see a story of the Anni-Padda brothers in ancient Ur. Armstrong is telling Archer the epic of Gilgamesh, only this is the real version, where Gilgamesh and Enkidu are the Anni-Paddas. We get a really good feeling about who each of these men were, and how they interacted as brothers. It's especially important to really spend time with Ivar, the eldest brother, and the one who we've seen the least of. It's a fun, action story, with hints of the Valiant universe, including a cameo from Spider Aliens, and more about the origin of The Boo, the mystical artifact that was the maguffin on the first arc, but nothing that detracts from this as a perfect one off. Van Lente has done an excellent job of making the first issue of each arc a perfect jumping on point, and this issue works just as well, with a framing sequence featuring our title characters, as well as the main story. Clayton Henry returns to the series with this issue, and while I enjoyed Emanuela Lupacchino's work, it's great to see him back. His Armstrong especially has such vitality, radiates such joy (and melancholy), that it seems to jump right off the page. If you've never tried a Valiant Comic before, this is a great place for you to start.

Batman #20
Story: Scott Snyder/ James Tynion IV
Art: Greg Capullo/ Alex Maleev

The two part reinvention of Clayface for the New 52 wraps up in this second part of this Batman story, and it's as exciting as the first. It feels perfectly like an episode of Batman: The Animated Series, with a great action piece to it, as well as a simple, smart solution to the problem at hand. The new version of Clayface is interesting, with his slightly modified powers, and adds a little pathos to the character without taking away anything from him (a problem I've had with a few of the new 52 reinventions). There's a wonderful nod to the  DC Animated Universe, with the appearance of prototype armor that won't be financially feasible for twenty years, a time when a young man named Terry McGinnis might become a Batman beyond what Bruce has been able to do. It was interesting to see Bruce and Lucius Fox tossed into a deadly situation together, and see Lucius look like he has no idea of Bruce's other identity. I believe Lucius (like Jim Gordon) knows Batman's identity, and just keeps it to himself on principle that if Bruce wants to tell him, he will. It seems Lucius here really doesn't know; whether that is a New 52 continuity tweak or just Lucius being very coy it up to the reader. The final scene, of Bruce and Alfred viewing recordings of Damian together, is touching and heartbreaking; there is no way this Batman is the cold and unfeeling man that so many writers portray him as. In the back up, Batman and Superman fight a magic creature, and Bruce talks to a spirit about how he fells about Superman, and I really like the fact that the current writers do view the two as real friends, not Miller-esque adversaries with a common cause. The final panels are especially fun, as Superman gets a little taste of what Jim Gordon is used to getting.

Batman and Red Hood #20
Story: Peter J. Tomasi
Art: Patrick Gleason & Cliff Richards

Batman continues his quest through the five stage of grief, and who better to accompany him through rage than the Batman family with the most anger issues of his own, Red Hood. What starts out as Bruce inviting Jason along on a raid of a camp of assassins turns into a much darker fight as Bruce bring Jason back to the site of his death to try to determine the secrets of his resurrection to use it to revive Damian. What begins as the two of them bonding and talking about trust turns into a fist fight, as they both let vent the anger they hold inside on each other. In Gotham, we also get to see a little bit more of Carrie Kelly, who again shows her pluck by standing up to the taciturn Bruce. Both Alfred and Titus, Damian's dog, take a liking to her, and it looks like Carrie is here to stay, which is a good thing, as she is one of the best additions to the Batman cast in many years (or re-addition, I suppose, if you count her appearances in Dark Knight Returns). Patrick Gleason does his usual excellent job on art, with a little pinch hit from Cliff Richards. I've been a fan of Richards since his long run on Dark Horse's original Buffy: The Vampire Slayer title, and I like seeing his work on more high profile titles. I want to team of Tomasi and Gleason on this book as long as possible, but if they need any more fill in work, I hope Richards is at the top of the speed dial.

