And so Duane Swierczynski's tenure as the writer of Birds of Prey ends not with a bang but with a quiet, rushed farewell. It didn't feel like Swierczynski saw his departure coming, because there's a lot of unseen action and sudden exposition in this issue. Basilisk, presumably the primary villain of the arc, is defeated off-panel, so that Black Canary and Strix can have more time to get to know one another. And though I enjoyed Strix's attempts at communication, Black Canary's speech about her power spikes being connected to her late husband was far to rapid and unnatural, so the scene fell flat overall. And there was a lot of that kind of dialogue, like when Starling was talking to Amanda Waller. First of all, did I miss something? Was I supposed to know they worked together? And secondly, their conversation explained their relationship in such a forced manner that it took me out of the story. I was so distracted by trying to figure out if this was new information and make sense of what they were saying to each other that I forgot what I was even reading for a minute. Very awkward work.
The arrival of a paramilitary strike force comes out of nowhere and isn't resolved, nothing really develops with the recent weirdness of Black Canary's powers, and Strix is the only member of the team we get to see in action. So there are a lot of holes and missteps in Swierczynski's final script, but it is so difficult these days to know whether to blame author or publisher. It could be that DC took this title from Swierczynski with too little warning, forcing him to tie up all his threads in a final twenty pages when he had been expecting much more space to do so. Either way, this was an unimpressive showing.
Romano Molenaar, inked by Vicente Cifuentes, does stronger work, but is still wobbly. It seems to depend on who is being drawn. Strix basically always look great, detailed and sharp and menacing. The same goes for Starling, who's spiritedness and sass shine through brightly. But Batgirl is far less consistent, with the shape and thickness of her mask varying, as well as the face underneath. And Condor's helmet grows and shrinks with every panel he's in. It seems like Molenaar just has a better handle on some of the cast than others, a problem I hope gets fixed as the new writers step in. After an issue by Jim Zub we'll get Christy Marx, who I think could be a good fit, but she'll need the support of solid visuals if she wants to return this series to its former glory.
There were a few banging panels, though, like Strix attacking Black Canary or Strix being shot. They mostly involved Strix, who hasn't won me over entirely yet as a new member of the team but looks great, at least, in Molenaar's hands. So I am excited to see her developed, perhaps even devising some means of speaking with her teammates, since she seems to have no voice. Swierczynski gives us a bit of that here, and I liked what he came up with, so there's potential for her to be a breakout character, I think. I suppose that is true of anyone right after they are introduced, but the potential still hasn't been squandered with Strix.
I'm not sure how bright the future of Birds of Prey looks right now, but Swierczynski's run ends, sadly, on a low point. He hasn't really gotten his groove back since the wedged-in "Night of the Owls" crossover, and now it seems he'll never get the chance. Too bad, because for a while this was one of the New 52's strongest titles. Maybe fresh blood will bring it back, but with the rocky artwork and petering out of this issue, my hopes aren't especially high.
4.0/10
Showing posts with label Birds of Prey. Show all posts
Showing posts with label Birds of Prey. Show all posts
Friday, February 22, 2013
Thursday, July 19, 2012
Pull List Review: Birds of Prey #11
I don't know if it was a matter of Travel Foreman and Timothy Green II just not meshing stylistically or what, but the art in this book fluctuated dramatically from page to page. Not in quality, so much. There were definitely some not-so-impressive panels, but the real weakness was to total lack of consistency in the look and feel of the cast. Of all the Birds, Poison Ivy shifted the most noticeably, sometimes looking like an anime character, sometimes like a proud and powerful classic comicbook supervillain, and at least once reminding me of an 80's sci-fi movie alien. It was true of the reast of the cast, too: the shape of their faces changed, the size of their eyes, etc. And the evil chairman of the corporation the Birds attacked looked like his head was made of melting play-dough. In his very first panel his face is stretched and warped to the point that I wondered if it might not be intentional. Like maybe he's a new supervillain with Clayface-like powers. But no, he's a regular guy, but apparently the artists on this book can't draw wrinkles on a human face without turning it into a gummy, running mess.
I don't want to too harshly criticize the art because it's not as if it was truly horrible or ever unclear. But it's jarring to have a visually uneven characters, and because this issue had so many different people involved in the story, these shifts happened on nearly every page. There are panels which, on their own, would be far more impressive, but when placed near other panels of the same characters that look wildly different, they lose some of their impact.
Duane Swierczynski's script also suffers from being less than steady. Through Poison Ivy, this issue acts as an info dump to move us into this new story arc, and though the core ideas behind her wicked plan are pretty cool in an only-superhero-comics-can-do-this sort of way, having her calmly and confidently explain them to her teammates is a lackluster approach. Also, I can't help but feel that her turn here, where she once again becomes the a full-fledged villain, would have been more effective if we were deeper into the series. This team hasn't yet had a chance to settle into any kind of grove, and already we get a significant shake-up. And because Ivy is the least surprising character to have act as betrayer, the effectiveness of this plotline is dampened considerably.
And that "cliffhanger" ending where we hear but don't see a gunshot? Weak sauce.
Overall, a disappointing issue. Travel Foreman's move to the title has yet to top what Jesus Saiz was doing before, and the narrative hasn't been able to get all the way back on track since then, either. With a second artist this month and one of the least exciting scripts to date, Birds of Prey #11 just misses the mark.
4.0/10
I don't want to too harshly criticize the art because it's not as if it was truly horrible or ever unclear. But it's jarring to have a visually uneven characters, and because this issue had so many different people involved in the story, these shifts happened on nearly every page. There are panels which, on their own, would be far more impressive, but when placed near other panels of the same characters that look wildly different, they lose some of their impact.
Duane Swierczynski's script also suffers from being less than steady. Through Poison Ivy, this issue acts as an info dump to move us into this new story arc, and though the core ideas behind her wicked plan are pretty cool in an only-superhero-comics-can-do-this sort of way, having her calmly and confidently explain them to her teammates is a lackluster approach. Also, I can't help but feel that her turn here, where she once again becomes the a full-fledged villain, would have been more effective if we were deeper into the series. This team hasn't yet had a chance to settle into any kind of grove, and already we get a significant shake-up. And because Ivy is the least surprising character to have act as betrayer, the effectiveness of this plotline is dampened considerably.
And that "cliffhanger" ending where we hear but don't see a gunshot? Weak sauce.
Overall, a disappointing issue. Travel Foreman's move to the title has yet to top what Jesus Saiz was doing before, and the narrative hasn't been able to get all the way back on track since then, either. With a second artist this month and one of the least exciting scripts to date, Birds of Prey #11 just misses the mark.
