Similar to the "Star Wars" Annual, this issue is the epitome of the type of story that we expect to see in Annuals. Unrelated to the current arc of the series, we get more insight into the character than a traditional issue would allow.
On the planet of Shu-torun, an old king sends his youngest daughter, Trios, to escort Vader to a ball thrown in his honor. Not surprisingly, Vader isn't exactly the dancing type, though Trios insists that he must appear to please the dukes that mine the resources that Vader is there to secure. Vader really just wants to get to the king to deliver a box that will remind him how good of a friend -- and how deadly of an enemy -- the Empire is. Not surprisingly, a group of assassins burst into the room, pretending to want to kill Vader and the king. But, we quickly learn that the king is really behind the plot. When Vader makes short work of the assassins, Trios leads him into another trap in a series of underground tunnels. Vader is impressed by her willingness to sacrifice herself for her family, so he knocks her unconscious and carries her to the throne room (after, of course, escaping the trap). There, she awakens before he can enter the room and tries to shoot him, but Vader cuts off his hand. He opens the door to reveal that Triple-Zero and Beetee have already killed Trios' father and siblings. She confesses to Vader that they wanted him killed because the dukes were rebelling against the taxes. (It's not really much of a long game, to be honest. Did they think that the Emperor would just let that stand?) He presents her the gift -- a volleyball-sized rock that he says constitutes the remains of Alderaan -- and tells her that she may now rule Shu-torun, but that she should remember who she serves.
Gillen really shows Vader in all his glory here. His refusal to play nicely with the dukes is a reminder that the Emperor and he really do see fear and power as the only necessary requirements to keep people in line; you don't need to dance if you can just kill everyone. In fact, Gillen is hinting at why that approach doesn't work when fear and power wane, foreshadowing their end. But, Gillen is careful not to go too far in implying that Vader simply rules by an iron fist. We can see how calculating and insightful he is when he sizes up Trios and realizes that she'll be an acceptable ally. (Moreover, sending in Triple-Zero and Beetee shows that he anticipated the king's ploy.) Moreover, I realized in reading this issue that neither Aaron nor Gillen have made any hints that Anakin -- the good inside Vader that Luke eventually rescues -- exists. If anything, this issue reminds us just how cold and deadly Vader is.
*** (three of five stars)
Thursday, March 10, 2016
Wednesday, March 9, 2016
Amazing Spider-Man #1.1 (HERE BE SPOILERS!)
The pitch for this issue in one sentence: come for Bianchi finally drawing Spider-Man, stay for the creepy holiday story about zombies.
This issue is OK. The main problem is that Molina's characterization is uneven. At certain points, it feels like he's using Peter as his own mouthpiece (particularly the crack about Bloomberg) rather than channeling the thoughts of an established character. He's also made Peter's temperament somewhat inconsistent: one minute he's singing a holiday song while swinging through the city; the next minute, he's a New Yorker shouting on his phone to get an appointment with the mayor to complain about Christmas decorations appearing before Thanksgiving. To make matters worse, we've got a chief medical officer that seems afflicted with Tourette syndrome if not insanity. Put all together, it's hard to say that it feels like a Spider-Man story.
But, I enjoyed seeing Bianchi's take on Spider-Man, so I won't complain too much. I just wish that we'd drop this forced mini-series approach that Marvel is taking with these .1 issues so that I could decide on my own whether to get it.
*** (two of five stars)
This issue is OK. The main problem is that Molina's characterization is uneven. At certain points, it feels like he's using Peter as his own mouthpiece (particularly the crack about Bloomberg) rather than channeling the thoughts of an established character. He's also made Peter's temperament somewhat inconsistent: one minute he's singing a holiday song while swinging through the city; the next minute, he's a New Yorker shouting on his phone to get an appointment with the mayor to complain about Christmas decorations appearing before Thanksgiving. To make matters worse, we've got a chief medical officer that seems afflicted with Tourette syndrome if not insanity. Put all together, it's hard to say that it feels like a Spider-Man story.
But, I enjoyed seeing Bianchi's take on Spider-Man, so I won't complain too much. I just wish that we'd drop this forced mini-series approach that Marvel is taking with these .1 issues so that I could decide on my own whether to get it.
*** (two of five stars)
All-New X-Men #2 (HERE BE SPOILERS!)
This issue is depressing, emotional, fun, and hopeful all at the same time. It's a pretty impressive feat.
The team arrives in Chicago to help Scott fend off the Ghosts of Cyclops. They overpower them pretty quickly, so the Ghosts beat an exit. However, Scott grabs one of them, called Thirst, and beats him with a bat until Hank and the police make him stop. He and Thirst get taken to prison to "cool off" for the night. With no other options, Bobby and Hank take Pickles to get pizza, since he needs to refuel to teleport them again. (Hank is expecting a mob scene when Scott gets released the next day, since everyone around them during his arrest was recording it on their phones. As such, he wants them to be able to move quickly.) They leave Evan and Idie to take care of removing the "nerd wagon" from the library, a problem that Idie ingeniously solves by simply having it towed and sticking Hank with the bill. Hank tries to talk to Bobby about how he's been doing, particularly with the whole gay thing, but Bobby refuses to talk about it. Hank's attempted heart-to-heart gets interrupted when Pickles suddenly realizes that he's in a pizza shop and starts eating everything that he can find. It leads to the most important lesson that the kids are likely to learn in this series: bring pizza to Pickles, not Pickles to pizza.
Meanwhile, Scott loses his shit (again) when Thirst mistakes him for Cyclops' son. He tells Thirst the truth and, although some people might find it unlikely that he'd confess to Thirst, it actually worked for me. It felt exactly like conversations that teenagers are wont to have with each other at times, even if (actually, particularly if) they're from different walks of life. In other words, it's that adolescent (not in a bad sense) search for understanding. Meanwhile, the Ghosts have regrouped, and Hopeless does an amazing job of showing them as just normal kids. They're not evil monsters; they're inspired by Cyclops' vision of pushing against the world just like our kids are inspired by Xavier's dream of living in harmony. The Ghosts are also modern kids (as opposed to our gang), discussing how "X-fan" sites have talked about teenager doppelgängers of the original five X-Men appearing on the scene the previous year. They decide to break out Thirst (after escaping a confrontation with Laura and Warren), though it remains to be seen if Scott agrees to go with them or not.
Again, I really marvel at the excellent job that Hopeless does getting everyone's emotional state exactly right. He spends as much time on the "bad guys" as he does the "good guys," and it gives this issue its emotional heft. As I've mentioned, it's reminiscent of the New Mutants vs. the Hellions, something that Hopeless even mentions in passing here. The Hellions were never natural-born killers, but students under a professor with a different philosophy about how mutants should play their role in society. The Ghost's "professor" is just inconveniently dead. Honestly, I want to learn more about pretty much everyone here, a good sign that Hopeless shouldn't have any problem keeping me engaged in the coming issues.
**** (four of five stars)
The team arrives in Chicago to help Scott fend off the Ghosts of Cyclops. They overpower them pretty quickly, so the Ghosts beat an exit. However, Scott grabs one of them, called Thirst, and beats him with a bat until Hank and the police make him stop. He and Thirst get taken to prison to "cool off" for the night. With no other options, Bobby and Hank take Pickles to get pizza, since he needs to refuel to teleport them again. (Hank is expecting a mob scene when Scott gets released the next day, since everyone around them during his arrest was recording it on their phones. As such, he wants them to be able to move quickly.) They leave Evan and Idie to take care of removing the "nerd wagon" from the library, a problem that Idie ingeniously solves by simply having it towed and sticking Hank with the bill. Hank tries to talk to Bobby about how he's been doing, particularly with the whole gay thing, but Bobby refuses to talk about it. Hank's attempted heart-to-heart gets interrupted when Pickles suddenly realizes that he's in a pizza shop and starts eating everything that he can find. It leads to the most important lesson that the kids are likely to learn in this series: bring pizza to Pickles, not Pickles to pizza.
Meanwhile, Scott loses his shit (again) when Thirst mistakes him for Cyclops' son. He tells Thirst the truth and, although some people might find it unlikely that he'd confess to Thirst, it actually worked for me. It felt exactly like conversations that teenagers are wont to have with each other at times, even if (actually, particularly if) they're from different walks of life. In other words, it's that adolescent (not in a bad sense) search for understanding. Meanwhile, the Ghosts have regrouped, and Hopeless does an amazing job of showing them as just normal kids. They're not evil monsters; they're inspired by Cyclops' vision of pushing against the world just like our kids are inspired by Xavier's dream of living in harmony. The Ghosts are also modern kids (as opposed to our gang), discussing how "X-fan" sites have talked about teenager doppelgängers of the original five X-Men appearing on the scene the previous year. They decide to break out Thirst (after escaping a confrontation with Laura and Warren), though it remains to be seen if Scott agrees to go with them or not.
Again, I really marvel at the excellent job that Hopeless does getting everyone's emotional state exactly right. He spends as much time on the "bad guys" as he does the "good guys," and it gives this issue its emotional heft. As I've mentioned, it's reminiscent of the New Mutants vs. the Hellions, something that Hopeless even mentions in passing here. The Hellions were never natural-born killers, but students under a professor with a different philosophy about how mutants should play their role in society. The Ghost's "professor" is just inconveniently dead. Honestly, I want to learn more about pretty much everyone here, a good sign that Hopeless shouldn't have any problem keeping me engaged in the coming issues.
**** (four of five stars)
Tokyo Ghost #4 (HERE BE SPOILERS!)
Somehow, it's even worse than I thought it would be. Given the tone of this series so far, that's obviously saying a lot.
As expected, the one-eyed guy from last issue, Mash, comes after Debbie and Teddy for revenge. We learn that he's not just some random guy that Constable Dent attacked: he and his friends were the original gang that embarrassed Teddy on film and forced him into becoming Dent. Debbie and Teddy go on the offensive, and, as we watch them fight, Mash recounts how Dent brutally murdered or maimed most of the gang when he eventually found them. For example, he ripped off Mash's brother's arm, set it on fire, and used it to burn Mash's face. (Creative.) Throughout the fight, Mash tries to justify the gang's actions as kids as innocent fun. In fact, he claims the high ground here, saying that he's trying to purge someone as violent as Dent from the Garden. Thankfully, Teddy is having none of it, reminding Mash that he was also just a kid and that they beat him into a pulp in front of his girl and filmed it for fame and profit. In his words, too fucking bad that he didn't like getting burnt with his brother's arm.
The fight ends as Mash faces Teddy in solo combat, with Mash claiming that he's the fist of judgment and Teddy saying that he's just engaged in petty revenge. However, Kazumi arrives before Mash can deliver the killing blow, exiling him from the Garden for turning his back on his pledge of non-violence. She attempts to heal Teddy, but Mash stabs her with his spear instead. Enraged, Teddy kills him, just as the rest of the Garden's residents arrive. They believe that Teddy has killed Kazumi, and Teddy flees as they fire arrows at him. Debbie arrives on the scene, and everyone tells her that her man killed Kazumi. However, Debbie tells them that they were ambushed, and Kazumi mutters her name. Debbie has the crowd bring Kazumi to town; the fact that Kazumi's pet fox alights on her shoulder may imply that she'll be the one to succeed Kazumi. Meanwhile, Teddy returns to their ship. He decides to get one more fix to heal his wounds, and it activates the computers in the ship. (I thought that it was still within the emp field, but maybe the field isn't as strong with Kazumi injured?) Davey Trauma appears on the screen, telling Dent that he's late for work.