Suicide Squad #20
Story: Ales Kot
Art: Patrick Zircher

Wow. The Suicide Squad series from the 80s is one of my favorite series ever, with the brilliant John Ostrander, Kim Yale, and a series of amazing artists crafting some of the best, most human stories I've ever read. Since it's return in the New 52, it has been a series I have wanted to like far more than one I actually have. But the difference one issue can make! New writer Ales Kot comes in and spends the issue reintroducing readers to the cast, getting into their heads. Amanda Waller sits with a mysterious figure who is analyzing each of the current members of the Squad, giving her the keys to their psychologies. Some of the things hinted at in the early parts of the run are finally paid off. While I'm not in love with the idea that Waller can resurrect members of the Squad at will (I feel it takes away the feeling of danger and the unexpected that was central to the original run), I like how Kot handles it here. And the big reveal of who Waller's new Squad member is? Well, I was worried this character was going to be overused, especially after how heavily he was used in another title for some time, but this new life he's been given is perfect. I don't want to spoil the end, but needless to say, I'm intrigued. Patrick Zircher's art is the best on this title so far, and I hope he sticks around for a while; inconsistent art has been another thing that has seriously hurt Suicide Squad since its return. This is a great jumping on point for new readers, and I would suggest everyone who's been tempted before to give it a shot.

Reviews of Comics from Wednesday 4/10

Batman #19
Story: Scott Snyder/ James Tynion IV
Art: Greg Capullo/ Alex Maleev

Since the first issue, the new Batman series has been an epic title, with the two major arcs being long, twisty, and grand. "The Court of Owls" and "Death of the Family" were both great stories, and the two one offs featuring Harper Row were excellent character pieces as well, but this issue was a great change of pace; it's a small Batman story. This isn't a status quo changing arc, it's a great Batman story that is focusing on Batman trying to figure out a mystery. The opening pages show Bruce Wayne robbing a bank and after his escape flashes back to Batman finding out about the apparent suicide of an acquaintance of his, and going to investigate it. Batman is still clearly haunted by the death of Damian, and despite Harper Row's plea to take care of himself last issue, he isn't doing too good a job of it. Batman quickly determines exactly what was behind the death of his friend and the man's seemingly strange criminal behavior. It's just an appealing story of Batman working a case; Snyder captures Batman's voice perfectly, and I like seeing him just working out a case that isn't tearing his world apart. I won't spoil the identity of the perpetrator, despite it being spoiled on the cover of the next issue and the solicitation for some upcoming Batman family titles, but it continues the evolution of a classic Bat villain we have seen popping up sporadically throughout the New 52 era. The back-up is a Batman and Superman team-up written, which is something we haven't seen much of in the New 52 except in Justice League. It's been established they're friends, and so seeing them play off each other is interesting. While the relationship is clearly more pre-Flashpoint than pre-Crisis, Batman isn't acting like Miller's Batman wanting nothing to do with Superman, so I like that; I've always found I prefer the relationship between Batman and Superman to be friendly. It has definitely whet my appetite for the upcoming Batman/Superman series.

Batman and Red Robin #19
Story: Peter J. Tomasi
Art: Patrick Gleason

OK, there's a lot in this issue, and I'm still of mixed feelings about some of it. The good is so good, though, that I want to talk about that. First the stuff I'm of two minds about. I liked seeing Frankenstein appear, but I would have thought there are more practical resurrection schemes than duplicating Dr. Frankenstein's work; this would have worked more for me if we had seen Batman exploring other plans first. Also, I feel like Red Robin, who is in the title, is underused in the issue; we have barely seen Tim and Bruce interact in the New 52, and I was hoping that this issue might remedy that. On the other hand, the introduction of Carrie Kelly was done beautifully. While she clearly has a different life than the version of her we meet in Dark Knight Returns, Carrie still has the spunk that allows her to stand up to the looming presence of an angry Bruce Wayne. The details of her relationship with Damian are still mysterious, and I'm expecting that to play out over the course of the next few issues. It's interesting to see both Snyder and Tomasi now having young female foils to Batman, and just how different Harper Row and Carrie Kelly are. Carrie seems to be a much lighter, less haunted character, but we'll see. I also have to say, her roommate looks an awful lot like Stephanie Brown. It would be nice to see Steph back. While I felt like Red Robin was underused, I did like how he was handled, and the painful choice he had to make. To top it all off, Patrick Gleason continues to be one of the most impressive artists in the comics right now; his Frankenstein was amazing. With next issue teaming Batman with Red Hood, I'm curious if Jason proves more integral to the plot, and how Carrie Kelly will factor in to the continuing arc of the series.

