There is 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 #41
Written by Scott Snyder
Illustrated by Greg Capullo
Reviewed by Keith Dooley
“Batman” #41 validates the risk that Scott Snyder and Greg Capullo took in recasting the man behind the Batsuit. It was done naturally and in service to the story and not to simply pull off a sales stunt. Snyder and Capullo retain their usual penchant for mixing thrilling action and superb characterization while jolting us with something that is both completely new and appropriate to the essence of Batman. Snyder nicely and naturally segues from present to past as Gordon struggles with the decision on whether to take up the mantle of the Bat or allow one of Gotham’s finest to carry the burden. Not only can we relate to Gordon as a fellow everyman, but we also get to experience why he is such an integral part of the Bat-family and one of the best supporting characters in comics. Snyder, with this issue, is beginning a saga that clearly demonstrates the power and meaning behind the symbolism of a hero’s legend.
Capullo, inker Danny Miki, and colorist FCO Plascencia bring a kinetic energy to the issue by illustrating Snyder’s fast paced story that contains both a Silver Age-style villain and touching moments such as the one between Gordon and Bullock. “Batman” #41 feels like a first issue and it is evident in the tone of both story and art. The hulking suit and the story behind it is fresh, futuristic, and fun, while Capullo’s design of another suit beneath the armor is even more fantastic than the one we see on the cover. Capullo is having a great time bringing Snyder’s script to life and this issue continues to be, yet again, another example of Capullo’s genius. No matter what Snyder’s idea may be, Capullo is able to transform each “Batman” arc into something that has a unique and thrilling atmosphere about it. He never repeats himself, always pushes himself to take risks, and continues to do so within these pages.
That unique style would not burst off the page without the talents of Miki and Plascencia. The inks highlight both the action and conversational panels, bringing a 3-D quality to Capullo’s art that makes the story feel tangible. That same feeling is also explicit in Plascencia’s wondrous colors. “Batman” #41 has a decidedly more colorful look than most issues and is perfectly appropriate for a new kind of Batman who doesn’t have to hide in the shadows. Day-Glo pink colors the Gotham skyline while the blue of the new Bat-suit is a bit more warm and inviting than the previous suit. Plascencia is not just adept at using a brighter palette but also gorgeously uses more subdued colors during Gordon and Bullock’s conversation to lend a more realistic air to the proceedings.
The fantastical mixed with realism is a great description for this issue. This is a new era in the Bat-mythos and yet is a very “Batman” story. Batman is a hero that inspires and Snyder, Capullo, Miki, and Plascencia have succeeded with the first part of this arc in depicting the many facets of a hero with a complex legend that can be endlessly mined for every kind of story.
Final Verdict: 9.5 – This creative team continues to surprise and delight with “Batman” #41. Gordon in the suit is a fun and very poignant development.
Batman & Superman #21
Written by Greg Pak
Illustrated by Adrian Syaf
Reviewed by James Johnston
Superman’s beating people up in a t-shirt. The dream of 2011 is alive in DC.
No but really, as has been covered everywhere, the latest Superman storyline revolves around Clark Kent’s identity being exposed and his powers dampened. It’s lead him to some serious emotions as the world has turned against him, and it kind of feels like DC’s just trying to turn him into Batman. And in “Superman/Batman” #21, that actually kind of works.
Continued below“Superman/Batman” #21 finds Clark in Gotham City after the bad guys attacking him are traced there by Luthor (who cannot believe that Kent is Supes.) Superman goes to Gotham in his moment of need only to find that Batman has been replaced by a bunny cop robot piloted by Gary Oldman. Metal punches ensue, and Supes is one rung deeper in the hellhole his life is turning into. As you’d imagine, Supes gets pretty upset over this and occasionally finds himself in Frank Miller territory, comparing some goon’s beatdown to a rabbit getting crushed by a tractor.