When I started this issue, I was just afraid that Teddy would be expelled from the Garden when he was forced to defend himself from Mash. When Kazumi blamed Mash, I was elated. I should've known better. Now, we get to the crux of the matter: Davey Trauma and Flak have been manipulating events to bring Dent to consciousness within the emp field. Again, we still don't know how they did it. In fact, again, it's unclear if the emp field is even active at all. Did they manipulate Mash and his buddies into attacking Teddy as a distraction to give Mash time to kill Kazumi? Was it always the plan? I guess we'll see, though I'm scared of the answer.
*** (three of five stars)
As expected, the one-eyed guy from last issue, Mash, comes after Debbie and Teddy for revenge. We learn that he's not just some random guy that Constable Dent attacked: he and his friends were the original gang that embarrassed Teddy on film and forced him into becoming Dent. Debbie and Teddy go on the offensive, and, as we watch them fight, Mash recounts how Dent brutally murdered or maimed most of the gang when he eventually found them. For example, he ripped off Mash's brother's arm, set it on fire, and used it to burn Mash's face. (Creative.) Throughout the fight, Mash tries to justify the gang's actions as kids as innocent fun. In fact, he claims the high ground here, saying that he's trying to purge someone as violent as Dent from the Garden. Thankfully, Teddy is having none of it, reminding Mash that he was also just a kid and that they beat him into a pulp in front of his girl and filmed it for fame and profit. In his words, too fucking bad that he didn't like getting burnt with his brother's arm.
The fight ends as Mash faces Teddy in solo combat, with Mash claiming that he's the fist of judgment and Teddy saying that he's just engaged in petty revenge. However, Kazumi arrives before Mash can deliver the killing blow, exiling him from the Garden for turning his back on his pledge of non-violence. She attempts to heal Teddy, but Mash stabs her with his spear instead. Enraged, Teddy kills him, just as the rest of the Garden's residents arrive. They believe that Teddy has killed Kazumi, and Teddy flees as they fire arrows at him. Debbie arrives on the scene, and everyone tells her that her man killed Kazumi. However, Debbie tells them that they were ambushed, and Kazumi mutters her name. Debbie has the crowd bring Kazumi to town; the fact that Kazumi's pet fox alights on her shoulder may imply that she'll be the one to succeed Kazumi. Meanwhile, Teddy returns to their ship. He decides to get one more fix to heal his wounds, and it activates the computers in the ship. (I thought that it was still within the emp field, but maybe the field isn't as strong with Kazumi injured?) Davey Trauma appears on the screen, telling Dent that he's late for work.
When I started this issue, I was just afraid that Teddy would be expelled from the Garden when he was forced to defend himself from Mash. When Kazumi blamed Mash, I was elated. I should've known better. Now, we get to the crux of the matter: Davey Trauma and Flak have been manipulating events to bring Dent to consciousness within the emp field. Again, we still don't know how they did it. In fact, again, it's unclear if the emp field is even active at all. Did they manipulate Mash and his buddies into attacking Teddy as a distraction to give Mash time to kill Kazumi? Was it always the plan? I guess we'll see, though I'm scared of the answer.
*** (three of five stars)
Saturday, March 5, 2016
Dragon Age: Magekiller #1 (HERE BE SPOILERS!)
I should start by noting that this series is set in Tevinter. If you've played "Dragon Age: Inquisition - Trespasser," then you know that it previews that "Dragon Age 4" will be set there. As such, it seems like this series could be a prelude to that game (assuming that BioWare is actually making it). Color me excited.
In terms of the series itself, Rucka tells an incredibly well paced story in this issue. We're immediately introduced to Marius and Tessa, two contract killers that go after mages exclusively. Marius is the strong, silent type (I encourage Carnero to keep drawing him shirtless...) who believes that he was born to hunt mages. We learn that bit of information from Tessa, since she's the one that does most of the talking. (Canero isn't mute, but he's clearly reticent to speak. It's OK, Marius. Just be pretty.)
To complicate matters, Marius appears to have something of a past, one (of course) shrouded in mystery. When a servant named Flavius approaches him on behalf of a Tevinter Magister, he immediately refuses the contract, since he doesn't deal with the Imperium. Flavius suggests that it's because Tevinter made him what he is, but Marius tells Tessa that he doesn't actually know where he's from. (Dun-DUN-dun!) Flavius convinces Marius to take the job by saying that the target is sacrificing children in a temple outside Minrathous, the Imperium's capital. (So, he's the strong, silent type with a heart of gold. Well played, Rucka. Well played.) But, it's a trap: Flavius lured them there to meet the Imperium's ruler, Archon Radonis, who has his own list of targets in mind for the pair.
If you're not a "Dragon Age" fan but enjoy fantasy RPGs, I can easily recommend this series so far. Rucka makes it accessible to basically anyone, though it'll have more meaning to you if you are a "Dragon Age" fan. Rucka somehow manages to replicate the feel of the game, and it's a wonder to behold. I continue to hold out hope that we're going to get a "Dragon Age" ongoing series one day, but, in the meantime, this entry into its series of mini-series seems to be worth the wait.
*** (three of five stars)
In terms of the series itself, Rucka tells an incredibly well paced story in this issue. We're immediately introduced to Marius and Tessa, two contract killers that go after mages exclusively. Marius is the strong, silent type (I encourage Carnero to keep drawing him shirtless...) who believes that he was born to hunt mages. We learn that bit of information from Tessa, since she's the one that does most of the talking. (Canero isn't mute, but he's clearly reticent to speak. It's OK, Marius. Just be pretty.)
To complicate matters, Marius appears to have something of a past, one (of course) shrouded in mystery. When a servant named Flavius approaches him on behalf of a Tevinter Magister, he immediately refuses the contract, since he doesn't deal with the Imperium. Flavius suggests that it's because Tevinter made him what he is, but Marius tells Tessa that he doesn't actually know where he's from. (Dun-DUN-dun!) Flavius convinces Marius to take the job by saying that the target is sacrificing children in a temple outside Minrathous, the Imperium's capital. (So, he's the strong, silent type with a heart of gold. Well played, Rucka. Well played.) But, it's a trap: Flavius lured them there to meet the Imperium's ruler, Archon Radonis, who has his own list of targets in mind for the pair.
If you're not a "Dragon Age" fan but enjoy fantasy RPGs, I can easily recommend this series so far. Rucka makes it accessible to basically anyone, though it'll have more meaning to you if you are a "Dragon Age" fan. Rucka somehow manages to replicate the feel of the game, and it's a wonder to behold. I continue to hold out hope that we're going to get a "Dragon Age" ongoing series one day, but, in the meantime, this entry into its series of mini-series seems to be worth the wait.
*** (three of five stars)
We Are Robin #7 (HERE BE SPOILERS!)
OK, this issue is pretty damn cool. While Dick and Jim ransack Noctua's apartment, discovering her obsession with the Court of Owls, the Talons force Jason and Tim to face each other in a fight to the death, to discover the new "Gray Son." (Does that mean that they're not interested in Dick?) However, Jason and Tim maneuver their fight so that Jason can hurl Tim in the air. Damian sees what they're doing and calls for the imprisoned Robins to hold out their hands, allowing Tim to essentially climb up the suspended cages to reach the control tower. He opens the cages and frees the Robins, and they collectively make short work of the Talons. They then flee to the rooftop, with Duke wondering during their flight if he's as skilled -- and crazy -- as he needs to be to become one of the "varsity" Robins. He may get his chance to learn, since a group of much more lethal Talons are on the roof pledging to kill them all.
*** (three of five stars)
*** (three of five stars)
Friday, March 4, 2016
Justice League #46 (HERE BE SPOILERS!)
I can't say that this issue is all that exciting, but Johns does do a solid job of showing us the aftermath of Darkseid's (alleged) death.
Unexpectedly, we don't get the battle royale between the remaining members of the Justice League and the Apokoliptans. Why, you ask? It's because Big Barda arrives on the scene to save Mr. Miracle, making short work of Kanto and then Kalibak. We learn that she and Scot are on their honeymoon, and Scot worries that her presence will draw the attention of the Furies. (Barda is apparently wanted for betraying the "Black Oath" and marrying Scot.) Barda doesn't really care and passionately kisses Scot. This moment provokes the best moment of the issue, as Diana and Steve both avert their eyes at this display of love. Barda makes a peace offering to Lashina, one of the Furies, telling her that she won't come after Granny Goodness if she doesn't come after them. Lashina refuses the offering, though, again, Barda isn't really all that upset by it.
Since Batman and the Green Lantern have fallen off the grid in their search for dirt on the Anti-Monitor, Diana suggests that the League should go talk to the remaining members of the Crime Syndicate, given their previous experience with the Anti-Monitor. (I actually forgot that the Anti-Monitor is still out there and that the League knows little about him.) Steve says that Superwoman and Ultraman are such highly classified prisoners that even the League can't reach them, so Scot takes the team to break into Belle Rive. Diana remains behind to find the missing members of the League, and Steve stays with her. He tells her that she seems worried, and she admits that she is. Johns continues to use them as his emotional anchor, as Steve begins to confess his love to Diana, fearing that they won't survive the coming days (and inspired by watching Barda and Scot as lovers and partners on the battlefield). Perhaps proving his point, Superman arrives and grabs Steve, forcing Diana to defend him.
The biggest question mark over this issue has to do with Mobius and Grail. We have a brief scene where Mobius interacts with someone in Shazam's fortress. This person -- an imagine in a mirror -- observes that Mobius intends to trade the safety of the universe for his soul. She's ready to explain what happens if he returns to his chair, but Mobius breaks the mirror before she can. Meanwhile, Grail and her mother discover the Anti-Life Equation, and Grail implies that Mobius has "separated" from it. Grail reclaims it, becoming the Goddess of Anti-Life. To be honest, I'm still not really clear what happens in either scene. These two sequences -- with Mobius and then Grail -- seem linked, but I can't yet see what the link is (beyond the Anti-Life Equation, but even then I'm guessing). The only thing that we know that Mobius has "separated from" is his chair, so it seems to imply that the Equation is linked to the chair? Maybe? I guess we'll see.
Overall, though, it's a solid issue. Again, I can't say that I'm really all that excited about this story, particularly since we've had so many Darkseid stories lately (particularly if you include "Earth 2"). But, Johns is clearly building to something, so we'll see where we go.
*** (three of five stars)
Unexpectedly, we don't get the battle royale between the remaining members of the Justice League and the Apokoliptans. Why, you ask? It's because Big Barda arrives on the scene to save Mr. Miracle, making short work of Kanto and then Kalibak. We learn that she and Scot are on their honeymoon, and Scot worries that her presence will draw the attention of the Furies. (Barda is apparently wanted for betraying the "Black Oath" and marrying Scot.) Barda doesn't really care and passionately kisses Scot. This moment provokes the best moment of the issue, as Diana and Steve both avert their eyes at this display of love. Barda makes a peace offering to Lashina, one of the Furies, telling her that she won't come after Granny Goodness if she doesn't come after them. Lashina refuses the offering, though, again, Barda isn't really all that upset by it.
Since Batman and the Green Lantern have fallen off the grid in their search for dirt on the Anti-Monitor, Diana suggests that the League should go talk to the remaining members of the Crime Syndicate, given their previous experience with the Anti-Monitor. (I actually forgot that the Anti-Monitor is still out there and that the League knows little about him.) Steve says that Superwoman and Ultraman are such highly classified prisoners that even the League can't reach them, so Scot takes the team to break into Belle Rive. Diana remains behind to find the missing members of the League, and Steve stays with her. He tells her that she seems worried, and she admits that she is. Johns continues to use them as his emotional anchor, as Steve begins to confess his love to Diana, fearing that they won't survive the coming days (and inspired by watching Barda and Scot as lovers and partners on the battlefield). Perhaps proving his point, Superman arrives and grabs Steve, forcing Diana to defend him.