Batman: Li'l Gotham #1
Story & Art: Dustin Nguyen and Derek Fridolfs

DC's Johnny DC line,the all ages comics published by DC, seemingly folding all its superhero titles, it's nice to see Li'l Gotham appearing. An all ages Batman title, themed around holidays, Dustin Nguyen and Derek Fridolfs, who have been writing Justice League Beyond for some time and have history as artists on various Bat family titles, have created a fun and accessible Batman comic. The stories star Batman and Robin, a Robin who is Damian Wayne, and play off of Damian's strange upbringing and how unfamiliar he is with these holidays. Bruce attempting to explain Halloween to Damian leads to reminiscence about killing Lazarus Pit generated zombies with his mother and grandfather and Damian to some aggressive trick-or-treating. And on Thanksgiving, Penguin leads an army of turkeys to take the day of turkey slaughter back. The continuity is light, and while it takes place in a universe closer to the pre-Flashpoint one (Barbara Gordon seems to be in her wheelchair, and Cassandra Cain appears at the Bat family Thanksgiving), no knowledge of that is necessary. These are fun stories in the vein of Batman Adventures, all ages without being kiddy comics. If you know a kid who loves Batman and are worried a Joker who cuts off his own face is too much for him or her, this is the perfect gateway book for that young Batman fan.

Princeless Vol.2 #1
Story: Jerome Whitley
Artist Emily Martin

Oh, it's always a joy when an indy series you love pops back up on the radar, and so it is to see the beginning of Jerome Whitley's fairytale for girls who kick butt, Princeless. Picking up shortly after the first series left off, Princess Adrienne and her friend, Bedelia the blacksmith, are off to rescue the first of Adrienne's sisters, Angelica from her tower. Of course, things never go that easily. They can't quite find the tower, and are still having some issues with landings on Sparky, their trusty dragon. But that doesn't stop two such plucky heroines. Adrienne's determination is a great character trait, and as I said in my recommendation of the book, she is a character you want your younger female friends and relatives to look up to. Meanwhile, the King, Adrienne's father, still believes her dead and killed by a mystery knight (who is, in fact, Adrienne), and so he calls six of the kingdom's great bounty hunters and heroes to find the knight and dispatch him. Not surprisingly, these six guys all fit fantasy tropes and subvert them, none being particularly heroic, especially when discussing the possibility of taking one of the king's daughters to wife. New artist Emily Martin gives designs for these bounty hunters that take their trope and pushes it to the extreme; they're so one dimensional it's perfect. There is also a mystery around the behavior of Adrienne's mother, who knows the truth about her daughter and seems complacent about it; I wager that Adrienne gets some of her steel from her mother, and we'll see exactly what the queen is up to soon. Adrienne and Bedelia end the issue with a lead to Angelica's tower and possibly a new traveling companion; I enjoyed the slapsticky humor of the sequence where we meet the young poet who seems to appeal to Sparky more as dinner than as a new friend. Princeless is an all ages treat, smart and funny, and if you enjoy any fairy tale flavored comic, you are doing yourself a disservice not trying this book out.

