There’s a lot to cover on Wednesdays. We should know, as collectively, we read an insane amount of comics. Even with a large review staff, it’s hard to get to everything. With that in mind, we’re back with Wrapping Wednesday, where we look at some of the books we missed in what was another great week of comics.
Let’s get this party started.
Batman #129
Written by Chip Zdarsky
Illustrated by Jorge Jimenez & Leonardo Bastos
Colored by Jordie Bellaire & Tomeu Morey
Lettered by Clayton Cowles
Reviewed by Alexander Manzo
Chip Zdarsky’s run on “Batman” thus far has been a bit more on the defensive side for Bruce Wayne as he was injured and trying to get away from Failsafe, so it was refreshing to see more of the offensive thinking that the reader is used to. One of Batman’s greatest strengths is that he is the ultimate strategist, but with Zdarsky at the helm, it becomes a war of intelligence against himself. The two are similar to two fighters squaring off in the middle of the octagon, waiting for the other to throw the first punch. Failsafe’s strategy is to draw out Bruce by holding Gotham hostage, and Batman is waiting in Atlantis to heal up and for Failsafe to come after him. The final confrontation in this issue puts the reader on the edge of their seat due to all of the tension and little tricks each one has done thus far to try and stay three steps ahead. Zdarsky also gives a small glimpse into the heart of Bruce when he mentions, very briefly, that Alfred was the only one that could have reset Failsafe, and it’s a reminder that although he’s got his “Bat Family,” the one person that he could always count on, is gone.
Jorge Jimenez’ is a well-oiled veteran in the DC world and continues to bring it full force with this action-packed issue. The tension built through Zdarsky’s script and Jimenez’s artwork creates this 24-like storyline, minus the timer that the reader can’t wait to see what happens. During the final confrontation of the issue, Failsafe and Batman fight one-on-one, but it’s not about throwing haymakers. It’s about the minor quips and attacks each one is trying to build on to gain momentum. Through this slowed-down battle, the reader can almost feel his desperate moves from Bruce so that he can try to get to his next one. Jordie Bellaire’s color choices are also vital for the story due to the dark and dreary atmosphere needed for this entire issue. It’s not only for Gotham, which is the usual vibe but it’s spread through Atlantis and the space station as well, insinuating to the reader that if Bruce is unable to defeat Failsafe, it will have further repercussions for everything. Bellaire doesn’t give the usual hope that Bruce can figure it out, and it becomes a much darker world.
Final Verdict: 9.0 – There is nothing more exhilarating than seeing Batman on the ropes trying to figure out if he’ll win this one.
Batman and the Joker: The Deadly Duo #1
Written and Illustrated by Marc Silvestri
Colored by Arif Prianto
Lettered by Troy Peteri
Reviewed by Gregory Ellner
Many a fan of DC comics may be extremely tired of the Joker, given his nigh ubiquity across various media, to the point that his absence is more notable than his inclusion. As such, making a story about Batman and his jester-based arch nemesis can be very difficult. As such, Marc Silvestri has quite the uphill battle ahead of him with “Batman and the Joker: The Deadly Duo” #1, featuring the two forced to work together to stop a crime spree that particularly annoys the criminal.
Thankfully, combining an interesting take on Batman that has something more of a sense of humor with an absolutely monstrous antagonist help to lessen the issues of a potential cliché. His relationship with law enforcement and the general public are front and center for this debut, with Silvestri sure to emphasize his preference for his life as Batman over that as Bruce Wayne.
Continued belowMuch more notable than the writing, however, is Silvestri’s illustrations and inking. Every panel is extensively detailed, from Batman’s stoicism to the enemy’s feral monstrousness, and that only covers the facial expressions and body language. The city itself feels alive in a way not too far derived from Silvestri’d work on “The Darkness” for Top Cow, with this art carrying the plot as much as, if not more than, the actual script.
Arif Prianto’s colors bring the entire piece together. The dark nights of Gotham City are shown in all their terrible glory, with shadows dark and looming. The overall tone is one of terror and a sense of barely holding on to hope, one that fits Gotham City very well.
Final Verdict: 7.5- A somewhat interesting story and phenomenal artwork help breathe new life into an old dynamic.
Behold, Behemoth #1
Written by Tate Brombal
Illustrated by Nick Robles
Lettered by Andworld Design
Reviewed by Quinn Tassin
“Behold, Behemoth” #1 has a whole lot going on. We follow a tortured but deeply kind social worker named Greyson whose older brother (and childhood protector) just died. As far as protagonists go, it’s hard not to root for a guy who dedicates his life to helping foster kids and is trying his best. The thing is Greyson is also having visions of the end of the world. The issue does a great job at getting us into Grey’s headspace. We feel his grief and his kindness is palpable. But his visions lead to a sense of disorientation so well-portrayed that it can make things a little hard to follow. Now, disorienting a reader can be a great tool and it’s deployed effectively here. On the other hand, it may be too effective. Take Grey’s initial visit to Wren, for instance. We see him enter the foster home and talk to Mr. Wyatt. Then it seems like Grey attacks Mr. Wyatt only for him to wake up in a tub. But THEN, there actually has been a terrible incident at the home. We’re definitely meant to be asking what’s real but it’s hard to even fully make sense of what the actual sequence of events here was. Did he just go home after having a weird vision? Did he black out and now he’s home? It’s fine for reality to be a bit unclear but that shouldn’t come at the cost of clarity in the actual story that we’re reading.
Other than that quibble, the story being set up here seems fascinating. The apocalypse is definitely coming and by the looks of that flash forward, Wren is key to reversing it. The issue does great work at laying the groundwork for disaster through news reports here and there, making it clear that while he’s definitely a mess, Grey isn’t wrong about where things are headed. Maybe most importantly, “Behold, Behemoth” #1 does incredible work at setting a tone. There’s a sense of dread but there are slivers of hope. Lots of bad things are happening but there’s a big beating heart at the middle of this story. This series is going to be bleak but not cynical and that’s an exciting, fresh when it comes to the end of the world.
Nick Robles is the clear MVP of the issue with his absolutely stunning artwork. Few comics use such diverse coloring styles so seamlessly and beautifully. We see abstract scenes with intense red hues and more grounded scenes with realistic coloring and realistic lighting (and one gorgeous portrayal of golden hour) while Grey’s apartment, where we see him at his lowest, is nearly devoid of color. With each of these pivots, Robles is able to send us simple but effective signals as to what kind of a scene we’re entering. The actual illustrations are also stunning; characters move realistically and they’re incredibly expressive. The work around Grey and Wren is especially strong and their scene together after the foster family dies is incredibly powerful. Robles does strong work using body language to convey the type of person Grey is and at drawing Wren like an actual child. And if our brief look at the apocalypse is any indicator, “Behold, Behemoth” is only getting more beautiful and interesting down the line.
Final Verdict: 7.7 – Gorgeous and ambitious but in need of a smidge more clarity