The biggest question mark over this issue has to do with Mobius and Grail. We have a brief scene where Mobius interacts with someone in Shazam's fortress. This person -- an imagine in a mirror -- observes that Mobius intends to trade the safety of the universe for his soul. She's ready to explain what happens if he returns to his chair, but Mobius breaks the mirror before she can. Meanwhile, Grail and her mother discover the Anti-Life Equation, and Grail implies that Mobius has "separated" from it. Grail reclaims it, becoming the Goddess of Anti-Life. To be honest, I'm still not really clear what happens in either scene. These two sequences -- with Mobius and then Grail -- seem linked, but I can't yet see what the link is (beyond the Anti-Life Equation, but even then I'm guessing). The only thing that we know that Mobius has "separated from" is his chair, so it seems to imply that the Equation is linked to the chair? Maybe? I guess we'll see.
Overall, though, it's a solid issue. Again, I can't say that I'm really all that excited about this story, particularly since we've had so many Darkseid stories lately (particularly if you include "Earth 2"). But, Johns is clearly building to something, so we'll see where we go.
*** (three of five stars)
Batman and Robin Eternal #11 (HERE BE SPOILERS!)
The issue begins with Dick and Harper meeting the Sculptor, the woman who Mother uses to "mold" her children into their "new" selves. However, the Sculptor has decided to rebel against Mother because she can't go through another purge like the other that Mother is conducting in Prague, since it means killing all the children. She intentionally left the trail for Harper to follow to Cain's residence, expositing that Cain would never have left so easy of one. (This explanation goes to my point from last issue, that the authors did a terrible job of showing how Harper tracked down Cain. That said, it still would've been helpful to watch Harper find the trail on her own, even if it was a fake one that the Sculptor set.)
The Sculptor reveals that Cain is Orphan, and she offers to take Dick on a journey of her mind so that he can fully understand Mother. Dick tells her that he can't, because of his Hypnos, so Harper goes instead. Along the way, we're witness to Cassandra's brutal childhood, as we learn that Orphan was training her in secret to be the most brutal of Mother's children. Mother is ultimately displeased with Orphan for acting outside her orders and forbids him to consider Cass as part of their family (if you'll excuse the expression). The Sculptor then leads Harper to the moment when Batman seems to be ready to buy a new Robin. (He refers to the Robin as "her," though it seems unlikely that it's Cass, given Mother's "disowning" of her.) Harper mumbles his name, leading Dick to break the connection with a taser. He then demands that the Sculptor take him to Batman, regardless of the danger.
Needless to say, it's an intense issue. Brisson does a solid job of handling a story with so much exposition, keeping the focus on the characters in the flashback and not on the overly convenient way that we're treated to this information in the first place. Although the art is uneven (due to the use of two artists with pretty different styles), I have to say that I'm pleased that we're making progress on the central mystery. After all, this issue answers some questions, even though those answers raise more questions.
First, my theory that David Cain was Cassandra's father is proven correct here, though it complicates my theory that Batman killed Cassandra's parents (and not Cain's) in issue #1. If Batman didn't turn Cassandra into who she is, then did he turn Cain into Orphan? If so, it again raises the question of when exactly he started working with Mother?`
Second, we learn here that Mother was using Scarecrow's fear gas to simulate the trauma that she previously created the old-fashioned way, as Cain did with Cassandra (by murdering seemingly dozens if not hundreds of people in front of her). She tells David that she went with the gas because "we must adapt or perish," but Snyder and Tynion don't identify the catalyst for her realizing that. What about the old-fashioned way wasn't working any more?
Again, although heavy on the exposition, this issue helps right the ship a bit after the last two issues disappointed. I'm hoping that we get someone like King or Seeley to handle Dick's confrontation with the (supposed) truth about Batman. Talk about intense.
*** (three of five stars)
The Sculptor reveals that Cain is Orphan, and she offers to take Dick on a journey of her mind so that he can fully understand Mother. Dick tells her that he can't, because of his Hypnos, so Harper goes instead. Along the way, we're witness to Cassandra's brutal childhood, as we learn that Orphan was training her in secret to be the most brutal of Mother's children. Mother is ultimately displeased with Orphan for acting outside her orders and forbids him to consider Cass as part of their family (if you'll excuse the expression). The Sculptor then leads Harper to the moment when Batman seems to be ready to buy a new Robin. (He refers to the Robin as "her," though it seems unlikely that it's Cass, given Mother's "disowning" of her.) Harper mumbles his name, leading Dick to break the connection with a taser. He then demands that the Sculptor take him to Batman, regardless of the danger.
Needless to say, it's an intense issue. Brisson does a solid job of handling a story with so much exposition, keeping the focus on the characters in the flashback and not on the overly convenient way that we're treated to this information in the first place. Although the art is uneven (due to the use of two artists with pretty different styles), I have to say that I'm pleased that we're making progress on the central mystery. After all, this issue answers some questions, even though those answers raise more questions.
First, my theory that David Cain was Cassandra's father is proven correct here, though it complicates my theory that Batman killed Cassandra's parents (and not Cain's) in issue #1. If Batman didn't turn Cassandra into who she is, then did he turn Cain into Orphan? If so, it again raises the question of when exactly he started working with Mother?`
Second, we learn here that Mother was using Scarecrow's fear gas to simulate the trauma that she previously created the old-fashioned way, as Cain did with Cassandra (by murdering seemingly dozens if not hundreds of people in front of her). She tells David that she went with the gas because "we must adapt or perish," but Snyder and Tynion don't identify the catalyst for her realizing that. What about the old-fashioned way wasn't working any more?
Again, although heavy on the exposition, this issue helps right the ship a bit after the last two issues disappointed. I'm hoping that we get someone like King or Seeley to handle Dick's confrontation with the (supposed) truth about Batman. Talk about intense.
*** (three of five stars)
Batgirl #46 (HERE BE SPOILERS!)
This issue is...just bad. Fletcher and Stewart throw a lot of new plots our way, but they don't provide enough details to make them stick. I can tell that I'm going to open issue #47 in a month and feel totally lost. It's one thing to have a bunch of sub-plots on a slow burn in background, but this issue is essentially all sub-plots. It lack any sort of major plot to give it focus. Instead, we just bounce from hint to innuendo. I'll try to summarize them here as a group:
- Babs and Nadimah are going door-to-door in apparently the only bad part of Burnside, trying to gather information from residents about...something. It's not actually clear. They try to speak to a woman who is afraid to talk to them because the whole area is run by gangs. (Burnside must be a pretty big neighborhood to cover such a wide range of socio-economic classes I thought the biggest problem in Burnside was finding an open spot at an indie-owned coffee shop.) Despite insisting that she didn't want to talk to them, the woman changes course, confessing that the gangs are "using" her boy, though she doesn't say how he's being used. Later, her son is arrested after police received an anonymous tip, and the woman is seen on TV blaming "the red-haired girl."
- Barbara is forgetful and suffering from nightmares, something that she blames on her too packed schedule. (She forgot that she and Nadimah had interviewed people at three residences, not two, the previous day.) Fletcher and Stewart don't elaborate; it's the sub-plot at the corner of our eye that we can't yet fully see.
- Frankie wakes up Babs, and she's upset that she overslept. She's supposed to meet someone named Greg that she's known since high school who she's also invited to stay with her and Frankie. Before letting Babs get a cup of coffee or shower, Frankie tells Babs that she received a neural implant, and Babs freaks out. Frankie argues that it's the same as the implants that Barbara received to walk again, and Babs just as suddenly accepts this argument, agreeing to them being partners. (The implant connects Frankie to Babs' Batcycle.)
- On patrol, a well dressed dude named Lewis tazes one of a group of gang members (the Foster Lane Gang) attacking Batgirl and, after the fight ends, asks her to meet him by the Docklands. Once there, he tells her possibly the most convoluted story that I've ever read in comics. (I know. That's saying a lot.) He claims that he's friends with Spoiler and that she's wanted by the Hasigawa crime family. (Stay with me, it gets more confusing.) Eiko Hasigawa's father was apparently murdered, and she vowed revenge against the mob families of Gotham. She apparently got that revenge, gathering all of them in one place and executing them. (It seems like it would be a pretty big deal if the members of all the Gotham mob families were killed. I'm surprised that we haven't seen it in other Bat-titles.) However, apparently Stephanie (dressed as Stephanie and not Spoiler, might I add) tried to stop her, for reasons that aren't explained. Moreover, we don't learn how Stephanie knew about Eiko's plans in the first place. All we know, thanks to Lewis, is that the Hasigawas see Stephanie as a loose end. To make matters more confusing, Lewis -- whose knowledge of these events Babs never questions -- claims that Eiko wouldn't want Spoiler harmed, but she can't help because she's conveniently gone deep underground. Babs traces the communicator that she gave to Stephanie a while ago and arrives just in time to save her (with Frankie's help) from the Hasigawas. Babs later stashes her at Luke's crash pad.
- At dinner with Luke, Babs talks about her nightmares and then shows him a drawing of a blue print for some sort of "energy weapon" called the "negahedron." (I have no recollection of that, but she says that she saw it a while ago.) Given her photographic memory, she's trying to recreate the blueprint, even though she acknowledges that it's a bad idea given how dangerous it is. Luke takes a look and claims that, "with a few adjustments," it could be "billion dollar big."
See what I mean? We're just all over the map here. Is Barbara losing time because someone's manipulating her brain? What project are Barbara and Nadimah conducting that could solve Burnside's apparently burgeoning gang problem? I assume that it's related to her thesis, but since when did they get information door-to-door? Who's this Greg guy? For that matter, who's this Lewis guy? How does he know Spoiler, and how does he have the inside scoop on Japanese mob activity in Gotham? As I mentioned, it's always good to have a few mysteries in the background, particularly in the Bat-books. It creates a more realistic vibe, a reminder that they don't address one villainous plot at a time and need to stay constantly vigilant. But, Fletcher and Stewart go too far here, throwing too much at us. I get that they're trying to have us feel as overwhelmed as Babs does, but we need to at least understand why we're overwhelmed. Here, most of the plots that they throw at us don't even remotely make sense.
Although I loved last issue, this issue had the same problem as issue #44, with too many ideas coming all at once. Hopefully the guys'll put several of these plots on the back burner where they belong and focus on one or two of them for the next few issues. Otherwise, it's going to be impossible for the reader to get through these issues without the help of Adderall.
* (one of five stars)
- Babs and Nadimah are going door-to-door in apparently the only bad part of Burnside, trying to gather information from residents about...something. It's not actually clear. They try to speak to a woman who is afraid to talk to them because the whole area is run by gangs. (Burnside must be a pretty big neighborhood to cover such a wide range of socio-economic classes I thought the biggest problem in Burnside was finding an open spot at an indie-owned coffee shop.) Despite insisting that she didn't want to talk to them, the woman changes course, confessing that the gangs are "using" her boy, though she doesn't say how he's being used. Later, her son is arrested after police received an anonymous tip, and the woman is seen on TV blaming "the red-haired girl."
- Barbara is forgetful and suffering from nightmares, something that she blames on her too packed schedule. (She forgot that she and Nadimah had interviewed people at three residences, not two, the previous day.) Fletcher and Stewart don't elaborate; it's the sub-plot at the corner of our eye that we can't yet fully see.
- Frankie wakes up Babs, and she's upset that she overslept. She's supposed to meet someone named Greg that she's known since high school who she's also invited to stay with her and Frankie. Before letting Babs get a cup of coffee or shower, Frankie tells Babs that she received a neural implant, and Babs freaks out. Frankie argues that it's the same as the implants that Barbara received to walk again, and Babs just as suddenly accepts this argument, agreeing to them being partners. (The implant connects Frankie to Babs' Batcycle.)