Saga #12
Story: Brian K. Vaughan
Art: Fiona Staples

Oh, Prince Robot IV... Brian K. Vaughan has done incredible work over the course of Saga to make every one his characters, both protagonist and antagonist, three dimensional, and this issue, featuring the prince of the Robot world, does a great job of adding new layers to him. Starting with a flashback to Robot IV receiving the injury that has been referenced a few times throughout the series, Vaughan demonstrates his power as a writer by introducing a medic and killing him a couple pages later and making the reader care. In the present Robot IV makes his way to meet D. Oswald Heist, the author of the book that Alana loved and helped draw her to Marko. The issue is mostly a conversation between Robot IV and Heist, about what the book means, and about Heist's son, who fought in the war and eventually took his own life. We learn just how haunted by his own war experience Robot IV is, and see just how much of a deathwish he has; knowing this makes the reader look at many of his actions, especially his murder of The Stalk, in a very different light. The tension of the conversation ratchets up by degree over the course of the issue, with the almost inevitable explosion of violence not dismissing it but leading to even more tensions. The last page reveal marks the end of this arc and the beginning of another hiatus for the title. I've always felt Vaughan was the king of the cliffhanger ending, and if this one doesn't prove me right, I don't know what will.

Reviews of Comics from Wednesday 3/13

Batman #18
Story: Scott Snyder/ Scott Snyder & James Tynion IV
Art: Andy Kubert/ Alex Maleev

One of the two issues this week to deal with Batman's reaction to the death of Robin, this one is told through the lens of supporting character Harper Row, created at the beginning of Scott Snyder's run, and the star of Batman #12 as well. This, like the previous Harper Row issue, is a character piece, really focusing on Harper and her desire to help Batman, and to help all of Gotham. Harper sees the spiral Batman is going down, one similar to the one he went down after the death of Jason Todd, and she steps up to help him, to try to snap him out of it. It's actually pretty similar to the way Tim Drake was introduced, with one exception: Harper doesn't care who Batman is under the mask. She cares about what he means to Gotham. This seems to be one of the central themes that Snyder has been playing with since his run on Batman began: what Batman means to Gotham. It started with the first line of his first issue, asking what is Gotham to its people. There is a well done action sequence as well, with Batman fighting a group of Venom enhanced fighting dogs, and Harper proving herself to be capable of taking care of herself in the field with enough preparation. But what's really important are the character moments. The moments Harper spends with her brother, with their wonderfully written familial bond; the first time Batman confronts Harper in the issue, where he breaks her nose and tells her to leave him alone; the moment when Harper meets Bruce Wayne, and tells him the things he wouldn't listen to as Batman; and the moment when Batman actually apologizes to Harper (has Batman EVER apologized to anyone else?) and listens to her. We also get more about Harper's background, learning her father is a con now in Blackgate, and captured by Batman, and her mother was the victim of a high profile murder some years earlier. I wonder if that will play into Snyder's upcoming "Year Zero" story. The final page can either be read as Batman standing and looking at the giant R, feeling the weight of his loss and maybe coming to terms with it, or the hint that Harper will, indeed, be the next Robin. I'm not willing to way in on this yet, but one way or the other, I'm expecting more Harper Row and looking forward to it.

Batman and Robin #18
Story: Peter J. Tomasi
Art: Pat Gleason

The silent issue has been done quite often since the legendary Snake Eyes issue of G.I. Joe, which might not have been the first, but is probably the best known, and they sometimes work, and sometimes fall very flat. This issue is one of the amazing successes. The issue, the final of the series to be titles Batman and Robin for now, shows Batman, Alfred, and Titus (Damian's dog), and how they are dealing with the death of Damian. Alfred is sad, and seems to be going about his duty haunted by the loss of his young master. Batman, little surprise here, is angry, full of rage, and is taking it out on the criminals of Gotham. The action pages show him cutting a swath through the criminal underbelly of Gotham, leaving the bodies of a legion of criminals tied up and waiting for the Gotham police. The ending was a truly devastating moment, as Batman finds the note left behind by Damian before he left to meet his fate. The note is the only written words in the comic, and reading it sets Batman off in a new fit, smashing the case holding the costume of Damian, and finally collapsing, clutching his son's costume in his arms. I know there are some who believe Batman is this cold, emotionless robot of a man, but I have always believed he is driven by his emotions; rage, sadness, and a sense of compassion that runs deeper than either. I think his collapse at the end is perfectly in character, and it fits perfectly to see them take over as he mourns the death of his son.

