BEST SHOTS: WWH: DAMAGE CONTROL, WONDER WOMAN, AFTERBURN, IRON MAN AND MORE

[MattBrady]

by The Best Shots Team, courtesy of ShotgunReviews.com
Your Host: Troy Brownfield

Welcome back! Here’s a quick run-down of our advance reviews and Best Shots Extras that ran between last week’s column and now:

The Stranded #1

And that’s it! But don’t worry – this week is already looking busier.

The Vlog: Is there a vlog? Right here . . .Kevin says:

I hitch my wagon up to Brand New Day for the last time (poorly planned advance orders willing), but try to make myself feel better about the YouTube ratings whore I've become by sneaking Amelia Rules into the same vlog. Of course, there's no similar explanation for how Astonishing X-Men and Gotham Underground got paired together, other than I just didn't feel moved to review Teen Titans or Countdown to Final Crisis to match up with them, respectively.

And, over at ShotgunReviews.com . . . This week on Shots in the Dark, Lucas reviewed the entirety of Messiah CompleX, the SiTD crew talked geek news, then started a conversation on a topic near to all of us, Intellectual Property laws in the New Millenium. May not sound super exciting, but we wound up going over on it, and we may give it a second show in the near future. If you just want to hear the review, head to this link, then fast forward to about 26:50. Stop by for the review, stay for the zany hijinx and debate!
Shots in the Dark Episode 13

World War Hulk Aftersmash: Damage Control #1
Writer: Dwayne McDuffie
Artist: Salva Espin
From: Marvel
Review by J. Caleb Mozzocco

I realize that World War Hulk just wrapped up two months ago, but this series still seems like it’s taken way too long to get here to ride the WWH wave. Perhaps its just that Hulk story is a few cycles back in the Marvel hype perpetual motion machine—what with a red hulk, and this X-people business, and OMD/BND and now “Secret Invasion” gearing up, The Hulk and his alien army decimating New York City seems like forever ago, doesn’t it?

Anyway, writer Dwayne McDuffie returns to his creation of a reconstruction firm dedicated to cleaning up after super-fights, and they’ve got the mother of all super-fights to clean up after now. The bulk of this first issue is set-up, introducing and reintroducing players new and old (I have very, very little prior experience with the franchise, and didn’t feel the least bit lost, so thorough is McDuffie on this regard), and giving us a new status quo for the company while addressing odd bits of previous continuity (the conspiracy in Wolverine, for example).

The dialogue is sharp and clever, and often falls with a sort of pitter-pat delivery that recalls a well-written TV dramedy. I usually think comics that read like a TV show plays is a bad thing (or at least a back-handed compliment), but not in this case, given that this isn’t really a book about super-people, just the people who put up with them (In that regard, Marvel oughta keep McDuffie in mind for any future Frontline stories; he’s good at this stuff).

Espin is another creator seriously on top of his game. Each panel is well-composed, each character well-designed and rendered, and, thanks to the sharp coloring, looks realistic without being oppressively so—I’ve never been a fan of the stiff, photo-realistic style employed on many of Marvel’s books, and Espin manages a look that nods in that direction while still being clearly drawn, and drawn quite well.

It’s probably not terribly essential reading, including as it does Instance #39 of the Non-Regs and Regs all gathering in one place and no one giving a damn now that Civil War #7 has shipped, but it’s a fun, well-done comic with just enough Marvel Universe stuff (A last page Thunderbolts related cliffhanger, the debut of the new Black Goliath) to make it seem relevant. That is if being fun and well-done isn’t relevant enough.

Wonder Woman #16
Written by Gail Simone
Art by Terry & Rachel Dodson and Ron Randall
Published by DC Comics
Review by Rev. O.J. Flow

Talk about not feeling rewarded by the praise I heaped upon this book a month ago. I've done everything I can to support the relaunch of Wonder Woman, and that's saying a lot considering there were at least half a dozen issues in the last year alone that should've prompted me to take the title off my pull list. But issue #16 here felt like a lot of the same in terms of production that have made the book a Sisyphean chore to follow.

Before I deliver the laundry list of offenses in Wonder Woman #16 that have me questioning my faith, let me preface this by saying that writer Gail Simone is doing yeoman-like work here, and I still have confidence that she can be the title's savior if she endures for a multiyear run on script duties. I even think this is a cool little 4-parter she's come up with that has me hoping that Diana's mother, Hippolyta, can be redeemed after the debacle that was "Amazons Attack." But Simone is betrayed by the editorial pitfalls that have cursed this volume of Wonder Woman from the get-go.

I'm not going to lie, I was really getting into this third chapter of "The Circle," entitled "The Wellspring of All Vengeance," that was until I got to the book's twelfth page and the classic "abrupt change in artist" gambit reared it's ugly head. I use the word "ugly" very loosely, because temporary fill-in artist and reliable industry vet Ron Randall offers some exceptional pencils and inks in the few pages he's asked to do up. But it's the principle of the matter. The solicitations have always touted this issue as a Terry and Rachel Dodson production, and it even says so on the book's cover, but they're only responsible for two-thirds at best. Sorry, but I'm sick of this. If DC couldn't even get the same artist to usher in Gail Simone's first story arc, they should've found someone who could. Fill-ins can work sometimes, but doing it in the middle of a single issue is rarely anything but distracting and off-putting. I don't even know what to expect now from the fourth and final chapter in a month, and I can't be the only one weary of the speed bumps.