4.0/10
Thursday, June 21, 2012
Pull List Review: Birds of Prey #10
Initially, I was excited when I heard Travel Foreman would be coming on as the regular artist for Birds of Prey. After this issue, though, I'm far less enthused. It's not like Foreman does bad work across the board or anything, and there's actually a few moments of greatness. The full page of the disgusting plant monster attacking, for example, or later when Katana slices her way through a horde of smaller plant soldiers. But when it comes to the other characters, there are some clear inconsistencies, and in the case of Black Canary, some straight-up awkward, unnatural-looking panels. I understand that Foreman makes Canary's mouth unrealistically wide on purpose to display her scream-based powers, but the result is jarring and weird. And her strange, shifting facial features don't stop there, anyway, the worst example being when she's arguing with Batman. Her cheeks seemed stretched, like the bottom of her jaw is barely attached to the top, and while that may have been intentional on Foreman's part, he didn't stick the landing, and she ends up looking like she's made of putty rather than flesh.
The ultimate feel of Birds of Prey #10 is that the art was more concerned with the nameless monsters than the stars of the title, because there's more detail in the plant creatures and, despite being scientific impossibilities, they're more lifelike. Maybe Foreman is getting used to the cast, figuring them out one by one or something, because his Katana is appropriately imposing and even Starling has more good panels than bad, but overall there are too many weak or distracting artistic moments in this issue.
It's not the most stable of narratives, either. This sort of felt like a time-killer issue, not a great choice after last month's "Night of the Owls" crossover which felt very much the same. The Birds are attacked mysteriously in a strange place, and though the final page has Poison Ivy promising to explain the situation, all we get this time out is a drawn out fight/chase scene to set up the new arc. Duane Swierczynski clearly has a longer-term plan for this location and its threats, but for now that plan is wholly obscured, and the new villain or villains are nameless and faceless, which doesn't make a strong case for readers to come back next month.
I did enjoy Swierczynsk's expansion of Black Canary's powers, conceptually at least, but it sort of came out of left field for her teammates and the reader alike. Ditto the flashback with Batman, which I'm not convinced served any narrative purpose other than needlessly tying together last month's issue and this one. And maybe that's the real problem with Birds of Prey #10---it tries to follow a lame, ill-fitting tie-in story, reconnect back with the events that have come before, and kick off a new arc all at once. That may just have been one too many goals, and so the issue as a whole feels loosely cobbled together, in story and art both.
4.5/10
The ultimate feel of Birds of Prey #10 is that the art was more concerned with the nameless monsters than the stars of the title, because there's more detail in the plant creatures and, despite being scientific impossibilities, they're more lifelike. Maybe Foreman is getting used to the cast, figuring them out one by one or something, because his Katana is appropriately imposing and even Starling has more good panels than bad, but overall there are too many weak or distracting artistic moments in this issue.
It's not the most stable of narratives, either. This sort of felt like a time-killer issue, not a great choice after last month's "Night of the Owls" crossover which felt very much the same. The Birds are attacked mysteriously in a strange place, and though the final page has Poison Ivy promising to explain the situation, all we get this time out is a drawn out fight/chase scene to set up the new arc. Duane Swierczynski clearly has a longer-term plan for this location and its threats, but for now that plan is wholly obscured, and the new villain or villains are nameless and faceless, which doesn't make a strong case for readers to come back next month.
I did enjoy Swierczynsk's expansion of Black Canary's powers, conceptually at least, but it sort of came out of left field for her teammates and the reader alike. Ditto the flashback with Batman, which I'm not convinced served any narrative purpose other than needlessly tying together last month's issue and this one. And maybe that's the real problem with Birds of Prey #10---it tries to follow a lame, ill-fitting tie-in story, reconnect back with the events that have come before, and kick off a new arc all at once. That may just have been one too many goals, and so the issue as a whole feels loosely cobbled together, in story and art both.
4.5/10
Thursday, May 17, 2012
Pull List Reviews 05/17/2012
Avengers vs. X-Men #4: Somehow, even though so little happened, I ended up liking this issue slightly more than the previous three. Partly it was John Romita, Jr. who, despite some noticeable mistakes (the guy cannot get a handle on Colussus' helmet, huh?) generally delivered stronger work than before. The Polar Bear was nice looking, and Romita seems to have finally pinned down Hope. Mostly, though, I just enjoyed the Hope-Logan interactions as written by Jonathan Hickman. To my knowledge, he's fairly new to these characters, but I warmed to them. For a while, anyway. In the end it all got ruined because Wolverine decided that being a dick on the Moon is somehow different/better than just doing it on Earth, and then there was some dumb yelling, and then we were done. The middle was also weak, showing us tiny and often poorly-drawn glimpses of fights taking place in other titles. Still unimpressive overall, but just the tiniest bit less so than the earlier issues.
4.0/10
Birds of Prey #9: I understand that, ostensibly, Birds of Prey lives within the bat-family of titles. And it takes place in Gotham, too, so I see the argument for including it in the "Night of the Owls" crossover. However, so much about this issue felt forced: their reasons for joining the fight, the solution they reach to kill the Talon, and especially the incredibly rushed ending. Travel Foreman is a welcome addition, and draws the hell out of the Talon, so if upcoming villains can similarly fit his style I think he's going to elevate the series overall. He did make Starling a bit more scantily-clad than necessary when seen through the Talon's twisted perspective, but he killed it with Katana and Canary both, so I think I can let that slide. But all Foreman got to draw here was one long, drawn out fight, and no matter how good that looks it gets boring. Hopefully once Duane Swierczynski doesn't have to shoehorn a crossover story in, he can return to the excellent superhero action-thriller he's been writing all along.
5.5/10
Daredevil #13: I just don't think Khoi Pham is right for this title. He did an OK job with Daredevil himself, but his Foggy Nelson and Matt Murdock are both failures. And the panel where we see things as they look through Daredevil's pink sonar-vision things was a mess. Come to think of it, the New Avengers didn't look too great, either. Though not quite as bad as his first time on the title, Pham still feels like a poor fit here. Unfortunately, the story doesn't do all that much to help. I'm not a big fan of trick endings, but more than that, the whole thing felt more complicated than necessary, particularly when Daredevil ended up giving the drive to someone who asked for it ages ago. I know DD wanted to give Megacrime a new target, but I just wasn't thrilled with the solution Mark Waid cooked up. Still, Waid has earned a lot of credit with this title so far, and now that the Omega Drive stuff is winding down I'm anxious to see what's next. Plus, you know, DD in Latveria intrigues me...
