Archive for the “Nu52” Category

For those of you with a numbers fetish, here is the somewhat arbitrary “Top 17″ of the new DC first issues.


Top 17 Titles
Title Score
Action Comics 51
All-Star Western 50
Batwoman 50
Demon Knights 50
Swap Thing 49
Animal Man 48
Men of War 48
Aquaman 47
Frankenstein, Agent of SHADE 47
OMAC 47
Superboy 47
Batman 46
Blue Beetle 44
Birds of Prey 42
Nightwing 42
Teen Titans 41
Wonder Woman 41

Looking at the numbers laid out like that, the only thing that surprises me is how highly I ended up rating Men of War. Three weeks on, I’d probably knock it down to a 42 or 43.

And here’s the “Bottom 10″ titles, because while I originally meant to do “Bottom 13″ the differences between the 13th and 14th title would have been completely arbitrary, since they had the same score.


Bottom 10 Titles
Title Score
Batman: The Dark Knight 23
Legion Lost 22
The Savage Hawkman 22
Green Lantern 21
I, Vampire 19
The Fury of Firestorm 18
Mister Terrific 16
Red Hood and the Outlaws 10
Suicide Squad 10
Detective Comics 9

Only surprise here is Green Lantern. On a reread, I’d probably mark it at a 26; half-way down the scale, neither good nor bad.

With what I will continue to buy, with the 10/05 week of titles, the only book that I am definitely dropping is, unsurprisingly Detective Comics. As awful as some of the other books were, nothing elicited as drastically negative a reaction from me as that one. Red Lanterns, Batwing and Static Shock are on the bubble, but get at least one more issue, and my decision to drop Hawk and Dove was over-ruled by the spouse.

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All Star Western #1: Gray and Palmiotti’s Jonah Hex series was one of the under-appreciated highlights of the preboot DC line, so it only makes sense that the same writing team on the same character is one of the outstanding titles of the reboot. Moritat’s art is moody and effective, portraying both the grime and the elegance of the period well. Moving the setting from the frontier to Gotham is an intriguing difference. Seeing Hex as a man out of place has potential, and tying the book more closely to the rest of the DC universe has the potential to get more people paying attention to the book. I’m generally not one to care much for stories delving into the “rotten heart” and history of Gotham; where Gotham is NOW is more interesting than where it came from, generally. But having Hex in an investigative role, and giving him a partner/unreliable narrator in Amadeus Arkham, is a unique enough perspective on the city and setting to have strong potential.
50/52


Aquaman #1: The question of why Aquaman is supposedly so lame is one I’ve asked before, and it’s maybe only natural that any attempt to bring the character back to prominence is going to have to deal head-on with the damage lame comedian’s jokes about Super Friends have done. It’s an approach that could fall flat on its face, but Geoff Johns actually manages to pull it off, portraying Aquaman as a character who is both dignified and quietly a badass, albeit one who has to live in the shadow of brighter, more impressive characters. Setting him up as the man responsible for “the shore” is an interesting approach as well; less king of the sea or traditional super-hero, but occupying the space in between. Of course, it wouldn’t quite be a Geoff Johns book without a gory death or villain, and here it’s in the form of carnivorous amphibious shark-people. Of course it is.
47/52


Batman: The Dark Knight #1: Another Batman comic, another breakout from Arkham Asylum, another stupid change to an existing villain, another new villain given a silly modus operandi in order to convince us that they’re a serious, credible threat. David Finch’s art is much improved since the last time I saw it, while still not being entirely to my taste, and not even Paul Jenkins as co-writer can elevate this beyond the samey nature. For a line that DC apparently went to great lengths to leave relatively untouched in this reboot, very few of the new creative teams are hitting on all cylinders.
23/52


Blackhawks #1: This is straight-up G.I. Joe set in the DC universe. Not that there’s anything wrong with that, G.I. Joe owes a fair amount to silver age DC and Marvel war comics in and of itself, so this is more like coming full circle with the concept of a sci-fi international military special-ops team with silly code names and ludicrous villains. But the approach taken here is all action and character names, very little in the way of backstory or actual characterization. So we have a bunch of people with silly names fighting a secret war against an unknown villain with sci-fi weapons, only without the nostalgic appeal that an actual G.I. Joe comic would have for people.
24/52


The Flash #1: For being the book that was used to justify all these reboots, you’d almost think Flash would have had a splashier opening. But no, very very pretty art from Francis Manapul aside, this is pretty much a generic Flash comic. Setting aside the various generations of Flash family characters may reduce the amount of “grandpa Barry” drama that the title was groaning under, but replacing it with the same relationship drama/romantic triangles as every other super-hero book isn’t much of an improvement. Neither is a story that, yet again, ties into some secret, probably terrible, from Barry Allen’s past. It’s not really a bad comic, but it doesn’t break any new or interesting ground for the character either.
31/52