Another problem, and this goes back to the book's solicitation, it's the notion that this big, bad secret to Diana's birth would be revealed. Did I miss something? I actually would've assumed that we'd get a lot more insight to this back story of four royal guards to the queen who conspired against childbearing among the Amazons, even that of the one person they took a blood oath to protect at all costs. I don't seem to recall anything particularly revelatory, and something bigger should've been brought to the fore in the third of a four-part story. Isn't that kind of the norm in penultimate chapters?

And the last page? It felt like deja vu all over again with Diana and her mother, so it was hard to get emotionally invested in the turn of events, regardless of the outcome in conclusion of "The Circle" (and why was the one freed royal guard wearing a blindfold in the second to last page?). I can gladly accept the more outlandish turns in Simone's take on Wonder Woman, from the simian backup she now counts on, to the old, reliable villainy that is the superpowered Nazis. It's what I expect in the Wonder Woman's tales. But this issue was maddeningly inconsistent, and I'm at wit's end as to where I stand with this series. Editorial makes it so hard.

Iron Man #25
Writers: Daniel and Charles Knauf
Art: Rob de la Torre with Dean White
From: Marvel Comics
Review by: Lucas Siegel

When Civil War was starting, going on, and ending, Mark Millar talked a lot about how he thought/wanted two books to rise to the top of Marvel when it was all over: Captain America, and Iron Man. Tony Stark has been many vocal fan’s “love-to-hate” guy in the Marvel U for the last year. His turn in Civil War may have seemed a bit too villainous, in fact, for people to give his solo adventures the proper try and its proper due.

Iron Man under the Knaufs has been a great companion to books like Cap and Daredevil. If Marvel Knights was still the same imprint it was a couple years ago, these three titles would be the fearsome threesome. Being that Tony has the Extremis enhanced abilities now, along with much-enhanced technology, and the Directorship of S.H.I.E.L.D., this book must naturally be a little more over the top than a book like Cap. However, it actually plays very well with the same tone, and everything here seems believable.

This issue takes us in the middle of a story arc, as Tony is trying to stop the Extremis Virus from being unleashed upon the entire world. At the same time, his Extremis has been temporarily shut off, because everyone thinks he’s insane - not for the reason you might suspect. The current ubiquitous guest star, Doc Samson, is around in this one as a partner and a shrink (complete with long pony tail; kudos Knaufs and de la Torre), and helps Tony get to the bottom of both his current problems.

The Mandarin fills the villain role (just as classic villain Red Skull rules the roost over in Cap right now), but in a much different way than we’ve seen before. It’s refreshing to not just see the same mad with power maniacal cur this time, and it makes for a more realistic and tensioned read. Really, everything about this book, every theme, deals with big decisions, good intentions, and guilt. It’s everything that Tony Stark is and damn well should be going through right now, and you can see it all over his world, as well. It holds a brilliant subtlety with a greater effectiveness than him simply hitting the bottle again.

The art implies some of this tone. The faces are well modeled and distinct, but all give off a certain worn down look. This style makes sense for the book’s written content, and is spectacular. Really, it’s almost an amalgam of Epting’s and Maleev’s styles. Iron Man himself still looks effectively powerful. I would imagine that even those who’ve seen him a thousand times would still get a little sense of “wow’ and probably of “oh crap” when he busts through a skylight; this art invokes that for me every time.

Overall, this is a tremendous book. I randomly picked it up about two or three issues after Civil War ended, and it is quickly becoming one of my favorites. The price on this specific issue is higher, as it comes packed with some extras. First off, there are 29 pages of actual story. Then, there is a preview of the upcoming feature film, with screenshots internet savvy fans will find familiar. A review of Tony’s various armors, a truncated origin (3 pages), and a six page preview of the upcoming Favreau mini round out the extras. Necessary material? Not really, but not bad for your extra buck. On the Avengers side of the Marvel Universe, I’ve felt the team books don’t hold that luster they used to, but the solo books seem to be shining brighter than ever. Who better to lead that shine than the Golden Guardian. Mark Millar was right, this book should be at the top of the charts, right up there with Captain America.

Zipper #3
From: IDW/Simmons Comic Group
Written by: Tom Waltz
Art By: Casey Maloney, Marc Rueda
Reviewed by Tim Janson

Created by KISS bassist, Gene Simmons, Zipper is the epitome of a “stranger in a strange land” story (with apologies to Robert heinlein). Xeng Ral has fled from his world where individuality is non-existent and all its beings are a part of a great collective. He refused to conform and give up his free will, escaping to Earth and to the city of Detroit. Xeng Ral’s Exo suit gives him the ability to cloak his appearance so he can pass for human, as well as being able to translate any language, not to mention imparting various physical abilities such as enhanced strength and speed. In the first two issues he has befriended a small-time crook named Ronnie and a Detroit Detective.

Xeng’s race, the Etherians, have tracked him to Earth and set four hunters on his trail. They are intent on bringing Xeng back so their collective can be made whole again. The result is an all out war on Detroit’s streets with Ronnie and Detective Maki caught in the middle of the fight between the aliens. There is also a slowly developing subplot regarding a Los Angeles minister who has had visions of Earth being invaded by an alien race and he is gathering an army of followers to combat them.