But when Superman moves away from being a vigilante because “whatever” to going dark as a means of avenging his best friend, things take a turn for the better. If Superman’s going to get gritty, all you need to do is justify it. It’s way to seek revenge for your best friend than because you want critics to say “THIS AIN’T YOUR DADDY’S SUPERMAN!!!” Frankly, the striking moment when Clark finds a grieving Alfred leaves a better impression than any closed fist punch.
Final Verdict: 7.1 – “Batman/Superman” #21 has its cake and eating it too. By approaching Clark’s new attitude from a real place, Pak and Syaf prove this ain’t your daddy’s Superman.
Coffin Hill #19
Written by Caitlin Kittredge
Illustrated by Inaki Miranda and Eva De La Cruz
Reviewed by Jess Camacho
“Coffin Hill” #19 is a good news, bad news scenario. The good news is that it does a lot to get us closer to the series endgame but it’s also almost all over. Writer Caitlin Kittredge packs a ton into this issue as she weaves together a couple of storylines. Eve is trapped inside of her own home as she fights off the Coffin Witch. The two of them ultimately reach a major deal that will no doubt have an impact on the entire town. Elsewhere, Wilcox gets closer to the truth surrounding a cold case massacre and the new police chief reveals his real reason for coming to Coffin Hill.
The first part of this series contained a lot of huge moments and often times the issues ended on big cliffhangers. By this point, so much groundwork has been done and even though we’re closer to the end of the series, Kittredge is taking her time giving us even more world building. Everything in this town has some kind of secret behind it but not once does anything feel glossed over. The problem with this however, is that keeping all of it straight can get a little confusing between issues. In a series like this, I appreciate a recap page just to freshen up my memory. “Coffin Hill” has very much been the story of Eve and her mother but Wilcox over this last arc has really begun to steal the show. She’s unlike most other cops stuck in police procedurals and even more important, her storyline means something to everything else. I’m excited to see this all come together over the next couple of months.
Inanki Miranda continues to do great work on the series and I’m always memorized by the panel layout. Each page contains sprawling and dizzying action. Eve’s magical skills don’t look like anything else being done in the genre because there’s a true evil tone to it. These aren’t nice witches and their powers don’t come from any pure sources. Miranda lets the magic be malevolent and demonic and visually, the series is better off for it. I love all the characters designs but I do think that at times, Eve’s eyes can be a little dead. She can come off too cold when the situation doesn’t really call for it. Her younger design and punk rock outfit is Beverly Hills bad girl chic and is always one of the highlights of the character designs. De La Cruz’ colors are bold and she uses the shadows perfectly. She uses lots of reds but varies things enough so the art doesn’t look muddled or messy.
“Coffin Hill” is at it’s twilight but this issue shows that there’s still a lot left in the tank. This issue in particular sets the stage for huge things and that’s what makes it so good.
Continued belowFinal Verdict: 8.0 – The end is near but the quality remains consistently good.
“Death Sentence London” #1
Written by Montynero
Illustrated by Martin Simmonds
Reviewed by Stephenson Ardern-Sodje
Hot on the heels of Montynero’s previous series “Death Sentence”, “Death Sentence London” is at once both a continuation and a jumping on point. Having not read the previous run I was a little concerned I might be missing some crucial pieces of information, but Montynero, alongside new series artist Martin Simmonds, seems to have streamlined his concept enough that, although almost all exposition is shed in favour of barrelling action, you’re never left questioning what’s going on. Instead, you’re taken on a white-knuckle ride that feels familiar and fresh all at once.
There’s clearly a very complete, fleshed out world at the core of “DSL”, with a mythos all its own. Certain (un)lucky individuals have contracted an STD that grants them a whole host of powers, but kills them in six months – hence the title – and, as issue one opens, the most dangerous of these super-powered people has just been killed by an untested warhead, leaving a public divided over whether these people are gods or monsters.
