It was another big week of comics. DC delivered a game-changing new issue of Batman while also wrapping up The Dark Knight III: The Master Race. Marvel launched new comics starring Iceman and Darth Vader while bidding farewell to Nova and ending Jason Aaron and Chris Bachalo's Doctor Strange run. AfterShock debuted another promising new series with Babyteeth #1. And Image wrapped up Mark Milalr and Greg Capullo's Reborn while also releasing new issues of The Walking Dead and Paper Girls.
Scroll down to check out our reviews for these and various other new releases, and be sure to let us know your favorite books of the week in the comments below.
Written by Chuck Dixon | Drawn by Graham Nolan
The appeal of having Bane co-creators Chuck Dixon and Graham Nolan working with the character again was deflated after reading the first chapter of this new maxi-series. Issue #2 makes some solid improvements, but Conquest still isn't on the level of their previous Batman work. Aside from the always fruitful flashbacks to Bane's hellish childhood, the main appeal with this issue comes in seeing Bane and Batman as prisoners working towards a mutual goal. It recalls the stories of the early '00s, where Bane was less a direct antagonist to Batman than a morally ambiguous ally. Still, the presence of Batman only highlights how little this book reflects the events of the ongoing Batman series. Worse, it's thoroughly, blatantly out of character seeing Batman tolerate Bane's use of lethal force. And this story is also burdened by a thoroughly bland villain, one whose only real defining characteristic is his ability to somehow outsmart the two craftiest men in Gotham City. The artwork also proves disappointing, as the heavy line-work lacks the graceful elegance of Nolan's earlier Batman work. Maybe it's true that you can't go home again. -Jesse
Final Score:
Written by Tom King | Drawn by David Finch & Clay Mann
"There's plenty of hubbub regarding the big twist in Batman #24, but that twist is hardly the most impressive aspect of this issue. Batman #24 follows in the footsteps of the recent Batman/Catwoman-focused story arc "Rooftops," proving once again that no one handles that dynamic better than Tom King." -Jesse
Click here to read the entire review!
Final Score:
Written by Brian Azzarello & Frank Miller | Drawn by Andy Kubert & Frank Miller
"The Dark Knight Returns played a huge part in the darkening of the superhero genre in the late '80s. Suddenly, everyone wanted their superheroes to be gritty, brooding and politically relevant. There's even an argument to be made (not that I would agree with it) that The Dark Knight Returns did more harm than good to the industry. So the real joy in reading the final chapter of this latest DKR sequel is watching Frank Miller, Brian Azzarello and Andy Kubert push this universe in such a profoundly different direction. Gone are the cynicism and darkness, replaced by a sense of joy and optimism so deep that you might mistake The Dark Knight III for a DC Rebirth comic." -Jesse
Click here to read the entire review!
Final Score:
Written by Priest | Drawn by Carlo Pagulayan
In this issue, Deathstroke’s greatest weapon is his ability to deliver rapid-fire Bible verses. Slade Wilson doesn’t really believe in God, or at least that God. But the way he uses it to get under Power Girl’s skin is really hilarious. Technically, this is the epilogue to the epic disappointment that was The Lazarus Contract. But freed from the shackles of that crossover, Priest’s story once again has its own voice. There are consequences for Slade’s actions, for Joseph's rage, and Rose’s somewhat disquieting injuries. This story is messy, it’s emotional, and it has heart. In other words, it has all of the human qualities that were sadly lacking in the crossover. Carlo Pagulayan’s art brilliant renders all of those aspects of the script in the faces of Slade’s friends, family, and associates. It’s a great-looking book even if though the action is kept to a minimum. It is somewhat disappointing that we’re meant to believe that Slade has renounced evil without giving us a real taste of what he experienced in the Speed Force that so drastically changed him. Slade is still a jerk even when he’s trying to follow a more heroic path, but that's why he's so much fun to watch. So far, the Dark Titans are off to a very promising start. -Blair
Final Score:
Written by Mark Russell | Drawn by Steve Pugh
I suppose we should be grateful that DC gave this series a full 12 issues and a proper ending before cancelling it. Prez sure didn't receive that courtesy. And fortunately, Mark Russell and Steve Pug hare able to send off this series on the right note. They don't attempt to tie up every single loose end. In fact, it wouldn't surprise me to learn that this script wasn't originally intended to be a series finale at all. Russell manages to combine a high-stakes bowling match with philosophical musings on the nature of science and religion and the uncertain future of man. The series' unique ability to combine goofy Stone Age humor with biting social satire and profound character moments is as strong as ever. As ever, Pugh's unique style toes the line between the franchise's silly sitcom origins and a slightly grittier realism. This issue leaves readers with equal bits sad resignation and hope for the future. A year ago, who would have expected such strange, wonderful ambition from a Flintstones comic? -Jesse
Final Score:
Written by Benjamin Percy | Drawn by Juan Ferreyra
Juan Ferreyra is a rock star among comic artists. Month in and month out, Green Arrow is one of the best-looking superhero books, and Ferreyra deserves the credit for that. In the finale of the “Rise of Star City” arc, Ferreyra unveils the story in a series of intricate double page spreads including one that seems to be clearly influenced by some very old-school side-scrolling video games. This issue is a turning point for both Green Arrow and Oliver Queen, as an ongoing conflict is finally dealt with and Oliver decides to make his next move to save the city. In the end, this all seems a little overly complicated just to get Seattle to re-brand itself as Star City in the DCU. But Benjamin Percy’s story has been greatly elevated by Ferreyra’s artwork, and this series is never the same when Ferreyra isn’t drawing it. When they’re together, Percy and Ferreyra are pure magic. And this issue feels like a new beginning for the series. -Blair