- On patrol, a well dressed dude named Lewis tazes one of a group of gang members (the Foster Lane Gang) attacking Batgirl and, after the fight ends, asks her to meet him by the Docklands. Once there, he tells her possibly the most convoluted story that I've ever read in comics. (I know. That's saying a lot.) He claims that he's friends with Spoiler and that she's wanted by the Hasigawa crime family. (Stay with me, it gets more confusing.) Eiko Hasigawa's father was apparently murdered, and she vowed revenge against the mob families of Gotham. She apparently got that revenge, gathering all of them in one place and executing them. (It seems like it would be a pretty big deal if the members of all the Gotham mob families were killed. I'm surprised that we haven't seen it in other Bat-titles.) However, apparently Stephanie (dressed as Stephanie and not Spoiler, might I add) tried to stop her, for reasons that aren't explained. Moreover, we don't learn how Stephanie knew about Eiko's plans in the first place. All we know, thanks to Lewis, is that the Hasigawas see Stephanie as a loose end. To make matters more confusing, Lewis -- whose knowledge of these events Babs never questions -- claims that Eiko wouldn't want Spoiler harmed, but she can't help because she's conveniently gone deep underground. Babs traces the communicator that she gave to Stephanie a while ago and arrives just in time to save her (with Frankie's help) from the Hasigawas. Babs later stashes her at Luke's crash pad.
- At dinner with Luke, Babs talks about her nightmares and then shows him a drawing of a blue print for some sort of "energy weapon" called the "negahedron." (I have no recollection of that, but she says that she saw it a while ago.) Given her photographic memory, she's trying to recreate the blueprint, even though she acknowledges that it's a bad idea given how dangerous it is. Luke takes a look and claims that, "with a few adjustments," it could be "billion dollar big."
See what I mean? We're just all over the map here. Is Barbara losing time because someone's manipulating her brain? What project are Barbara and Nadimah conducting that could solve Burnside's apparently burgeoning gang problem? I assume that it's related to her thesis, but since when did they get information door-to-door? Who's this Greg guy? For that matter, who's this Lewis guy? How does he know Spoiler, and how does he have the inside scoop on Japanese mob activity in Gotham? As I mentioned, it's always good to have a few mysteries in the background, particularly in the Bat-books. It creates a more realistic vibe, a reminder that they don't address one villainous plot at a time and need to stay constantly vigilant. But, Fletcher and Stewart go too far here, throwing too much at us. I get that they're trying to have us feel as overwhelmed as Babs does, but we need to at least understand why we're overwhelmed. Here, most of the plots that they throw at us don't even remotely make sense.
Although I loved last issue, this issue had the same problem as issue #44, with too many ideas coming all at once. Hopefully the guys'll put several of these plots on the back burner where they belong and focus on one or two of them for the next few issues. Otherwise, it's going to be impossible for the reader to get through these issues without the help of Adderall.
* (one of five stars)
Uncanny Avengers #3 (HERE BE SPOILERS!)
Duggan really keeps up the pace here, as this issue feels like a non-stop sprint to its conclusion.
Dr. Voodoo manages to pull back Quicksilver's spirit from the afterlife, and Deadpool successfully resuscitates him. Everyone but Johnny regroups to try to prevent citizens from breaking through the quarantine, and Cable arrives on the scene. Before he eventually explains the situation, he gets into a truly bizarre pissing contest with Rogue: he refuses to tell her anything unless she acknowledges that he's the leader of the team. He does so because he knows that the team (under her leadership) failed to prevent this situation from escalating, but she notes that it could be him taking over the team that results in the future apocalypse. (Well played, Rogue.) Deadpool -- yes, Deadpool -- gets them to see reason. Cable then gives Quicksilver the "enzyme inhibitor" that he developed to reverse the effects of the toxin, and Quicksilver heads to Johnny and his nerds to synthesize it. (I don't recall Quicksilver knowing that Johnny was at M.I.T., but I guess we'll just go with it.) The Shredded Man arrives and uses a toxin blast to knock out everyone other than Cable (since he has a respirator) and Synapse, since apparently Inhumans are immune to the blast. Cable tries to resuscitate the other Avengers while Synapse goes after the Shredded Man. He tells her that the Mists are telling the Inhumans to attack mutants and reveals himself to be her grandfather.
Given that I have no idea who Synapse is, I have to say that the revelation that her grandfather is the Shredded Man fell flat. I mean, OK, I get that she wouldn't be that happy about it, but Duggan oversells the drama of it at the end. Who cares? The Shredded Man was cool when he was a mysterious threat; now, he's just someone's grandfather. I hope that Duggan doesn't allow next issue to devolve into yet more family drama. The Avengers has enough of that on a good day.
** (two of five stars)
Dr. Voodoo manages to pull back Quicksilver's spirit from the afterlife, and Deadpool successfully resuscitates him. Everyone but Johnny regroups to try to prevent citizens from breaking through the quarantine, and Cable arrives on the scene. Before he eventually explains the situation, he gets into a truly bizarre pissing contest with Rogue: he refuses to tell her anything unless she acknowledges that he's the leader of the team. He does so because he knows that the team (under her leadership) failed to prevent this situation from escalating, but she notes that it could be him taking over the team that results in the future apocalypse. (Well played, Rogue.) Deadpool -- yes, Deadpool -- gets them to see reason. Cable then gives Quicksilver the "enzyme inhibitor" that he developed to reverse the effects of the toxin, and Quicksilver heads to Johnny and his nerds to synthesize it. (I don't recall Quicksilver knowing that Johnny was at M.I.T., but I guess we'll just go with it.) The Shredded Man arrives and uses a toxin blast to knock out everyone other than Cable (since he has a respirator) and Synapse, since apparently Inhumans are immune to the blast. Cable tries to resuscitate the other Avengers while Synapse goes after the Shredded Man. He tells her that the Mists are telling the Inhumans to attack mutants and reveals himself to be her grandfather.
Given that I have no idea who Synapse is, I have to say that the revelation that her grandfather is the Shredded Man fell flat. I mean, OK, I get that she wouldn't be that happy about it, but Duggan oversells the drama of it at the end. Who cares? The Shredded Man was cool when he was a mysterious threat; now, he's just someone's grandfather. I hope that Duggan doesn't allow next issue to devolve into yet more family drama. The Avengers has enough of that on a good day.
** (two of five stars)
The Ultimates #2 (HERE BE SPOILERS!)
It's clear that Ewing is going to be walking a fine line every issue, trying to amaze us with science without losing us in techno-babble. If he stays on the line, he'll be successful in inspiring awe in the advanced science that the team is performing, like turning Galactus into a life-giver, not planet-destroyer. If he falls off the line, we're going to be confused by what we're seeing and why we should care. Similarly, he's going to have to make sure that the team isn't too capable. In this issue, everyone manages godlike feats; in fact, the team "defeats" Galactus without breaking a sweat. If the team wins every outing without a struggle, it's not going to be the most interesting of series.
** (two of five stars)
Thursday, March 3, 2016
Star Wars Annual #1 (HERE BE SPOILERS!)
This issue is possibly the best issue that I've ever read of any comic ever. Seriously, it's that good. Gillen's pacing is amazing, and he leads us to a climax that I never, ever saw coming. In Eneb Ray, he also gives us a "hero" (in quotes, as Ray himself would caveat that title) that I instantly wanted to see in his own series. (Like, immediately.) I won't spoil the ending (even with the usual caveat about spoilers), because it's just that good. But, I will say that it's the type of ending that I like to see every once in a while and one that we actually rarely see. Even if you're not reading the main "Star Wars" series, pick up this issue. It encapsulates all the swash-buckling courage -- and mind-numbing villainy -- of "Star Wars." You won't be sorry.
***** (five of five stars)
***** (five of five stars)
Spider-Man 2099 #4 (HERE BE SPOILERS!)
Captain America! Venture! Oh, my!
David starts to reveal more about the future (heh) of the 2099 Universe, but, as with all good stories, these answers only raise more questions. First, he reveals that Roberta's life -- with a novelist husband and two children -- is a figment of her imagination. When she leaves her apartment for work, her family disappears. Conversely, Captain America is fully aware of the fact that she's (they're?) trapped in the present, but she can only influence Roberta when she really sets her mind to it. But, she's desperate enough to try it here, managing to get Roberta to enter Miguel's secret workshop in the basement of Parker Industries. (Miguel has conveniently programmed the touch pad that opens his lab to work for anyone from 2099. Seriously, I'm docking a full star from the issue for that. Apparently, Miguel did it in case he was cloned, but that explanation makes no sense, since said clone would still have his fingerprints. Why would it need to be set for anyone from 2099?)
Cap has Roberta open the portal to 2099, but, unfortunately for her, a hunter called Kweeg is waiting on the other side, since he had heard reports of the portal opening up there the previous day. He attacks Roberta through the portal, and she becomes Cap. (I'm still not clear how the switch works. Why can Cap take over Roberta's body when she's in danger, but not under normal circumstances? Does the adrenaline rush activate the Super-Solider Serum?) Lyla alerts Miguel to the fight in his lab, and he arrives to find Kweeg ready to finish off Cap. (Previously, he had assigned Raul to tracking down the Fist and Jasmine to learning more about Alchemax's new prison project, even though we're not told how he knows about Alchemax's plans.) He recognizes Kweeg as Venture, but Venture doesn't recognize that name. He manages to escape, so Miguel doesn't have time to get more information about or from Cap, since they have to go stop Kweeg.
As you can probably tell, it's a fast-paced issue. Cap does a little too much expositing as we see her ghost appear alongside Roberta, but, otherwise, everything flows pretty smoothly. I'm intrigued to learn how Roberta found herself in our present after "Secret Wars," since it seems that it might lead Miguel to the answer that he's trying to find. The fact that she has her own memories of 2099 (and that Venture is a different guy than the one that we remember) certainly raises all sorts of questions about how many different 2099s are out there. Given Marvel's desire to reduce the number of alternate timelines, is this series going to create a unified 2099 timeline? I guess we'll see.
Regardless of how much I enjoyed this issue, I'm still giving it "only" two stars for the uncharacteristically convenient developments that advance the plot (i.e., the touch pad keyed to people from 2099, Miguel knowing about Alchemax's prison, etc.). I expect better from David, even if it's unfair that I do.
** (two of five stars)
David starts to reveal more about the future (heh) of the 2099 Universe, but, as with all good stories, these answers only raise more questions. First, he reveals that Roberta's life -- with a novelist husband and two children -- is a figment of her imagination. When she leaves her apartment for work, her family disappears. Conversely, Captain America is fully aware of the fact that she's (they're?) trapped in the present, but she can only influence Roberta when she really sets her mind to it. But, she's desperate enough to try it here, managing to get Roberta to enter Miguel's secret workshop in the basement of Parker Industries. (Miguel has conveniently programmed the touch pad that opens his lab to work for anyone from 2099. Seriously, I'm docking a full star from the issue for that. Apparently, Miguel did it in case he was cloned, but that explanation makes no sense, since said clone would still have his fingerprints. Why would it need to be set for anyone from 2099?)
Cap has Roberta open the portal to 2099, but, unfortunately for her, a hunter called Kweeg is waiting on the other side, since he had heard reports of the portal opening up there the previous day. He attacks Roberta through the portal, and she becomes Cap. (I'm still not clear how the switch works. Why can Cap take over Roberta's body when she's in danger, but not under normal circumstances? Does the adrenaline rush activate the Super-Solider Serum?) Lyla alerts Miguel to the fight in his lab, and he arrives to find Kweeg ready to finish off Cap. (Previously, he had assigned Raul to tracking down the Fist and Jasmine to learning more about Alchemax's new prison project, even though we're not told how he knows about Alchemax's plans.) He recognizes Kweeg as Venture, but Venture doesn't recognize that name. He manages to escape, so Miguel doesn't have time to get more information about or from Cap, since they have to go stop Kweeg.
