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.
Action Comics #33
Written by Greg Pak
Illustrated by Aaron Kuder
Reviewed by Zach Wilkerson
This book never ceases to amaze me. How can a story about Superman turning into a raging 90’s monster be this good?
Aside from a slightly off-kilter appearance by Red Lantern Supergirl, the latest issue of “Action” is another A+ performance by Pak and Kuder. The duo make the dramatic exile of Superdoom both thematically and visually compelling, exploring what it means to be the Man of Steel through a grim and gritty lens. As unappealing and backwards thinking as that may sound, it works by not dragging Superman’s name through the mud, but by showing how it’s impervious to the mud. Regardless of the circumstance, Superman can’t not be a hero and that truth makes this issue soar.
Even more enjoying and compelling than Superman’s trials are the new adventures Lana and Steel. Pak’s continued focus on Ms. Lang is quickly become one of the series’ defining qualities. What began as a simple team-up of childhood sweethearts has developed into something more, with Lana become a true hero in her own right. Seeing her launching into space, standing toe to toe with a veteran like Steel, is all incredibly fun and impressive. Pak has a terrific handle on the character’s voice and personality, making her far more than a simple yet spunky Lois clone.
It’s also worth mentioning that “Superdoom” heralds what is arguably the best use of the “Channel 52” concept to date. This week’s feature chronicles the five stages of Superman’s transformation, which coincide with the five stages of grieving. Of the five, we learn that Clark is currently on the third. The feature’s fun commentary and artwork from the creators provides insight into the story, while building interest in the future, something that “Channel 52” has arguably never accomplished. That alone is commendable.
Final Verdict: 9.0
Daredevil #0.1
Written by Mark Waid
Illustrated by Peter Krause
Reviewed by James Johnston
Mark Waid and Samnee’s relaunch of “Daredevil” has drawn a lot of critical accolades, especially with the mystery surrounding what exactly happened in between Murdock’s move from New York to Los Angeles. Though there aren’t (read: any) answers to be found in “Daredevil” #0.1 (AKA the collected edition of the digital-first “Road Warrior series), it’s still a pretty darn thrilling adventure. Peter Krause’s art in this book offers plenty of new opportunities in storytelling as his more realistic style leads to some intriguingly designed fights as well as a whole new take on Murdock’s radar senses. Speaking of which, it’s clear that Waid hasn’t run out of ways to keep said radar sense fresh and compelling, as well as his own dialogue. One of Murdock’s line (“Long time no.”) is one of those subtle pieces of writing that just make you want to look up and find Waid in your own living room so you can give him an approving scowl.
Final Verdict: 7.4 – Overall, “Daredevil” #0.1 is another fun issue of “Daredevil” and though it doesn’t necessarily offer much in the way of new plot developments for the Man Without Fear, there’s still a lot to be found in Krause’s visuals.
Green Arrow #33
Written by Jeff Lemire
Illustrated by Andrea Sorrentino
Reviewed by Matt Dodge
Building right from last month’s surprise cliffhanger, Oliver Queen has to fight his way out of a group of baddies with the unwelcomed help of a new sidekick. The issue is a little less heavy on the action, so the ever present flashbacks don’t feel quite as intrusive. Lemire writes the Oliver Queen of four years ago was someone stuck between being a hero and staying the spoiled, bratty, rich kid. It’s actually a good opportunity to see some character growth as the angry and brooding Oliver contrasts nicely with the downright quippy version of the present. The introduction of a pint-sized Arrow wannabe has shades of Damien Wayne to it, but Lemire wisely avoids dark emotional baggage and keeps proceedings from feeling too heavy.
Continued belowEven with the large amount of drunken brooding flashbacks, Andrea Sorrentino still fills every page with his trademark style and attention to detail. Despite the large amount of talking, the issue is never boring to look at, and he really manages to nail the facial expressions. When the tornado arrow – Tornado. Arrow. – is deployed, the resulting vortex combined with Oliver’s nonchalant stance looks pretty bad ass. When Oliver snaps and pummels Brick into the ground, Sorrentino makes the scene look visceral without straying over the line of tasteless gore.