The Fury of Firestorm: The Nuclear Man #1: Oh, hey, another teen hero book with violent murders and torture.
What potential there is in a complete reboot of Firestorm, bringing back both Jason Rusch and Ronnie Raymond and attempting to create a somewhat unified backstory and concept for the title is pretty much tossed out in the window in favor of something squalid and icky. This feels like an attempt to pander to the same crowd that eats up the ultra-violence by making a “lame” hero more “hardcore”. It just ends up kind of gross.
18/52


Green Lantern: New Guardians #1: As I seem to be one of the few people who will publicly admit to liking the “Rainbow Corps” storylines from the Green Lantern family, this should be an ideal book for me. I like the grand, space-opera tone that the multi-colored ring storylines bring to the titles. I just despair of the apparent necessity for extreme violence and melodramatic angst. We’ve got a small amount of that violence here, but luckily not too much of the angst. I’ve got hopes for this title, but in this first issue we’re not getting much story, so it’s hard to see what direction the book is going to go in. Especially when the promised content for the second issue looks to be basically just a big fight scene. It makes for a very frustrating first issue.
29/52


I, Vampire #1: I actually have a soft spot for the old I, Vampire back-up stories, so I was hopeful that this would be a good reintroduction of Andrew Bennett. This is pretty much just a restart of the title, only moved from the early 80s to the modern day, with the same main character and antagonist and central conflict. Only without the establishment of who these characters are and what they mean to each other. Unless you were already familiar with the concept, this would appear to be just a lover’s spat expressed through the medium of a vampiric war on humanity, with a curiously laconic and passive hero. The art is unfortunately generic, looking much like every other indie comic horror title out there. That virtually everyone looks the same doesn’t help it much either, and the only way to distinguish the lead in many cases is his white hair stripe. All in all, a disappointing package.
19/52


Justice League Dark #1: Peter Milligan definitely brings something of a Vertigo flavor with this title, which makes sense given that many of the characters were only fairly recently liberated from that imprint. The book assumes a fair amount of familiarity with the characters on the part of the reader. This is yet another situation where maybe some time devoted to exposition would have been nice, as it’s not clear what exactly is or isn’t different in this new timeline (though Deadman at least appears to be in line with his appearance is Hawk and Dove and DC Comics Presents). Mikel Janin’s art is an interesting choice for a book like this; his figures are fairly solid and almost plain, which is an odd contrast with the more unreal, magical aspects of the story. The story itself is fairly straight-forward, but that lack of exposition and shifting viewpoints results in a book where things appear to simply happen, with indirect transitions, demanding that the reader actually put some work into figuring out what is going on.
33/52


The Savage Hawkman #1: Philip Tan’s art is remarkably pretty here, so it’s a shame that it’s in service to a story that didn’t really do much for me. Hawkman tends to work best when he’s a big guy with wings bashing bad guys with a mace. The trend to writing him lately has been to make him a tragic, angsty figure, and that’s pretty solidly continued here. Making the wings and harness a part of Carter Hall, instead of equipment he wears, is a fairly arbitrary change that doesn’t do much to improve the character, and actually makes him more like a Wolverine with wings instead of his own concept.
22/52


Superman #1: Despite being set in the present day, this still hews fairly closely to the Superman in Action Comics. He’s cocky and a bit brash and his relationship to Metropolis is fairly complicated; loved by the common people but viewed with suspicion by those in power. The changes to the supporting cast and the status quo make sense in light of current events, and the apparent prominence of Morgan Edge and his companies has the promise of some Bronze Age appeal. It’s a perfectly good, if a little unambitious, Superman comic with nice art and engaging action and subplots that aren’t infuriating. The only major strikes then would be the “One More Day”ing of the Lois and Clark marriage and the presence of “horn blowing giant fish” from Stormwatch, which suggests a fairly heavy-handed editorial hand on the title, if cross-title threads are being introduced in the first issue without directly impacting the story.
35/52


Teen Titans #1: I have this sinking suspicion that I’m in the minority on this one, but I found this to be a fun comic. That it ties pretty strongly into Superboy, which has been a highlight title, helps, as does the art by Brett Booth which I’ve always liked, even if it is usually of the “everyone screaming” school of comics art. But the angst levels are tolerable, the characters and the writing is clever, and the central conflict has a fair amount of promise. And hey, it’s a teen super-hero book that keeps it’s violence and action within the reasonable super-hero realms, not delving into horrific torture and gore. That’s, sadly, a plus these days.
41/52


Voodoo #1: I can see this catching on in the same way that books like Witchblade do; half soft-core T&A, half well intentioned but not quite pulling it off “strong female character” tropes. That we don’t really learn anything about the lead in the first issue other than that she’s apparently an alien spy and is more than willing to kill characters of equally ambiguous morality.
It’s pretty, but for a number of reasons, this really is just Not For Me.
26/52