As you can probably tell, it's a fast-paced issue. Cap does a little too much expositing as we see her ghost appear alongside Roberta, but, otherwise, everything flows pretty smoothly. I'm intrigued to learn how Roberta found herself in our present after "Secret Wars," since it seems that it might lead Miguel to the answer that he's trying to find. The fact that she has her own memories of 2099 (and that Venture is a different guy than the one that we remember) certainly raises all sorts of questions about how many different 2099s are out there. Given Marvel's desire to reduce the number of alternate timelines, is this series going to create a unified 2099 timeline? I guess we'll see.
Regardless of how much I enjoyed this issue, I'm still giving it "only" two stars for the uncharacteristically convenient developments that advance the plot (i.e., the touch pad keyed to people from 2099, Miguel knowing about Alchemax's prison, etc.). I expect better from David, even if it's unfair that I do.
** (two of five stars)
Spider-Gwen #3 (HERE BE SPOILERS!)
This issue is great, though it did leave me feeling like I missed an issue.
First, Latour drops us right into the fact that Gwen apparently frequently travels to "our" Earth to spend time with Jessica Drew. In fact, Jessica refers to herself as Gwen's mentor. I honestly don't know how or when that happened. I don't remember them ever interacting during the original "Spider-Verse," and Jessica wasn't part of the "Spider-Verse" mini-series that ran during "Secret Wars." Did something happen in "Web Warriors" that I missed? At any rate, Gwen and Jessica have a lovely conversation on a rooftop in New York. Gwen asks Jessica about "our" Gwen because, every time she sees "our" Peter Parker, she realizes how different life could've been for "her" Peter, just as her life is different than "our" Gwen's. (I hope you followed that.) Jessica has a great response to this (totally understandable) line of questioning, telling Gwen that the tragedy of "our" Gwen is that she didn't get to have a full life, one filled with mistakes. It's a great moment, because she's reminding Gwen that "her" Peter's life, just like "our" Gwen's, wouldn't have been story-book perfect, even if he had lived. She's also discouraging her from viewing "normal" people's lives as any less complicated than superheroes'. (Gwen should go talk to Midnighter.) It's really a touching conversation, and I hope Gwen follows Jessica's advice to talk to "our" Peter, because, man, what a conversation that would be.
Second, Frank Castle and Matt Murdock have come to the conclusion that George is working with Spider-Woman, since she's saved him twice. Matt actually goes one step further, approaching George to tell him that he essentially knows Gwen's secret identity. That said, I can't remember how he can be that sure. Did Toomes tell him? If he did, I can't remember how Toomes knows. I'm going to have to read some back issues. Maybe he's just fronting, hoping George will confirm his hunch? Whatever Matt's motives, Castle (insanely) decides that George is working with Spider-Woman to take over the Kingpin's criminal empire. Latour doesn't tell us why Castle thinks that. In fact, both DeWolff and Grimm treat him (justifiably) like he's crazy. But, it once again leaves me feeling like I'm missing something here.
Finally, Harry Osborn returns in this issue. (I'll admit that I wasn't aware that he was gone.) We learn that he left after Peter died; in a conversation with Gwen, he tells her that he blames himself because he didn't tell Spider-Woman that Peter was the Lizard. I can see why he feels guilty over that, though I'm not entirely sure why he thinks that telling her would've helped. If he didn't know that Spider-Woman was Gwen, then why would he think that Spider-Woman would care that the Lizard was a student? All she knew was that a crazed mutant was rampaging through a high school. But, guilty he feels, and we learn that he joined the Army and then, somehow, S.H.I.E.L.D.. all as part of a plan to get revenge on Spider-Woman. (In case you're wondering, he's mad at Spider-Woman because she broke Peter's heart, since he just wanted to be like her.) To cap off the crazy, Harry activates a hidden glider at the conclusion of their conversation, melodramatically flying into the night.
Despite these criticisms, I still loved this issue. Latour sends Gwen on a helluva emotional roller coaster, from struggling with the feelings that "our" Peter inspires in her about the road not traveled to confronting the unexpected fury of Harry Osborn. Given that she also doesn't know what Castle and Murdoch have in store for her, Gwen might need a lot more trips to Jessica for advice.
*** (three of five stars)
First, Latour drops us right into the fact that Gwen apparently frequently travels to "our" Earth to spend time with Jessica Drew. In fact, Jessica refers to herself as Gwen's mentor. I honestly don't know how or when that happened. I don't remember them ever interacting during the original "Spider-Verse," and Jessica wasn't part of the "Spider-Verse" mini-series that ran during "Secret Wars." Did something happen in "Web Warriors" that I missed? At any rate, Gwen and Jessica have a lovely conversation on a rooftop in New York. Gwen asks Jessica about "our" Gwen because, every time she sees "our" Peter Parker, she realizes how different life could've been for "her" Peter, just as her life is different than "our" Gwen's. (I hope you followed that.) Jessica has a great response to this (totally understandable) line of questioning, telling Gwen that the tragedy of "our" Gwen is that she didn't get to have a full life, one filled with mistakes. It's a great moment, because she's reminding Gwen that "her" Peter's life, just like "our" Gwen's, wouldn't have been story-book perfect, even if he had lived. She's also discouraging her from viewing "normal" people's lives as any less complicated than superheroes'. (Gwen should go talk to Midnighter.) It's really a touching conversation, and I hope Gwen follows Jessica's advice to talk to "our" Peter, because, man, what a conversation that would be.
Second, Frank Castle and Matt Murdock have come to the conclusion that George is working with Spider-Woman, since she's saved him twice. Matt actually goes one step further, approaching George to tell him that he essentially knows Gwen's secret identity. That said, I can't remember how he can be that sure. Did Toomes tell him? If he did, I can't remember how Toomes knows. I'm going to have to read some back issues. Maybe he's just fronting, hoping George will confirm his hunch? Whatever Matt's motives, Castle (insanely) decides that George is working with Spider-Woman to take over the Kingpin's criminal empire. Latour doesn't tell us why Castle thinks that. In fact, both DeWolff and Grimm treat him (justifiably) like he's crazy. But, it once again leaves me feeling like I'm missing something here.
Finally, Harry Osborn returns in this issue. (I'll admit that I wasn't aware that he was gone.) We learn that he left after Peter died; in a conversation with Gwen, he tells her that he blames himself because he didn't tell Spider-Woman that Peter was the Lizard. I can see why he feels guilty over that, though I'm not entirely sure why he thinks that telling her would've helped. If he didn't know that Spider-Woman was Gwen, then why would he think that Spider-Woman would care that the Lizard was a student? All she knew was that a crazed mutant was rampaging through a high school. But, guilty he feels, and we learn that he joined the Army and then, somehow, S.H.I.E.L.D.. all as part of a plan to get revenge on Spider-Woman. (In case you're wondering, he's mad at Spider-Woman because she broke Peter's heart, since he just wanted to be like her.) To cap off the crazy, Harry activates a hidden glider at the conclusion of their conversation, melodramatically flying into the night.
Despite these criticisms, I still loved this issue. Latour sends Gwen on a helluva emotional roller coaster, from struggling with the feelings that "our" Peter inspires in her about the road not traveled to confronting the unexpected fury of Harry Osborn. Given that she also doesn't know what Castle and Murdoch have in store for her, Gwen might need a lot more trips to Jessica for advice.
*** (three of five stars)
Guardians of the Galaxy #3 (HERE BE SPOILERS!)
Honestly, I don't know why this series isn't working for me, but it just isn't.
All the character interactions are fine. I loved Rocket's conversation with Kitty, when she took charge of the situation but he needed her to acknowledge that he was technically the leader. In fact, Bendis does a better than usual job when it comes to showing his characters displaying emotions. When Ben offers to sacrifice himself to stop Hala so that the Guardians can rescue Peter, it comes as close to touching as Bendis gets. He also successfully conveys Peter's frustration in finding himself in a communication-less pod orbiting Spartax while everyone is down there fighting.
I think the problem is actually that the story itself is weak. We're supposed to be watching Hala destroy Spartax as Peter himself watches, but she spends most of the issue looking for someone to surrender. Instead of Ben facing Hala, Gamora leaps from the shuttle for a rematch, but Hala defeats her with one swing of the axe. Isn't Gamora also cosmically powered at the "Black Vortex?" How can Hala keep defeating her so easily? In other words, the actions don't seem to match what the characters say or think that they're doing.
It really feels like Bendis is spending after 15 minutes writing these issues, polishing off some banter that he had logged in a notebook and calling it a day. It's sad to say, but it feels true. Hopefully it'll change, but, if it doesn't, I'm not sure how much longer I'm here.
** (two of five stars)
Black Knight #2 (HERE BE SPOILERS!)
Tieri gets to business quickly here, giving us the back story detailing how Dane came to be at odds with the Avengers.
At some point, Dane came to the Mansion to get the Beast and Vision to test the Ebony Blade, confirming his hunch that it was becoming stronger. Just as Steve is offering Dane a place on the team, a group of red shirts called the Exemplars attacks. One of them, Carnivore, steals the Blade from Dane and tries to kill him with it; the Blade resists, and Dane uses it to kill Carnivore. As a result, the Avengers have come to Weirdworld to hold Dane accountable, though he wonders how he became the bad guy if they've offered a spot on the roster for Deadpool. A fight ensues.
I was tempted to tag this moment as an example of pet peeve #3, since it's essentially Dane calling bullshit on the entire premise of the story. But, to be fair to Tieri, Steve has embraced exactly the sort of inconsistent approach to morality that Dane questions here. After all, his son, Ian, intentionally tried to kill Batroc in "All-New Captain America" #1, and he didn't seem to care too much. (He even tries to convince Ian to stay in our world in "Hail Hydra" #4 when Ian expresses doubt that he can restrain his lethal approach to justice.)
I say take out all the aggression you want on these hypocrites, Dane. It's about time someone did. (Am I rooting against Steve Rogers? I guess I am. #teamdane)
*** (three of five stars)
At some point, Dane came to the Mansion to get the Beast and Vision to test the Ebony Blade, confirming his hunch that it was becoming stronger. Just as Steve is offering Dane a place on the team, a group of red shirts called the Exemplars attacks. One of them, Carnivore, steals the Blade from Dane and tries to kill him with it; the Blade resists, and Dane uses it to kill Carnivore. As a result, the Avengers have come to Weirdworld to hold Dane accountable, though he wonders how he became the bad guy if they've offered a spot on the roster for Deadpool. A fight ensues.
I was tempted to tag this moment as an example of pet peeve #3, since it's essentially Dane calling bullshit on the entire premise of the story. But, to be fair to Tieri, Steve has embraced exactly the sort of inconsistent approach to morality that Dane questions here. After all, his son, Ian, intentionally tried to kill Batroc in "All-New Captain America" #1, and he didn't seem to care too much. (He even tries to convince Ian to stay in our world in "Hail Hydra" #4 when Ian expresses doubt that he can restrain his lethal approach to justice.)
I say take out all the aggression you want on these hypocrites, Dane. It's about time someone did. (Am I rooting against Steve Rogers? I guess I am. #teamdane)
*** (three of five stars)
Wednesday, March 2, 2016
Amazing Spider-Man #4 (HERE BE SPOILERS!)
The premise of this issue is that the Zodiac is finally making its move, but Peter ditches S.H.I.E.L.D. to save Aunt May when a group of "War Goblins" attacks the village that she's helping. (The Uncle Ben Foundation is installing Internet and solar-power panels there.) Unfortunately, it's not a welcome detour.