4.5/10
Hardcore #1: A fairly standard first issue: introduce the high concept, the good guy, the bad guy, and the hook. I guess it's not totally obvious yet if Drake or Markus will be the ultimate hero of this tale, or if either of them even will be, but for the time being the roles seem set. The basic premise is a pretty cool bit of spy sci-fi, and Robert Kirkman introduces it clearly, but the exposition is largely delivered through kind of lame dialogue. While overall the character voices are strong, in those moments where they are explaining the concepts or their own actions they sound unnatural. Brian Stelfreeze handles the action scenes and the sci-fi elements all very well, and brings a nice energy to the overall feel of the book. His characters have some generic details, like facial shapes and glasses and such, but we know who's who and there's a lot of fun, entertaining stuff. I'm definitely curious to follow the title from here.
6.0/10
Hellblazer #291: I see why this is officially the epilogue to "Another Season in Hell" but truthfully it's more of a standalone story. A really good one. Constantine assembles a simple enough plan to take down his evil twin, puts it into action, and succeeds. Sometimes it's nice to just watch the hero win. Sometimes it's what they and the reader need. And it always feels good to have a major plot thread like this finally reach its resolution. Gemma is seemingly shuffled off the board for the time being, after being an integral part of the cast for a long stretch, and it feels not just right but good to see her go. First, of course, we get to see her torture the shit out of her own personal demon, and that feels just as good as her departure. Gael Bertrand really knocks out the artwork during Gemma's attack, and actually did a pretty fantastic job all over. At first his style was a bit jarring, but once I settled in it felt totally fitting. In a story about luring out a demon, Bertrand makes everyone looks a bit demonic, which sets a nice mood. Peter Milligan continues to tell wonderful tales of dark magic and violence and the Constantine clan, offering up a done-in-one story that still has major significance for the larger series.
8.5/10
Saga #3: Yes, this series is Brian K. Vaughan's idea, but make no mistake, Fiona Staples is the reason it is so excellent. Vaughan kicks ass in his own right. He keeps us plugged in to all the previous characters and advances their stories while still primarily using the issue to introduce Izabel, the ghost girl with no legs from the cover. And Izabel is a lot of fun. She's perhaps a bit of an archetypal chatty teen, but her history is interesting and I appreciate her go-getter attitude. I also continue to love The Will, and adding a bit of bitter romance to his character through The Stalk was a brilliant development. However, as I said, Fiona Staples' art is the reason to be reading this book. I finally realized it when I got to the page of The Will eating cereal with his cat. It so perfectly set the mood of the character for the conversation that followed. But really everything Staples draws, right down to her awesome colors, is breathtaking. Even the violent bits soothe the eyes. Vaughan and Staples are carefully constructing a universe together, and so far it looks and feels amazing.
8.0/10
Scalped #58: Very much a middle chapter, Scalped #58 is great, but the actual events of the issue didn't wow me. Important and heavy stuff happened, yes, but really Jason Aaron just turned the temperature up a little bit on all the chaos, bringing things that much closer to truly bubbling over. The cast seems to be getting set up for a final confrontation of some kind where everyone is trying to kill everyone else, but in this issue all we get are a few small moves in that direction. Important moves, yes, but small ones, like Dash learning about his child or Dino proposing an attack on Red Crow. Still, with only two issues left, Aaron and artist R.M. Guera both clearly know what they're doing from here on out. Guera brings his typical A game, which I mention as a courtesy since it's basically a given that any issue of Scalped which he draws will look phenomenal. Guess what? This one does, too. As big a void as it's going to leave, I'm more excited to read the conclusion to Scalped than anything else currently coming down the pipeline.
7.5/10
The Shadow #2: Garth Ennis' take on The Shadow is superb. Lamont Cranston is a no-nonsense, no-mercy kind of hero, who feels a genuine hate toward his foes. He acknowledges a certain darkness within himself, and embraces it, gladly giving up his own soul to fight the good fight. He's also a total badass, able to handle himself in a fight on an airplane where he is outnumbered and outgunned. And the details of his powers that we discover this issue make him all the more terrifying and fascinating. Ennis also writes a fully-realized and highly-likable Margo Lane. She's strong and capable but ultimately kind, an ideal counterbalance for Cranston whose just strong and hard from head to toe. They're a fun couple, and as we learn about them they also learn about each other. Aaron Campbell has a few rough moments on art, but mostly triumphs. The champagne glass in the eye is a great image, as are the fire extinguisher going off and The Shadow's initial entrance. Campbell is a talented noir artist, which is, of course, exactly what this story calls for. The Shadow is very quickly climbing up the list of my current favorite titles
8.0/10
Thunderbolts #174: A very Thunderbolts kind of ending, to be sure. Fixer being at the heart of the story helped with that, as did Jeff Parker's skillful use of his entire enormous cast. Parker and artist Declan Shalvey both have clearly hit a real groove with this series, and I am relieved the name change doesn't mean a change in creative team or, necessarily, cast. There will be additions, but based on this issue pretty much all the old-timers are sticking around, somewhen or another. That's definitely good news, but I appreciate that the end of the title Thunderbolts included the end of one its founding character's stories. An intelligent and satisfying way to make the transition.
6.5/10
Uncanny X-Men #12: So, why is Cyclops comfortable with ALL OF THE OTHER CHILDREN being in Avengers custody, but not Hope? I get that he wants the Phoenix to get to her and is afraid the Avengers will prevent that or whatever, but it still felt like it undermined his position somewhat the way he so forcefully brushed that topic aside. That's just one small gripe, and truth be told I have many. This title seems to really suffer from being forced into a crossover, because so far all that its tie-ins have offered is a bunch of fighting with no victors and no point. Visually, Greg land continues to underwhelm, particularly with Hepzibah and Namor. Their faces kept bothering me, as did their less-than-witty flirting from Kieron Gillen. The saving grace of this issue was the Tabula Rasa guy (whose name escapes me or maybe doesn't exist). He had some really fun bits all throughout, and his final assumption that all this fighting would lead to mating was awesome. A perfect little fuck you to the whole event. Even if that's not the intention, that's how I choose to read it.