While you obviously can’t hear the aliens speak, through Waltz’ script and the letterings of Chris Mowry, you get the sense that their voices are smooth, eloquent and soft, perhaps even a bit monotone, or even toned might be a better description. This unique lettering style does a very subtle job of conveying just how different these aliens are. Casey Maloney’s art is very smooth and I especially enjoyed the fluidity of the battle sequences, which were unfortunately too short. The one thing I really want to see is more background on Xeng and the Etherians. What caused Xeng to discover his free will and desire to break away and why do the Etherians want him back so desperately? You get the feeling that it could be a catastrophic situation if Xeng is not brought back. I’m looking forward to seeing how Waltz continues to develop this story and the character of Xeng Ral.

Silent Hill: Sinner’s Reward #1
Writer: Tom Waltz
Art: Steph Stamb
Publisher: IDW
Reviewer: Janelle Siegel

I’ve been a fan of the Silent Hill games since the first one came out, and I’ve tried to get my hands on as much of the material relating to the SH universe as I can. Unfortunately, I hated the first issue of the first Silent Hill miniseries. As much as I say I primarily pay attention to the words of a comic, if I don’t like the art I can’t enjoy a book. And I know other people rave about Ben Templesmith, but his art feels foggy to me and detracts (and distracts) from the stories he illustrates. Unfortunately this kept me away from the SH comics for quite a while, although I had thought from time to time about trying them again. Thus, when the chance to preview the first issue of this new mini-series with a new creative team came up, I was eager to give it a chance.

And the bottom line is that I’m really glad I did. I was blown away by the art. Steph Stamb’s work is amazing. The art still has some qualities similar to Templesmith’s work, but it is so much clearer. While there is that surreal feel to everything, which is important in a Silent Hill book, each panel shows the action in surprising clarity. You’re never confused about what is going on because of the art. Instead, the art is a wonderful asset to the story by being creepy and vivid. I think it’s really important in a book like this that the reader never be confused because the artist isn’t drawing things realistically or trying too hard to be surreal. The reader of course is going to be confused because the SH franchise utilizes great amounts of suspense and intrigue. It’s a fine line, and Stamb walks it perfectly.

The story itself is well written and intriguing. It follows a hitman (Jack “The Pup” Stanton) who has fallen in love with his boss’s wife, Jillian, and they’ve run away together. Unfortunately for them, their run on the lam brings them near Silent Hill. They stop for gas right outside the town and that’s when the boss’s thugs catch up to them. Knocking Jack unconscious, one of them makes off with his lady into Silent Hill. When he wakes, he pursues them into the town.

The best parts of this story are the cliffhangers. If you can read the first two pages without wanting to read more, there’s something wrong with you. And if you can finish the comic and not want to read the next issue, you must not have ever played a Silent Hill game, as you clearly don’t know the horrors of the town that are in store for Jack (and Jill, if she’s still alive). Tom Waltz manages to keep you wanting more even in the middle of the story. It’s sometimes easy for a writer to hook you in at the beginning and the end of an issue but be lazy through the middle, and that does not happen here. Waltz keeps you intrigued about the past, present, and future of Jack and Jill.

This book is a must-read for anyone who enjoys the games or even those who saw the movie and liked it. It’s especially a must-read for anyone like myself who didn’t like the original mini-series and has been wondering when a good time would be to try the SH comics. If you’re not into the games or the previous minis but you like horror and suspense stuff, you should definitely check it out. You may want to pass if you don’t like horror, as in any SH story there is a good amount of gore and scary crap. If you can handle that, check it out. I loved this book and I can’t wait for the next issue.

Age of Bronze vol. 3: Betrayal Part One
Written & Illustrated by Eric Shanower
Published by Image Comics
Reviewed by Michael C Lorah

Eric Shanower’s epic retelling of the Trojan War continues apace. In this book, the Achaeon army, led by High King Agamemnon and the warrior Achilles, captures the island Tenedos, a short distance from the city-state Troy. Then, Odysseus leads a delegation to Troy, establishing an embassy in a last-ditch attempt to avoid bloodshed.

The plot however probably doesn’t need embellished too much. Many (hopefully most) of you already know the basic structure of the Trojan War, the big Horse, Achilles’ heel, etc. That Age of Bronze is perhaps the best series being published today has everything to do with the skill Eric Shanower brings to telling the tale in comics form. His talent is to take a story that would’ve, in a lesser cartoonist’s hands, become a dry, rote “Classics Illustrated” tack on a powerful and timeless saga and to bring all of the drama and power of the original narrative to this new telling.

It isn’t the story you know that makes this series powerful; it’s the author’s ability to bring out the humanity and history of a very real time period, creating an atmosphere in which you can imagine the Trojan War, however much may or may not have been fictionalized by Homer, truly occurring. Shanower devotes considerable time to showing the characters’ faiths, with multiple prayers and sacrificial alters, and seers interpreting omens for their respective kings. The gods themselves make no appearances however, leaving the reader free to interpret the characters’ religious attitudes as true communication with the gods or simply the actions of the superstitious. The time Shanower has put into researching the history – the agriculture, the fashions, the technology and politics – of the ancient eastern Mediterranean is astonishing. Each page simply overflows with details that ground each panel, each sequence, in a concrete reality. Just look at the time put into illustrating baskets, carriages and clothing, each carefully woven together, stitched at their seams, draped naturally over human bodies.

