BEST SHOTS: ACTION, BoP, DD, FIRESTORM, NIGHT FISHER, & MORE

[MattBrady]

by the Cast and Crew of ShotgunReviews.com
Your Host: Troy Brownfield

Yes, it’s finally happened . . . Best Shots marks its one-year anniversary this week! One year . . . wow. That’s like fifty-two issues of 52, or twelve issues of Uncanny X-Men or .37 issues of Youngblood. Thank you all for reading, and thanks to the Best Shots crew, the regulars of which include The Rev. OJ Flow, Corey Henson, J. Caleb Mozzocco, Koben Kelly, Michael C. Lorah, Sarah Jaffe, Jeff Marsick, and Richard Renteria. And of course, thanks to Matt Brady and the rest of Newsarama for providing a swell place for us to dwell. Let’s be on with it . . .

BIRDS OF PREY #91
From: DC
Writer: Jim Alexander
Artists: Brad Walker and Jimmy Palmiotti
Review by Corey Henson

We’re only one month away from DC’s “One Year Later” re-launch, and with Gail Simone having wrapped up all the dangling plotlines from her current run on Birds of Prey last month, we’re left with a fill-in issue courtesy of writer Jim Alexander, penciller Brad Walker, and the ubiquitous Jimmy “I’ll sleep when I’m dead” Palmiotti on inks. In this issue, the Birds square off against two-fifths of the Royal Flush Gang (Didn’t the Joker kill them in Infinite Crisis? DC’s continuity makes my head hurt.) for the life of Tod, a young boy who’s donating his kidney to his uncle, Joseph Bull, who happens to be a pretty nasty mobster. The Royal Flush Gang, along with the Metropolis PD, want to prevent Tod from getting to the hospital in time to save Bull. The Huntress, who bears a longstanding grudge against the mobs, wouldn’t mind seeing Bull sleep with the fishes, so to speak, but Oracle has her own reasons for wanting him to live.

Fill-in issues are traditionally uneventful and entirely skippable. This issue is no exception, but that doesn’t mean it isn’t worth picking up. Alexander‘s script doesn‘t display Simone‘s sense of humor or knack for character writing, but the plot works within the frameworks of Simone’s long running “Huntress vs. the mob“ storyline. It’s not entirely successful, as Alexander doesn’t fully explore Huntress’s apprehensions about protecting someone she’d normally want to put out of business. I can’t help but think that Simone would have given the subplot more of a payoff, but Alexander’s failure to do so may have been more of a space issue than anything else. There’s certainly enough in the plot to fill two issues, and it’s almost a shame Alexander didn’t get an extra issue to tell his story (though I’m happier than a tree full of monkeys on nitrous oxide that Simone will be returning next month).

Walker’s pencils and Palmiotti’s inks look great together. The characters are expressive and vibrant, and Walker’s layouts during the action scenes are exciting and dynamic. Walker and Palmiotti will be illustrating Simone’s upcoming Secret Six mini-series, a sequel to last year’s excellent Villains United. I’ve been looking forward to Secret Six since the project was announced, and now that I’ve seen Walker and Palmiotti’s work on this issue of BoP, I have every confidence it’s going to be one of the year’s best reads.

Corey Henson is damned happy that his favorite professional wrestler, Bret “Hitman” Hart, is going to be inducted into the WWE Hall of Fame this year. He also thinks the fact that the induction ceremony is taking place on April Fool’s Day is hilariously ironic.

ACTION COMICS #836
From: DC
Writer: Joe Kelly
Art: Fourteen artists; cover credit to Dan Jurgens, Ian Churchill, Lee Bermejo and Ed Benes
Review by The Rev. OJ Flow

The only way I could be disappointed about a really good Superman story is if I didn't get something that I was expecting. I suppose that can be said for just about ANY comic book story, but it does happen to be the case here. The reason I was let down a little is because I developed a certain expectation of the 3-part "This Is Your Life," and that was the idea that it was a full-blown tribute to the original Golden Age Man of Steel, known to others as the Superman of Earth 2. In the first part, told in Superman #226, this was what seemed to be laid out. As a continuation of the conclusion of Infinite Crisis #4, the contemporary DC Universe is beginning to transform into a makeshift Earth 2. In "This Is Your Life," we see this impending change through the perspective of Superman, or in this case SuperMEN, as now we see that the story is essentially a tug of war between the Superman we've followed for the last twenty years and the traditional, old school model who has only recently returned to the comic book pages to tell all the young whippersnappers how to git-R-done (My God, I've been reduced to quoting Larry the Cable Guy). Why I expressed my disappointment at the onset was that in this middle chapter, the spotlight shines on the Superman many have been wanting to kick in the butt lately and not the Earth 2 Superman as I thought was the purpose of this story. I mean, I can get the modern day Superman four or five times a month more often than not, but how often do we get such an extraordinarily different view of this guy? A lot of that was perpetuated by the lushly illustrated cover by Mark Schultz. Since it shows the Golden Age Superman taking a post-nuptial flight with the love of his life, Lois Lane, through the threshold, you'll forgive me for thinking this would be more about them. It was only for this reason, though, that I felt a little shortchanged. Otherwise, Part 2 proves to be a fascinating look at some of the difficult situations our Man of Steel has faced in the last two decades and how the Golden Age version would've handled things differently. But fate is funny sometimes. No matter what someone does to change the past in hopes of a brighter future, the present is always full of surprises.

As has been the case in each issue of this multi-part tale, Action Comics #836 features a cornucopia of artistic talent to examine the Superman legacy. Leading the artistic charge in this issue is a welcome return by Dan Jurgens. His work makes up the majority of the book, and he's as able as ever in illustrating Superman at his most powerful and authoritative. I've felt for a long time that Dan Jurgens is the man who history will admire most when looking at the character's artistic legacy in the 1990s, much as John Byrne was to the Eighties and Curt Swan for about three decades before that. Assisting in vignettes throughout the book are the likes of Ian Churchill, Lee Bermejo, Renato Guedes, and others for never more than a page or two. What separates this chapter from the one prior is the thematic approach to certain things as seen through the eyes of the Earth 2 Superman. Overall we don't see him a whole lot in this one, the most notable instance being a one page scene drawn by Phil Jimenez and Andy Lanning in what's all but a missing page from Infinite Crisis. But Kal-L's narration packs a punch, and basically this story is a continuation of the apparent struggle between the Supermen of two Earths colliding with an added wrinkle or two provided by the septuagenarian Man of Steel.

The first instance dates back to Byrne's Man of Steel and how Clark Kent made his first public appearance and rescue as a "super man" before he donned the blue tights and cape. Kal-L reimagines things playing out just about the same, only this time Clark having the new name Superman ready when Lois Lane asks who he is. Readers may remember way back when, Clark didn't say a word, intimidated by the bumrush of media and making a hasty retreat back to Smallville. Seems innocent enough, but you have to assume that Kal-L is suggesting that not being more forthcoming caused the masses to be not as sure what to make of the stranger who could fly while carrying a space shuttle on his back. Going back to Byrne's relaunch series again, the original Superman recalls the first meeting of Batman and Superman and how an uneasy alliance was formed. When Batman bluffs his way into keeping Superman at a safe distance, Kal-L would have us believe that if Superman called his bluff right from the get-go and took charge that a stronger, more effective World's Finest union would've been forged. Ian Churchill handles this two-page scenario, and I liked how he seemed to channel the original scene through the visual sensibilities of Jim Lee. It felt like it made it a more recent occasion than something originally brought to us in 1986. And with this scene we see the seeds being sewn of how a more proactive Superman would handle things -- so far so good.

With the next vignette, you can see things starting to take a less familiar turn. Recalling how years ago Superman was rarely able to handle Lex Luthor face-to-face, especially when his archenemy sported a Kryptonite ring that kept him off his back, Kal-L shows the reader how quickly this situation would have resolved itself with a more united World's Finest team, all richly detailed by Bermejo. At this point, Kal-L's perspective seems acceptable. Lord knows that much of the worst things that have come to a head in Infinite Crisis might not have happened if our Supes and Bats were on the same page more often. The next flashback is interesting because it's the one point that stymies the original Man of Steel. As he looks back at the time Kal-El revealed his secret identity to Lois Lane after they got engaged. When Kal-L sees that it plays out similarly to his own engagement, he realizes that Lois is the one constant in any Superman's life. But it does little to sway the opinion of the Earth 2 Superman that he could do better were he given the chance, and here's where he started to lose me. Flash forward to the big brawl, the one so deftly rendered the first time by Jurgens: the fight to the death between Superman and Doomsday. I don't exactly understand how Kal-L could've handled it differently, though I understand his rationale that things went south for the DC Universe when a Superman died. But the idea that he would just not die is a little much, and I'm unsure if this is shortsightedness on the part of writer Joe Kelly or Kal-L. How do you just NOT DIE??