4.5/10
Wonder Woman #9: So, so frustrating. I know Brian Azzarello likes wordplay, but Strife's stupid little turns of phrase alone made me want to pull my hair out. As if that wasn't enough, Tony Atkins doesn't make her look nearly as cool or powerful as when Cliff Chiang is drawing. And she's on practically as many pages as the title character. Speaking of, Diana was especially passive here. I'm starting to find this take on the character less of a stoic badass and more of an impossible-to-read, weird sort of blank slate. Her conversation with Persephone was as dull as it was uncomfortable. Ditto her chat with Hades at the end. Meanwhile, we meet not only Persephone but Aphrodite, Hades' father, and those weird dog-women maidens, too. I assume they have names from classic mythology, but I don't know 'em. The point is, Azzarello is piling on new characters, racing through his mission of building a complex world for the gods of Wonder Woman, and sacrificing storytelling along the way. This series impressed me so much when it started that I have tried to stick with it in these recent, rocky months, but this was a definite low point.
3.5/10
4.0/10
Birds of Prey #9: I understand that, ostensibly, Birds of Prey lives within the bat-family of titles. And it takes place in Gotham, too, so I see the argument for including it in the "Night of the Owls" crossover. However, so much about this issue felt forced: their reasons for joining the fight, the solution they reach to kill the Talon, and especially the incredibly rushed ending. Travel Foreman is a welcome addition, and draws the hell out of the Talon, so if upcoming villains can similarly fit his style I think he's going to elevate the series overall. He did make Starling a bit more scantily-clad than necessary when seen through the Talon's twisted perspective, but he killed it with Katana and Canary both, so I think I can let that slide. But all Foreman got to draw here was one long, drawn out fight, and no matter how good that looks it gets boring. Hopefully once Duane Swierczynski doesn't have to shoehorn a crossover story in, he can return to the excellent superhero action-thriller he's been writing all along.
5.5/10
Daredevil #13: I just don't think Khoi Pham is right for this title. He did an OK job with Daredevil himself, but his Foggy Nelson and Matt Murdock are both failures. And the panel where we see things as they look through Daredevil's pink sonar-vision things was a mess. Come to think of it, the New Avengers didn't look too great, either. Though not quite as bad as his first time on the title, Pham still feels like a poor fit here. Unfortunately, the story doesn't do all that much to help. I'm not a big fan of trick endings, but more than that, the whole thing felt more complicated than necessary, particularly when Daredevil ended up giving the drive to someone who asked for it ages ago. I know DD wanted to give Megacrime a new target, but I just wasn't thrilled with the solution Mark Waid cooked up. Still, Waid has earned a lot of credit with this title so far, and now that the Omega Drive stuff is winding down I'm anxious to see what's next. Plus, you know, DD in Latveria intrigues me...
4.5/10
Hardcore #1: A fairly standard first issue: introduce the high concept, the good guy, the bad guy, and the hook. I guess it's not totally obvious yet if Drake or Markus will be the ultimate hero of this tale, or if either of them even will be, but for the time being the roles seem set. The basic premise is a pretty cool bit of spy sci-fi, and Robert Kirkman introduces it clearly, but the exposition is largely delivered through kind of lame dialogue. While overall the character voices are strong, in those moments where they are explaining the concepts or their own actions they sound unnatural. Brian Stelfreeze handles the action scenes and the sci-fi elements all very well, and brings a nice energy to the overall feel of the book. His characters have some generic details, like facial shapes and glasses and such, but we know who's who and there's a lot of fun, entertaining stuff. I'm definitely curious to follow the title from here.
6.0/10
Hellblazer #291: I see why this is officially the epilogue to "Another Season in Hell" but truthfully it's more of a standalone story. A really good one. Constantine assembles a simple enough plan to take down his evil twin, puts it into action, and succeeds. Sometimes it's nice to just watch the hero win. Sometimes it's what they and the reader need. And it always feels good to have a major plot thread like this finally reach its resolution. Gemma is seemingly shuffled off the board for the time being, after being an integral part of the cast for a long stretch, and it feels not just right but good to see her go. First, of course, we get to see her torture the shit out of her own personal demon, and that feels just as good as her departure. Gael Bertrand really knocks out the artwork during Gemma's attack, and actually did a pretty fantastic job all over. At first his style was a bit jarring, but once I settled in it felt totally fitting. In a story about luring out a demon, Bertrand makes everyone looks a bit demonic, which sets a nice mood. Peter Milligan continues to tell wonderful tales of dark magic and violence and the Constantine clan, offering up a done-in-one story that still has major significance for the larger series.
8.5/10
Saga #3: Yes, this series is Brian K. Vaughan's idea, but make no mistake, Fiona Staples is the reason it is so excellent. Vaughan kicks ass in his own right. He keeps us plugged in to all the previous characters and advances their stories while still primarily using the issue to introduce Izabel, the ghost girl with no legs from the cover. And Izabel is a lot of fun. She's perhaps a bit of an archetypal chatty teen, but her history is interesting and I appreciate her go-getter attitude. I also continue to love The Will, and adding a bit of bitter romance to his character through The Stalk was a brilliant development. However, as I said, Fiona Staples' art is the reason to be reading this book. I finally realized it when I got to the page of The Will eating cereal with his cat. It so perfectly set the mood of the character for the conversation that followed. But really everything Staples draws, right down to her awesome colors, is breathtaking. Even the violent bits soothe the eyes. Vaughan and Staples are carefully constructing a universe together, and so far it looks and feels amazing.
8.0/10
Scalped #58: Very much a middle chapter, Scalped #58 is great, but the actual events of the issue didn't wow me. Important and heavy stuff happened, yes, but really Jason Aaron just turned the temperature up a little bit on all the chaos, bringing things that much closer to truly bubbling over. The cast seems to be getting set up for a final confrontation of some kind where everyone is trying to kill everyone else, but in this issue all we get are a few small moves in that direction. Important moves, yes, but small ones, like Dash learning about his child or Dino proposing an attack on Red Crow. Still, with only two issues left, Aaron and artist R.M. Guera both clearly know what they're doing from here on out. Guera brings his typical A game, which I mention as a courtesy since it's basically a given that any issue of Scalped which he draws will look phenomenal. Guess what? This one does, too. As big a void as it's going to leave, I'm more excited to read the conclusion to Scalped than anything else currently coming down the pipeline.