Reviews of Comics from Wednesday 1/16 Part 1

I have had weeks where I've struggled to get three to five comics to review on here, but this past week there were so many good comics I actually am going to divide the reviews over two days. So check out today and stay tuned for more reviews tomorrow.

Archer & Armstrong #6
Story: Fred Van Lente
Art: Emanuela Lupacchino

In the original Valiant days, my favorite title/character was the Eternal Warrior, so I was glad to see him back in the title of his brother, the warrior/poet Armstrong, and the story has been as well paced and fun as this title has proven to be in its six issue run. Last issue established the conflict between the brothers (and Armstrong's companion, the naive young assassin Archer) and the character of the Gilad, the Eternal Warrior. This issue spends little time with our protagonists, but instead focuses on Kay McHenry, the spokeswoman for Zorn Capital. Kay is having a problem: the dying houseplant in her office is talking to her. It's not hard to figure out from there that Kay is the new Geomancer, the voice of the Earth that our heroes are searching for. Over the course of just one issue, Van Lente gives the reader a good view inside Kay's head, making her a sympathetic and interesting character. Van Lente ties Kay's origin in with The 99%, a group of villains established in the first arc, and The Null, a new faction of The Sect. With her life in danger, Archer, Armstrong, and the Eternal Warrior come on the scene, but Kay saves herself, showing our first glimpse of the power of a Geomancer. Van Lente doesn't slow down in this issue, packing a ton of great story and character in it. I like that it seems Kay has accepted her mantle of Geomancer without a lot of hemming and hawing, but instead embraces it, although we'll have to see how that works out next issue when she's out of mortal peril. And if none of that has convinced you to check this issue out, how about this: Monkey dressed as Mother Nature. Resist that.

Batgirl#16
Story: Gail Simone
Art: Ed Benes & Daniel Sampere

What could have been Gail Simone's final issue of Batgirl instead simply becomes the final issue of the series crossing over into "Death of the Family"  and would have been a great issue one way or the other. Joker has brought Batgirl to a church so he can marry her, and take her off the chessboard of Gotham so she is no longer a hindrance to Batman. And he is holding her mother hostage to insure her cooperation. But a factor Joker had hot planned for comes into play: James Gordon Jr., Batgirl's psychopathic little brother. James comes in telling Batgirl he has saved their mother, and allowing Batgirl to move against the Joker and her men. The opening scene of the issue is a flashback to a Barbara shortly after she was shot and crippled by the Joker, and we see her recurring dream of killing the fiend, and throughout the issue she comes close to embracing this homicidal urge. Simone has a wonderful handle on Batgirl, giving her so many layers, and more rage than she has ever been presented with. I don't want to say anything about the end of the issue, about the final confrontation between James Jr. and the Joker, because I have to say I can see James becoming the next Joker, a character without remorse and with a gamesman's mind. When James Jr. was reinvented by Scott Snyder, I wasn't sure if any other writer could handle him just right. I'm happy to say Simone hits all the right notes to make him a character who is equally as creepy as the Joker.