The cartooning is strong and clear. Every page is solidly constructed to convey information directly, letting the ornate dialogue and eye-straining detailed illustrations flow through the reader’s mind. It’s a very demanding read. Lots of names, lot of father’s names, lots of history and relationships complicate the story. Characters are frequently referred to as “Son of …”, so you really have to pay attention. Shanower isn’t handholding, though he’s also never confusing if you’re actively reading.

If the book has any failing at all, it’s a hard one to find. Some of the characters, particularly shapely women with their pouty lips, or young men with their sharp Mediterranean noses, are hard to distinguish, though dialogue cues or simple attention to where the scene occurs usually provides all the clarity necessary.

The big picture of Age of Bronze is this: it’s the ultimate story of Western fiction, told by a consummate professional storyteller who is at the top of his game, bringing all the drama, honor, nobility, warfare, lust, and love of the Trojan War story to the comics page without diluting anything. If there’s any justice in this world, Eric Shanower will have many more awards to add to the pile he’s already collected for this impossibly compelling story. He deserves every one of them.

Salem: Queen of Thorns
Written by Chris Morgan and Kevin Walsh
Art by Wilfredo Torres
Published by Boom! Studios
Review by Sarah Jaffe

I didn’t expect a book with this title to have a man on the cover.

From a distance, it kind of looks like he’s got on one of those Halloween witch hats, but get close and it’s definitely a man.

Salem: Queen of Thorns is set during—bet you can’t guess—the Salem witch trials! This introductory volume does just that, introduces its main characters, lets you know quite plainly who the good guys and bad guys are, and sets up the action for later.

It’s a first issue, so it’s not quite fair to say that the characters aren’t developed, but I’ve seen these characters before—the honest preacher versus the corrupt, power-mad Church authority (who looks oddly like Rutger Hauer), the spunky woman being tried as a witch even though she’s just a healer, and the Man in Black (who looks like V of V for Vendetta) who comes in shootin’ to save the day.

I got mildly annoyed when the Man in Black handed a weapon to the Preacher, who claimed he didn’t know how to use it, and refused one to the Girl when she asked for it, but I suppose it’s the sexism of the times they’re portraying, not the writers—right? Hannah Foster has the possibility of being an interesting character, and the Queen of Thorns of the title is a monster somewhere between Swamp Thing and the wicked Queen from Snow White.

I like historical fiction and am interested in the Salem Witch Trials, but this book seems heavier on the supernatural and light on the historical interpretation. Maybe that’ll change later. And the art is nice.

When it comes down to it, I can’t say I liked or disliked this comic. I read it, and would probably read it again, but I think it’s got a ways to go before it gets up to the level I expect from my comics. Stock characters do not make a good start.

Afterburn #1
From: Red 5 Comics
Written by: Scott Chitwood, Pauls Ens
Art By: Wayne Nichols, Nick Schley
Reviewed by Tim Janson

Red 5 Comics has quickly become one of my favorite new comic publishers with great titles like Atomic Robo and Abyss. The big question remains though…can they keep up their string of successes as their line continues to expand? The latest title from Red 5 is Afterburn, a sort of National Treasure meets the Scorched Earth. A massive solar flare has virtually scorched the Eastern Hemisphere of the Earth, killing most life instantly and creating worldwide earthquakes, flooding, and other disasters. Half of the world was left a near total wasteland and was quarantined. But destruction and devastation breed opportunity. Half the world becomes a looter’s paradise for those brave enough to venture there.

One of those is former oil-rigger Jake, who leads a modern day team of “recovery experts” in finding items for the wealthy. And what wealth…great works of art like the Mona Lisa, the Crown Jewels, The Rosetta Stone, are all there for the taking. All you have to do is to avoid the gangs of radiation-spawned mutants and roving bands of pirates. The first issue finds Jake and his team in Paris at the renowned Louvre, searching for Leonardo Da Vinci’s famous painting and shooting it out with a rival team of treasure hunters. They are next assigned an operation in Hong Kong, looking for a Chinese operative, all regarding the secret contents of a case. What’s inside and why is someone willing to pay Jake and his team three million dollars for it?

Afterburn is pure adventure and writers Chitwood and Ens have opened up half the world for their characters to explore and locate the world’s great treasures. The possibilities are virtually limitless. The science of Afterburn may be a bit fuzzy but it more than makes up for it with lively action sequences. The dialog is very snappy and has that witty banter of Hollywood adventure films. Nichols’ art is a little stiff at times but clear and clean and a nice complement to the story. Red 5 continues to make comics that are both unique and fun, with fun being the operative word. Oh – and there’s also a great cover by artist Matt Busch!

Pellet Reviews!

A.L.I.E.E.E.N. (First Second; by Mike): Lewis Trondheim, in the introduction of this book, claims that he found this complete comic amid a cluster of extraterrestrial clutter, while hiking in the woods. His claim is hard to dispute, because there’s nothing else on Earth quite like A.L.I.E.E.E.N. In a strange, (yes) alien forest, several peculiar creatures carry on with their lives, each in separate short chapters. Sometimes, their stories intersect. Sometimes, a creature dies. Sometimes, it is attacked by a flood of feces. Sometimes, it is sweet, beauty-loving critter who just wants to make friends. This a weird little book, with a black sense of humor. It’s perfect for kids who like the bizarre side of life. And for kids who don’t have nightmares easily.