7.5/10
The Shadow #2: Garth Ennis' take on The Shadow is superb. Lamont Cranston is a no-nonsense, no-mercy kind of hero, who feels a genuine hate toward his foes. He acknowledges a certain darkness within himself, and embraces it, gladly giving up his own soul to fight the good fight. He's also a total badass, able to handle himself in a fight on an airplane where he is outnumbered and outgunned. And the details of his powers that we discover this issue make him all the more terrifying and fascinating. Ennis also writes a fully-realized and highly-likable Margo Lane. She's strong and capable but ultimately kind, an ideal counterbalance for Cranston whose just strong and hard from head to toe. They're a fun couple, and as we learn about them they also learn about each other. Aaron Campbell has a few rough moments on art, but mostly triumphs. The champagne glass in the eye is a great image, as are the fire extinguisher going off and The Shadow's initial entrance. Campbell is a talented noir artist, which is, of course, exactly what this story calls for. The Shadow is very quickly climbing up the list of my current favorite titles
8.0/10
Thunderbolts #174: A very Thunderbolts kind of ending, to be sure. Fixer being at the heart of the story helped with that, as did Jeff Parker's skillful use of his entire enormous cast. Parker and artist Declan Shalvey both have clearly hit a real groove with this series, and I am relieved the name change doesn't mean a change in creative team or, necessarily, cast. There will be additions, but based on this issue pretty much all the old-timers are sticking around, somewhen or another. That's definitely good news, but I appreciate that the end of the title Thunderbolts included the end of one its founding character's stories. An intelligent and satisfying way to make the transition.
6.5/10
Uncanny X-Men #12: So, why is Cyclops comfortable with ALL OF THE OTHER CHILDREN being in Avengers custody, but not Hope? I get that he wants the Phoenix to get to her and is afraid the Avengers will prevent that or whatever, but it still felt like it undermined his position somewhat the way he so forcefully brushed that topic aside. That's just one small gripe, and truth be told I have many. This title seems to really suffer from being forced into a crossover, because so far all that its tie-ins have offered is a bunch of fighting with no victors and no point. Visually, Greg land continues to underwhelm, particularly with Hepzibah and Namor. Their faces kept bothering me, as did their less-than-witty flirting from Kieron Gillen. The saving grace of this issue was the Tabula Rasa guy (whose name escapes me or maybe doesn't exist). He had some really fun bits all throughout, and his final assumption that all this fighting would lead to mating was awesome. A perfect little fuck you to the whole event. Even if that's not the intention, that's how I choose to read it.
4.5/10
Wonder Woman #9: So, so frustrating. I know Brian Azzarello likes wordplay, but Strife's stupid little turns of phrase alone made me want to pull my hair out. As if that wasn't enough, Tony Atkins doesn't make her look nearly as cool or powerful as when Cliff Chiang is drawing. And she's on practically as many pages as the title character. Speaking of, Diana was especially passive here. I'm starting to find this take on the character less of a stoic badass and more of an impossible-to-read, weird sort of blank slate. Her conversation with Persephone was as dull as it was uncomfortable. Ditto her chat with Hades at the end. Meanwhile, we meet not only Persephone but Aphrodite, Hades' father, and those weird dog-women maidens, too. I assume they have names from classic mythology, but I don't know 'em. The point is, Azzarello is piling on new characters, racing through his mission of building a complex world for the gods of Wonder Woman, and sacrificing storytelling along the way. This series impressed me so much when it started that I have tried to stick with it in these recent, rocky months, but this was a definite low point.
3.5/10
Thursday, April 19, 2012
Pull List Reviews 04/19/2012
Big fat stack of comics this week so let's get to it.
Avengers vs. X-Men #2: What a misfire. Really across the board, this issue was a letdown. John Romita, Jr.'s pencils were highly inconsistent and never impressive. For a book all about two teams fighting, he sure had a hard time drawing more than a couple members of either team in any given panel. But even worse, I am sad to say, was Jason Aaron's script. From the out-of-place, over-the-top, unnecessary narration to some laughable moments of dialogue (e.g. Storm screaming about a marriage counselor in the middle of combat) Aaron failed to make me the least bit interested in what was going on. Which was not much, anyway, just some rehashing of the weak, half-baked "reasons" each side has for fighting this fight, lots of punching and smack talk, and Hope continuing to be sort of a brat about the whole situation. The end. This event needs to pick up some steam real fast, because it's gotten worse each issue so far.
2.5/10
Batman #8: This whole Court of Owls thing is getting a bit tiresome, so I am excited for the crossover to get rolling and get over with. I don't hate the Court as villains, but I'm not wowed by them either, and there have been some very questionable decisions and reveals along the way from Scott Snyder and company. Luckily, Batman #8 mostly avoid those kinds of developments, telling a very brief and effective story about Wayne Manor coming under attack and how Bruce and Alfred work together to save themselves, their home, and their city. It's a lot of fun and very fast paced, with the tension and action ramping up quickly and then staying quite high for the rest of the issue. The partnership between Bruce and Alfred is very natural, and Greg Capullo makes their fear in the face of their enemies and their concern for one another come through in his art. He does a better job with Alfred than Bruce, but they each have some great moments. The best visuals, however, come from the army of slightly varied but still somehow uniform Talons. An impressive and frightening group.
I was not wild about the closing page of the main story---we'll see where it goes before passing final judgement, I guess---or any of the back-up tale (although YAY for Rafael Albuquerque Batman art!) but up until those final pages, a definite win.
6.5/10
Birds of Prey #8: This title is nothing if not reliable. Solid superhero entertainment every month, with this issue acting as a particularly nice example, if only because it more or less stands alone. Not that everything is neatly resolved at the end, but the bad guys which the Birds deal with this issue have nothing to do with Choke, the evil mastermind of the first arc. And though some larger developments are left to be resolved later, the immediate threat of the issue is handled all in one fully-contained and very well-done fight. That threat, a team called The Infiltrators who has it in for Black Canary, is a bizarre group in both their powers and personalities, but Duane Swierczynski and Jesus Saiz introduce them deftly and rapidly and in a way that never slows the story or detracts from the fun. Indeed, one of The Infiltrators, Napalm, was the funniest and most enjoyable part of the issue. I have yet to be truly floored by this title, but also yet to be at all disappointed.
6.5/10
The Defenders #5: Matt Fraction's story was a bit up-and-down here, but I thoroughly enjoyed Mitch Breitweiser's art. Particularly in the underwater sequence that makes up the first half of this issue. In fact, that first half was much stronger than the second in almost every way. It had all the action and humor and mystery this title is always seeped in, but somehow it was still a bit calmer than usual, less frantic and overwhelming, and I think Breitweiser's art is a huge part of that. Once our heroes came out from the sea and began to excavate the Nautilus, things started to get a little bit jumpy, and while nothing was all that confusing, it definitely became a few degrees more muddled. Still, from cover to cover, Fraction did a great job with Namor's voice (more than anything this made me wish Fraction could just do a Namor series) and for the few lines he had, Danny Rand's voice, too. I wish it had been a steadier story, but I suppose it was really none too shabby, and perhaps the best looking issue of this incarnation of The Defenders so far.