Batman #16
Story: Scott Snyder/ Scott Snyder & James Tynion IV
Art: Greg Capullo/ Jock

The end game begins here. Everything Scott Snyder has been building to in "Death of the Family" starts to play out as Batman enters Arkham Asylum to confront the Joker on turf both of them seem to view as a place where they have an advantage. The issue is a tense trip through Arkham, with Batman's narration adding to the tension. He address himself as Bruce the whole time, speaking to himself in the third person. He seems more worried than he ever has, moving through the Asylum, working his way through the Joker's traps, and using everything he has to keep edging forward. He uses his brain to save Arkham guards Joker has had dancing non-stop for days and he uses his brawn to defeat a legion of armed maniacs. Joker has Dollmaker imprint images on the skin of a group of tied up men, showing scenes from Batman and Joker's history in a creepy living tapestry. After facing down some of Arkahm's more famous rogues, in the end, Joker is waiting in a room. Within that room, Joker waits with three of Batman's other greatest rogues, Penguin, Riddler, and Two-Face, and although Batman seems to be able to stop Joker from killing his victims, Joker has one final scheme. He shows Batman his family, all waiting for Joker to kill, and this proves Joker right: the allies and family Batman has made make him weak, make him susceptible to Joker's scheme. In the end  save his allies, and seems to be dead, although we all know there's more to come from that. Still, the final moment sends shivers up my spine. The back-up this month mainly features Joker dealing with the one rogue in his court not spotlighted yet: Two-Face. When Two-Face wants Batman just killed after the final scene of the main story, Joker stands him down. He addresses Two-Face as Harvey, showing contempt for Two-Face. He points out to Two-Face that his coin, his view of justice, is pointless, which he views as perfect for Gotham. Joker leaves even the greatest rogues behind, and is left alone with Batman holding the mysterious covered dish that he holds on the last page of each of these final "Death of the Family" tie-ins. With one part to go, the stakes have never been higher, and I have never been more excited.

Batman and Robin #16
Story: Peter J. Tomasi
Art: Pat Gleason

Damian is a character who has been evolving and growing since he was first introduced. This issue seems to be a turning point for the young Robin. Facing down a man who he believes is Batman, controlled by a psychotropic Joker venom to kill him, Damian does his best to not kill his father. The verbal abuse and taunting from the Joker continues, trying to convince Damian to cross the line. Damian leads "Batman" on a merry chase through the Gotham Zoo on another of Joker's little merry chases. In the end, when Joker tells Damian it is either Damian's life or Batman's, Damian is willing to sacrifice himself. Joker is disappointed, naturally, and a little surprised. And while Damian does let his temper slip when he faces down Joker, he still is acting more controlled, and has come to understand self-sacrifice. While the story is impressive, what really blew me away with this issue, as with the last, was the art from pat Gleason. His Joker is equally as creepy as those from Greg Capullo and Jock, but his use of the flies that surround Joker's rotting face is extra disturbing. His Joker is bizarrely gangly, moving like a marionette on strings controlled by a mad puppeteer. And the look on Damian's face as he thinks Batman has died is heartbreaking. To be able to do that with a character who is wearing a mask and has no visible eyes shows a mastery of his craft. Tomasi and Gleason are a team that have worked together for some time, and at this point they are one of those teams whose work blends together to form a whole even stronger than the sum of their parts.

The Black Beetle: No Way Out #1
Story & Art: Francesco Francavilla

In my recommended reading for Dark Horse Presents I talked about the serial I was most excited about, The Black Beetle: Night Shift, and how I was looking forward to the mini-series featuring Francesco Francavilla's pulp inspired crimebuster. And now that the first issue has come out, I can say that anticipation was well deserved. What seems to be a simple mob meet up turns into something more when the location blows up, killing all inside and nearly taking Black Beetle with them. As Beetle digs into the explosion and who might be behind it, he finds the killer, although who (or what) he is remains a mystery. The beauty of the pulps and stories inspired by them is that they are seemingly simple formula stories that are made distinct by atmosphere and style. Francavilla's use of page layout is jawdropping. The double page spreads flow beautifully. The setting is lovingly researched, with all the touches and the characters looking perfectly 30s. I like the fact that we never see the Beetle unmasked, adding to his air of mystery. This is an excellent first issue, with no baggage to draw it down, no continuity to hamper it. If you like crime and mystery comics, this should be at the top of your buy pile.