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Batman #1: Scott Snyder’s recent run on Detective Comics was one of the highlights of the past few years of DC comics, so to see him move on to a higher profile book while still playing in the Batman family of titles is exciting and gratifying. This is a much more super-heroish take on the character then he had previously presented, and it works, especially with the big, crowd-pleasing fight in Arkham Asylum, and the cliffhanger the issue ends on is particularly well-timed, even if it’s obvious “fake out” nature is clear. Greg Capullo is an interesting choice for artist; when he’s drawing villains and action scenes it’s really quite nice, but his “civilian” scenes don’t mesh as well. The only obvious differences between Bruce Wayne and the various Robins are heights, for example. Still, this is a very minor complaint, and of the Batman titles released so far, this is far and away the best and most satisfying.
46/52


Birds of Prey #1: A new status quo is surprisingly welcome for this title. Towards the end of its previous run, the title often felt more concerned with pandering to fans by providing “fuck yeah” style moments for Tumblr fan communities. Duane Swierczynski takes the basic premise, a female black-ops super-hero team, and tweaks it slightly by having them perceived by the world at large as criminals and killers. Even though most of this issue is a long fight-scene, it provides a nice grounding for this new situation and sets up an intriguing initial adversary. Where it could have improved is in providing a little more background on (potentially) new character Starling and the changes to Black Canary’s history. Jesus Saiz is an excellent artistic choice for a book like this; his action scenes are well-choreographed and his characters are distinct-an important trait in female majority books when too many comics artists still draw all women as essentially interchangeable.
42/52


Blue Beetle #1: It’s a little surprising to see a relatively recent character like the Jaime Reyes Blue Beetle get a total reboot, especially when his new origin is so close to his previous one; slightly nerdy Mexican-American teenager stumbles upon an ancient artifact/space invader and becomes reluctant hero, even with the same supporting cast with essentially the same personalities and conflicts. The previous series was charming and fun; this book feels like an attempt to be more serious and closer in tone to the slightly darker DCU we have nowadays. Setting up a lot of the gradual revelations from the prior series, such as the malevolent nature of the scarab, could be a good way to shortcut a lot of repetitive backstory, especially when this new series drops Jaime right into the midst of a bigger universe at the start. Ig Guara’s art is slightly cartoony, but feels well-suited, and he draws believable teenagers well.
44/52


Captain Atom #1: This is an extraordinarily pretty book, artist Freddie Williams II has gone out of his way to give it an appealing, unique look. Story-wise, J.T. Krul throws us right into the middle; this appears to be the same Captain Atom who has been running around for awhile, just deaged and slightly reset, but without an origin or any kind of detailed backstory in this issue it’s hard to estimate. This feels like the middle of a story in many ways, and while it’s not a bad approach to starting a super-hero comic, we’ve been seeing a lot of this sort of thing from DC lately. In fact, this “middle of the story” feel isn’t entirely dissimilar to Krul’s other title, Green Arrow. And like that title, as pretty as this book is, it doesn’t really have a strong “grab” but isn’t really bad enough to complain about either. It’s just sort of there.
26/52


Catwoman #1: Somewhat silly sex scene aside, this was a book that was better than I expected it to be. Guillem March’s art is stunning and lush and the book looks incredible. Winick is a writer that tends to be hit or miss (though I may be biased, as I think the comics internet’s hate-on for him is silly and unjustified), and this is mostly a hit. Catwoman works best in that anti-hero space, and that’s the area that Winick is playing with here. It even manages, amazingly, to be somewhat fun, though there is still a lot more of the angst and “darkity dark” storytelling tropes that I find tiresome. The book has potential and could be cheeky fun. If we cut down on the silly sex scenes.
31/52


DC Universe Presents #1: You can tell DC is serious about this “try everything and see what works” approach because they’re even willing to give an anthology title a shot again. Paul Jenkins strikes a good balance between a total reboot and continuing with the previous continuity, with a slight revision to Deadman’s origin that gives his existence as a ghost slightly more direction. It’s a very good story laid out here, very character driven, though an argument could be made that very little happens in this first issue . In context it works; Deadman is, after all, dead. And the question asked here, “is Deadman actually helping the people he haunts or not?” makes for a good set-up for new stories with the character. This is something, frankly, the character could use. His popularity (such as it is) seems to be based mostly on his visual design and somewhat nonsensical name and situation, rather than any definitive or compelling past history.
38/52


Green Lantern Corps #1: When Peter Tomasi titled this issue “Triumph of the Will” I suspected he was deliberately poking at the internet. When font choice makes it initially appear that the entire population of the planet “Nerrd” is wiped out, I was sure of it.
Most of the book focuses on Guy Gardner and John Stewart trying to live normal lives outside their roles as Green Lanterns. At these moments the book is excellent, fun and a compelling read. The rest of the book is, sadly, the same sort of casual ultra-violence that seems to typify the Green Lantern family these days. At least with a title like Red Lanterns that level of ultra-violence is expected and can be read as knowing. With this book, it just feels like pandering to an increasingly jaded audience. The characterization is so strong and has such potential it feels like giving in to that audience is wasting the opportunity.
32/52