7.0/10
Hellblazer #290: A really good ending to a pretty good storyline, Hellblazer #290 continues to add to the ever-growing dysfunction of John Constantine's family. John's relationship to his sister Cheryl, his niece Gemma, and his father-in-law Terry all go through some pretty significant developments here. Not to mention his wife Epiphany's own relationship to Terry. And we get set up for yet another appearance of the Demon Constantine in coming issues, which is good news for us as readers. Peter Milligan has definitely found a groove on this title, and even when nothing spectacular happens (like here), he keeps me coming back for more, always anxious to see what might go down next.
6.0/10
Prophet #24: This was EXACTLY what I wanted to see after the incredible opening three-issue arc of this Prophet reboot. A brand new John Prophet in a brand new world, but still a story that builds on the notion of a universe full of these men working toward some mysterious, cosmic common goal. Farel Dalrymple provides exceptional artwork throughout, especially the little girl guide and what she turns out to really be, but the true star of this book as always is Brandon Graham. His captions are so excellently written, so deliciously paced, and always know exactly what and how much to leave to the art. It's pretty uncommon that this kind of stylized-yet-understated narrative voice is so expertly employed in the comicbook medium, because so much of the comicbook world is filled with bombastic, over-powered archetypes. John Prophet is none of those things, and it makes his book all the more worth reading. It creeps closer to the top of my list of favorite titles every issue.
Also, much better back-up story than last time. A bit of an old lesson, perhaps, but told in a very fun and simple new way. And just like in the main story, really interesting and reliable art.
9.0/10
Rachel Rising #7: While not as strong an installment as many of the preceding ones, Rachel Rising #7 certainly isn't weak, either. It's just that rather than having any new deaths or very much new horror, this issue takes some time to set up important stuff for the future. Jet is undead just like Rachel, which can't be anything less than hugely significant. There's now a local detective involved in all this madness, which is bound to add some tension to the whole scenario. And then there's the final sequence, which I won't spoil, but is higher up on the insanity scale than perhaps anything Terry Moore has given us in Rachel Rising so far. And that's most certainly a good thing. Perhaps a bit slower than what came before it, but still full of rich, compelling characters trying as hard as they can to deal with an impossible situation. That's good fiction, no matter what.
6.0/10
The Shadow #1: Essentially what Garth Ennis offers us in this debut is a chilling character study of the titular "hero." And it's the perfect way to kick off The Shadow, a character who has been reinvented and interpreted numerous times over the decades. It doesn't matter what, if any, preconceived notions you have of Lamont Cranston going into this book, because Ennis and artist Aaron Campbell make it brutally clear what their version of the man is going to be like: unrelenting, unforgiving, brilliant, deadly, and arrogant. Even when dealing with his allies, he's intentionally a pain in the ass. Hell, even with Margo Lane, maybe especially with her, his I'm-above-it-all attitude shines through. But from what we've seen so far, he can back that attitude up all the way, and it makes me thrilled to see what else this new series has in store.
8.0/10
T.H.U.N.D.E.R. Agents #6: Pretty weak sauce. The worst Wes Craig art to date on T.H.U.N.D.E.R. Agents (which is really saying something) and also the least interesting script of Nick Spencer's entire run (yes, all 16 issues, not just the six that make up his second volume). Not the worst script, maybe, but by far the dullest. Mostly just Colleen talking to whoever it is she was seen talking to in Sri Lanka waaaaaaaay back in the first issue of the first volume, info-dumping so the reader doesn't have any hanging questions at all. And in a spy series, that kind of sucks. Everything gets so neatly tied up that it feels too neat, almost out of place for a title that has been hard to slow or pin down since it began. Cafu draws the Sri Lanka segments and does a really great job, but he has so little to draw (again, pretty much just Colleen's face or the face of her companion) and it is cushioned by such wonky Wes Craig nonsense that the overall effect is weakened. I've been a bit cool on this title for a while now anyway, I suppose, but at the very least I expected the finale to be dynamic and adventurous and full of fatalities. I got zero from that list.
4.0/10
Thunderbolts #173: No question, this was a better chapter than the first of this Thunderbolts vs. Thunderbolts story. Fixer has been a highlight of this title under Jeff Parker's writing all along, and watching him interact with his younger, wilder self is both a lot of fun and quite poignant, and takes the story in at least one unexpected direction as we prepare for the last issue before the change to Dark Avengers takes place. The best part of Thunderbolts #173, though, was Baron Zemo, not just because Declan Shalvey makes him look so awesome with his mask off, but because everything he does perfectly in character while still moving the story of the current Thunderbolts forward in great strides. He's the smartest guy in the room, and that means he can aid a team he was just fighting while simultaneously serving his own wicked goals, and it makes his solution to the long-running time travel conundrum of this title come quickly while still feeling natural. Only one issue to go before a change in name, cast, and, presumably, focus for this book, but Thunderbolts #173 renewed my faith that Jeff Parker will bring us something enjoyable and at least partially surprising for the closing chapter.
6.0/10
Uncanny X-Force #24: It's back! After a rare misstep in the "Otherworld" arc, Uncanny X-Force returns to its former glory. Phil Noto on pencils, a clear target for the team to kill, and major advancement on the always interesting Psylocke-Fantomex romance. The main thrust of the issue is AoA Nightcrawler (can we just call him "Nightcrawler" yet?) killing AoA Iceman, with a little help from Wolverine and Deadpool. Rick Remender does a really great job fleshing out this Nightcrawler through not only his captions but also his tactics during the fight against his old friend. It is an inventive and emotionally powerful battle, for the reader and the characters, and it serves as a reminder of the true potential for greatness in this book. According to Remender in recent interviews and whatnot, another major mega-arc is about to kick off, and this standalone tale (also acting as a grat epilogue to "Otherworld") is the perfect way to transition into whatever Remender has planned. It brings the cast closer together, helps completely establish the newest member, and brings back the grim and awesome violence and assassination this title does so well. Bravo!
8.5/10
Wolverine and the X-Men #9: As far as tie-ins to major events go, this was a pretty satisfying effort. It begins before the first issue of Avengers vs. X-Men, chronologically speaking, and takes us all the way to the end of that same issue seamlessly, which is an impressive accomplishment. And Jason Aaron manages to give Wolverine's choice the necessary gravitas without losing the lightweight, humorous tone that Wolverine and the X-Men has established for itself. I loved the opening sequence on Planet Sin, and had a few smiles during Captain America's visit, the brief moment of tenderness between Toad and Husk, and the conversation between Logan and Idie. All good, believable, engaging stuff. Chris Bacahlo, for his part, delivered some of the clearest art I've seen from him, which was a pleasant surprise, since I typically find myself confused for at least one whole page when he is on art duties for this book. Not a lot of big important story beats (except for maybe the last page) as far as the whole AvX conflict goes, but a solid tie-in issue nonetheless.