And what actually confused me was the next vignette. We get to see how the initial controversy within the ranks of the Justice League seen in Identity Crisis might've been played out if a more assertive Superman stepped in. The way the scene is introduced by Kal-L, you'd think that it happened after the death of Superman, but everyone knows that the Satellite era was way before. Two pages, as it was, that shows Superman stepping in to give Dr. Light the Phantom Zone treatment over a mindwipe, was inspired, if not ethically dicey as well, but it should've been placed before other events for better historical context. It's also at this point that we start to see a Superman that's displaying a more skewed perspective of what it takes to fight for truth, justice, and the American way. In one last scenario that brings us to the present, Superman is taking a more totalitarian approach to crimefighting, and we're to believe that the Superman of Earth 2 worldview is so black and white that he'd forcefully disband the JLA to place the Justice League ELITE at the head of the class. It'd be fitting that things take such a turn for the worse for Superman in that matters boil down to the creative and editorial direction that got me off the JLA book for good if it wasn't so disheartening to see my favorite incarnation of the Man of Steel come off as a neo-fascist (and my failure to even pick up one issue of JL Elite has betrayed me in that I am puzzled as to how a Green Arrow that was so against the mindwipes early on would now be a willing teammate in the Elite). Make no mistake about it, Joe Kelly has turned in one of the more enlightening stories I've read of late, but I hope things happen in the third and final part of this along with what develops in Infinite Crisis place the original Superman in a more favorable light. We've already seen Superboy Prime take a ride down the Highway to Hell. I just hope he doesn't have company soon.

FIRESTORM #22
From: DC
Writer: Stuart Moore
Art: Eddy Barrows, Rob Stull and Drew Geraci
Review by The Rev. OJ Flow

To the disenchanted out there that have dismissed this book since Ronnie Raymond became "ex-Firestorm," I have two things to say: you are missed, and you are missing out. I don't honestly believe the "all or nothing" approach is going to get the original Firestorm back on a monthly any time soon, so it'd be nice to see you guys join in on the fun as we see the development of the new Jason Rusch/Prof. Martin Stein partnership. Writer Stuart Moore is proving to have the chops to bring us a exciting story of the deconstruction and REconstruction of the DCU's premiere Nuclear Man, and "Building a Better Firestorm" is such an entertaining read. To be sure, this issue, without ever having a really good Firestorm in-costume appearance, pushed all the right fanboy buttons. The anticipation that built up for me for our lead hero's return to superheroic glory after a brief respite is palpable, and I can assure the wary that Firestorm #22 is a great jump-on for the uninitiated. And according to a couple of notes found in this issue, it's recommended to catch this before Infinite Crisis #5.

I for one am one of Jason Rusch's biggest supporters. He's had a rough go at it at times with the immediacy that he even became the Nuclear Man, and more often than not he's either flown solo, or been paired with inexperienced help. All in all, the high school grad from Detroit has handled the adversity like a champ (never mind that his personal life outside the Firestorm matrix has been anything but envious). In fact, his ability to handle the tough times have made him a better person. With Firestorm #22, Jason is getting the right-hand man he always deserved, and if it wasn't going to be Ronnie Raymond, as it appeared to be setting up for a year ago, it might as well be the longtime brains of the Firestorm operation, Martin Stein. For those following Infinite Crisis, you know that Firestorm took one for the team of Donna Troy & company deep in outer space. This proved to be a godsend for Jason as we find that Professor Stein has been an intangible spirit since he became relatively disassociated with Firestorm some odd years ago. Stein has taken in Jason's own spirit after his untimely demise, and while he had no intention of getting back into the fold full-time, Jason made him see the potential in a reunion. However, a simple matter of meeting of the minds in order to get back into action won't do the trick, no. Firestorm is totalled and he needs an overhaul.

Firestorm fans new and old are crazy if they don't get some sort of enjoyment out of the process that Jason and the professor go through to weed out possible weaknesses in the old model and to make improvements that Ronnie Raymond never had the benefit of as a costumed metahuman. When things get under way, Stein (by way of the superlative work of Stuart Moore) becomes my own personal Bill Nye the science guy and navigates the two through a process that even a history major like myself (and Jason) could understand and appreciate. Powers and abilities get upgraded, some get discarded due to their propensity for making the Firestorm keeper less and less human, and we even get the occasional funny look as some of the Nuclear Man's quirkier attributes. Even the puffy sleeves get dissected, and bless Jason for recognizing an original and campaigning for them to remain. Did you know that the fire hair is an illusion? The dramatic tension that Moore builds up to in bringing this up is awesome, and the exchange on this between Jason and Martin is priceless. Prior to this title coming out, I'd been away too long to know the technical makeup of the hair myself, but the scene was a lot of fun. And for a guy who's been out of the scientific and technical loop, at least on Earth, for a few years, Stein displays a surprisingly knowledgeable grasp of information technology, but story's too fun to let it be a bother.

A possible "virus" in the matrix captures the attention of the two throughout the rebuilding process, and when it finally gets addressed, we find out that it's the wife who disappeared in Firestorm's last adventure on Earth (issue #18). I dare say this was the one hiccup in the story, and it added little to what the two were doing. While it did shed light on an unknown attribute in the Firestorm matrix, the lasting effect feels inconsequential. For now. A better subplot told back on Earth is covered over two pages, and it's how Jason's dad is handling himself in the midst of the all-encompassing Crisis, especially after having been told last issue that his son had been killed in action. I'm definitely looking forward to how it plays out when Jason inevitably returns home and how his dad copes. For now, as evidenced by a Royal Flush Gang applicant's failed initiation, Pops is holding his own at the moment. Who says all heroes need costumes?

While the supremely gifted Jamal Igle's only contribution to this issue can be found on the cover, the fill-in art rocks on this occasion. Eddy Barrows is definitely someone DC should be holding onto, his style reminding me of Ivan Reis' with the polish of a Rags Morales. At he very least it'd be nice to know that he's waiting in the wings when Igle needs the occasional breather. The pencils are held together nicely by the reliable Rob Stull with an assist by Drew Geraci. The creative team on this book keeps clicking, like Firestorm, if you will, when parts get occasionally swapped out. And Moore, like Jason, serves as a solid foundation that deserves every bit of positive attention they're respectively receiving.

We tried to build a better OJ once. It was messy.

Batman: Year 100
Writer/artist: Paul Pope
From: DC
Review by J. Caleb Mozzocco

I’ve sung the praises of Paul Pope’s highly individualized art style so many damn times on this site and elsewhere that I can’t help but feel like a broken record when it comes time to do so yet again: His futurist fusion of American, Japanese and European comics art into something new, his piles of ink lines giving unique heft to his figures and a lived-in look to his environments, his wonderful way with a girl’s nose, blah blah blah.

He’s one of the short list of artists whose attachment to a book is usually all I need to plop my money down for it, and I always have mixed feelings about a project like this, which sees Pope playing with one of the Big Two’s big toys. On the one hand, his completely self-generated stories like Vertigo projects Heavy Liquid and 100% are so exemplary and fresh feeling that they seem like exactly what a talent like Pope’s should be devoted to. On the other hand, as a fan of both Pope and mainstream heroes, it’s always a kick to see him tackle Batman, Superman, Robin and Spider-Man in his inimitable style.

Well, Batman: Year 100 seems like a decent compromise between Pope’s more personal sci-fi and his particular vision of an iconic superhero, as it’s Batman in a Pope-ian (Papal?) future. In the year 2039, 100 years after Detective Comics #27 was first published, a mysterious Batman is being pursued across the rooftops by federal police dogs and law enforcement goons with names like sports teams. His costume is almost identical to that of the one Bob Kane dressed his Batman in, right down to the direction the ears point in and the short, workman-like gloves instead of the stylized gauntlets (Pope gives his Bats nicer boots though, something a pro-wrestler and a soldier could both agree seem like ideal footwear).

