Batman: Streets of Gotham #20: For the love of Alfred, could something actually happen in this series? Last issue, we got to hear all about how Judson Pierce's henchman had a run-in with the Joker as a kid. The issue before that one, the "House of Hush" storyline was only a handful of pages long, with the bulk of the issue dedicated to the Ragman secondary feature. In this issue, we get the weird back story on Dr. Death. Seriously, it's been months since the "House of Hush" plot moved along at all. Plus, for the second issue in a row, we don't get the Ragman feature. The first few arcs of this series were really good, and helped moved along some smaller plot points (like Hush's time as Bruce Wayne) that the main books in the larger "Batman: Reborn" storyline didn't have a chance to cover. But, at this point, it seems like they're just stalling for time until the last issue, which I think is the next one. Between the dangling plot points from this issue and the still-unresolved Ragman secondary feature, it'd have to be a damn good issue for me not to feel cheated at the end of a series that showed a lot of promise.
Dark Sun #2: I'm already finding myself wishing this series wasn't only going to be five issues long. Alex Irvine's sparse dialogue occasionally makes it hard to follow the plot and the main characters aren't really all that well developed yet. (For example, in the first issue, Aki is asking Grudvik about how far they are from Tyr and is taking advice from Grudvik on how to survive in the desert. However, in this issue, he's the one who knows how to get to Tyr and is telling Grudvik how to survive in the desert.) However, I'll forgive Irvine the inconsistencies here because this approach to the dialogue conveys an amazing sense of isolation that adds to both to the feel of the comic as well as the mystery of the characters. Peter Bergting's pencils further this sense of desolation, as does even the rough paper on which the comic book is printed. In just two issues, Irvine and Bergting have created a complicated world where danger lies around every corner and the motivations of the two major characters are intriguing (if still mostly hidden). I find myself wishing I knew more about the Dark Sun campaign setting. If you're reading (and enjoying) the "Dungeons and Dragons" title also published by IDW, I'd recommend picking up this series while it lasts.
Dungeons & Dragons #4: This issue continues letting the good times roll: a talking skull with vocabulary problems, elaborate dwarven-crafted traps, multi-planar conspiracy revelations. This issue has everything! I'm really starting to love this group; as someone notes in the letters page, it reminds me of the first "Dragonlance" trilogy. If you enjoy D&D and comics, you should absolutely be reading this series. I can't wait to see how they wrap up this storyline next issue!
X-Factor #216: I'm concerned that Spidey's going the way of Wolverine. After the announcement that he was going to be in the new "FF" series in addition to his appearances in "Avengers" and "New Avengers," I groaned inwardly. I mean, isn't it bad enough the guy has to live down the musical? But, this month, he's in both "X-Factor" and "X-Men" and we've clearly moved into "marketing is running the show" world. (The last time that happened is the "Clone Saga" and, um, [shiver].) Moreover, his appearance here is kind of weird. He crashes the rooftop where Monet and Shatterstar are playing chess, because he happens to see JJJ, Jr.'s motorcade out front. Um, OK, is he stalking Jonah now? Also, Peter David, who's so good at so many characters, makes Spidey into a bumbling idiot, which, um, he's not. Moreover, I don't buy the main story. With all the resources he has at his disposal, I don't really believe JJJ, Jr. would go to X-Factor to track down his buddy's killer, particularly since he doesn't seem (from what we know) to know a mutant might be involved. The back-up story, involving the woman who suddenly remembered who she was thanks to Monet from a few issues ago (and about whom I'd completely forgotten), is also a stretch. This character is presented as if she were so memorable that I'd, um, remember her. Maybe if this arc happened right after the arc in which she was introduced, I would. Instead, I spent most of the comic having no idea why I should care about her. If I cared more, I'd try to look up how many issues it's been since she appeared, but I don't. Needless to say, I can't say I'm anxiously anticipating the next issue.
X-Men #8: Huh. I don't know what to make of this issue. Gischler comes close to making it an "After-School Special," with each X-Man narrating the story of a troubled teen. He comes close, but he doesn't actually cross the line, and I have to applaud him for that. As a kid who had his own share of problems with classmates who could sniff the dork on him, I felt for each of the kids here. I liked how Gischler gets Spidey here, who, after all, spent years with Flash Thompson calling him "Puny Parker." The "I don't know what to make of this issue" part comes more from the fact that I don't entirely get the Lizard connection. Why exactly is the Lizard, who actually appears not to be Dr. Connors, preying on troubled teens? Why not regular teens? It seems to me it wouldn't be too hard to convince any teen to meet in a basement, be it with the offer of snacks for dorks or beer for jocks, if we're embracing stereotypes. But, Gischler navigates the social minefield of high school well enough that I'm intrigued by what the next issue brings. In terms of the art, it's pretty great. You've got some moments, typical of Bachalo, where it's a little hard to follow the action. But, the two-page spread of Emma enjoying the best hotel room that Warren Worthington III can afford is worth the confusion.
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