Creator-Owned Heroes #8
Story and Art by Various

And sadly ends the experiment that was Creator-Owned Heroes. The combination comics anthology and comics magazine was an admirable attempt, and I have enjoyed all the issues and all the stories. This issue does nicely wrap up the two serials that have been running. Steve Niles and Scott Morse's "Meatbag" is a sci-fi/horror/noir mashup, where the PI finds out what happened to his agent, and faces down the people who hired him, and as happens to many noir detectives, winds up on the wrong end of the story. Palmiotti and Gray's "Killswitch" has been my favorite serial, and this conclusion leaves the character with room to appear, as the game of death among hitmen is resolved and Killswitch proves to be as brilliant a manipulator as he is a killer. "The Spirits of the Harbour" is the final piece for the series by Matt Signal favorite Darwyn Cooke, a peice he originally crated as a gift to guests at his wedding. It is a touching story about a man, a talking dog, and finding love. Wrapping the series up with profiles of some of today's hottest creators and a couple of legends of the industry, I'm sad to see Creator-Owned Heroes go. I can only hope that Palmiotti & Gray come back with more in this vein soon.

Reviews of Comics from Wednesday 12/12

Batgirl #15
Story: Gail Simone
Art: Daniel Sampere

With one issue now left in her run, Gail Simone continues to tell the story of Batgirl's confrontation with the Joker. Having abducted her mother, Joker has asked Batgirl for her hand in marriage, something Barbara Gordon is forced to accept to save her mother's life. More than any of the other members of the Bat family so far (and I say so far since Red Hood hasn't really dealt with Joker in the crossover yet), Batgirl is dealing with thoughts about killing the Joker. As she fights her way through his thugs and then gets into a brutal fight with him, Barbara's inner monologue points out that she is more than willing to take the Joker's life. Whether that would happen if push comes to shove is taken out of her hands by circumstances, but it's interesting to read. A real inner struggle about taking a life is a complexity we don't get in a lot of superheroes. Either they have no problem killing, or they never will. To hear Barbara ruminate on it, and to come to the conclusion that she will, even though that is the opposite of her usual stand, was something worth reading. Simone also keeps developing the subplot around Barbara's serial killer brother, James Jr., and her roommate, Alysia, pulling it into the main story by having James feel he has to help Barbara for the simple reason that his mother and sister are his to deal with, not Joker's. I'm worried that, judging by the solicited cover for the issue that will now be the first post-Simone issue, the James Jr. plot won't be resolved before Simone's exit. Another real shame, as she has a great handle on this creepy character. But I will enjoy this great run while it lasts, and can only hope whoever has to pick up these plot threads is as capable as Simone.

Batman #15
Story: Scott Snyder/ Scott Snyder &James Tynion IV
Art: Greg Capullo/ Jock

Every month, when I sit down with my stack, I think, "OK, this book can't keep impressing me as much as it has been." And every month so far, I have been wrong. Batman #15 is another pitch perfect move in the game between Batman and the Joker. Greg Capullo's splash page of the Joker at the beginning of the issue is chilling, a look into the eyes of a madman, accompanied by Batman's narration that gives you an insight into Batman's relationship with his archfoe; the Joker is so far beyond what is sane, so far beyond what is normal. Batman has to remind himself that the Joker is just human; this is not even a given. Joker seems to have everything planned out perfectly, easily escaping from Batman when the GCPD shows up and interferes at their confrontation at the dam. What follows is a tense scene between Batman and his family, with tempers flaring over his keeping the kidnapping of Alfred and the details of one of his earliest confrontations with the Joker to himself, details that might mean that the Joker does indeed know the identities of Batman and his family. By the end, it's clear that Batman is doing this because he is honestly afraid for the safety of the people he loves. I am glad to see a Batman who is this human; this is not a Batman who is removed from humanity. After some great detective work, Batman heads toward the place where the Joker is waiting to throw his party for Batman: Arkham Asylum. In the backup, we see inside the Asylum, where the party preparations are being made, and get the first New 52 Riddler story. Snyder pits Joker against Riddler, and Riddler proves to be clever enough to get out of the Joker's trap. Joker continues to relate to everyone he meets simply by discussing how they relate to Batman; in this case that Riddler is the smartest of Batman's foes, and that he is the "weaponsmaster" honing Batman's greatest weapon, his intellect. I wish I could remember who said this (might have been Paul Dini or Bruce Timm), but a Batman creator at one point said that Riddler is the hardest Bat villain to write, since his plan needs to be complex enough to almost stump Batman, but still fall together perfectly when the story is experienced again. Snyder is presenting Riddler as an intellect on par with Batman, and I want to see the Riddler story he has lined up for after "Death of the Family" even more now that I know how well he can handle the villain. He has the chops to really present a great Riddler story.