7.5/10
Wonder Woman #8: While Brian Azzarello's work on Wonder Woman has been really good all along, one thing I've noticed is that a lot of the time, Diana is overshadowed by the rest of the cast. Not because she isn't awesome, it's just that she is so steady and consistent and, in many ways, familiar, while the rest of the characters in her world are new and strange and full of insights and/or knowledge which she does not posses. It's not necessarily a bad thing, but the truth is Wonder Woman doesn't always feel like the star of her own title. This month, however, that all changes. In an awesome issue that sends Diana and Hermes to Hades in the hopes of rescuing Zola, we get a great version of the underworld, some really spectacular action, and most of all we get to see Wonder Woman in the spotlight. He new armor, brilliantly designed by Cliff Chang (who kills it on every page like usual) and her confident swagger make her stand out in all of her panels, and while Hermes kicks plenty of ass himself, it is Diana who leads the charge and fights the hardest. A somewhat obvious "twist" at the end, but one which makes me super excited for next month all the same. Even though it didn't deal with the controversy from last issue (and that does need to be addressed at some point for sure) Wonder Woman #8 did just about everything else right.
Also, "In its brevity is where life's importance lies." YES!!!
8.0/10
Avengers vs. X-Men #2: What a misfire. Really across the board, this issue was a letdown. John Romita, Jr.'s pencils were highly inconsistent and never impressive. For a book all about two teams fighting, he sure had a hard time drawing more than a couple members of either team in any given panel. But even worse, I am sad to say, was Jason Aaron's script. From the out-of-place, over-the-top, unnecessary narration to some laughable moments of dialogue (e.g. Storm screaming about a marriage counselor in the middle of combat) Aaron failed to make me the least bit interested in what was going on. Which was not much, anyway, just some rehashing of the weak, half-baked "reasons" each side has for fighting this fight, lots of punching and smack talk, and Hope continuing to be sort of a brat about the whole situation. The end. This event needs to pick up some steam real fast, because it's gotten worse each issue so far.
2.5/10
Batman #8: This whole Court of Owls thing is getting a bit tiresome, so I am excited for the crossover to get rolling and get over with. I don't hate the Court as villains, but I'm not wowed by them either, and there have been some very questionable decisions and reveals along the way from Scott Snyder and company. Luckily, Batman #8 mostly avoid those kinds of developments, telling a very brief and effective story about Wayne Manor coming under attack and how Bruce and Alfred work together to save themselves, their home, and their city. It's a lot of fun and very fast paced, with the tension and action ramping up quickly and then staying quite high for the rest of the issue. The partnership between Bruce and Alfred is very natural, and Greg Capullo makes their fear in the face of their enemies and their concern for one another come through in his art. He does a better job with Alfred than Bruce, but they each have some great moments. The best visuals, however, come from the army of slightly varied but still somehow uniform Talons. An impressive and frightening group.
I was not wild about the closing page of the main story---we'll see where it goes before passing final judgement, I guess---or any of the back-up tale (although YAY for Rafael Albuquerque Batman art!) but up until those final pages, a definite win.
6.5/10
Birds of Prey #8: This title is nothing if not reliable. Solid superhero entertainment every month, with this issue acting as a particularly nice example, if only because it more or less stands alone. Not that everything is neatly resolved at the end, but the bad guys which the Birds deal with this issue have nothing to do with Choke, the evil mastermind of the first arc. And though some larger developments are left to be resolved later, the immediate threat of the issue is handled all in one fully-contained and very well-done fight. That threat, a team called The Infiltrators who has it in for Black Canary, is a bizarre group in both their powers and personalities, but Duane Swierczynski and Jesus Saiz introduce them deftly and rapidly and in a way that never slows the story or detracts from the fun. Indeed, one of The Infiltrators, Napalm, was the funniest and most enjoyable part of the issue. I have yet to be truly floored by this title, but also yet to be at all disappointed.
6.5/10
The Defenders #5: Matt Fraction's story was a bit up-and-down here, but I thoroughly enjoyed Mitch Breitweiser's art. Particularly in the underwater sequence that makes up the first half of this issue. In fact, that first half was much stronger than the second in almost every way. It had all the action and humor and mystery this title is always seeped in, but somehow it was still a bit calmer than usual, less frantic and overwhelming, and I think Breitweiser's art is a huge part of that. Once our heroes came out from the sea and began to excavate the Nautilus, things started to get a little bit jumpy, and while nothing was all that confusing, it definitely became a few degrees more muddled. Still, from cover to cover, Fraction did a great job with Namor's voice (more than anything this made me wish Fraction could just do a Namor series) and for the few lines he had, Danny Rand's voice, too. I wish it had been a steadier story, but I suppose it was really none too shabby, and perhaps the best looking issue of this incarnation of The Defenders so far.
7.0/10
Hellblazer #290: A really good ending to a pretty good storyline, Hellblazer #290 continues to add to the ever-growing dysfunction of John Constantine's family. John's relationship to his sister Cheryl, his niece Gemma, and his father-in-law Terry all go through some pretty significant developments here. Not to mention his wife Epiphany's own relationship to Terry. And we get set up for yet another appearance of the Demon Constantine in coming issues, which is good news for us as readers. Peter Milligan has definitely found a groove on this title, and even when nothing spectacular happens (like here), he keeps me coming back for more, always anxious to see what might go down next.
6.0/10
Prophet #24: This was EXACTLY what I wanted to see after the incredible opening three-issue arc of this Prophet reboot. A brand new John Prophet in a brand new world, but still a story that builds on the notion of a universe full of these men working toward some mysterious, cosmic common goal. Farel Dalrymple provides exceptional artwork throughout, especially the little girl guide and what she turns out to really be, but the true star of this book as always is Brandon Graham. His captions are so excellently written, so deliciously paced, and always know exactly what and how much to leave to the art. It's pretty uncommon that this kind of stylized-yet-understated narrative voice is so expertly employed in the comicbook medium, because so much of the comicbook world is filled with bombastic, over-powered archetypes. John Prophet is none of those things, and it makes his book all the more worth reading. It creeps closer to the top of my list of favorite titles every issue.
Also, much better back-up story than last time. A bit of an old lesson, perhaps, but told in a very fun and simple new way. And just like in the main story, really interesting and reliable art.