Legion of Super-Heroes #1: Yes, this is a Legion comic. If you’ve been reading Legion for the last few years, it’s the same stuff you’ve been reading, picking up right where everything left off last month. This means that the question of whether it’s good or not depends entirely on if you were enjoying the stories we were getting before.
Francis Portela’s art is attractive, but this is yet another of the books that is neither good enough to be noteworthy, nor bad enough to really criticize.
26/52


Nightwing #1: Chalk this up as another pleasant surprise, at least for me, who is on record as not being a great fan of Dick Grayson as Nightwing. Kyle Higgins, for the most part, keeps this within the realm of fun, super-hero adventure comics, playing off of the recent Batman family titles but making a clear statement that this is a new direction and a new start for the character. He does this primarily by focusing on Dick Grayson’s past, reintroducing Haley’s Circus and that element of Dick Grayson’s history, and setting up a new adversary motivated by secrets from Dick’s past that even he seems to be unaware of. If there’s a notable weakness in the book, it’s the presence, again, of slightly more violence than is maybe necessary, but even then the level is consistent with what could be expected for a title in the Batman line.
42/52


Red Hood and the Outlaws #1: This comic has been pretty thoroughly excoriated by the internet at large, and I’m not particularly interested in piling on. Yes, it’s awful. It’s stupid, it’s ugly, and pretty much every complaint you’ve heard about it is dead on.
It’s still not as bad as Detective Comcics #1, though.
10/52


Supergirl #1: In keeping with the rest of the Superman line, the new/old Supergirl gets started over from scratch, despite only being around (relatively speaking) for a short time. Most of the changes aren’t clear, as the entirety of the issue is a fight between an amnesiac Supergirl and several people in giant robot suits. It’s just a fight comic, in other words, though it does drop a few hints about the new status quo for the Superman titles. Mahmud Asrar’s art is nice, but the costume design is just odd enough to be slightly distracting. Whether or not the book has potential isn’t very clear from this first issue, as there really isn’t much in the way of story or character here; just something that looks a lot like the prior Supergirl title, rewound a bit. It was a fun fight book, though.
35/52


Wonder Woman #1: This is a very, very good Wonder Woman comic. I’m not entirely convinced it’s the best direction DC could have chosen for Wonder Woman with this reboot, but it’s still a very good comic. Cliff Chiang’s art is spectacular, as is to be expected, and although Brian Azzarello isn’t a writer whose work I’ve ever really warmed to, I can recognize his skill, and this is a very strong opening issue. It’s got some action, the establishment of central conflicts, and good, subtle characterization. The new vision of the gods has promise, and I have a strong feeling that we’re going to get the origin for Wonder Woman fleshed out along with this opening story.
My only hesitation is that this is, again, the “warrior” version of Wonder Woman, which means this is a fairly gory book, though it at least feels like a genuinely mature approach to violence, and not the pandering that some of the other books seem to use. And I wouldn’t even mind the Xena-fied approach to Wonder Woman so much if there was a more general audience friendly book starring Wonder Woman on the stands as well. Seriously, Wonder Woman is a superhero princess, and DC constantly ignoring that feels like willingly leaving money on the table.
41/52

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Batman and Robin #1: Peter Tomasi sets the tone for the relaunch of the title right away, going from a “Batman Inc” reference to a Bruce Wayne who is making a conscious effort to move out of the darkness and a Damian Wayne full of youthful arrogance and a “cripple villains, ask questions later” aggressive streak. As much as I generally like the “little shithead” version of Robin, Tomasi lays it on a little thick, though his Batman who is giving up on wallowing in despair and grief is a welcome change and in line with the work Grant Morrison did on Batman over the last few years. I like a Batman who has at least something of a lighter side, and after the awfulness of last weeks Detective Comics it’s extremely welcome. What’s not quite so welcome is the horrific murder cliffhanger that sets up the villain for this first story arc. As tolerant as I am of darker storylines in a Batman book, it feels like a plot beat in conflict with the rest of the book’s tone.
37/52


Batwoman #1: Picking up almost exactly from where the Batwoman feature in Detective Comics left off, with very little in the way of recap provided, Batwoman runs a real risk of being too hard for new readers to pick up. Which is a shame, because it’s easily the prettiest of all the new titles released by DC so far. Another point in its favor is that the “Crime Bible” storyline which had so dominated previous stories about Kate Kane is, outside of that recap, pretty much absent here. It was an interesting storyline, but it had started to feel somewhat interminable, and so a new direction is welcome. A new villain is introduced, with an extremely disturbing modus operandi which, amazingly, is presented in a tasteful manner (something that really shouldn’t be noteworthy for a super-hero book, but somehow is in our brave new world). The return of Cameron Chase and the D.E.O. is welcome for longtime DC fans, but in general it’s another of those little details that may turn off new readers.
50/52