Tiny Tyrant (First Second; by Mike): Another Trondheim book, this one in collaboration with artist Fabrice Parme, is a more traditional kids’ comic. A bratty boy named Ethelbert rules the kingdom Portocristo, and his slightest whim is absolute law. Each story, usually between 10-14 pages (the total book is around 130), finds the Prime Minister, the chef and/or his tutor attempting desperately to fulfill Ethelbert’s dictates while protecting everyone else from his self-absorbed ignorance. It’s really a delightful and fun book, with warm, inviting colors, a lively, inventive script, and bouncy artwork. Adult readers probably won’t find Tiny Tyrant as twisted and engaging as A.L.I.E.E.E.N., though it’s certainly a book recommended for children and for adult readers who appreciate seeing flustered adults coping with manic children.

League of Extraordinary Gentlemen: Black Dossier (DC/Wildstorm/ABC; by Mike): Editor’s Note: Mike took some time for mulling. More interesting as geeky literary scavenger hunt than as an actual narrative, the book manages to show how deft Alan Moore is at aping literary voices, and it’s a wonderful showcase for Kevin O’Neill’s range and brilliance as an illustrator. The framing story fizzles in the end, the Dossier installments fail to feel completely joined to the lead story, and the 3-D denouement (beyond giving me a headache, with or without the glasses) manages to go on too long with too little actual story pay-off, reminding this reader of Promethea’s more esoteric moments. However, Moore does a fine job mixing styles, layering characters throughout literary history and even manages offer a reasonable Kerouac impression – which is to say, full of powerful descriptions and intoxicating rhythms, yet completely lacking any cohesive narrative or a point to make it worth reading for more than a few pages (which, fortunately, is all Moore asks of us).

Dungeon: Parade vol. 2: Day of the Toads (NBM; by Mike): Mix Lewis Trondheim, Joann Sfar and Manu Larcenet and you get… wow. The Dungeon epic must be something astonishing to read, because my introduction – this collection of short, humorous stories – is pure comic book insanity. Inept, self-absorbed Herbert becomes messiah to the vampires, leading them into the light (oh, you know that’s a bad idea); a swam of poisonous toads attacks the castle; and Marvin and Herbert manage to combine a school field trip with a mission to clean out the Dungeon’s septic tank – forty years after the last cleaning! It has vampires, poop, great art and great jokes. I honestly can’t imagine how a comic could be more awesome to my eight-year-old self, and even my current-day self has to tip a hat to the hilarious, beautifully drawn, wacky-like-comics-should-be adventures of Dungeon: Parade. Plus, nothing’s better than confronting a vampire with a cross, only to find it ineffective because the vampire broke his eyeglasses and can’t see it! Brilliant!

Blue Beetle #23 (DC; by Caleb): The finality of this particular storyline—involving Jaime Reyes taking on his long-time enemies The Reach in a final confrontation—scares me a little, because God knows BB’s not burning up the sales charts or anything. But it’s a nice illustration of what makes this book so good. Jaime begs off the help of most of huge support staff—his friends, family, even other superheroes—to take on The Reach pretty much solo, knowing that to bring help would only risk their lives. The way he finds and fights them is extremely clever, as well, and it’s refreshing to read a comic book about a superhero who acts who heroically and does super-feats. It probably shouldn’t be, given how many superhero comics there are on the stands, but it is.

Teen Titans Go! #51 (DC; by Caleb): Everybody’s least favorite kind of sorta almost Justice League member Geo-Force gets the spotlight in this issue of the comic based on the Teen Titans cartoon, and it’s by far the best Geo-Force appearance in the last few years (Of course, he usually just kinda mills around in his DCU appearances these days). Writer J. Torres presents a somewhat slight done-in-one telling Terra’s origin and retelling her history, precipitated by a very angry big brother Brion showing up at Titans Tower demanding answers. The real stars of the issue are the former Young Justice art team of Todd Nauck and Larry Stucker, as they’ve re-designed Geo-Force’s costume into what is easily his best costume ever. Even the fact that he’s wearing cargo pants isn’t enough to sink their sharp design. DCU G.F. oughta look into stealing this design for himself.

Double-Shot: Wonder Woman #16 (DC: Reviewed by Brian Andersen): Another fantastically written Wonder Woman comic by the fabulously talented Gail Simone! I am so loving the hell out of this story right now. It’s nice to finally buy this comic out of excitement for the story and not just out of loyalty for the character. My only complaint in this otherwise action packed gem of an issue is with the surprise (non-credited on the cover) fill-in art by Ron Randall. Not that I didn’t mind Randall’s art, although it did seem a smidge rushed, my problem stems more from the fact that a fill-in artist was even needed at all. Didn’t DC postpone the premier of this new Simone written Wonder Woman for a month so that art team the Dodsons could get a head start and not miss or delay an issue? So what happened? Three issues into the new run and the Dodsons already need help? While I am happy that DC didn’t just skip a month (or two or three) to wait for the Dodsons to produce the pages (like they erroneously did with the scripts under the Heinberg era) it still doesn’t sit well that a fill-in artist was even needed (maybe the Dodsons should have spent more time on Wonder Woman and not working on that cover for the new Young X-Men book over at Marvel?). Shifting art gears midway through the story just hampers the comic’s flow; it’s like dancing to Hip Hop when suddenly the music switches to Country – or some other better analogy I can’t think of right now. I hope the Dodsons can manage all the art for the fourth part of this arc, ‘cause it would be a total shame to read the entire storyline in trade paperback and have more fill-in work taking away from the usually sensational artwork.