9.0/10
Rachel Rising #7: While not as strong an installment as many of the preceding ones, Rachel Rising #7 certainly isn't weak, either. It's just that rather than having any new deaths or very much new horror, this issue takes some time to set up important stuff for the future. Jet is undead just like Rachel, which can't be anything less than hugely significant. There's now a local detective involved in all this madness, which is bound to add some tension to the whole scenario. And then there's the final sequence, which I won't spoil, but is higher up on the insanity scale than perhaps anything Terry Moore has given us in Rachel Rising so far. And that's most certainly a good thing. Perhaps a bit slower than what came before it, but still full of rich, compelling characters trying as hard as they can to deal with an impossible situation. That's good fiction, no matter what.
6.0/10
The Shadow #1: Essentially what Garth Ennis offers us in this debut is a chilling character study of the titular "hero." And it's the perfect way to kick off The Shadow, a character who has been reinvented and interpreted numerous times over the decades. It doesn't matter what, if any, preconceived notions you have of Lamont Cranston going into this book, because Ennis and artist Aaron Campbell make it brutally clear what their version of the man is going to be like: unrelenting, unforgiving, brilliant, deadly, and arrogant. Even when dealing with his allies, he's intentionally a pain in the ass. Hell, even with Margo Lane, maybe especially with her, his I'm-above-it-all attitude shines through. But from what we've seen so far, he can back that attitude up all the way, and it makes me thrilled to see what else this new series has in store.
8.0/10
T.H.U.N.D.E.R. Agents #6: Pretty weak sauce. The worst Wes Craig art to date on T.H.U.N.D.E.R. Agents (which is really saying something) and also the least interesting script of Nick Spencer's entire run (yes, all 16 issues, not just the six that make up his second volume). Not the worst script, maybe, but by far the dullest. Mostly just Colleen talking to whoever it is she was seen talking to in Sri Lanka waaaaaaaay back in the first issue of the first volume, info-dumping so the reader doesn't have any hanging questions at all. And in a spy series, that kind of sucks. Everything gets so neatly tied up that it feels too neat, almost out of place for a title that has been hard to slow or pin down since it began. Cafu draws the Sri Lanka segments and does a really great job, but he has so little to draw (again, pretty much just Colleen's face or the face of her companion) and it is cushioned by such wonky Wes Craig nonsense that the overall effect is weakened. I've been a bit cool on this title for a while now anyway, I suppose, but at the very least I expected the finale to be dynamic and adventurous and full of fatalities. I got zero from that list.
4.0/10
Thunderbolts #173: No question, this was a better chapter than the first of this Thunderbolts vs. Thunderbolts story. Fixer has been a highlight of this title under Jeff Parker's writing all along, and watching him interact with his younger, wilder self is both a lot of fun and quite poignant, and takes the story in at least one unexpected direction as we prepare for the last issue before the change to Dark Avengers takes place. The best part of Thunderbolts #173, though, was Baron Zemo, not just because Declan Shalvey makes him look so awesome with his mask off, but because everything he does perfectly in character while still moving the story of the current Thunderbolts forward in great strides. He's the smartest guy in the room, and that means he can aid a team he was just fighting while simultaneously serving his own wicked goals, and it makes his solution to the long-running time travel conundrum of this title come quickly while still feeling natural. Only one issue to go before a change in name, cast, and, presumably, focus for this book, but Thunderbolts #173 renewed my faith that Jeff Parker will bring us something enjoyable and at least partially surprising for the closing chapter.
6.0/10
Uncanny X-Force #24: It's back! After a rare misstep in the "Otherworld" arc, Uncanny X-Force returns to its former glory. Phil Noto on pencils, a clear target for the team to kill, and major advancement on the always interesting Psylocke-Fantomex romance. The main thrust of the issue is AoA Nightcrawler (can we just call him "Nightcrawler" yet?) killing AoA Iceman, with a little help from Wolverine and Deadpool. Rick Remender does a really great job fleshing out this Nightcrawler through not only his captions but also his tactics during the fight against his old friend. It is an inventive and emotionally powerful battle, for the reader and the characters, and it serves as a reminder of the true potential for greatness in this book. According to Remender in recent interviews and whatnot, another major mega-arc is about to kick off, and this standalone tale (also acting as a grat epilogue to "Otherworld") is the perfect way to transition into whatever Remender has planned. It brings the cast closer together, helps completely establish the newest member, and brings back the grim and awesome violence and assassination this title does so well. Bravo!
8.5/10
Wolverine and the X-Men #9: As far as tie-ins to major events go, this was a pretty satisfying effort. It begins before the first issue of Avengers vs. X-Men, chronologically speaking, and takes us all the way to the end of that same issue seamlessly, which is an impressive accomplishment. And Jason Aaron manages to give Wolverine's choice the necessary gravitas without losing the lightweight, humorous tone that Wolverine and the X-Men has established for itself. I loved the opening sequence on Planet Sin, and had a few smiles during Captain America's visit, the brief moment of tenderness between Toad and Husk, and the conversation between Logan and Idie. All good, believable, engaging stuff. Chris Bacahlo, for his part, delivered some of the clearest art I've seen from him, which was a pleasant surprise, since I typically find myself confused for at least one whole page when he is on art duties for this book. Not a lot of big important story beats (except for maybe the last page) as far as the whole AvX conflict goes, but a solid tie-in issue nonetheless.
7.5/10
Wonder Woman #8: While Brian Azzarello's work on Wonder Woman has been really good all along, one thing I've noticed is that a lot of the time, Diana is overshadowed by the rest of the cast. Not because she isn't awesome, it's just that she is so steady and consistent and, in many ways, familiar, while the rest of the characters in her world are new and strange and full of insights and/or knowledge which she does not posses. It's not necessarily a bad thing, but the truth is Wonder Woman doesn't always feel like the star of her own title. This month, however, that all changes. In an awesome issue that sends Diana and Hermes to Hades in the hopes of rescuing Zola, we get a great version of the underworld, some really spectacular action, and most of all we get to see Wonder Woman in the spotlight. He new armor, brilliantly designed by Cliff Chang (who kills it on every page like usual) and her confident swagger make her stand out in all of her panels, and while Hermes kicks plenty of ass himself, it is Diana who leads the charge and fights the hardest. A somewhat obvious "twist" at the end, but one which makes me super excited for next month all the same. Even though it didn't deal with the controversy from last issue (and that does need to be addressed at some point for sure) Wonder Woman #8 did just about everything else right.
Also, "In its brevity is where life's importance lies." YES!!!
8.0/10
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