The title is more than just a clever riff on Frank Miller’s definitive Batman origin story; as in Batman: Year One, this story follows the first appearance of a Batman, who is hunted by the authorities, who’s human enough to make mistakes and be badly hurt, and who most everybody thinks is just some kind of crazy urban legend.

The first issue is mainly devoted to setting the stage and introducing some of the players, like a federal agent with a physical aversion to the thought of men in masks, a Captain Gordon whose appearance seems to indicate that gray moustaches are hereditary along the Gordon line, and a mother/daughter doctor team who are in on this Batman’s secret. It’s too early to tell exactly where this is going, and if it will ultimately be worth your $24 to read all four six-dollar installments, but Pope fans should, obviously, be delighted. But then, if you are a Pope fan, you don’t really need me to tell you that, do you? You probably already have this, huh?

Last Rites Review
Batgirl #73
Writer: Andersen Gabrych
Artist: Pop Mhan, Jesse Delperdang and Adam Dekraker
From: DC
Review by J. Caleb Mozzocco

First things first: Spoiler warning! And not as in, “Fuchsia cape-wearing vigilante Spoiler briefly appears as a ghost in this issue, “but rather as in, “Don’t read this review if you don’t want any of the plot to Batgirl #73, the last issue in the series, spoiled for you.”

Well, it turns out that reports of Cassandra “Batgirl” Cain’s death last issue were exaggerated…by me, right here in Best Shots. In my own defense, it was the second to last issue of the series, Batgirl doesn’t appear in any of the upcoming solicits (although an empty Batgirl costume does appear in an upcoming issue of Robin), and DC has been offing characters left and right lately. Plus, she technically did die—for the second time in the series—but is brought back to life in a nearby Lazarus Pit.

While I was glad to be wrong about Cassandra’s death, I’m still a tad sad to see the death of her title and, apparently, the end of her career as Batgirl. Coming to comics in the “Dark Knight” period of Batman’s career, between the death of Jason Todd and the introduction of Tim Drake as the new Robin, I was always a little resistant to the idea of Batman adding sidekicks and partners left and right. With Robin, Nightwing, Oracle, Azrael, Huntress, Batgirl, Catwoman, Spoiler and Howard and Ace at his side, Batman has in recent years gone from being a loner to having the biggest support staff of any hero in the DCU.

When Cassandra Cain was first introduced back during the “No Man’s Land” Bat-event, taking the Batgirl costume temporarily worn by The Huntress, I didn’t much care for the idea of a new Batgirl, as it meant just one more Gotham vigilante cluttering up the Batcave, and I resisted her solo series for almost two years after it began. One issue was all it took to get hooked.

Cassandra was not your average teenage superhero character. In fact, she wasn’t much like any hero character in the DC or Marvel universe. A seventeen-year-old raised by an assassin who taught her how to fight and kill at the expense of everything else, including speech and language, her martial arts abilities bordered on the meta-human. She barely spoke at all, making Swamp Thing seem chatty by comparison. She could beat up anyone except maybe Lady Shiva, but she couldn’t read. She had killed a man, and wanted to become a hero like Batman to redeem herself. She wasn’t white and she wasn’t a man, making her pretty unique as a headlining hero (Go ahead and think about it—how many non-white superheroes have their own ongoing titles in the DCU and Marvel Universe currently? I count…two, Firestorm and Black Panther).

It was Damion Scott’s design and art that pulled me in. As an artist, his style has evolved very quickly (perhaps too quickly, as I’m not as fond of his more recent work on Robin). The first few issues of the series were rather rough, but, along with the slick inks of Robert Campanella, before he’d been on the series a year, it was DC’s most visually kinetic books. Scott gave our girl a bulbous head, saucer-sized eyes, and lithe black limbs below a billowing cape—design-wise, she was the best of Batman and Spider-Man.

The series’ first writers, Scott Peterson and Kelly Puckett, did an incredible job on the title, a sort of kung fu narrative set in Gotham City. The “Batgirl” in the title referred to both Cassandra Cain and Barbara “Oracle” Gordon, a mother figure who had taken Cassandra under her wing and began training her before Batman had even given her the cape and ears. Peterson and Puckettt managed to tell compelling single issue, often mostly silent stories, in the middle of an overarching story about Batgirl’s quest to beat Lady Shiva or die trying (or maybe vice versa, given her subconscious death wish.).

After 38 issues or so, the original creative team made way for writer Dylan Horrocks and artist Adrian Sibar (whose weird art was an acquired taste, which too few people acquired, and he was replaced by Rick Leonardi). They kept the Batman and Babs as surrogate parents to Cassandra status quo, adding metahuman love interests into the mix, including Superboy and a terrorist/freedom fighter. Horrocks’ stories seemed panderingly girl-centric, however, as Batgirl fought girl gangs, a psycho who dressed victims as dolls and Poison Ivy, before his short run was over.

Enter Andersen Gabrych, who came just in time to oversee the end of the title. After nonsensical Bat-crossover “War Games” forced all of Batman’s sidekicks out of town, (which might make sense from an editorial point of view, but not on a character level), Batgirl, like Robin and Nightwing, took a creative plunge. In Batgirl’s case, it meant estranging her from her supporting cast of Babs and Batman, and their replacements, which Gabrych took the time to introduce, presumably perished when Chemo landed on Bludhaven recently. The title became one long crossover, with Batgirl and Robin fighting the Penguin and a bunch of lame assassins in one water-treading tale, then it was on to fight The Brotherhood of Evil and Deathstroke and the Ravager in some Villains United-related stories, then a throwaway OMAC “Red Sky” issue.

In the last arc, Gabrych managed to tie up one mystery of Batgirl’s past—definitively solving her parentage—and, aside from this revelation, this last issue also contains another battle to the death with Lady Shiva (frankly, their last battle to the death was better done) and a brief appearance by the Spoiler, acting as a psychopomp leading the temporarily dead Batgirl into death. Batgirl also chooses between the murderous way of Cain and the insane way of Batman, which includes preserving the lives of killers who are guaranteed to kill again, a decision which seemingly leads to her abandoning her ambitions to be a Bat.

Pop Mhan’s art is kinetic and interesting in the same way that Damion Scott’s was, and Gabrych does a fine job wrapping up the few story strands he was playing with the last few issues, but if this is the end of Cassandra Cain as Batgirl, it seems like a horrible waste, considering how many stories were half-suggested and never told. From the possibility of her playing a point in a Wonder Girl/Superboy/Batgirl love triangle to her desire to someday take over for Batman and the conflicts that might lead to among the other sidekicks to her struggle to have something to do with society that doesn’t involve fighting to the fact that Bruce Wayne has always held her at arms length while adopting Dick Grayson and attempting to adopt Tim Drake. Hell, Batman and Oracle never even got around to teaching her how to read.

Some heroes they turned out to be.

Caleb has some advice for Cassandra Cain if she wants to remain among the land living in the DC Universe: Whatever you do, don’t date Kyle Rayner!

Daredevil #82
From: Marvel
Writer: Ed Brubaker
Art: Michael Lark
Review by Koben Kelly

Okay. So this is the first issue with the new creative team. Is it good? Yes. Is it the same ol' Bendis and Maleev Daredevil? No.

Obviously, the debut issue featuring a new creative team has to have a whole new flavor to it, or it's just going to feel like the writer and artist are trying to rekindle the flames of what has come before. Ed Brubaker and Michael Lark are such well known creators, nowadays, that no one would accept anything but an original voice and take on Matt Murdock's world.

When Bendis and Maleev took over Daredevil, it was their own vision. Quite a jarring change from the Kevin Smith written arc for Marvel Knights. This was when Bendis wasn't doing much in the way of superheroic fiction. Many of today's fans of New Avengers were not around for the takeover. Who would think that the man behind House of M was at one point in time a writer of noir crime stories, exclusively? When Bendis was offered the job of writing Ultimate X-Men, he declined, claiming he had no idea how to write for a super team. When his run on Daredevil was well into its first year, the tone of the series had been well established. He was still using the grim and gritty of the noir stuff, mixed with street-level heroics. You believed in a protected Hell's Kitchen. But, the main element of Bendis' Daredevil that stood out was the sheer amount of words per page. This was back when his dialog was at its peak. There were still elements of crime fiction that bled through. A key factor in the success of such a wordy book was that the conversations had relevance to the current storyline. It allowed you to get a feel, emotionally and intellectually, for each character involved. Maleev's art, for that matter, placed you smack dab on the streets, in the alleyways, in the heart of the city. The whole package surrounded you, and it wouldn't let go.