Montynero is clearly drawing heavily from the recent riots in London for inspiration as far as his fallout-soaked dystopia is concerned. As a writer based in the UK he’s better suited than most to script British characters, and the heavy use of colloquialisms and slang really helps ground the comic in place and time without detracting from the narrative.There’s not too much in the way of story in this first issue, it’s more a baptism of fire as far as the situation is concerned. That being said, Montynero does more than enough to peak interest, as well as reintroducing some of the major players from the previous series and a couple of new characters. The concept of young heroes hated and feared by those they want to protect seems, on the surface, a little X-Men-esque, but Montynero manages a very different take on the well-trodden trope. There is a much more visceral, R-rated vibe to “DSL” that comes not just from obvious elements like swearing and blood-spatter, but from more subtle elements, like one of the ‘Super-G’ characters vomiting as a result of using her powers, a nod perhaps to the idea of these powers being a degenerative condition.
And this visceral narrative tone is matched perfectly by Simmonds’ artwork. Simmonds plays with a vibrant, watercolour style that is heavy on physical expression. His panelling is expansive, favouring huge splashes that encompass the true scope of the powers these characters work with. The first few pages are a hyperviolent opening scene that combines the emotional tension of a stake-out with the chaotic deluge of a raid, and multiple shapeshifting meat-monsters that would make Stephen King’s skin crawl, and Simmonds pulls these disparate elements together without even breaking a sweat. But what’s probably most impressive in this first issue is the pop-art explosive panels towards the end that signal the arrival of a well-established ‘Super-G’ from the previous issue. Simmonds offers up a host of panels that are both immediately arresting and littered with enough detail to keep you interested on a second and third read. This is a first issue done very well. Aware of the history of the franchise but not beholden to it, packed with potential directions to take the story and yet mysterious enough to leave you feeling like there’s infinitely more to discover. My only criticism would be that the last few pages don’t feel like they’re dragging me back to the story, but the bulk of the book is solid enough to ensure that issue 2 will be getting a look in next month.
Final Verdict: 7.9 – The Western love-child of “Akira” and the Umbrella Corporation. X-Men for the punk generation.
Nameless #4
Written by Grant Morrison
Illustrated by Chris Burnham
Reviewed by Alice W. Castle
It’s the world as we know it and I’m going… huh?
“Nameless” #4 is less a confusing comic as it is a disorientating comic. With a mix of writing and artwork that jumps through time and space to show the mindset of a character whose mind is being infiltrated by an extra dimensional entity, things get a little messed up. In the last couple issues we’ve seen Nameless and the crew of White Valiant 1 make contact with the asteroid Xibalba and the entity housed there. This issue? Well, we get to see a little of the after effects of what happens when you run headfirst into a thing that should not be.
Continued belowThis issue was strange. On one hand, it was an excellent showcase of just how strange Chris Burnham’s art can be as he plumbs the depths of true horror to bring us nightmarish visions that I certainly won’t be forgetting any time soon. On the other hand, because of how dense the story of this issue is and the way it blends reality to the point where you lose track of what is actually happening, it feels like the kind of issue that won’t be truly appreciated until the series is read collected. That should be par for the course for a comic written by Grant Morrison, obviously, but it makes for an interesting reading experience in single issues.
Don’t be dismayed: “Nameless” is still going strong. Grant Morrison and Chris Burnham and colourist Nathan Fairbairn are blending science fiction and cosmic horror with as much guttural violence as they could possibly get away with. For fans of Grant Morrison’s writing, they should already be on board with this comic. For everyone else, this issue isn’t going to be the one that sells them on the series. But, regardless, it was still a visceral, mind-bending trip into a world that is unlike anything else we’ve ever seen.
Final Verdict: 8.6 – “Nameless” continues to thrill and chill and give me nightmares, even if I feel like I won’t understand what even happened in this issue until the whole series is over.
“Saga” #29
Written by Brian K. Vaughan
Illustrated by Fiona Staples
Reviewed by Matt Garcia
Shocking, hysterical, touching, and exciting, “Saga” has constantly strived to be all things in one deluxe package, and that’s none more obvious than in this month’s issue. Vaughan and Staples throw all the characters into constant movement for this chapter, jumping back and forth between a massive space chase, an infiltratration of a sleeping dragon’s den, and a showdown between rebel and revolutionaries. Staples’s consistently gorgeous and brutal artwork has made Vaughan dig deep into this already prodigious imagination and with each passing scene, it’s sort of nice to realize there’s an entire universe out there we’re not seeing but that this team could dip into at any time.