Deathstroke #1: It takes a lot to get me interested in a comic starring Deathstroke. This…isn’t quite it, but it’s an admirable attempt. My main gripe with Deathstroke is that he’s just a bit too much of a “pet” character for too many writers, which makes his skills far too inconsistent. It’s hard for me to take Deathstroke seriously as a credible threat, for example, when his original history has him getting his ass handed to him by the Teen Titans of all people, or at best fighting them to a draw. Add in the sheer tackiness of his implied sexual relationship with an underage girl, and he’s just not a character I really want to see around much. What Kyle Higgins does here that I like is present Deathstroke as a past-his-prime mercenary who has to re-establish his reputation. It’s a slight variation of the previous template, and has more potential for interesting stories, and Joe Bennett does some nice, clean action-style art here…but it’s a book starring Deathstroke and I really just can’t muster any enthusiasm for that.
32/52


Demon Knights: Sometimes what I want out of my comics is simple. I like my super-hero books, sure, but I like interesting blends of genre too. And here we have a book that gives us the Demon, Madame Xanadu, the Shining Knight, Vandal Savage, Mordru (of all people) along with several new characters who bear some resemblance to certain other super-heroes in a story that has Camelot, dinosaurs and exploding babies.
It’s pretty much exactly what I want. Paul Cornell introduces all the major characters briefly yet memorably, gives us a story with just the right amount of action and a healthy amount of black humor, and sets a major story in motion. Diogenes Neves gives us beautiful fantasy art filled with charming details. I particularly like a scene in the tavern all the heroes meet in (because where else would the heroes meet in a fantasy comic) where Neves captures perfectly an exasperated Madame Xanadu and a smirking Sir Ystin. They’re little details, easily lost in the huge fight scene, but they add charm and personality to the book and characters.
50/52


Frankenstein, Agent of S.H.A.D.E. #1: Jeff Lemire’s take on Frankenstein and the Creature Commandos hews fairly closely to the template established in the Seven Soldiers mini-series; weird science and monsters that wouldn’t be out of place in the Silver Age filtered instead through modern sensibilities. It straddles a line between a serious tone and a tongue-in-cheek one that works well, in a very self-consciously “comic-booky” sort of way. Overall the book is much lighter than the other horror influenced books, such as Lemire’s Animal Man, and the contrast is pretty welcome. The broader, more bombastic nature of a book like Frankenstein fills a gap between those darker books and the more traditional super-hero titles.
47/52


Green Lantern #1: The ultra-violent soap operatics of the Green Lantern family of titles continues, picking up right where the “War of the Green Lanterns” storyline left off and, for all appearances, the only title completely untouched by the line-wide reboot. In other words, this is exactly the same comic you were getting before the reboot, for good or ill. The only significant change is the return of arch-villain Sinestro to the Green Lantern Corps. That has the potential to be at least an interesting storyline, but just as much time is spent on an increasingly self-destructive Hal Jordan feeling sorry for himself on Earth. That sort of thing I’m pretty much tired of.
21/52


Grifter #1: Grifter is another one of those concepts that feels like a hard fit for the DC universe. About the last thing that’s needed is yet another alien conspiracy, it strains suspension of disbelief to think that multiple secret invasions don’t continually step on each others toes. Broadly the book fills the same niche as Deathstroke, an action title with an amoral protagonist. Grifter benefits here in that it’s a “from the ground up” restart, so any baggage the character had before is gone. The specific set-up of Grifter fighting a real menace but appearing to be just a terrorist because no one else is aware of the threat is not greatly original territory (the premise of Rom comes to mind immediately, not to mention They Live), but it works well enough, and in the end this is actually a fairly promising start for what could be a pretty good title.
34/52


Legion Lost #1: At the best of times I’m fairly indifferent to the Legion of Super-Heroes. Since their most recent re-introduction the books have been fairly good, but, much as I cannot for the life of me fathom the point of the X-Men going off into space and hanging out with aliens, I just cannot see the point of having the Legion have adventures set in the modern day. The entire point of the book is that they are super-heroes…in the future! We’ve got dozens upon dozens of super-hero titles set in the modern day. The sci-fi setting is the only thing that sets the Legion apart from all of those. Why would you take that away.
Apart from those issues, this is yet another book that’s just adequate. Neither the writing nor the art is particularly spectacular, and the casual killing of two of the character’s is either a trite set-up for a fake out or just one more example of using a body count as a substitute for real drama.
22/52


Mister Terrific #1: This book opens well, with an action sequence that does a good job of establishing the character of Mister Terrific and what he is all about, leading into a quickly sketched origin sequence, but it all goes rapidly downhill from there. Transitions are awkward and sudden, characters are simply…present, without being presented to the reader in any meaningful capacity, and the book’s relationship to the previous continuity is unclear. The second point could be forgiven since there’s no reason why the presence of the Justice Society would have any particular impact on a rebooted status quo for Mister Terrific…but the character’s name is fairly nonsensical without the Golden Age connection. Add to this the presence of Karen Starr, aka Power Girl, and the book’s setting just feels jumbled. The lack of clear character introductions is confusing as well; why does a random woman begin making catty comments to Karen at a party? Is she meant to be significant, or does Michael Holt just randomly invite incredibly rude women to his parties?
16/52