Final Verdict: 8.0 – With the very recent announcement that the Lemire/Sorrentino team will be leaving “Green Arrow in just a couple months, this is the perfect opportunity to catch up as a defining run on series reaches its conclusion.
Lazarus #9
Written by Greg Rucka
Illustrated by Michael Lark
Reviewed by Drew Bradley
This issue concluded the series’ second story arc, and it crossed the finish line at full speed. Because the book is still young and defining its core cast, there’s an “anyone can die” atmosphere that makes the danger through the scenes was palpable. After only a handful of issues, Rucka and Lark have managed to make the characters so lifelike and engaging that you don’t want any of them to die, and there’s more than one scene in this issue where the possibility of death will get your heart pounding. By the end of the issue, the main plot has been wrapped up neatly, but with plenty of dangling threads and new potential to make you want more.
There’s a synergy to “Lazarus” that makes it hard to critique Rucka and Lark separately. On the one hand, it would be easy to talk about how the dialogue flows so naturally, even the expository parts, and give Rucka all the accolades for it. On the other, part of the reason it works so well is because of what the characters don’t say, and how much can be gleaned from their expressions when they aren’t saying it. Pretty much every creative team talks about how well they work together and trust each other, all that jazz, but on “Lazarus,” they don’t have to say it. You can see it right there on the page. The two (three if you count Santi Arcas’ stunning color work) have a dynamic together that is rarely seen outside of a book written and drawn by the same person, and you should not be missing it.
Final Verdict 9.0 – This isn’t just good enough to be buying, it’s good enough to be sharing with your friends. Forcefully.
Nailbiter #3
Written by Joshua Williamson
Illustrated by Mike Henderson
Reviewed by Brian Salvatore
It is rare that a comic leaves me in utter suspense, where each page turn has a certain amount of fear and dread built in it – “Nailbiter” is that rare comic. Mike Henderson’s art is not, by any stretch, photorealistic, but his details are so true to life that the atrocities (like the fingers ripped from the hand) send chills instantly. Henderson has, in just a few issues, visually constructed a perfect simulacrum of Oregon, while turning up the creepiness just enough to give the entire proceedings a disarming look to even the most benign panel.
Williamson’s story, especially in this issue, is really turning up the intensity after a slow burn of a start. There is a sequence in a room with faulty lights that rates among the best of his career, and begins to show just how well Williamson has a vision for the book. While I enjoyed the first two issues, this is the one that really sells the premise, introduces more mystique, and really delivers on the horror and suspense notes.
Final Verdict: 8.5 – A chilling and exciting issue which delivers on the promise of its predecessors
Robocop #1
Written by Joshua Williamson
Illustrated by Carlos Magno
Reviewed by Brian Salvatore
This series, from jump street, lets you know that this is not a new imagining of the classic Robocop character. From the very first panel, there are only indications that this series is a direct continuation of the original film, dismissing any sequels, prior comic adaptations, or remakes. From the “I’d buy that for a dollar” on down, this is Robocop‘s aftermath.
Continued belowBecause I am a huge fan of that film (and seriously – if you haven’t seen it, or haven’t seen it in a long time, it is worth a rewatch), this is a wonderful thing. Carlos Magno manages to capture the Detroit of the film, which is grimy but not disgusting, and has a good enough grasp on the characters that you almost don’t need to be introduced to the Sarge, or Officer Lewis, because it is so clearly them, visually.