Final Score:
Written by Sam Humphries | Drawn by Carlo Barberi
Sam Humphries’ latest arc has much in common with the constructs his Lanterns conjure — it’s pretty on the surface, but behind it all is a story struggling to keep its shape. Where last issue saw some much needed development in Simon Baz and Jessica Cruz, issue #24 instead opts for more straight forward spectacle. That same spectacle isn’t necessarily bad — artist Carlo Barberi turns in one of the more enjoyable acts of ring-slinging we’ve seen in quite some time — but it does end up feeling a bit hollow when all is said and done. Much of that comes down to Humphries’ dialogue and characterization. Normally a strong spot in this series, here characters riff and emote in ways that feel overly loose and inauthentic. Barberi makes these interactions work on a visual level—they just don’t do much to advance an already sluggish chapter. -Jeff
Final Score:
Written by Amanda Conner & Jimmy Palmiotti w/ Paul Dini | Drawn by John Timms & Joseph Michael Linsner w/ Bret Blevins
I’d say that I knew Red Tool would be useful someday, except I never even suspected that he would be. This Deadpool wannabe finally stepped up in Harley Quinn #21, and Red Tool steals the show as he deals with Harley’s Bat-family inspired heroine from the future. Whether Red Tool’s origin is genuine or subterfuge isn’t entirely clear, but it’s enough to finally give him a personality behind being another nobody in Harley’s orbit. Joseph Michael Linsner’s artwork is also quite good and he carries this issue. John Timms has a few nice pages in the issue as well, but they're overshadowed by Linsner’s contributions. For the first time, the Paul Dini & Jimmy Palmiotti classic Harley Quinn story by Bret Blevins isn’t the best part of the issue. It's still a very fun tale, but the primary tale is simply more compelling this week. -Blair
Final Score:
Written by Shea Fontana | Drawn by Phil Briones
What is this, Assistant Editors Month? That may have been a Marvel thing back in the ‘80s, but this Justice League fill-in issue wouldn’t have been too far out of place for that event. Strangely enough, this issue feels like it could have been published in the ‘70s. It definitely reads like a much safer and kid-friendly Justice League tale than we normally get. Shea Fontana’s done-in-one alien infestation is pretty by the numbers and not particularly exciting. What Fontana does well is the way that she brings the characters together, including Lois Lane and Batman, as well as Cyborg and Jonathan Kent/Superboy. Those pairings and their interactions went a long way towards making this an enjoyable read. Phil Briones is no Bryan Hitch, but his style has some goofy charm as well. This isn’t what I want from Justice League on a regular basis, but as a one-off, it’s fine. -Blair
Final Score:
Written by Tim Seeley | Drawn by Miguel Mendonca
This issue makes me want to scream “stop trying to make ‘The Blüd’ happen!” It’s really annoying when a character refers to Blüdhaven as “The Blüd.” It’s just a dumb, recurring line, but not the worst line of the issue. That honor belongs to “we out like Star Trek!” Really. Tim Seeley can do a lot better than that, and he does in this issue. The scene between Nightwing and his girlfriend, Shawn, stands out because it's intimate, sexy, and far more real than the rest of the superhero world that Dick Grayson inhabits. That sequence also gave me a greater appreciation of Miguel Mendonca’s art. The surprised expression on Nightwing’s face is so worth it. The bulk of this issue is spent re-introducing Roland Desmond, the second Blockbuster, as he makes his inevitable way up the ranks of the criminal underworld. The early scenes with Roland aren’t that enticing, but his story improves over the course of the issue until his confrontation with Nightwing. And I kind of want Nightwing to say “yes” to Blockbuster’s offer, just to see what he has in mind. -Blair
Final Score:
Written by Petr J. Tomasi & Patrick Gleason | Drawn by Doug Mahnke & Patrick Gleason
I’ve never liked the villain of this Superman story, because he was always the pale imitation of a much better character that DC also happens to own. His presence in this issue is annoying, but the book looks so good that it’s hard to concentrate on the story. Doug Mahnke and Patrick Gleason have styles that don’t necessarily mesh together easily, but they both seem to understand how to make Superman seem like he’s more than just a Man of Steel. Sometimes, he’s just a man. The rest of the issue isn’t quite as strong as the artwork, as the returning antagonist assembles a group of surviving aliens who became spies just to keep tabs on the town and slowly transform Jonathan Kent into a “greater hero” than his dad could ever be. The story isn’t quite that simple, but it could be fun to see how this plays out. -Blair
Final Score:
Written by Tim Seeley | Drawn by Christian Duce
DC usually isn't as blatant as Marvel about realigning their comics to match their TV and movie projects, but there are exceptions. Wonder Woman: Steve Trevor #1 is certainly one case, as the main purpose of this one-shot is to introduce Steve's WWI-era team from the movie into the contemporary Rebirth universe. Not that it's a bad thing seeing more of this entertaining bunch. If anything, the problem is that these characters tend to overshadow Steve himself, who fails to make for a very compelling or three-dimensional protagonist here. It begs the question of how important he really is as a solo character without Wonder Woman by his side. The conflict itself also seems under-baked, with too much room devoted to setting up Steve's mission and not enough on the mission itself. Christian Duce's art is clean and presentable, but lacking in terms of style or flavor. Where the ongoing Wonder Woman series ranks among DC's better books these days, this one-shot feels generic by comparison. -Jesse
Final Score:
Continues
Aucun commentaire:
Enregistrer un commentaire