Batman and Robin #15
Story: Peter J. Tomasi
Art: Patrick Gleason

Damian is a character who has grown a lot since his early appearances, and has grown a lot since his last confrontation with the Joker. That doesn't mean the Joker doesn't remember the fact that Robin beat him with a crowbar, and is not one to forgive. Damian, directly disobeying Batman's order to stay in the Batcave, goes out to try to find and save Alfred. This in itself is growth, as Damian understands that Bruce needs someone to help save Alfred, and even cares about the butler, even if he would probably be hardpressed to admit it. But Damian falls into a well laid trap by the Joker, leaving him in the hands of the madman. What follows is an issue where the Joker talks. He tells Damian exactly the problems with Robin, and all the Bat family, and why Batman needs to be rid of them. It's great dialogue, and the issue is well written, but a lot of credit goes to artist Patrick Gleason. The issue is filled with a dark, gloomy air that takes the words to the next level. The Joker's little nest for Robin, full of grubs and insects, is disgusting, and the kind of thing that perfectly fits the Joker's fractured psyche. And Gleason's Joker is incredible. Greg Capullo has defined this new incarnation of the Joker, and Gleason takes that and runs with it, drawing a Joker who is all gangling limbs. His face is as horrifying as it is in Batman, and the flies that are circling him add an extra level of revulsion. In the end of the issue, Damian is left to confront "Batman" (I doubt that really is Bruce Wayne), and I am very curious to see where this battle with even an impostor father figure leaves our Robin.

Cable and X-Force #1
Story: Dennis Hopeless
Art: Salvador Larroca

I personally think Cable gets a bad rap as a character. He is a product of the 90s, no doubt, but then again so am I, and he's evolved a lot over the years, becoming a much more complex figure. I was glad to see that he was coming back in Marvel Now!, and coming back with the team where it all started. The first issue of the new Cable and X-Force starts out with Cable and his team coming into conflict with the Uncanny Avengers, and then flashes back to show how the team came together. Much of the issue's focus is on Hope Summers, Cable's daughter, who is searching for her father. The relationship between the two of them is established well by not only how they interact, but how Domino, probably Cable's oldest friend, interacts with Hope. There's is a loving parental relationship, but one where Hope has been trained well enough to stand up to her father. I hope we get to spend more time with father and daughter throughout the upcoming issues. When I first saw the cover to this issue, I wasn't too enamoured with Dr. Nemesis's new costume, preferring his old mask and fedora look, which is how he appears in the internals for this issue. Hopeless hits all the beats with the character so right that I'm sure we'll get a good reason for this change in wardrobe, and one I hope the good doctor has something to say about; if you've been wearing the same gear while hunting Nazis for going on sixty years, there's probably a good reason for the change. I thought Hopeless made a good decision in starting the issue with a solid action scene, forgoing some of the talking heads problems we get in many modern first issues. All in all, I thought this was a great first issue, and one that makes me curious to see exactly what Cable's new X-Force is going to be up to.