Sadly enough, after a couple years, it seemed like the storylines were suffering. The quality of the art really never took a dive, but the same couldn't be said for the writing. Bendis was spreading himself too thinly. Complex conversations became random games of back-and-forth wordplay. Repetition became commonplace, filling up page after page. After Murdock had publicly been outed as Daredevil, his secret became the focus of every issue, which was dragged out to the extreme. While Bendis never let the book become a soulless paycheck, the magic just wasn't there anymore.

Now, before I continue, I want to assure you that I never dropped the book. Double D is a favorite of mine, and I have every issue from Smith's run on. I still felt (and still feel) a commitment to this comic.

Thankfully, Brubaker and Lark have thrown us a curve ball with the new direction. Granted, Bendis set up this direction with his last issue, but I wouldn't be surprised if he and Bru had planned it together. Matt is now in prison waiting for trial. In a turn of splendid vision, the book has become a lesson in prison life for our hero. Placed under protected custody, he is all alone with his thoughts. Due to his heightened senses, the experience is becoming obscene. The disgusting smells, the constant threats and prison chatter, the lack of sleep all contributing to his ordeal. Of course, the government is in no hurry to rush to trial. With no solid evidence, no jury can be provided that wouldn't find a reasonable doubt. With Matt going through all of this torture, one might ask oneself who is the Daredevil on the cover of the Daily Bugle? Is it someone trying to help Murdock, or is it someone with an agenda to keep him imprisoned? While all of this is going on, the Kingpin, also in prison, is doing his duty to take out murderous inmates when they try to pull off a shower room hit. Prison guards seem to be either on the take, or simply apathetic towards any goings on behind bars. One guard, obviously bought, provides the chance for a slaughtering of one of Matt's nearest and dearest. I'm sure the majority of you know who I'm referring to, as Marvel saw fit to broadcast a spoiler in trade advertisements. If anything could break the man who is Daredevil, this death will be it. The raw vibe of this issue comes from placing a vigilante hero into the world of Oz. I'm sure this will continue for several issues, and it is a welcome change to the status quo.

Koben occasionally thinks about turning his life over to Alan Moore to script for a while, but he’s really not sure that he wants to end up wearing a dress on his head. {Troy’s Note: Yes, that’s a Watchmen joke. Sue me.)

Night Fisher
From Fantagraphics
Written & Illustrated by R Kikuo Johnson
Reviewed by Michael C Lorah

Enjoyment = Expectation / Payoff. Remember that simple formula, and you can reduce the number of disappointing comics, movies, songs, books or other artistic ventures by 90%.

Night Fisher comes to my attention as one of the most talked-up and celebrated debut graphic novels of 2005. I admit that my expectations may have been slightly too high, but I still cannot shake the feeling that Night Fisher wasn’t quite up to the hype. It’s not bad. Don’t get me wrong. But it’s not great either. It just sort of is.

I must admit that I really like the artwork. Johnson uses shadows well, and his linework is lively and lush. His storytelling is very strong for a debut book, and I thought that he did a terrific job handling some of the technical illustrations that he provided throughout the text (scientifically labeled flora, step-by-step knot tying, and some charts and maps). Motion slides across his pages convincingly, and the camera switches angles frequently enough to engage the reader’s eye without distracting the audience with clumsy jumps. I’ve read that Johnson studied under David Mazzuchelli, and clearly, he learned his lessons very well.

Unfortunately, I felt that the story did not quite live up to my expectations. The characters weren’t quite there. I’m in the awkward place now of admitting that there was little bad about the characters; however, there wasn’t much in the story that leapt out and grabbed me by the throat and demanded that I turn the page to find out what would happen next or how an event would impact our protagonist. It was just okay, and I was expecting something better than just okay.

What we have here is a tale of a young man (or an old boy), hanging out with friends, sampling drugs, committing a little petty crime, sneaking around behind the back of his clueless, two-dimensional father, and generally trying to find himself. Loren’s relations with his friends and new acquaintances are generally pretty solid, and Johnson’s art gives the incidental characters plenty of weight. Unfortunately, the circumstances verge a little too close to bland, and ending whimpers non-committally across the finish line. The character interactions are flow easily, but they lack conviction.

All of that said, it’s still a pretty impressive effort for a first graphic novel. It may not be Brooklyn Dreams or Black Hole, but Night Fisher is ambitious (more ambitious than many seasoned pros have ever attempted) and there is clearly talent on display in its pages. I look forward to Johnson’s next book and seeing how his talents evolve. I expect some very good things from Mr. Johnson.

Troy has officially dubbed Mike the “Best Shots Indie Guru”. As yes, Troy spells “indie” as the old music magazines did; to him, “Indy” is “Indianapolis”, home of the “Indy 500”. This discussion gets even weirder when bands in town talk about “Indy rock” vs. “Indie rock”.

Battle Hymn Trade Paperback
From: Image
Writer: B. Clay Moore
Artist: Jeremy Haun
Review by Jeff “Good Soldier” Marsick

There were two things going against this collection of the five-issue Battle Hymn series from Image: the first was I had never heard of Battle Hymn before, had no idea it was once a mini-series (so much for that Image marketing machine); the second was the much-too-subtle cover that didn’t jump out and grab my attention by the throat like so many others do with their garish panache (my initial thought to the cover caricature was “When did Flava-Flav get his own book?”). It was actually the tagline at the bottom, just above the names of those responsible, that made me do a double-take: “Farewell To The First Golden Age”. Ah, the Golden Age, how I love thee. A quick flip through to make sure it wasn’t drawn by the same person who does the place mats at Pizza Hut, then I plunked down my birthday money (same day as Honest Abe’s, don’tcha know), crossing my fingers that I wouldn’t end up giving it away to Goodwill.

Two hours later, not only does B. Clay Moore become required reading in my household, but Battle Hymn goes on the shelf as one of the best stories I’ve ever read.

It’s Dubya Dubya Two and the Nazi hand of evil threatens to touch us within our own borders, far from the frontlines of Europe. FDR and his lackeys assemble a super hero team, the Watchguard, to protect us here, where we are most vulnerable. It starts off as an analogue to Marvels, Namor (although the fish-guy is visually more like the fish-girl from Supreme Power), and Captain America, but before you judge it as a rip-off of the Invaders, just keep reading, because like that subtle cover, the story’s got a lot more to it.

The team is led by the Proud American, a Captain America doppelganger. However, while the latter knows that the real heroes are the boys on the front line, the former believes his duty is more important. The Proud American’s defining moment comes early, when he selfishly bumps a GI from his return flight home, reminding the disappointed lad that “We all have to make sacrifices for the greater good”. When the Proud American takes a leave of absence, his stand-in is the Defender of Liberty, a product of the same program that produced the Proud American, and an egomaniac of US Agent proportions. But while the Proud American has his limits, the Defender of Liberty doesn’t (check out issue three).

The troops are Johnny Zip, a ladies man speedster (are there any fast guys that chicks don’t dig?) and media whore who’s not as fast as he thinks he is, or that Uncle Sam wants him to be. Quinn Rey is the haughty merman with super-strength and flight that the government lured into the group as opposed to letting run loose in the seven seas. Betty Jones (really Jablonski) is the resident rugby queen whose formidable physical skills are only demonstrated in the bedroom during missions of the carnal kind. The Artificial Man is a nuclear robot, ever stoic and silent, yet fully aware and more lethal than the government had hoped for. And rounding out the group, a vigilante on loan from jolly old England: the Mid-Nite Hour. The funny thing is, it’s the Limey who has the best display of sense of anyone on this American-made team.

What I like about Mr. Moore’s take on this team is how real it all feels. When the team is introduced to the public, they aren’t immediately ooh’ed and ahh’ed over. You can almost hear eyeballs rolling and feel the wind off heads being shaken at this posturing sextet (or quintet if you discount Betty Jablonski Jones’s contribution to keeping evil at bay). And when they get behind closed doors, it’s not witty banter they engage in between each other, it’s all out bickering. Even the government handlers aren’t really sure this is a good idea to put these personalities all together.

But that’s the beauty of it. You see, the story’s not even about the Watchguard. They’re the McGuffin. The real story is the womb that surrounds them: the government. Like the cover, it’s subtle. But in issue five the government’s hand is revealed, and suddenly everything makes sense: keeping a lid on the media carnival that is Johnny Zip’s love life is more than just protecting the image of purity of the Watchguard; an eager and willing Betty plays hen in the rooster house because post-coital animals are easier to control and manipulate; but more importantly, putting a very public team of super-heroes together under the auspices of protecting America is the best way for Uncle Sam to carry out his experiments in the open, right under the noses of his enemies.