She-Hulk #25 (Marvel: Reviewed by Brian Andersen): Under the steady hand of writing juggernaught Peter David, She-Hulk is fast becoming one of my favorite books. David is the rare writer who is able to handle absurdly humorous moments, high-octane action and classic superhero interpersonal drama. David excels at interjecting his characters with clever comments and small quirky moments that add tons of depth and insight. I also must give props to artist Shawn Moll for managing the seemingly Herculean task of getting four whole issues out in a row without a fill-in artist! This feat is fast becoming a major accomplishment for a modern artist in today’s comic book world! Although, I must say that I totally hate the way Shulkie’s pupils are colored: all rosy and reddish and glazed over. It makes our gamma gal look like she just got off an all-night drug induced bender, flashing her private parts with the latest celebrity party brat. Can we ditch the hazed look, please? Oh, and while we’re at it please also get rid of the hideously 90’s bad-girl-thong-undies-sticking-out-of-the-pants thing. Totally yuck and so passé. Humongous panties stretched to the max over a woman’s hips stopped being cool and attractive, like, two seconds after every artist started adding it into their repertoire years ago. Other then these little nit-picks, I am tickled green with She-Hulk!

Sabrina the Teenage Witch #91 (Archie Comics: Reviewed by Andersen): Scoff if you must, but this delightful series is what comics are all about: sheer, unadulterated fun. Since issue 58 (36 issues and counting!) talented writer/artist Tania del Rio has created a thoroughly winning magna-ized take on Sabrina and her teenage witchyness. This book wonderfully transcends the typical “kids” comic formula - throw-away single issue short stories with characters who are always the same, always stagnate and unchanging - by employing a thoroughly rich mythology and an ongoing magic-infused plot. Sure plenty of cutesy humor and teenage over-the-top drama are more present than not, but underneath all these “kiddy" aspects, Sabrina the Teenage Witch is a well and true good read. Much like the Harry Potter books del Rio is able to play in both the child and adult literary worlds, smartly mixing clean tween fun with crafty adult themes. Plus, this being part two of the first ever three part story arc, our heroine Sabrina ventures into the dark side of her soul, a la comic legend Dark Phoenix. Now when has an Archie comic done that? Sabrina the Teenage Witch is light and airy, while also being exciting and engaging, which makes this comic a true joy.

The Order #7 (Marvel; by Lucas): In a book packed so full of story and character developments each month, it can be hard to keep up. This issue slows things down a bit for a face to face all out showdown between Henry Hellrung and Namor...over an interrogation table. This finally puts The Order into place firmly as California’s protectors, and most of it read pretty well. Some was a little heavy handed, and some readers may not like the politics of either side of the argument. Barry Kitson and team’s art looks better than ever. This was a welcome breather of an issue, but I’m ready and anxious to pick up on our three missing members’ stories. By the looks of the next issue teaser, #8 will jump right back into the full action. This book was a slow start for me, but has really grown on me; odd that a slower issue has been one of my favorites yet.

Ultimates 3.2 (Marvel; by Lucas): I’ll try to keep this short and sweet. If you liked the first issue, you’ll like this even more. The action is less disjointed, the art looks gorgeous, with the color and printing issue clearly worked out. There are a couple of lines of somewhat silly dialogue that I’m sure the haters will latch onto, but overall, this took what I felt was a good start and made a great second chapter out of it. A couple of the smaller mysteries from the first issue are already solved, and with pretty logical explanations. A guest from the larger Ultimate Universe starts the issue, and a different guest ends it. Overall, this was a fun read, very much in theme with the first issue, and improved in almost every way from the first issue. If you didn’t like the first issue, this one will be better for you, but you’ll still have plenty to gripe about. The style, both writing and art, is the same as #1. That’s gonna rock many people’s worlds, and it’ll anger a few, too, but it is what it is. For me, it’s a great ride and issue 3 will be at the top of my read pile.

Ultimate Iron-Man II #2 (Marvel; by Lucas): As I said about the first issue, this mini seems to pick up all the right threads from the first, and spins an intriguing tale. Well, this issue was even better. It’s interesting being on the outside, knowing all the answers, while Tony and friends try to solve the big mystery. Man, this is a great book, and this was a great week for fans of Iron Man.

Young Avengers Presents: Patriot (Marvel; by Lucas): I was originally going to write a feature on this, but there isn’t much to say. Brubaker’s writing of every character in the extended Cap family is spot on, and this is no exception. If Heinberg can’t come back to this team, please oh please tell me Bru would be interested. The tale does a great job examining and expanding on Eli’s character, and we see a kinder, more thoughtful Bucky who acts just about ready to make a bit of a costume change. Great character moments for both of these guys, for sure. However, Medina’s art just didn’t really fit this story. I know it was exploring the younger side of Patriot, but everyone looked somewhat childish. There were a couple of massive proportion issues (when Bucky’s head and neck took up more space than his entire torso, for example) in the action sequences, but the heart-to-hearts were drawn pretty effectively. Not terrible art, but just not quite what this story called for. Still a definite worthwhile read, as the written story itself is fantastic.