On the plus side, I have to say that a major draw of this series, for me, continues to be the technology. Each issue, the reader gets to wonder what rabbit Peter is going to pull from his hat this time. I like that we've returned to a holographic suit and particularly that we're using it to create a "Steve Jobs turtleneck combo" so that we can talk to Aunt May while we're dressed as Spider-Man. Hilarious. Moreover, Mockingbird's wings are c-o-o-l. How has no one thought to give her wings yet? I don't know, but I'm glad that someone has now done so and that said someone was Peter.
All that said, though, this issue wasn't a win for me. Peter's behavior is odd throughout it, and Slott bumbles his attempt to make whatever point that he was trying to make about Western charities and companies operating in Africa.
To start, I'll say that I get Peter leaving S.H.I.E.L.D. to help Aunt May. Slott is on pretty firm ground in having him do that. But, his behavior when he arrives on the scene is remarkably nonchalant, even for Spidey, given what he confronts.
First, we have him taking the time to tell Aunt May that Peter considers her a mother rather than an aunt. They're literally surrounded by Parker security officials escorting away the War Goblins that Peter just defeated, and Peter decides to have that chat now? "Gee, May, I know that you hated me so much a few months ago that you refused to allow your 'nephew' to work with me and that we're standing in the smoking remains of a village that our combined actions helped to destroy. But, I want you to know right now that 'Peter' loves you. By the way, the fact that I was here almost immediately after the War Goblins interrupted your call with 'Peter' and that I know that 'Peter' considers you his mother in no way, shape, or form should be seen as proof that I'm really 'Peter.' Cool?"
Then, we've got him offering to pay mercenaries to switch sides. Really? Parker Industries is just writing checks to mercenaries? Is he going to pay the Sinister Six not to be bad guys anymore? Are we going to offer money to Mr. Negative not to be a mob boss anymore? I hope PI has an entire squad of lawyers ready to handle the cases under the Foreign Corrupt Practices Act.
Moreover, it doesn't help matters that Slott doesn't navigate the politics of Western charities and companies operating in non-Western countries as well as David did in "Spider-Man 2099." The idea that a local warlord would attack a Western charity's attempt to provide free power to a village is fine (if a little clichéd). But, Slott really hits us over the head with this "message" as Spidey interacts with two small children and explains that "some people don't like it when others have power." I totally rolled my eyes (and not just because of the pun).
We also get Spidey offering the girl a college scholarship when she suggests that he overloads the solar panels' magnets to create an emp blast to wipe out the War Goblins' equipment and gliders. I really have my doubts that any six-year-old could understand magnets' connections to emp blasts well enough to make that suggestion to Peter. But, even if the girl here did, Peter throwing out a college scholarship to her felt remarkably pat, along the same lines as him offering to pay the mercenaries. It would be OK if the morale of this story is that Peter learns that his newfound wealth can't solve all problems. But, he doesn't learn that lesson. In fact, he seems to be doubling down on the idea that it can.
Unfortunately, even when Slott tries to introduce some reality into the story, it doesn't work well. The regional official that initially told May that he approves all charity that General Mwenye will allow later refuses Spidey's offer to rebuild the panels because it'll make them a target again. Um, didn't he see that coming in the first place? If the warlord holds so much sway, why didn't he vet the project with him beforehand? Moreover, he goes to the bandaged man from last issue for protection after he rhetorically asks Spidey if he can guard their village forever. But, can't he? After all, he had Parker Industries security teams on the ground to help with the installation. Couldn't he leave them there? He can buy mercenaries, but he can't hire security? (That said, it's clever that the bandaged man is sending in the War Goblins to create the demand for protection and weapons. Smart. It's probably Donald Trump.)
In other words, meh. This issue is an unwelcome detour from the larger story that Slott is telling about the Zodiac. S.H.I.E.L.D. agents are able to take down Aquarius, Aries, and Capricorn, but Scorpio is nowhere to be found. In fact, they just find sets and props in four locations, leading Nick to wonder what Scorpio's plan is. Moreover, the mysterious stranger that offered to bring back Oksana to the Rhino does the same with Martha and Billy Connors in this issue. Slott even ups the ante, since the Lizard is able to tell that it's "really" them through smell, showing that it's not just some elaborate trick by Mysterio.
Hopefully we'll return to these more interesting stories next issue. But, given Peter's behavior here, Slott is also now burdened with the need to teach him the lesson that his wealth isn't going to be able to solve all his problems. Otherwise, this series -- and Peter -- is going to get insufferable fast.
** (two of five stars)
On the plus side, I have to say that a major draw of this series, for me, continues to be the technology. Each issue, the reader gets to wonder what rabbit Peter is going to pull from his hat this time. I like that we've returned to a holographic suit and particularly that we're using it to create a "Steve Jobs turtleneck combo" so that we can talk to Aunt May while we're dressed as Spider-Man. Hilarious. Moreover, Mockingbird's wings are c-o-o-l. How has no one thought to give her wings yet? I don't know, but I'm glad that someone has now done so and that said someone was Peter.
All that said, though, this issue wasn't a win for me. Peter's behavior is odd throughout it, and Slott bumbles his attempt to make whatever point that he was trying to make about Western charities and companies operating in Africa.
To start, I'll say that I get Peter leaving S.H.I.E.L.D. to help Aunt May. Slott is on pretty firm ground in having him do that. But, his behavior when he arrives on the scene is remarkably nonchalant, even for Spidey, given what he confronts.
First, we have him taking the time to tell Aunt May that Peter considers her a mother rather than an aunt. They're literally surrounded by Parker security officials escorting away the War Goblins that Peter just defeated, and Peter decides to have that chat now? "Gee, May, I know that you hated me so much a few months ago that you refused to allow your 'nephew' to work with me and that we're standing in the smoking remains of a village that our combined actions helped to destroy. But, I want you to know right now that 'Peter' loves you. By the way, the fact that I was here almost immediately after the War Goblins interrupted your call with 'Peter' and that I know that 'Peter' considers you his mother in no way, shape, or form should be seen as proof that I'm really 'Peter.' Cool?"
Then, we've got him offering to pay mercenaries to switch sides. Really? Parker Industries is just writing checks to mercenaries? Is he going to pay the Sinister Six not to be bad guys anymore? Are we going to offer money to Mr. Negative not to be a mob boss anymore? I hope PI has an entire squad of lawyers ready to handle the cases under the Foreign Corrupt Practices Act.
Moreover, it doesn't help matters that Slott doesn't navigate the politics of Western charities and companies operating in non-Western countries as well as David did in "Spider-Man 2099." The idea that a local warlord would attack a Western charity's attempt to provide free power to a village is fine (if a little clichéd). But, Slott really hits us over the head with this "message" as Spidey interacts with two small children and explains that "some people don't like it when others have power." I totally rolled my eyes (and not just because of the pun).
We also get Spidey offering the girl a college scholarship when she suggests that he overloads the solar panels' magnets to create an emp blast to wipe out the War Goblins' equipment and gliders. I really have my doubts that any six-year-old could understand magnets' connections to emp blasts well enough to make that suggestion to Peter. But, even if the girl here did, Peter throwing out a college scholarship to her felt remarkably pat, along the same lines as him offering to pay the mercenaries. It would be OK if the morale of this story is that Peter learns that his newfound wealth can't solve all problems. But, he doesn't learn that lesson. In fact, he seems to be doubling down on the idea that it can.
Unfortunately, even when Slott tries to introduce some reality into the story, it doesn't work well. The regional official that initially told May that he approves all charity that General Mwenye will allow later refuses Spidey's offer to rebuild the panels because it'll make them a target again. Um, didn't he see that coming in the first place? If the warlord holds so much sway, why didn't he vet the project with him beforehand? Moreover, he goes to the bandaged man from last issue for protection after he rhetorically asks Spidey if he can guard their village forever. But, can't he? After all, he had Parker Industries security teams on the ground to help with the installation. Couldn't he leave them there? He can buy mercenaries, but he can't hire security? (That said, it's clever that the bandaged man is sending in the War Goblins to create the demand for protection and weapons. Smart. It's probably Donald Trump.)
In other words, meh. This issue is an unwelcome detour from the larger story that Slott is telling about the Zodiac. S.H.I.E.L.D. agents are able to take down Aquarius, Aries, and Capricorn, but Scorpio is nowhere to be found. In fact, they just find sets and props in four locations, leading Nick to wonder what Scorpio's plan is. Moreover, the mysterious stranger that offered to bring back Oksana to the Rhino does the same with Martha and Billy Connors in this issue. Slott even ups the ante, since the Lizard is able to tell that it's "really" them through smell, showing that it's not just some elaborate trick by Mysterio.
Hopefully we'll return to these more interesting stories next issue. But, given Peter's behavior here, Slott is also now burdened with the need to teach him the lesson that his wealth isn't going to be able to solve all his problems. Otherwise, this series -- and Peter -- is going to get insufferable fast.
** (two of five stars)
All-New Hawyeke #2 (HERE BE SPOILERS!)
Man, it's great to have the band together again. Sure, Lemire advances the plot, but he makes sure that it doesn't get in the way of the banter.
We learn that the Mandarin kept Clint and Kate alive because he had managed to capture one of the triplets and he needs Kate's help in making "it" work. Kate realizes that S.H.I.E.L.D. has cut her and Clint loose in the hope that the Mandarin will kill them. I'm not sure why they'd want them dead, but Lemire is clearly getting to that. We also still don't know what S.H.I.E.L.D. was doing with the triplets when they killed all those people in China. But, again, since the issue ends with Clint and Kate en route to take down S.H.I.E.L.D., I'm guessing that we're going to get answers sooner rather than later. (By the way, they're able to escape from the Mandarin due to the unexpected -- and totally awesome -- intervention of Marvel Boy, Kate's Plan B.)
But, this issue is really less about the MacGuffin and more about Clint and Kate. In a flashback, we see America Chavez try to convince Kate that saving "self-absorbed, chronically self-destructive" Clint isn't her responsibility, since he's a grown man. Kate acknowledges that, but she's clearly struggling with it, though it seems that she eventually agrees with America. In the future, though, it's all about the old-person banter. Clint just wishes that he was on the couch in sweatpants with Lucky 2. Don't we all?
*** (three of five stars)
We learn that the Mandarin kept Clint and Kate alive because he had managed to capture one of the triplets and he needs Kate's help in making "it" work. Kate realizes that S.H.I.E.L.D. has cut her and Clint loose in the hope that the Mandarin will kill them. I'm not sure why they'd want them dead, but Lemire is clearly getting to that. We also still don't know what S.H.I.E.L.D. was doing with the triplets when they killed all those people in China. But, again, since the issue ends with Clint and Kate en route to take down S.H.I.E.L.D., I'm guessing that we're going to get answers sooner rather than later. (By the way, they're able to escape from the Mandarin due to the unexpected -- and totally awesome -- intervention of Marvel Boy, Kate's Plan B.)
But, this issue is really less about the MacGuffin and more about Clint and Kate. In a flashback, we see America Chavez try to convince Kate that saving "self-absorbed, chronically self-destructive" Clint isn't her responsibility, since he's a grown man. Kate acknowledges that, but she's clearly struggling with it, though it seems that she eventually agrees with America. In the future, though, it's all about the old-person banter. Clint just wishes that he was on the couch in sweatpants with Lucky 2. Don't we all?
*** (three of five stars)
Secret Wars #8 (HERE BE SPOILERS!)
Honestly, I don't have that much to say here. Hickman seems to have given up explaining the motivations of the characters, so this issue is really just a blur of blasts and fists.
To recap the events (mostly fights):
- The Thing destroys Maestro's ship full of Hulks but then allows Franklin (controlling Galactus) to destroy him when he learns that he's Susie's son.