Jeremy Haun’s artwork is a perfect compliment to the story as well, with excellent storytelling and pacing, especially in issues three and five where there comes a dearth of words and momentum relies on the picture. Well done.

The series ends fully set-up for a sequel. Rumor has it this sequel will only see the light of day based on how well this trade does and how much demand is made of it. I think it would be a disservice to the comic world if the team of Mssrs. Moore and Haun were not allowed to return for a second helping.

Jeff is considering re-enacting World War 2 in his back yard. He must have missed the “Code Black” episode of Grey’s Anatomy.

New Avengers #16
From: Marvel Comics
Writer: Brian Bendis
Artsist: Steve McNiven
Reviewed by: Richard Renteria

We’re Alpha Flight. Canada’s premier super team. With this issue, the fallout from House of M begins for the New Avengers and what a start it is. In eight amazingly drawn splash pages, we are introduced to a new threat for the Marvel Universe in general and the New Avengers specifically. This new entity is not given a name, but it can take down an entire team of heroes, with apparent ease.

From space a blast of immense mutant energy shoots down into the town of North Pole, Alaska and creates a being of what appears to be complete energy. To make matters worse this energy can move at very fast speeds. Meanwhile, the new SHIELD head, Agent Hill is grilling Tony Stark, aka Iron Man (and the only Avenger to actually appear in this issue), about why the Avengers and X-Men were spotted flying to Genosha. As Agent Hill’s and Stark’s conversation ends, the emergency alarms at SHIELD HQ are set off by the entity. Hoping not to have to call in the Avengers, Alpha Flight is dispatched to deal with the problem before it hits American soil, with dire consequences. Much to Agent Hill’s chagrin, she utters those terrible words; Avengers Assemble.

This has to be one of Brian Bendis’ strongest issues since he took over the title. Not only does he allow his artist space to tell the visual side of the story, he manages to capture the animosity that now exists between SHIELD and the Avengers. On top of that, House of M finally hits the New Avengers title in a big way. Bendis is often accused of using to many words, it’s nice to see him flex his writing muscles and try something different. Don’t get me wrong there are a lot of talking heads, but where necessary he let’s his artist shine. I find that the first 8 splash pages really helped to convey the power and immensity of the threat to come.

Steve McNiven is a spectacular artist. His art was the only reason I bought Marvel Knights 4 and the reason I am looking forward to Civil War. His art this issue really stands-out. Marvel is fortunate to have an artist of McNiven’s caliber in their stable of talent. Teaming him up with Bendis was just a good idea. Not only is he good at drawing talking heads, but he has no problems switching environments and locations. The icing though has got to be his interpretation of Alpha Flight; it’s been a long while since I saw them looking so commanding and impressive.

As Bendis becomes more comfortable writing the Avengers, his stories show more focus and thought. Having a talented artist like McNiven on art chores just makes the whole package sweeter. Run, don’t walk to your LCS and grab a copy.

X-Men: Deadly Genesis #4 of 6
From: Marvel Comics
Writer: Ed Brubaker
Artist: Trevor Hairsine (layouts); Scott Hanna (finishes)
Reviewed by: Richard Renteria

No, Logan… the question is, what happened to them? As the mystery begins to unravel, the X-Men are faced with a tragedy from Professor Xavier’s past. Having managed to recover as much information as they can from the tape that Banshee gave his life to deliver, the X-Men begin to understand the tragedy they are about to face.

Flashback: Doctor Moira MacTaggert is awaken from her sleep by the psychic call of her friend Professor Charles Xavier. He has lost his psychic connection with his students after sending them on a mission and needs her help. Dr. MacTaggert has some students that he wants to enlist for a rescue mission to save his students. Due to her relationship with Xavier, she relents and leaves the choice to her pupils. Offered a chance to be a part of the X-Men, all the students agree to help and are given a crash course on the use of their powers. While other team members are learning about the secret tragedy from Xavier’s past, our captives have managed to break free, due to their captors need for sleep. As they make their way to safety, he awakens and shares a shocking secret with Scott and Rachel Summers, one that calls into question his very relationship with Professor X!

I have read many stories by Ed Brubaker. I’ve followed him from title to title and with few exceptions I’ve always been satisfied. When I first heard that Brubaker was writing an X-Men title, I thought, “Really? What a strange match-up.” Much to my pleasure, I am totally entertained. This issue raises a lot of questions that somehow fit. From what we know about Professor X and the formation of the X-Men, I can totally buy Prof. X panicking after loosing his connection to Jean for the first time and rushing into a course of action that sets the foundation for this title. Brubaker is the master of mystery and he has opened up a huge one with this issue. Although, Kid Vulcan, groan!

Now we come to the art. I applaud Marvel for making the effort of keeping this title on track. It is totally understandable, in the context of how this storyline will affect upcoming titles in the X-Universe, that Marvel wants this title to remain on time. However, there are many other artists in their stable that could have maintained a monthly schedule. Fortunately for Trevor Hairsine, he has a great finisher in the form of Scott Hanna. Hanna has been working in comics for as long as I’ve been reading them and his talents are more apparent here then they were in the last issue. No, he’s not an A-list artist, but he is one of the most talented journeymen in the industry.

This title is a must for any X-Men fan, but even more so for people wanting a good story with a touch of mystery. I will leave you with this: If there was a rescue team before the one Xavier hand-picked, then what happened to them when Krakoa was shot into space, the answer is in issue one, and it’s not pretty.

Richard’s grandma just turned 90, and in our book, that’s pretty righteous. Troy’s great-grandfather lived to be 105 and all of his grandparents are still alive. What does this mean? We plan to bug the hell out of you all for a long time.

Double-Shot Review
X-Men: Deadly Genesis #4
From: Marvel
Writer: Ed Brubaker
Art: Trevor Hairsine and Scott Hanna; Pete Woods for the back-up
Review by Troy Brownfield

Two of the worst-kept secrets in comics get revealed here, but I’ll throw on a spoiler-warning tag anyway . . .SPOILER WARNING.

After much discussion, it is indeed revealed that a) Xavier did activate a “1.5” team of X-Men between the original five and the Giant-Size #1 team, and b) not only is there indeed a third Summers brother, but Xavier knew about it all along. This bit of info, along with a few other choice items (particularly the Cerebra ascension in Astonishing) further the apparent goal that Marvel now has of depicting Xavier as a much more duplicitous bastard than we ever expected.

Now, before you fire up the postings and all, let me clarify: I’m not saying that Marvel is doing a Max Lord on ole’ Charlie X. I’m saying that they’re adding interesting layers to what should have always been an obvious character trait: Charles Xavier is a user of people. True, his goals may be altruistic, and the existence of his various teams have ended many threats, but Charles is not above manipulating scores of people to achieve his goals (as seen in the early days, when he would conveniently modify memories left and right). On that level, Charles has much more gray in him than we’ve been led to believe, and that provides the seeds for conflict and good stories.

And here to take advantage is Ed Brubaker. I think Brubaker is just a top-flight writer, from his Lowlife work on up. Here he does an efficient job of introducing the “forgotten” characters and makes an incredible amount of “behind-the-scenes” continuity plausible. Moreover, he makes these young characters appealing; this is a loss that we as readers should feel, and perhaps it’s better to tease us with these clever ideas and then rip them away, because it essentially mirrors what Charles did to them.

As to the brother . . . back when this idea was first floated by Mr. Sinister in the mid-‘90s, I assumed that it was going to be Adam-X/X-Treme. I have to say that this probably makes more sense. I actually hope that we get more development out of this character and that he sticks around as an antagonist; he has more out and out reason to hate Xavier and the team than most characters.

The art in both tales is strong throughout, and the whole enterprise conveys a wistful air of missed opportunities. Frankly, I haven’t stuck with the main X-books in a long time. However, as long as there are alternatives like this, Astonishing, Ultimate X-Men, and Phoenix:Endsong, there will still be part of me that lays claim to the title of X-fan.