Red Lanterns #1: Despite my growing skepticism regarding whether or not it’s worthwhile to read the Green Lantern line, this book, surprisingly, feels like it has potential. It’s still rough, by all means, but Peter Milligan’s script has some nice touches of melodrama mixed with grand guignol violence that is actually almost…fun? Ultra-violent space vigilantes is just an enough of an oddball concept that it could actually work, in the same way that books like Lobo actually managed to mostly work. The primary difference, of course, is that Lobo was, at least to some degree, meant to be funny, but a serious tone works as well. If Milligan runs with the direction that this first issue seems to suggest, that the Red Lanterns are essentially going to be dozens of Punishers in outer space, this could work despite the roughness.
38/52


Resurrection Man #1: This is easily the most unexpected title revamp, but it’s surprisingly pleasant to see a well regarded book that never quite hit sales success get another shot. Abnett and Lanning appear to pick up right where the previous series left off in 1999. It’s a nice nod to the original series, but it does mean that new readers are getting essentially tossed into the middle of an ongoing story. A little bit more in the way of exposition than “I die and come back with powers” might have been helpful. It has been twelve years, after all, since the previous issue was released. It does help, though, that the book is firmly moving within the hybrid super-hero-horror genre that DC is building here, with the start of a new storyline setting up Mitch as a prize in a war between, presumably, heaven and hell, and tying him in a little more closely with the rest of the “dark” heroes, if the appearance of Madame Xanadu for the second time this week is anything to go by.
36/52


Suicide Squad #1: This is a really awful comic. No, not because Harley Quinn is a sexed up Juggalette now. I sometimes feel like I’m the only person who remembers scenes like this on the cartoon that introduced her. “Inappropriately Sexualized Harley Quinn” is not a bug, it’s a feature, and has been since day one. And while I’m sympathetic to the complaints about making Amanda Waller a generic sexy gal, I’ve never been a fan of the character and, anyway, it’s a reboot. These things happen.
No, this is simply an ugly, awful comic. Grossly inconsistent art, and a casual disregard for human dignity that’s excused in the name of “well, these are bad guys.” This panders to the same “extreme” crowd that Detective Comics did, and the only difference is that there are one or two well drawn pages in this book.
10/52


Superboy #1: Well, this was a pleasant surprise. I’ll admit, I wasn’t expecting much when I realized that Superboy was getting a complete restart as well, especially when it was going back to the “clone created by evil scientists” well. And while the introduction of yet another clandestine organization with a silly acronym name is, well, silly, the book itself is really quite good. Scott Lobdell makes restrained use of references to the wider DC universe and integrates a key Wildstorm character in a pleasant way, while playing up the amoral nature of a freshly cloned Superboy. He has no morals or ethics because he has no experiences yet, and his hyper-awareness gives him a refreshingly nuanced take on the events unfolding around him. R.B. Silva’s art is nicely expressive as well, and he captures a convincing impression of adolescent confusion in his Superboy.
47/52

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Action Comics #1: Superman gets a “from the ground up” reboot from Grant Morrison and Rags Morales. I’m still not convinced of the necessity of tossing out all of Superman’s previous history, though setting the book in the past, prior to the widespread appearance of super-heroes in the DC universe softens the blow somewhat. Morrison is a writer who has earned the benefit of the doubt when it comes to his treatment of Superman, and it’s easy to see how his vision of a cocky, proletariat Superman who is more concerned with harassing criminal bankers and saving abused wives and squatters than giant alien robots from the future leads into the Superman from the superlative All-Star Superman. Lex Luthor is once again a semi-respectable figure, and his anti-Superman xenophobia is couched in plausible enough scientific terms to make more sense than it usually does. Lois Lane is Lois Lane, Morrison nails her voice perfectly. Morales is an artist whose work I’ve always liked, but never really followed, and his characters are expressive and attractive, even if some of the action sequences appear to be a little rushed and hard to follow (a very common problem with the relaunch titles across the board).
51/52


Animal Man #1: Writer Jeff Lemire gives Animal Man a much softer reset than many other characters, picking up seemingly shortly after Grant Morrison’s run on the title, while acknowledging in an info-dumpish text piece that, yes, all the 52 era stories still happened to him, which means that, mostly, Animal Man is continuing on from where he was pre-reboot, sans his Vertigo era stories. This works very well, as the best draw for Animal Man as a character has been the idea of a man who treats super-heroics more as a hobby, and is more concerned with being a husband and father than saving the world. And, of course, getting caught up in horrible, world-threatening plots from Lovecraftian horrors. As a super-hero horror title, Animal Man is genuinely unsettling, not so much for the idea of horrible eldritch horrors, but for the understated nature of artist Travel Foreman’s matter-of-fact depictions of creepily unnatural things.
48/52