Countdown to Final Crisis #14 (DC; by Troy): After all this time, here’s an issue that’s, well, passable. By no means should anyone take this as a reversal of my take on the series so far; it’s just that this issue nearly works. Solomon actually does something clever by pointing Superman-Prime back at the fray. Donna’s plan against Belthera made sense. The payoff to the Jason Todd finally arrived, even if the Earth-51 Batman is annoyingly over the top in terms of his “darkness”. This issue at least felt cohesive, and I was frankly relieved that it focused more on the multiversal war than the paper-thin Mary/Amazon/Piper/Jimmy plots. Hey, maybe that’s why it was better!

Uncle Sam and the Freedom Fighters #5 (DC; by Troy): Renato Arlem has just done a tremendous job on this series; after the distinctiveness of Acuna’s art, he’s really made the characters his own. Palmiotti and Gray’s plot continues to offer plenty of twists, including the return of a familiar character and the realization of another Freedom Fighter legacy. I’m not sure where they’ll take it as this point (I hope that the Red Bee might still be saved), but it’s been another great ride.

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[Marc_Spector]

Couldn't disagree more on the 1st WW review. I thought it was great all the way around even w/ the fill-in artist.

[Grievous]

At last, cool!

Countdown to Final Crisis #14 (DC; by Troy): After all this time, here’s an issue that’s, well, passable. By no means should anyone take this as a reversal of my take on the series so far; it’s just that this issue nearly works. Solomon actually does something clever by pointing Superman-Prime back at the fray. Donna’s plan against Belthera made sense. The payoff to the Jason Todd finally arrived, even if the Earth-51 Batman is annoyingly over the top in terms of his “darkness”. This issue at least felt cohesive, and I was frankly relieved that it focused more on the multiversal war than the paper-thin Mary/Amazon/Piper/Jimmy plots. Hey, maybe that’s why it was better!

[nightwingoracle]

I think Brian Andersen has a better handle on the WONDER WOMAN issue than Rev. OJ Flow. The story was good...it was just the artwork change that was an issue. Randall's art wasn't bad, but it was different and unexpected. Hopefully that won't happen again. But the story has been interesting, with new revelations about what was going on the night Diana was born. Hopefully we'll learn why Hippolyta felt the need for the special guards.

[s*p rules]

Bite your tongue - Geo-Force is one of my favorite heroes, and the reason I have added Batman and the Outsiders to my pull list. Thanks for the heads up that he is in the TT Go! book, I will make sure I pick that up this Wednesday.

Countdown is getting better, sloooowly but surely. And you're right - the subplots that weren't really advertised are better than the ones that got all the press last year at this time (Jimmy and Mary, esp.). The Red Robin storyline is somewhat interesting (even if he was mistakenly colored as Batman in one panel), although every depiction of Jason Todd before Countdown portrayed him as a character that would have loved a punisher-like Batman. I'll say this, though, if the Superman Prime - Monarch fight last longer than 5 seconds, DC's editorial work on this book really bites. Monarch fought off not one, but three superman (with a room full of other alternate justice leagues, to boot) without breaking a sweat in the Arena mini, so he better not have any trouble with SP. Speaking of which, has DC ever explained the timeline between Superman Prime being used in Countdown, and how/where/when SP was left at the end of the Sinestro Corps war?

[Mundungus]

Yeah, while I wished Dodson had completed the full issue, I'm not going to give it a slight towards Simone's writing. I still enjoyed the issue, though I wish the book would find a more stable art team. I know Aaron Lopresti is coming on the book sometime this year, but I wonder how long he's going to stay?

[Mundungus]

Originally Posted by s*p rules

Speaking of which, has DC ever explained the timeline between Superman Prime being used in Countdown, and how/where/when SP was left at the end of the Sinestro Corps war?

I think the Earth that Prime first destroyed in Countdown was where he ended up. Though they didn't explain how he "grew up" or got the black costume, right?

[Merai]

Couldn't agree more with the Iron Man review.

I have to say, in the months since "Haunted" began, the book has begun to get more and more positive word of mouth, and it deserves it all. I just wish the sales reflected it.

[s*p rules]

Originally Posted by Mundungus

I think the Earth that Prime first destroyed in Countdown was where he ended up. Though they didn't explain how he "grew up" or got the black costume, right?

I think that had something to do with extra soar energy he absorbed somehow. DC has really let his power fluctuate dramatically, much like Black Adam, where it seems that now he can take on the whole DCU single-handedly, which is just nuts.

[tangata manu]

To the BB #23 review:

I feel the exact same way.

[Armfaloffboy]

I must have read a variant issue of WWH Damage Control. The first half of the book was filled with corporate restructuring by characters I didn't recognize or care about, then in the second half a cameo of the new (yawn) Black Goliath. I thought it was dull.

[I-Ching]

Definitely disagree with the WW review.

The reviewer noted that some "big secret" was supposed to be revealed...uh, no...the solicitation for this issue never implied or stated anything of the sort. It said "the whole truth" was to be revealed...and it was. Maybe the expectation was there that we were going to see something new but that expectation wasn't put there because of Gail or the Dodson's or anything else.

I think the reviewer is missing the point of the story...the "secret" was revealed in the first issue where we found out there was a plot to kill Diana at her birth and this foursome "The Circle" existed...now we're getting the whole story and now adult Diana will get to confront that truth and the foursome.