- After crash-landing into Castle Doom, Star-Lord is left to repair the ship while the Reeds head to Owen. Black Swan confronts Peter on Doom's behalf, and Star-Lord injects the World Tree with the last remnant of Groot, creating a souped-up version of him.
- Doom confronts Thanos as he leads the Annihilation Horde, but we're not really given an explanation of how he took control of it, since it didn't happen during "Infinity Gauntlet." At any rate, Doom destroys him and orders Annihilus to compensate for his treachery by taking on the rebels.
- Black Panther and Namor arrive with their army through the Siege Perilous, and Doom seems more scared of them than I think that he should be.
- The Reeds arrive at Owen at the same time as Valeria, who's brought Susan with her to show her that they've been living a lie.
- The Thing destroys Maestro's ship full of Hulks but then allows Franklin (controlling Galactus) to destroy him when he learns that he's Susie's son.
- After crash-landing into Castle Doom, Star-Lord is left to repair the ship while the Reeds head to Owen. Black Swan confronts Peter on Doom's behalf, and Star-Lord injects the World Tree with the last remnant of Groot, creating a souped-up version of him.
- Doom confronts Thanos as he leads the Annihilation Horde, but we're not really given an explanation of how he took control of it, since it didn't happen during "Infinity Gauntlet." At any rate, Doom destroys him and orders Annihilus to compensate for his treachery by taking on the rebels.
- Black Panther and Namor arrive with their army through the Siege Perilous, and Doom seems more scared of them than I think that he should be.
- The Reeds arrive at Owen at the same time as Valeria, who's brought Susan with her to show her that they've been living a lie.
With only one issue left, it seems unlikely that we're going to address some of the larger questions hanging over this series. First, we've never really sorted out the various doppelgängers enough to know exactly who we see rebelling against Doom here. Didn't Apocalypse die in "Age of Apocalypse?" Didn't Sinister die in "Inferno?" Are the same characters fighting Doom here the ones that we've seen in those series? If so, how did they get resurrected? Second, we've never really gotten a good explanation of why they're rebelling. How did Jane convince the Thor Corps to turn against Doom? Why is Black Swan siding with him? In the case of the Thors, I'm still hoping that we learn that Jane was able to turn the Thors because Doom's power was waning. But, I'm just guessing at that. It goes to my main problem with this series, that we never got to see the moment, the moment that explains how and why Doom began to lose control.
At this stage, I think the minimum bar that Hickman has to clear in terms of explaining the events of this series is answering the following two questions. First, how did Battleworld get created in the first place? Second, did Doom really need to have the control over Battleworld that we've seen here to save the Multiverse? The answers to these questions go to motives, whether Doom was just Doom trying to grab power or if he's really a misunderstood hero. After all, Reed didn't save the Multiverse. If we get at least those answers, I think that we could be OK. Sure, it would've been nice to get a better sense of the dynamics of Battleworld and how the various actors related to each other. But, if we can at least get down the motives and physics of this event, we can call it a day and move onto the new era. (Of course, that "new" era already started a few months ago, but I won't get into that.)
** (two of five stars)
Detective Comics #47 (HERE BE SPOILERS!)
(I accidentally read this issue before I read "Grayson" #15, so you can imagine my surprise when Damian, Jason, Tim, and the Robins are all in prison.)
In this issue, we finally start getting more details on the war on the Robins. We learn that Dick believes that the confrontation at the liquor store was a set-up. To his mind, it's too convenient that the cop entered the store just as the untrained Robin was apprehending the suspect. After the obligatory hero/hero confrontation, Dick shares this theory with Jim. (Said fight happens when Jim catches Dick riffling through someone's apartment, though it's unclear to me whose apartment it is and why they're both there.) Jim initially rejects Dick's theory, but, during their conversation, admits that his gut has been telling him that something similar. Together, they go to find out more information on Councilwoman Noctua.
Meanwhile, in prison, a member of the Court of Owls emerges from the shadows with a squad of Talons to "handle" the Robins before they can jeopardize the Court's plans for Gotham and the "Gray Son." In terms of the larger plot, we still don't know what the Court wants, other than Dick. (Heh.) At this stage, it's not clear to me what the Robins were preventing the Court from doing when it comes to their "plans" for Gotham and Dick. It seems like it has to be more than just using them to attract Dick to Gotham.
Meanwhile, in prison, a member of the Court of Owls emerges from the shadows with a squad of Talons to "handle" the Robins before they can jeopardize the Court's plans for Gotham and the "Gray Son." In terms of the larger plot, we still don't know what the Court wants, other than Dick. (Heh.) At this stage, it's not clear to me what the Robins were preventing the Court from doing when it comes to their "plans" for Gotham and Dick. It seems like it has to be more than just using them to attract Dick to Gotham.
My main problem with this issue, though, is the characterization. In fact, one of the problems of this entire cross-over event is that it functionally ignores the events of "Batman and Robin Eternal." Here, Jason and Tim are easily pushed to fighting with each other, even though they're partners in the other series. In fact, throughout the New 52!, they've always been portrayed as close. "Batman and Robin Eternal" reflects that relationship, as Jason repeatedly pressed Tim to trust him, telling him how important it was for them to be on each other's side. Instead, in this series, Fawkes makes it seem that the two of them are rivals that can barely stand each other, a characterization that we've never seen in the New 52! For most of the issue, I actually thought that they were just acting, part of some unspoken plan between them and Damian. But, it doesn't seem to be the case, unfortunately, so I'm just going to have to be disappointed. Hopefully subsequent authors will use the more standard portrayal of their relationship.
** (two of five stars)
Grayson #15 (HERE BE SPOILERS!)
King does a solid job here of picking up the ball from "Robin War" #1 and running with it.
Dick arrives at the Robins' underground training facility and basically opens "Robin School." He and the other "originals" soon identify the top four recruits. Not surprisingly, they just so happen to mirror the abilities of one of the originals: Dre is similar to Tim, Dax to Jason, Duke to Dick, and Isabella to Damian. Dick sends out the originals and these recruits in pairs to get more information about the cops' plans for the Robin War. However, it's a trap: Dick has been transmitting his planning conversations with the other originals to Jim Gordon, because he wants the cops to arrest everyone. That way, he can be sure that they're all safe and sound while he tries to get to the bottom of the problem. (I was wondering why he was awkwardly referring to Tim as "Red" and Jason as "Hood" during their conversation. I have to say, though, I'm not sure that I buy that Dick would be so careless in risking that one of the other Robins would call someone by their real name.) To make matters "worse," Dick makes sure that Damian, Jason, and Tim are also imprisoned with the rest of the Robins (including the ones left in the training facility) so that they can help everyone escape when Dick sends the signal. He tells Duke the truth (before abandoning him to the cops) so that he can make sure everyone knows the plan, because he knows that everyone sees him as the leader. But, I'm not sure the guys are going to be happy about it.
In truth, though, it's a pretty solid plan, if a devious one. In fact, it sort of proves the point that Damian was making, one that Dick disagreed was true. Damian believed that the original Robins were superior because Batman taught them. He was right, because we see here that the original original learned the lessons the best. This plan is as Bruce as Dick gets, even if he doesn't want to admit it.
*** (three of five stars)
Tuesday, March 1, 2016
Batman and Robin Eternal #10 (HERE BE SPOILERS!)
Given the three different stories running through this issue, it's probably better to keep them grouped together.
- We learn here that Mother gave one of her children, Jean-Paul Valley, to the Order of St. Dumas in exchange for a suite of software so advanced that it can foil even Tim's attempts to hack it. It's a pretty brilliant way to introduce Jean-Paul to the New 52, I have to say. That said, the way that the guys get the information is pretty unbelievable. They find Valley's file by searching for the "exact signal wavelength" that Mother used in Gotham. How exactly was the wavelength searchable? Moreover, why would the Order be so careless to keep the wavelength connected to Mother's file? If they went through the trouble of using a fictitious name for Mother to cover their financial transactions with her, you'd think that they'd also be careful enough to make sure that her name wasn't attached to the product that they made for her.
- In a flashback, Dick refuses to take off his mask after Bruce orders him to do so and rejects Bruce's assertion that he's only "support." Bruce returns to Mother and, in his conversation with her, Snyder and Tynion imply that maybe even Bruce is one of Mother's children. He tells a story of a kid in the school yard wanting him to know the "truth" about the Wayne legacy. Bruce didn't believe what the kid told him about his parents, so he beat him senseless. Now, it seems unlikely that the kid in the playground knew that Bruce was bio-engineered. But, Snyder and Tynion are hinting at some dark secret that the Waynes kept that somehow relates to the current story.
- The Dick and Harper story is the weakest, because Lanzing and Kelly skip a lot of steps. Like, a lot. First, we start with Harper somehow knowing Orphan's identity, without any explanation of how she discovered it. We merely see her holding a bunch of bank statements. Then, we see the two of them busting a number of heads, though it's unclear why they're doing so if they already knew Orphan's name. It leads them to the residence of someone named David Cain, but it's unclear what connection Cain has to Orphan. Is he Orphan (making Cass presumably his daughter or sister)? Is he Orphan's father? I'm increasingly convinced that Bruce didn't create Orphan, but Cass, in issue #1. But, if he did, then Cain would be dead if he were Cass' father. As such, we're still left with the question of his identity.
The first eight issues of this series were extremely well paced, with the revelations flowing naturally from the events that we saw unfold. But, Lanzing and Kelly have failed to make those connections as well in these last two issues, with the heroes essentially waving their hands in front of the board to explain how they got the information that they needed (i.e., Mother's file with Jean-Paul's information, Cain's bank statements). I get sometime that we're going to need to take shortcuts, but it's starting to happen way too frequently. I hope the next issue returns to the slow-and-steady approach that so far has distinguished this series from its predecessor.
** (two of five stars)
Batman #47 (HERE BE SPOILERS!)
OMG, the end of this issue is mind-blowing. Seriously, if you don't want it spoiled, stopped reading! (It's a double spoiler alert!)
The beginning of the issue -- showing Jim's fight with Bloom -- is pretty straight-forward. Jim maneuvers himself into a position where he can shut the vent over Rookie's missile array and then proceeds to immobilize him. He does so because he knows that Rookie will follow his programming to use his missiles when immobilized: the missiles hit the vent and explode, destroying Rookie. :( However, Bloom is still Bloom, and he has Jim on the ropes in short order. But, Jim has two tricks up his sleeve. First, he uses a charge from his suit to overcharge Bloom's seeds, knowing that they have an electromagnetic shell around the radioactive core. (Although I don't understand why disabling the shell would render the seed useless, it apparently did.) Second, he blocks the signal that Bloom was using to control Rookie and, apparently, his own powers. (I'm actually not sure if it was disabling the seed or the signal that robs Bloom of his powers.) At this point, Jim is able to take down Bloom pretty easily. But, Bloom isn't without his own tricks: a veritable squad of Blooms appears to free him from the Bat-tank just as Gordon is going to unmask him. (For what it's worth, Bloom again implies that he exists because of Jim. Maybe he is James, Jr.)
But, it's Duke's story that kicks us into high gear. He barely manages to escape from the Iceberg Lounge. He swims for shore, but he's almost killed by two goons when he arrives. However, Bruce is there and knocks out both men with a bat. We learn that Bruce was able to follow him because Duke used the center's computers to do his research (presumably about the Penguin). Bruce beseeches Duke to tell him why he's so cold to him, and Duke reveals that he's furious at him for giving up being the man he was, the man that inspired him and his parents. Bruce is confused, and Duke pushes, saying that he figured out that Duke was Robin because he always figures out everything. He tells him to stop being so selfish and figure out the riddle that he won't let himself solve. Duke finishes this conversation by standing in front of an on-coming train, and Bruce dives to save him, awakening something inside him. As Bruce later sits on a bench near where he had his "accident," he starts to tell himself that he's Batman. But, he's interrupted when someone sits next to him, someone else who had an accident there: the Joker.