Anthem #1
From: Heroic Publishing
Writer: Roy Thomas (that’s right, citizens; Roy F’n Thomas)
Art: Daniel Acuna
Review by Troy Brownfield

I’ll establish my prejudices about this particular writer right off the bat: I loved Roy Thomas’s take on the classic characters of both Marvel and DC from the day. Thomas’s Invaders was a late ‘70s blast, and his corner of the DCU (notably All-Star Squadron, Infinity Inc., Young All-Stars) remains a personal favorite. I enjoyed his proclivities for inserting literary antecedents into storylines; in fact, there were arcs in Young All-Stars that worked in strong indicators of work by Philip Wiley (actually, this was the second time Thomas did this; the first was the tremendous Marvel Premiere Man-God story), Edgar Allen Poe, Jules Verne and H.P. Lovecraft (and that was before everybody was referencing Lovecraft). And frankly, I enjoyed what was occasionally his unabashed sentimentality for the old-school. For those of us who are in our ‘30s that love the JSA, we basically learned that from either one of two places: the JLA/JSA team-ups, or 150+ issues dealing with the characters that Thomas wrote in the ‘80s.

Unfortunately, the worst side-effect of the original Crisis, perhaps even worse than the screwing that Legion and Hawkman continuities took, was the effect that it had on the books of Thomas. Since both the Squad and Infinity Inc. had their adventures on Earth-2, massive adjustments to plots, characters, and origins were required; while part of the overhaul did allow for the creation of Young All-Stars, several story chances were lost.

Among those was Thomas’s notion that at some point the timeline of World War 2 should diverge into pure fantasy with the death of FDR and the near conquering of America by the Axis, placing the heroes in a position of do-or-die jeopardy. That never happened in those books, but Thomas never forgot.

Anthem is Roy Thomas’s return to World War 2 super-hero comics, and I for one am extremely pleased. Here we have a team of patriotically themed heroes, created in a lab and bereft of immediate memory, who come to realize that the nightmare of a Nazi-occupied America may be much more than a bad dream. The first issue is largely set-up, but it has a solid, old-school feel.

One particular detail I enjoyed was the art of Daniel Acuna. It almost feels as if he’s shaped his style in this first issue to look reminiscent of the original war comics, what with more cartoonish elements (slightly shortened forearms, etc.) and large, drawn-in sound effects. The names and costume designs are fairly iconic; younger readers might find them a tad cheesey, but I think that the entire attitude is completely appropriate to the era and type of story that Thomas is trying to represent.

If you’re a fan of Thomas’s work, this is definitely a pick-up to make. Details in the text pages indicate that there’s at least four issues of this one coming, but I’m certain that Thomas will have ideas for many, many more.

Holy Shit, Or . . . Pat Robertson is the Anti-Christ
by Michael F. Luoma
Review by Troy Brownfield
Order from www.lulu.com

And it’s for books like this one that I love doing this column. Holy Shit makes no bones about being an agenda-driven political tract and a ringing endorsement of what Luoma considers to be actual Christian values. It’s also a damn fine example of what “independent comic” really means. The fact that it’s entertaining, informative and occasionally gut-bustingly funny is all icing.

Luoma operates from the premise that things like Fundamentalism, televangelism, and hatred in name of God are all dead wrong and really go against the true intent of the teachings of Jesus Christ. He takes great pains to explain the nature of how the Bible was actually written and why certain misconceptions and wrong-headed interpretations exist.

He focuses particular ire on the rampant idea of “Fundamentalism”, an idea that he purports did not begin until 1895. This segment carries some great elements of humor, as strict interpretation within the “Five Fundamentals” show that they repeatedly contradict one another. It’s to Luoma’s credit that his research is integrated fairly effortlessly, and often comes as humorous aside.

The whole enterprise has the feeling of an old, underground comic. The art isn’t the greatest, but that’s not the point; the overall message is the point. Lumoa has thoroughly researched his work, backing it up with citations and references gleaned from sources as common as Kenneth C. Davis (author of the Don’t Know Much . . . series, and as specific as John Shelby Spong, author and retired Episcopal Bishop of Newark, New Jersey.

Holy Shit is certainly meant to anger and inflame a certain segment of the population. Luoma’s taking aim at an especially nasty brand of American hypocrisy, and his work definitely has bite. It might not be to everyone’s taste, but it’s definitely thought-provoking, and that’s something we can always use in comics.

Pellet Reviews

Justice #4 (DC; by Caleb): Everybody Fights Everybody comics just don’t get much better than this! The more photogenic members of Luthor’s Legion of Doom unveil their plan to the people of the Earth during a holographic press conference, while the more monstrous members go about taking down the Justice Leaguers still up and around. And they take them down hard. It’s Wonder Woman vs. The Cheetah, Hal Jordan vs. Sinestro, Green Arrow and Black Canary vs. The Scarecrow, The Hawks vs. an awesome new interpretation of Toyman, and Superman vs. Solomon Grundy, Bizarro, The Parasite and an old-fashioned Metallo. Whew! The best Justice League story currently unfolding gets better and better, and those who haven’t liked any of the changes to befall their beloved Satellite Era heroes, from Aquababy’s death to The Atom’s wife turning psycho killer in Identity Crisis, should lap up this up. If you’re waiting for the trade, you’re a far, far more patient JLA fan than I.

Double-Shot Pellet: New Avengers #16 (Marvel; by Caleb): I don’t know if Brian Michael Bendis gets paid by the script or by the page, but if it’s the latter, then man is he taking Marvel for a ride this month. For example, presuming he writes full-script style, page one of this issue must look something like this: “A medium shot of earth, as seen from space.” And that’s it. The next seven pages of script must look pretty similar, as this issue starts with eight wordless splash pages. Of the six New Avengers posing on the cover, (one of whom is Ronin, who has yet to officially join the team), none appear within the actual issue, unless you count Iron Man’s secret identity Tony Stark, who does have a brief conversation. As for stuff happening, there’s a little of that, as Alpha Flight gets “Disassembled,” albeit off-panel. Artist Steve McNiven draws the hell out of what little he’s given to draw here—a lot of talking heads, phone conversations and S.H.I.E.L.D. agents—and I don’t think I’ve ever seen Alpha Flight’s big, hairy guy look quite so cool, but the world’s slowest-moving super-team comic book ain’t moving any quicker these days. With so much back story yet to tell and so many plot dots to connect, you’d think Bendis could better use his first eight pages than with wordless splashes. But he’s doing something right, because as frustrated as I get, I can’t seem to drop this book.

Ultimate Fantastic Four #27 (Marvel; by Caleb): Wait, if the Fantastic Four have time-travel technology (as seen in #21), why haven’t they gone back in time to prevent the accident that made Ben Grimm a miserable monster yet? That’s the question writer Mark Millar asks and answers this ish, which for all it’s high-falutin’ fantasy concepts, has some pretty gripping emotional melodrama at its heart. Messing with the timestream can have unforeseen repercussions, as the title of this story arc indicates: It’s not called “President Thor” for nothing. Too bad Millar has us join Thor’s term already in progress, as it would have been fun to see the campaign unfold. As funny as Bush and Kerry’s first debate in ’04 was, imagine how much more hilarious it might have been if you added a Nordic hippie god into the mix. Maybe this arc will earn a Thor campaign spin-off miniseries—Call it President Thor: The Rainbow Bridge to the White House— just as “Crossover” led to Marvel Zombies…

Manhunter # 19 (DC; by Koben): Because you demanded it: the battle of Kate and her father! After a quick but clever solution to the cliffhanger of last issue, Kate finds her ex-husband, but is jumped by her father, who wields powers of his own. It seems that he was depending on the doctor, who lost a scalpel fight with Kate last issue, to cure his terminal disease. Friends show up with their own teleporting gadget, and split the problem right down the middle. Heh. Also in this issue, more on the love life of fan favorite, Obsidian, who's sexual identity has been a hot topic recently here at Newsarama. His father, Alan Scott, appears to tell him about the fate of his sister. Lastly, we are given some sad news about Kate's medical condition that even she was not aware of.

Spider-Woman: Origin # 3 (Marvel; by Koben): I'll nominate this issue as the Everything You Know Is Wrong book of the year. Nick Fury is instrumental to the revealing of the true history of Jessica Drew. HYDRA has been stringing her along the whole time. They are revealed to her to be a terrorist organization who kept her in a coma for years for their own purposes. Even her love life was orchestrated by them. Unable to cope with the facts, Jessica goes off of the radar for a few years, changing her identity. She even dyes her hair black, looking more and more like her current self with every issue. After a fight with Taskmaster, in which several HYDRA agents are killed, she pays back those who lied to her in a major way. Nick Fury locates her again, and with a chance to join up with S.H.I.E.L.D., he offers her the truth about her parents. If the regular series is as good as this mini, Bendis has another success story to add to his resume.