This issue is big on action and spectacle as many of the plot points converge for next month’s finale, and true to form, Staples and Vaughan leave us excited to see what’s coming up next.
Final Verdict: 8.3 – Month after month, “Saga” proves itself to be a highlight of your pull list.
Starfire #1
Written by Amanda Conner and Jimmy Palmiotti
Illustrated by Emanuela Lupacchino
Reviewed by Brian Salvatore
“Starfire” is in a no-win situation: the character has been so mishandled since the start of the New 52, that almost any direction they take Kori will feel like a misstep. Trash the past 4 years? Unfair to readers who, for whatever reason, actually liked the newer incarnation. Keep her as a, as I once put it, tabula rasa/fuck machine? Unfair to people who like good comics.
Given those limitations, the creators here walk a perilous line, but do so mostly successfully. Kori is presented as a more positive person than we saw in “Red Hood and the Outlaws,” but maintains the innocence/ignorance that was her hallmark since 2011. In her past incarnations, Kori struggled with being an alien on Earth, and that has been replaced, here, by her seemingly loving the new experiences she encounters. Beer! Trailers! It sounds worse than it is, I promise you, but the character has still seems in a much better headspace than she did just a few months ago.
A big part of the appeal of this issue also comes in the form of Lupacchino’s art, and specifically Kori’s newly designed costume. It remains ‘sexy’ (I hate using that term for fictional aliens), but isn’t the fishing line and pasties that she was wearing in “Outlaws.” Lupacchino manages to soften Kori’s warrior past with a pleasant smile and a sunny disposition, which helps the lighter tone that Conner and Palmiotti are looking for in the book. She also captures the southern Florida vibe quite well, showing both the lavish lifestyle and the poorer, trailer park on the beach reality that many live in. Neither seems incongruous from her pencils, and there is no judgement in the appearance of either.
Continued belowLupacchino manages to take panels that, on the written script, might seem a little reductive and add some real heart to them; I found myself smiling a lot while reading this, even if the action on the page was still a little dumbed down for my taste. My hope is that the creators needed to set a low base here, and that from those inauspicious beginnings they can build the character up to where she deserves to be: a happy, powerful warrior and friend, unencumbered by the pen of Scott Lobdell.
Final Verdict: 6.8 – A decent start to what is already an improved take on the character.
Unity #19
Written by Matt Kindt
Illustrated by Jose Luis and Jefte Paolo
Reviewed by Ken Godberson III
I’ll be blunt: I think “Unity” has been a bit directionless since Valiant’s ‘Armor Hunters’ event. Oh sure, it has introduced some interesting concepts and character work, but they seem to be shuffled off the stage moments after they’re introduced. The United, Faith, Palmer, Malgum. Now, we come to a new arc that introduces the immortal War-Monger.
I will say this: I like War-Monger. She has a brightness and chipperness in all the violence she loves. It’s kind of like if Faith was a homicidal lunatic. The origin story (which this whole issue is), does provide a new spin on the concept of immortals in the Valiant universe difference from the Anni-Padda brothers. While I am a bit trepedacious to how much of a long-term impact War-Monger will have, for now, she interests me.
Now, the art. This book has two different pencilers, Jose Luis and Jefte Paolo; each penciler depicts either the War-Monger’s past or the present. And I don’t find a problem with either penciler or the inks, my problem with the art is the coloring. I am not that big a fan of Andrew Dalhouse’s colors. It looks like either A. There’s a filter over every page or B. All the brightness has been sucked away by a sponge and it makes every book he’s on look the same, in spite of the pencilers. It’s a bit of a shame because other Valiant colorists like Brian Reber and David Baron have done wonders with their books, including this one.
Final Verdict: 6.7- An interesting concept is introduced, let down a bit by some not-so interesting art.