That's right, ladies and gentlemen, GAME ON. Snyder is certainly implying that all the mumbo-jumbo about Bruce's mind being permanently re-written is just that: mumbo-jumbo. The point that Duke makes here isn't just that Bruce has the ability to remember his past if he wants to do so: it's also that he still has the skills that Alfred swore that he didn't have. (Has Alfred just been lying to everyone?) The Joker's appearance implies that he, too, may suffer from a similar amnesia, but that he also might be able to return. Now, at some point, Snyder is going to have to undo what he already told us, about the irreversible changes that dionesium made to Bruce's (and, presumably, the Joker's) brain. But, since it's clear that he knew where he was going with this story from the start, I assume that it's not going to be that difficult. But, the unknown here is whether Bruce will want to be Batman when he remembers. After all, Duke essentially accuses him of denying the information to himself because he wants the life that he has now. If that's true, even if confronted with his past as Batman, does that mean that he'll want to take back up the cowl?
***** (five of five stars)
Star Wars #13 (HERE BE SPOILERS!)
Favorite Quote: "Ow! Stop beating me with my own arm, your cretinous animal! Oh, the indignity!" -- Triple-Zero to Chewie, accurately conveying how the fighting goes in this issue
It's hard to review this issue. Aaron does such an amazing job with the atmosphere and tone that it's just hard to explain it. A summary of this issue would simply be that Han bumbles his way into saving Luke and that Leia finds herself face-to-face with Vader. But, this summary fails to capture the brilliance of the issue. It doesn't talk about Triple-Zero's hilarious blood-thirstiness, something that still hasn't gotten old. It doesn't describe Artoo's apparently profane screaming match with Beetee, a contest that ends when Beetee surprises him with his overwhelming arsenal (compared to Artoo's shocking wand). It fails to describe the amazingly in-character fight between Dr. Aphra and Han, full of a bravado that seems misplaced when it comes to an end after both of them shoot a nest of wasp-worms over the other's head. (They eventually knock each other unconscious when they run into each other while fleeing their respective swarm of bees.) In other words, just read the issue. It'll be worth your while.
**** (four of five stars)
Spidey #1 (HERE BE SPOILERS!)
OK, long-time Spidey fans, we have a decision to make here.
On the one hand, we can reject this effort to re-write Spider-Man's history. Now, Marvel may claim that it's not doing that, that it's just telling stories that we didn't see in the original Lee/Ditko run. But, after reading this issue, it's clearly not true. Bradshaw shows a number of moments that deviate from Peter's past as we know it: we've got Peter walking on a wall (rather than down a hallway) while the famed thief runs past him, a dark-haired Flash Thompson, a visibly younger Aunt May, etc. But, the changes aren't just cosmetic. Thomsom also introduces a number of alterations to the mythos as well: we're got Sajani as Peter's high-school rival, Gwen and him getting assigned to each other as study partners (her biology, him history), Flash and Gwen having an antagonistic relationship, etc. Moreover, we've got the more modern setting: Peter's slang ("Nailed it."), the African-American female principal, the tweeting, etc.
Particularly when it comes to the more modern setting, you have to wonder what Marvel is doing here. After all, Slott already did that, to great effect, with "Amazing Spider-Man: Learning to Crawl." It updated Peter's origin story and cleverly avoided messing with the original stories by showing us scenes between the classic fights. We had the tweeting, the caring teacher that acknowledged that Peter needed counseling, the more realistic Aunt May, etc. But, Slott didn't change any basics, as Thompson and Bradshaw do here. We could just consider this story to be the definitive update and call it a day.
Particularly when it comes to the more modern setting, you have to wonder what Marvel is doing here. After all, Slott already did that, to great effect, with "Amazing Spider-Man: Learning to Crawl." It updated Peter's origin story and cleverly avoided messing with the original stories by showing us scenes between the classic fights. We had the tweeting, the caring teacher that acknowledged that Peter needed counseling, the more realistic Aunt May, etc. But, Slott didn't change any basics, as Thompson and Bradshaw do here. We could just consider this story to be the definitive update and call it a day.
On the other hand, we can accept it for what it is, an attempt to reboot Spider-Man in a way that makes him an even more compelling character for the modern era. This arrangement will rely heavily on Thompson and Bradshaw not going too far. After all, the changes that they make here are fairly mild. OK, Flash isn't blond; he's still a bully. Aunt May is younger; but, really, she was always too old to be Peter's aunt in the first place. I think Sajani graduating from Peter's class might go a little too far, but, on the other hand, I'm intrigued how Thompson will try to streamline the sprawling cast of characters that various authors have introduced over the last 50+ years into an integrated unit. Maybe making Peter and Sajani high-school rivals adds a certain...punch to their current relationship that it otherwise lacks.
That said, even if Thompson and Bradshaw don't go too far, Sajani's presence here raises questions about the connection that this book will have to the other books. Will Peter refer to Sajani as a high-school classmate in "Amazing Spider-Man?" Will we learn that Hobie dated Gwen in middle school? I'm a little worried it's going to become very "Muppet Babies."
That said, even if Thompson and Bradshaw don't go too far, Sajani's presence here raises questions about the connection that this book will have to the other books. Will Peter refer to Sajani as a high-school classmate in "Amazing Spider-Man?" Will we learn that Hobie dated Gwen in middle school? I'm a little worried it's going to become very "Muppet Babies."
In other words, it's going to be about trust. Peter easily takes out the White Rabbit on his way to school and later prevents Doc Ock from stealing information from Oscorp during a field trip. (Thompson hilariously has Peter comment to himself that he needs to stop going on field trips.) So far, they're in bounds. It feels like a story that you could easily see Lee and Ditko telling. (Sure, he Instagrammed a photo of the defeated White Rabbit, but we'll ignore that part for the time being.) So long as they stay focused on the stories that we haven't seen and not changing the stories that we have seen, I'll stay with them. We need to avoid Han not shooting first. But, I'll be honest that I think we're looking at a high-risk enterprise here that could alienate more people than it attracts. We'll see how it goes. I'm here for now.
*** (three of five stars)
1872 TPB and Red Wolf #1 (HERE BE SPOILERS!)
I initially read "Red Wolf" #1, but it became clear that this issue was a continuation of the "1872" "Secret Wars" mini-series. In an impulsive moment of anal-retentiveness, I bought the TPB through the Marvel digital-comics site, so you're getting a pretty wide-ranging review here! Five issues for the price of one!
In a great example of pet peeve #2, Bruce Banner, Steve Rogers, and Tony Stark don't all die in the "1872" mini-series, as shown on the cover of "1872" issue #1: only Steve does. He's killed for trying to bring justice and order to the town of Timely, intervening to prevent a mob from killing Red Wolf. Red Wolf's crime? He was trying to blow up the dam that Governor Roxxon built to provide water to his mine, since it stole water from Red Wolf's tribe. Steve tries to get Red Wolf a fair trial so that the townspeople can hear what Roxxon's dam has done to the tribe, but Roxxon has sent Bullseye and a team of enforcers (Dr. Octopus, Electra, and Grizzly) to take care of Steve and Red Wolf. They kill Steve, and his death rallies the townsfolk: Stark gets sober and resumes construction of his Iron Man armor, Ben Ulrich commits to writing the truth in the "Timely Bulletin" (something he stopped doing when Roxxon had his wife scarred), Carol Danvers organizes the women to demand equal rights, and Natasha Barnes helps hide Red Wolf and agrees to revolt against the establishment with him to avenge her dead husband, Steve's former deputy.
Putting their plan in motion, Natasha takes Bruce to blow up the dam with his amped-up nitroglycerin on behalf of Red Wolf; in turn, Red Wolf puts on Steve's badge to take down Mayor Fisk on behalf of Natasha. (Duggan doesn't really explain the switch, but I think that it's because they know that Red Wolf would be stopped before he got to the dam.) At the dam, overseer Simon Williams forces Bruce to drink his concoction, though Natasha eventually kills Simon and his men. Bruce detonates himself at the dam, and Natasha returns to town, where Red Wolf has captured Fisk. In a nod to Steve's sense of justice, Red Wolf wants to put Fisk on trial, but Natasha kills him instead, freeing the town. The series ends with a number of hints of the future: an irradiated spider makes it way to the Parker homestead, the Punisher hunts down the Sinister Six (mercenaries that the "Bulletin" originally lied and said killed Rogers), a local Native American talks about the danger in the mine itself, and Natasha, Red Wolf, Stark, and someone else (a "Deputy Santos," based on "Red Wolf" #1) become the "Avengers of the West." The final lines pledge that they will return.
Putting their plan in motion, Natasha takes Bruce to blow up the dam with his amped-up nitroglycerin on behalf of Red Wolf; in turn, Red Wolf puts on Steve's badge to take down Mayor Fisk on behalf of Natasha. (Duggan doesn't really explain the switch, but I think that it's because they know that Red Wolf would be stopped before he got to the dam.) At the dam, overseer Simon Williams forces Bruce to drink his concoction, though Natasha eventually kills Simon and his men. Bruce detonates himself at the dam, and Natasha returns to town, where Red Wolf has captured Fisk. In a nod to Steve's sense of justice, Red Wolf wants to put Fisk on trial, but Natasha kills him instead, freeing the town. The series ends with a number of hints of the future: an irradiated spider makes it way to the Parker homestead, the Punisher hunts down the Sinister Six (mercenaries that the "Bulletin" originally lied and said killed Rogers), a local Native American talks about the danger in the mine itself, and Natasha, Red Wolf, Stark, and someone else (a "Deputy Santos," based on "Red Wolf" #1) become the "Avengers of the West." The final lines pledge that they will return.
Turning to "Red Wolf" #1, it's pretty clear that the series is set in this continuity, though the Avengers of the West are nowhere to be seen. Red Wolf has taken over the role of sheriff from Steve, but none of the other heroes that we saw in action in "1872" are obviously present. The story begins with Red Wolf breaking up a fight between "Brock" (clearly Eddie Brock) and "Sandy" (clearly Flint Marko) over cattle. Then, a kid named Alex alerts him to a strange murder, apparently by lightning, on the Michaels homestead. Red Wolf and Alex follow the tracks into the woods, and Red Wolf finds the trail of a modern-booted stranger (one that we saw exit the mine in the first panels of the story) as well as a young wolf pup that seems to be Lobo. The stranger wounds Alex, and Red Wolf brings him to his mother for healing. It's there where the townspeople and the stranger converge. The stranger bears modern technology and conveniently exposits that the mine is the site of a great convergence in the future. Red Wolf throws a dagger at him and the resultant energy blast sends him to the present.
I enjoyed the "1872" mini-series more than a lot of the other "Secret Wars" mini-series. Duggan tells a fun story with a clear narrative; like the other successful "Secret Wars" mini-series, he leaves you hoping that Marvel will continue the story. Unlike those other mini-series, though, Marvel has actually done so with "Red Wolf." However, like I mentioned, Duggan's ambitious re-imaging of the Marvel Universe in 1872 (similar to Gaiman's "Marvel 1602") isn't present in this first issue. In fact, Red Wolf is immediately transported to our future, and it's unclear what Duggan has planned for him. Is it going to be like "Spider-Man 2099," where Miguel is stuck in the present? Or, is Red Wolf just going to have a brief sojourn to the present? I guess we'll have to wait and see, though I'd like to go on record saying that I'd like us to return to the past in an expeditious manner, even if it's only for a visit to grab Lobo.
*** (three of five stars)
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