Chosen (Dark Horse, by Mike): No comic artist makes fantasy seem more believable and mundanely real than Peter Gross. Mark Millar turns in possibly his tightest, subtlest script ever, and somehow he manages to tell a great story of the Second Coming in a way that should not offend Catholics or atheists. From the smallest moments of incidental dialogue to the epic resurrection sequence, Chosen comfortably straddles the disparate continents of small-town mystique and supernatural thriller. Excellent work.

You Deserved It (Dark Horse, by Mike): Great art. I just wish that I found it funnier. But that may just be a sign of my poor taste in jokes.

Simpsons Comics #115 (Bongo; by Jeff): I’m not a fan of cartoons made into comics, perhaps it’s because I’m used to watching them on the telly and am therefore inherently biased. Some jokes, however, work no matter what the medium: “I was speaking in tongues?” “No…” “Whew. I was afraid I’d gone Pentecostal.” This issue has two stories. The first has Krusty the Clown working at the Springfield Nuclear Power Plant (I think at some point everyone in Springfield has done time at the plant) when he’s fired from his show by the studio execs. Under orders from his anger management counselor to avoid humor, Krusty returns to form during a near meltdown and prevents a panic. His faith in himself restored, the execs re-hire him, mostly to save their own butts from network programming gone awry. The second story isn’t quite as good as the first, and is about Ned Flanders seeing a clone of his wife driving around Springfield, and his mission to find her and confront her. Now, I want to criticize the “Thelma and Louise” ending of this story as being a bit of a head-scratcher, but I can’t. It’s the Simpsons, fer cryin’ out loud, where all you’re supposed to do is take a seat and enjoy the ride.

Zombie Tales: Death Valley #2 (Boom!; by Troy): I have to say that I really like the way that Boom! operates. I enjoy that they do two-and-out minis. I enjoy that they have anthologies and divergent ideas grouped under shared banners. One case in point is this ZT mini, which shares a name with the anthology but needed more space to tell its tale of teens in trouble from ravenous, photo-sensitive zombies. Though this issue hews a bit more to tradition as we lose members of the cast, the realistic depiction of the teens was refreshing and the attachment of an extra dilemma added to the suspense. This is a solid little addition to the genre, and other title for Boom! to be proud of.

Planetary Brigade #1 (Boom!; by Troy): This very entertaining read spotlights Captain Valor’s team, as seen in Hero Squared. Prior to their deaths, the bickering group operated in a way similar to the old JLI. And perhaps that’s because they were also written by Giffen and DeMatteis. This is fun, occasionally hilarious super-hero comics; I look forward to more of it, but I’d hope for a regular art team. I found the style shifts every couple of pages to be somewhat distracting. Still, the writing and character are the stars, and those are golden.

Loveless #4 (Azzarello/Frusin, DC/Vertigo), by Sarah Jaffe: At some point, something is going to happen in this series to make everything that went before make more sense. Until then, I keep reading and wondering where the flashbacks come in and what's important, and re-reading the previous issues to refresh my memory. Luckily, I don't mind the process, and I'm fascinated with the teasers shown us of Ruth Cutter. Is she real? A dream? A memory? I can't quite wrap my mind around it, but I do want to know just how badass she will be when we finally get to see more of her. The cover of this issue in particular makes me want to see it.

Hellblazer #217 (Mina/Manco, DC/Vertigo) by Sarah Jaffe:Denise Mina is sending John Constantine to Glasgow, her hometown. What's worse, she's got him having feelings. Empathy. Demons, he can handle. His own emotions? Scary stuff. Mina writes like a novelist still, putting flowery descriptions into Constantine's inner monologue, but she's got a feel for him and his world, and as she gets deeper into the magic and religious aspects of the story she's telling. . . well, let's just say I won't be abandoning Constantine any time soon.

X-Men: Apocalypse vs Dracula (Marvel; by Richard): Who Dares Disturb… Apocalypse? Not what I was thinking, but it works. Frank Tieri’s story, seemingly set in current continuity – albeit the past, starts with an interesting back story on the downfall of Vlad the Impaler. Jump to 1897 where a murderer seems to be draining the blood from its victims. Through the course of the story we learn that all the victims have one thing in common, they were all followers of Clan Akkaba, descended from “he who never dies”. Apocalypse has been around for thousands of years and here we learn of another path in that history; one that is seemingly on a collision course with everyone’s favorite monster, Dracula. Clay Henry does a great job on art, especially considering this issue is mainly talking heads. The opening battle sequence was very well done, especially when War arrives on the scene. A great start to this mini, let’s see where it goes.

Troy Brownfield founded ShotgunReviews.com and serves as the Editor-in-Chief. He’s a professor of English, journalism and communication and freelances for a number of print and online sources. Anyone wishing to submit their titles for review can contact Troy at psikotyk@aol.com. If you’re interested in taking a class with Troy via the miracle of Distance Learning, check out the program here http://www.smwc.edu/cgi-bin/site.pl?futureDistance , and specifically mention him or his areas (Journalism, Professional Writing, New Media) when you call. Watch for news of a big ShotgunReviews.com relaunch soon!

[algertman]

They should rename Justice

it should be called.....

JUSTICE: God's Gift To Comic Fans

[Collin]

Originally posted by algertman
They should rename Justice

it should be called.....

JUSTICE: God's Gift To Comic Fans

Amen, brother, amen!

[lordlad]

Originally posted by algertman
They should rename Justice

it should be called.....

JUSTICE: God's Gift To Comic Fans

it's good..but not THAT good....


And i bet if doesn't has Alex Ross's art, nobody will even bother (dun flame me pls, just personal opinion)...

[kingofcities]

Congrats on the anniversary. Keep up the good work!

[MrThatGuy]

Originally posted by lordlad
it's good..but not THAT good....


And i bet if doesn't has Alex Ross's art, nobody will even bother (dun flame me pls, just personal opinion)...

as much as i loathe to admit it... he's the reason i picked it up, and boy oh boy am i glad i did!!!

[pifpog]

Originally posted by lordlad
it's good..but not THAT good....


And i bet if doesn't has Alex Ross's art, nobody will even bother (dun flame me pls, just personal opinion)...

It is one of the best books out there, because of the combination of story and art.

But I think you are right, in a way. I think the story could have been published with a different artist as a mini-series... a homage to the silver age. However, the story would have been compressed without the pretty pictures.

[ParisCub]

I find that the first 8 splash pages really helped to convey the power and immensity of the threat to come.

I personally think that the last issue of New Avengers was a complete rip-off with 8 useless splash pages, most of which are the worse McNiven pages I've ever seen.
This was the weakest issue of the series so far.

[saiyanspider]

Originally posted by Collin
Amen, brother, amen!

Not having read the title, and only seeing the inside pages

I ABSOLUTELY AGREE....

It looks beautiful, and I been meaning to go to the comic store and pick up the 4 issues I have missed.

[jasinmartin]

But then, if you are a Pope fan, you don’t really need me to tell you that, do you? You probably already have this, huh?

Yep!
Hopefully a Bat Man/Paul Pope mash-up can bring some new fans his way!

[LazarusMan]

Firestorm sounds like it's becoming more and more like Peter David's Captain Marvel.

[Starlord]

I have to agree with every review this week. Especially BoP, Justice, and Firestorm.

And I really would like to know exactly what DC is doing with the Royal Flush Gang! In IC they are the original group who get's slaughtered by Joker. Then in the other books they are the new version, alive and kicking. I hope IC takes care of this snafu.

[carl kolchak]

f it wasn't so disheartening to see my favorite incarnation of the Man of Steel come off as a neo-fascist

I agree with you there. Kelly has a problem dealing with anything other than black or white. The Elite are SO clearly wrong. Kal L has to be as bad as them to legitimize the wimpy whiny Superman we've gotten over the last 20 or so years. I was also hoping for a look at the Golden Age Superman. Instead we're getting a glorified recap issue and a defense of the status quo.

[kingofcities]

Originally posted by LazarusMan
Firestorm sounds like it's becoming more and more like Peter David's Captain Marvel.

As a die-hard reader of Firestorm I can tell you that is FAR from the case. I loved and read every issue of that series and the two are not alike.

[mjrdmg]

Originally posted by ParisCub
I find that the first 8 splash pages really helped to convey the power and immensity of the threat to come.