The book introduces a new character, Killian, right off the bat, who will act as the big bad, presumably, for the first arc at least. Killian’s look is consistent with the 1987 feel, and could have easily been a visual component in the film. That type of attention to detail is a really nice thing for the fans of the original material. It is also why I worry about the book potentially finding its maximum audience – sure, the concept is simple enough, but will people be willing to buy into the nostalgia-inspired series as much as they would a fresh start? This isn’t to say that Williamson and Magno don’t offer an easy to jump on first issue; it is rather that, since I already care about the property, it is hard to imagine myself in a position where I don’t. I truly hope that people give this a chance, because it is off to a very fun start.
Final Verdict: 7.5 – If you’re already a RoboCop fan, this is a must buy; if not, it is worth a shot.
Southern Bastards #3
Written by Jason Aaron
Illustrated by Jason Latour
Reviewed by Brian Salvatore
Placing the story in the deep south, surrounded by BBQ, football, and big ol’ trees, the plot of “Southern Bastards” seems to be more location-specific than it really is; sure, those elements are all important, but that isn’t what the story is about. This is a story about a son escaping his father’s shadow, and that isn’t something relegated to just Southern tales.
This issue, we get a closer look at Coach Boss, and see a little bit more of the man behind the cult of Craw County. This is also the issue where Earl goes full on Walking Tall, using his stick as the arbiter of justice for Dusty’s death. This issue, and the series as a whole, is obsessed with the minutia of the South – Boss’s anger that Earl dare beat someone up on a Sunday, the little details of the BBQ joint – but more than anything, the issue is about justice, and how that doesn’t always equal law and order.
Latour’s art (colored by himself) is really something to marvel at – Earl, no matter what he is doing, looks lost and heartbroken, even if we really don’t know why. Everyone in town views him with suspicion, but Latour doesn’t express this by gawkers and slack-jawed stares – instead, people’s eyes betray their true feelings and concerns.
Final Verdict: 8.8 – This series continues to show the talents of both Aaron and Latour in a new light, and allows the reader a visceral experience of the South.
“Superman Unchained” #7
Written by Scott Snyder
Illustrated by Jim Lee
Review by Vince Ostrowski
Scott Snyder has called this the Superman story he’d write if he only got the chance to write one Superman story. Honestly, “Superman Unchained” makes me hope that somewhere down the road he gets the opportunity to write the character again, but not for the reasons you might think. This has been a strange series – one that has felt like a small piece of a greater examination of the character of Superman, but not nearly a complete take on the character. In fact, the focus on the physical nature of Superman and the types of brute opposing forces that would be formidable to him is a surprising one, considering that there is so many rich themes to explore with the character. What we’ve gotten through 7 issues has been an unfortunately blunt, Summer blockbuster of a book. That’s not all bad, but it feels like there’s a lot being left on the table.
Continued belowAfter all, there’s no denying that it’s fun to see Batman and Wonder Woman dart around and use the environment of the Batcave in combat against the intruding enemy “superman.” And Kal-El himself gets a crowd-pleasing moment or two to shine, but it’s all physicality and little of what makes the character well-rounded. Any chance that the book looks like it’s taking to make a statement about good vs. evil is interrupted in favor of a brawl. Perhaps this is because his enemies, including General Sam Lane, are exceedingly cartoonish in their depictions.
I suppose when you’ve got Jim Lee on art, you’re going to lean toward an action-heavy book. Fans of Lee’s will not be let down, but it’s obvious the art style is polarizing. Here, it does its job and Snyder and Lee collaborate to Lee’s strengths as an artist. That is to say, he makes good guys hitting bad guys with gigantic objects look pretty darn good. Lee is one of the few ’90s artists that can get away with such heavy crosshatching and still show a maturity and the proper degrees of expression in his work. Lee is the pinnacle of the particular artistic style that he runs in, and “Superman Unchained” is a good example of that. But even that aspect becomes a little cartoonish, as the villains all operate as balls-to-the-wall, blunt objects. Which, I think you can say with 7 issues in, for better and for worse, is what “Superman Unchained” is going to be.
Final Verdict: 5.5 – Browse