Batgirl #1: Surprisingly, I think this rates as the most disappointing of the reboots so far. The idea of making Barbara Gordon Batgirl again makes sense on paper; she’s Batgirl on TV, in movies, cartoons, merchandise, toys…as far as the general, non-comics reading public is concerned, she is Batgirl. To fans, of course, she’s Oracle, and Batgirl is either Cassandra Cain or Stephanie Brown, depending on whether you’re a Tumblr Batfamily fan or a LiveJournal Batfamily fan. While the arguments against taking away the highest profile physically disabled super-hero weren’t without some merit, putting fan-favorite writer Gail Simone on the book felt like a calculated attempt to keep everyone happy while making sure the face on the Batgirl t-shirts on shelves at Target matches the face in the comic books. Unfortunately, what we got was a book that tried to keep the comics history going, when a fresh start would have been better. Instead of daring young adventuress Barbara Gordon, we get “paralyzed by fear” Barbara Gordon (no pun intended) along with her sitcom not-really-quirky-but-we’re-meant-to-think-so roommate, the dumbest cop in Gotham, and a villain whose method feels ripped off from the Final Destination movies. I’m not prepared to write off this title yet, as Simone has shown she can do good work, and in general I like both the concept of Batgirl and the character of Barbara, but this was a weak start.
29/52


Batwing #1: The fun thing about titles that you have low expectations going into is that you can be surprised by them. I don’t think anyone heard that Judd Winick was going to be writing a Batman, Inc. spin-off set in Africa and became excited at the prospect, but Batwing is surprisingly good. Winick is usually a competent, but unremarkable writer, when it comes to super-hero adventure, and while the concept of “Batman of Africa” is treated a little too on the nose here (right down to the faithful man-servant) and the opening plot, about the investigation into the murder of a super-hero is the sort of adolescent “reality” that has just become tiresome in recent years, there’s enough wit and intelligence here to propel the story, while Ben Oliver’s painterly art is absolutely lush.
35/52


Detective Comics #1: It’s hard to say just how bad this comic is. Tony Daniel’s art is the best I’ve ever seen it, which sounds very much like damning with faint praise, but I mean it sincerely. The frustrating thing about the art is that it’s in service to a story that is utterly execrable and demonstrative of everything that is wrong with super-hero comics these days. Stupidly violent and exploitative, Detective reads like a watered down version of something you’d expect to see from Avatar, and has the casually violent and bombastic tone that feels more appropriate to Lady Death or Evil Ernie than to DC’s flagship title. What little promise a high-action Joker vs. Batman story could have is brutally undermined by the introduction of a “newer and more badasser” villain who then proceeds to perform an act of violence on the Joker that is calculated to shock and only becomes dumber the more I think about it. It’s an act that simply must be undone, thus robbing the moment of any dramatic impact, and it is so crass and gross in itself that it can only exist in order to pander to the lowest of common denominators, those who want their Batman comics “darkity dark dark grim” and “hardcore.”
That the word “fangasmic” is actually used ironically on that very page is almost the final insult.
9/52


Green Arrow #1: Green Arrow gets an extensive reboot as well, deaging and returning to his “billionaire industrialist” days. In many ways this is a very old-school sort of super-hero story, with Dan Jurgens and George Perez on art giving the book a clean traditional comic look, and J.T. Krul sticking with a very direct secret-identity, man of action, beat-up-the-villains adventure book. It’s good fun, and probably a much-needed basic approach for the Green Arrow character, but that same lack of complication and straightforward nature also results in a final work that’s a bit bland. It’s neither good enough to elicit much enthusiasm nor bad enough to be worthy of much commentary.
32/52


Hawk & Dove #1: Rob Liefeld’s art is like that one friend from high school that you used to be really good friends with. You hung out with him all the time, you did everything together, and you thought you would be friends for ever. And then you went off to college and he stayed in your home town, and you had life changing experiences and grew and matured, and he stayed in your home town. And now when you see him you remember how you used to be good friends, and you try to rekindle that, but you’ve changed too much and he’s still that exact same guy.
Continuing almost exactly from where Brightest Day left off, this is another book that provides perfectly adequate, but somewhat unremarkable, super-hero adventure. There’s more attention played to the soap opera aspects of super-heroes here than in many of the other launch titles so far, with implications of love triangles past and present and a “dark counterpart” to the title characters hinted at on the final page. Most people are probably going to focus on the Rob Liefeld art, however, but for all the snark about it you’ll see online his name still sells comics. Personally I think the book would have benefited from a less idiosyncratic, or less notorious, artist.
26/52


Justice League #1: The theme of “adequate but unremarkable” continues here, which is a shame, as the first book of the relaunch could have been used, and arguably should have been used, as an excuse for DC to put their best foot forward and set the tone and quality for the relaunch. Jim Lee’s art is perfectly fine, if somehow providing an impression of being both over-rendered and somewhat rushed. What little story there is has some nice bits of characterization, with an arrogant Green Lantern, a Batman who actually manages to crack a smile, and a cocky Superman in line with his more-or-less contemporaneous portrayal in Action Comics. The major problem here is that for a comic called Justice League only three super-heroes actually show up, and they spend almost as much time bickering amongst themselves as they do fighting a shape-shifting minion of Darkseid. A “done in one” story is probably too much to expect, but a little more forward momentum would have been nice.
34/52