I personally think that the last issue of New Avengers was a complete rip-off with 8 useless splash pages, most of which are the worse McNiven pages I've ever seen.
This was the weakest issue of the series so far.

Agreed. I have never felt so ripped off, after buying a comic before. This book could have been done in six of seven pages.

[artiepants]

Originally posted by MattBrady
New Avengers #16
From: Marvel Comics
Writer: Brian Bendis
Artsist: Steve McNiven
Reviewed by: Richard Renteria

We’re Alpha Flight. Canada’s premier super team. With this issue, the fallout from House of M begins for the New Avengers and what a start it is. In eight amazingly drawn splash pages, we are introduced to a new threat for the Marvel Universe in general and the New Avengers specifically. This new entity is not given a name, but it can take down an entire team of heroes, with apparent ease.

From space a blast of immense mutant energy shoots down into the town of North Pole, Alaska and creates a being of what appears to be complete energy. To make matters worse this energy can move at very fast speeds. Meanwhile, the new SHIELD head, Agent Hill is grilling Tony Stark, aka Iron Man (and the only Avenger to actually appear in this issue), about why the Avengers and X-Men were spotted flying to Genosha. As Agent Hill’s and Stark’s conversation ends, the emergency alarms at SHIELD HQ are set off by the entity. Hoping not to have to call in the Avengers, Alpha Flight is dispatched to deal with the problem before it hits American soil, with dire consequences. Much to Agent Hill’s chagrin, she utters those terrible words; Avengers Assemble.

This has to be one of Brian Bendis’ strongest issues since he took over the title. Not only does he allow his artist space to tell the visual side of the story, he manages to capture the animosity that now exists between SHIELD and the Avengers. On top of that, House of M finally hits the New Avengers title in a big way. Bendis is often accused of using to many words, it’s nice to see him flex his writing muscles and try something different. Don’t get me wrong there are a lot of talking heads, but where necessary he let’s his artist shine. I find that the first 8 splash pages really helped to convey the power and immensity of the threat to come.

Steve McNiven is a spectacular artist. His art was the only reason I bought Marvel Knights 4 and the reason I am looking forward to Civil War. His art this issue really stands-out. Marvel is fortunate to have an artist of McNiven’s caliber in their stable of talent. Teaming him up with Bendis was just a good idea. Not only is he good at drawing talking heads, but he has no problems switching environments and locations. The icing though has got to be his interpretation of Alpha Flight; it’s been a long while since I saw them looking so commanding and impressive.

As Bendis becomes more comfortable writing the Avengers, his stories show more focus and thought. Having a talented artist like McNiven on art chores just makes the whole package sweeter. Run, don’t walk to your LCS and grab a copy!

Nice to see someone else who 'got' this issue and understod what the storytellers where going for after all the "bendis ripped off my lunch money and pushed me in a puddle and kicked my dog" threads i thought it was incredibly dramatic and an excellent issue, and i can't WAIT for the next one!!!

[sloria13]

Originally posted by MattBrady
However, as long as there are alternatives like this, Astonishing, Ultimate X-Men, and Phoenix:Endsong, there will still be part of me that lays claim to the title of X-fan.

Couldn't agree more.

[razorwing77]

Originally posted by artiepants
Nice to see someone else who 'got' this issue and understod what the storytellers where going for after all the "bendis ripped off my lunch money and pushed me in a puddle and kicked my dog" threads i thought it was incredibly dramatic and an excellent issue, and i can't WAIT for the next one!!!

I agree with you that it was incredibly dramatic, and I'm also looking forward to the next issue. I just wish New Avengers would actually start featuring the New Avengers rather than whoever's guest-starring. The book reads more like a generic "Marvel Universe" book more than a book about a specific team with specific members.

[SpyGuy]

Originally posted by MattBrady
To the disenchanted out there that have dismissed this book since Ronnie Raymond became "ex-Firestorm," I have two things to say: you are missed, and you are missing out. I don't honestly believe the "all or nothing" approach is going to get the original Firestorm back on a monthly any time soon, so it'd be nice to see you guys join in on the fun as we see the development of the new Jason Rusch/Prof. Martin Stein partnership.

I can only speak for myself here, but I personally don't expect the "all or nothing" approach concerning Ronnie Raymond to bring him back on the monthly title. Sure, it'd be great for Ronnie's fans if it did, but I see this as more of a consumer choice issue.

For example, when Coca-Cola did their little "New Coke" stunt that originally replaced the traditional Coke, consumers were initially left with the option of buying New Coke or nothing. Old Coke was "gone." Supposedly (depending on who you believe), consumer "demand" was so great they brought the original formula back and called it Coca-Cola Classic. You then had the option to buy whichever Coke product you wanted. Eventually, however, consumers favored Coke Classic over New Coke, which was ultimately phased out.

Now, was New Coke a genuine attempt at a new product that failed, or was it actually a planned gimmick to revitalize interest in the original product? I'll leave it up to soda can fanboys to decide, but my point here is Jason Rusch comes off as New Coke to a number of us longtime Firestorm fans. The problem, though, is that we don't have the option to buy a Ronnie series and/or a Jason series. It's Jason or nothing, although now the situation has become Jason-and-Stein or nothing, which is at least more accommodating to some.

Me, I grew up reading about Ronnie and Martin in FURY OF FIRESTORM, JUSTICE LEAGUE OF AMERICA, DC COMICS PRESENTS, backups in THE FLASH, EXTREME JUSTICE, THE POWER COMPANY, etc. And while adding Martin is a great way to reach out to the longtime fans, I feel that Ronnie, in the driver's seat, is the essential core to the character of Firestorm. I personally don't see him as a "legacy character" any more than Superman, Batman, Wonder Woman, Aquaman, Black Canary or the Elongated Man are legacy characters.

So feeling this way, it is indeed "all or nothing" for me. And with so many great books currently on the market, soon to be bumped up to a $2.99 minimum each, I can't quite justify spending $3 a month to read about Martin as a supporting character. And if Jason Rusch is such a great character on his own, it really shouldn't matter if I'm there to "join in on the fun" or not...

[Bevbos]

It was a good week for comics. Justice #4, Daredevil #82, New Avengers #16, and X-Statix: Dead Girl Mini #2.

These look to be some very good months ahead of us.

[khuxford]

Originally posted by artiepants
Nice to see someone else who 'got' this issue and understod what the storytellers where going for after all the "bendis ripped off my lunch money and pushed me in a puddle and kicked my dog" threads i thought it was incredibly dramatic and an excellent issue, and i can't WAIT for the next one!!!

I thought it was a decent issue. I did like a bit of the dramatic setup in it. Part of it might be because I make a habit of downloading DCP scans of books that I've purchased through mailorder...so I can participate in discussion and feel ethically OK. Maybe if I was actually reading the pamphlet, I'd be a bit more ticked...

[speechgeek]

It's taken me all week to wrap my head around how Superman just got up and decided not to die. It's like what Jonathan Kent told Clark when they were both in the afterlife: our biggest mistake in raising you to be human is that you thought you could die. In that sense, then, Superman could have simply willed himself not to die in the battle with Doomsday. Just a thought.

[phismi]

Is there someplace on Newsarama where I can get a little more background on the folks doing the weekly "Best Shots" write-ups? Since the preferred voice of the reviews seems to be first-person, I am forced to ask, "Well, who are you?" For instance, Troy was underwhelmed by "Night Fisher" (a book I have been interested in checking out) but who is Troy that I should value his opinion?

I'm not trying to be a jerk here, I'm genuinely asking. Since most of the passages are synopses of the writer's experience of a particular book and not necessarily a critical breakdown of the book, I often end up with no more insight into a particular title than I had before I read the "review."

I'd like to get a little more out of this weekly feature. Clearly a lot of time and effort goes into it.

Thanks.

[samnoir]

It would have been a nice to get a homage cover to the issue of Action where they got married.



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[Koben Kelly]

I dropped New Avengers with the revelation that Ronin was Echo. Thought it couldn't get worse than that. I've read every issue at my LCS, and have a complete picture of what has gone before. Hate to say it, but here goes: Worst. New Avengers. Issue. Ever. The opening pages are a joke, and I like Avengers in my New Avengers. The slaughter of Alpha Flight is simply another example of the current death trend.

Please, God, can someone start up a West Coast Avengers (or some otherwise located Avengers) that features classic Avengers written in a classic Avengers style?

Thanks
---Koben