Justice League International #1: Another throw-back book, with clean, traditional super-hero art by Aaron Lopresti, and an extremely talky script by Dan Jurgens filled with declarative statements. It’s well characterized and appears to tie in slightly to the larger post-Flashpoint storyline that seems to be building, but good Lord, did I mention that this was a talky book? Much like Green Arrow this is a book that suffers from not being quite remarkable but lacking any significant flaws either. It simply is, and while I still have a soft spot for this kind of traditional, uncomplicated team book, it’s hard to see anyone becoming too excited about it.
30/52


Men of War #1: Ivan Brandon and Tom Derenick manage to pull off the best trick of all with the revamp titles; they create a realistic war comic that manages to take place in a world with super-heroes that doesn’t feel forced, gratuitous or just plain dumb. Derenick’s art is simply fantastic, with distinctive characters and large-scale action that is easy to follow. Brandon quickly sketches the new Sergeant Rock, grandson of the original, as a believable character, and it will be interesting to see where the title goes from here. Given the “ground level” approach of the series, explicitly setting the title in the regular DC universe ran the risk of undermining the realistic approach, but by keeping the super-heroes at arms length in the title itself, more forces of nature, random and inscrutable to the average person, and their actions and effect on the world more like a natural disaster, an appropriate tone is maintained and a different perspective on the setting is achieved.
48/52


O.M.A.C. #1: Another example of how a book with low expectations can prove surprising. Even at the best of times OMAC is a bit of a hard-sell as a property. Even by Bronze Age Kirby standards, it was a fundamentally weird book. Dan Didio and Ketih Giffen run with that aspect here, ditching the more recent attempts to make the concept work as a serious super-hero book, and just giving us an extremely peculiar book that mimics the look and feel of Kirby’s DC period, tossing in explicit references to the Fourth World and the Jimmy Olsen Cadmus Project characters as well as elements of the OMAC setting. There’s a certain amount of self-awareness to the book’s humor as well; we know this is silly but we just run with it, because why not? It’s a comic book after all. Giffen crowds out the pages with large, insanely detailed mechanical constructs, creating a visual overload of information that further sets the book’s tone of unrestrained, aggressive oddness. It’s a stand out book all around, and my only question is if the momentum can be maintained.
47/52


Static Shock #1: Scott McDaniel and John Rozum give us a fun, fairly light in tone, teen super-hero book with some entertaining action and interesting characterization. Like a lot of “teen hero in the city” books, the obvious parallel to draw is to early Spider-Man stories, the main difference here is that Static lacks the narcissistic self-pity of that character. As an introductory issue, though, a fair amount of knowledge about the character is assumed, and there is very little in the way of exposition to catch new readers up to speed. Again, this is a situation where a fresh start and a clean reboot for the character might have been of benefit, instead of an attempt to continue from the previous status quo with only minor alterations, such as a change in locale and a mentor/adviser in fellow Milestone character Hardware. It’s not bad by any means, and the new villains are intriguing and the book is fun, but it falls a little short of being easy to recommend.
36/52


Stormwatch #1: There’s been a fair amount of skepticism at the idea of integrating the Wildstorm characters into the DC universe. Unlike the Vertigo characters, who had their roots in the DCU to begin with, most of the Wildstorm characters are wildly divergent in setting and tone from the general DC crop. That Stormwatch not only brings Wildstorm characters into DC, but mixes them with traditionally DC characters, means that writer Paul Cornell has a somewhat harder row to hoe than some of the other reboot writers. The results here are fairly mixed. Miguel Sepulveda’s art is highly inconsistent throughout the issue, and while Cornell continues the high-stakes, high-weirdness tone that characterizedStormwatch and Authority during their heights, the book still feels like an odd fit for the DCU as a whole, especially when it references events in both Superman and Demon Knights that, from a publishing standpoint, have yet to happen. I feel like the book has a fairly strong potential, based both on Cornell’s previous work, and on the strengths of the characterizations for Martian Manhunter, Apollo and Midnighter, the main draws for the book, despite any protestations that may be made to the contrary. But this is another weak start, and a notably weak one at that.
33/52


Swamp Thing #1: Another of the stand-out books of the relaunch. Scott Snyder continues on from the Search for Swamp Thing mini, with Alec Holland and Swamp Thing two separate entities now, but the best beats of the book are the moments where, as in Jeff Lemire’s Animal Man, a genuinely unsettling horror approach is mixed with the super-hero universe. Yanick Paquette’s art is, unsurprisingly for those familiar with it, absolutely beautiful, even when drawing fairly horrific things, and it fits quite well with the tone and subject matter of the book, while still being accessible enough that the sudden appearance of Superman isn’t jarring.
49/52

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