I won't say that Gail is doing anything revolutionary in terms of story telling so again I think expectation will always effect one's reading experience. Gail's writing however is good old fashioned GREAT STORYTELLING. The characterization is DEAD ON ACCURATE and hasn't resonated this genuine since Perez. Gail's WW is quality classic storytelling not reinventing the wheel. She's not out to reboot the character and the title but just to restore the level of quality WW deserves. Plus, let's give credit to a 4 issue tale and not some bloated 6 issues mess of filler.

What I love about this story is that individual issues are great...but going back and reading them back to back is even better...can't wait for next month and if you're a reader wondering "should I pick this up?"...I would definitely say YES!! It's a great story!

[adama]

Originally Posted by s*p rules

Speaking of which, has DC ever explained the timeline between Superman Prime being used in Countdown, and how/where/when SP was left at the end of the Sinestro Corps war?

In Green Lantern #25 a Guardian dies, releasing a massive amount of energy which Superman-Prime absorbs. The explosion also sends him to another universe. That's why he looks like a man not a boy. It's this power that allows him to travel between universes on his own power and even go to the 5th Dimension.

[KraziJoe]

Am I the only one that thinks that Uncle Sam and the Freedom Fighters has been a borefest? This series just seems to be too far out of the DC "Mainstream" for it to be effective.

[EMeadow]

Originally Posted by s*p rules

I think that had something to do with extra soar energy he absorbed somehow. DC has really let his power fluctuate dramatically, much like Black Adam, where it seems that now he can take on the whole DCU single-handedly, which is just nuts.

Its not exactly nuts. You just have to remember, he's got Pre-Crisis Kryptonian levels of Power, you know when Superman was literally doing everything they could think of without a doubt of possiblity.

[Troy Brownfield]

Originally Posted by I-Ching

Definitely disagree with the WW review.

The reviewer noted that some "big secret" was supposed to be revealed...uh, no...the solicitation for this issue never implied or stated anything of the sort. It said "the whole truth" was to be revealed...and it was. Maybe the expectation was there that we were going to see something new but that expectation wasn't put there because of Gail or the Dodson's or anything else.

For the record, the text of the solicitations for WW 14 and 15 read:

Wonder Woman 14
Written by Gail Simone; Art and Cover by Terry Dodson and Rachel Dodson; Variant cover by Michael Golden

An electrifying new era begins for the world's greatest superheroine! Gail Simone (BIRDS OF PREY, SECRET SIX) joins the phenomenal art team of Terry and Rachel Dodson for what promises to be one of the most exciting Wonder Woman stories ever told!

What exactly is The Circle, and what deadly secret do they hold about Diana's birth? What familiar face from Wonder Woman's past returns with a mission to spy on Special Agent Diana Prince? Why is the Department of Metahuman Affairs on a collision course with the wounded remnants of the Society of Super-Villains? You won't want to miss any of this story that spans the globe and shakes Diana to her core!

Wonder Woman 15
Written by Gail Simone; Art by cover by Terry Dodson & Rachel Dodson

The stunning "Circle" story arc ratchets to a new level of intensity as Wonder Woman's acclaimed new creative team deliver never-before-revealed secrets of Diana's origin! Who tried to assassinate her on the night of her creation? Special Agent Diana Prince may not live to find out, as she faces a brutal Captain Nazi alone, unable to use her powers. And the re-forming army of the Society of Super Villains hunts her mother on Paradise Island! You've never seen a Wonder Woman like this!

I think that The Rev's interpretation is fair.

Also, you (and others) seem to miss that he's very complimentary to the writing of Gail Simone, and that his complaints stand with other areas. He just has a complex opinion of the issue.

[Darth Wahu]

As for the "secret" in WW I suspect it is that Polly had an honor guard that wanted to kill Diana and that an Amazon having a child was a very bad thing. I also think that the payoff of this storyline will come in the next issue. As for the Dodsons they're out soon but it would be nice if they left on a strong note.

[agent2112]

I agree with the Brian Anderson comment about She-Hulk's thong showing out of her pants. Looks cheap.

[sonicwhammy]

According to Gail Simone, Dodson was injured and couldn't finish the issue:

I do want to say, in Terry's defense, it was absolutely not his fault for not being able to do the entire issue at all. He had a legitimate injury to his drawing hand, and still insisted on drawing as much of the these two issues as he possibly could. He did not abandon Diana as many might have under those circumstances.

And I really enjoyed Ron's work, I thought he added a lot of punch on those battle scenes!

It's all stabalizing, and the pages for 20 just look insane.

Gail

The quote appears here:
http://dcboards.warnerbros.com/web/m...4#200430 5924

[kcekada]

Put me in the camp that was disappointed with last week's Wonder Woman issue.

I know people want this book out on a regular basis -- after the huge delays in Heinberg's run, but I would rather have waited a week or two more to get an issue entirely drawn by the Dodsons.

The art wasn't the only problem I had. The story kinda dragged this issue.

I like the way Gail is writing Hippolyta, but the white apes can be jettisoned at any time.

Regarding Countdown -- it's nice to see Donna be effective finally. It's been years since she displayed any hint of Amazon training or strategy. The only shame is that she'll be in Judd Winnick's hands when this story finishes.

The second round of Freedom Fighters has been mostly disappointing. The art isn't bad, it's just an abrupt departure from Acuna. The story is very dark. The first series had some dark moments that were balanced by some lighter moments.

Didn't see Legion of Super Heroes mentioned, but it was one of my favorite reads last week. (Suicide Squad wan another -- even though it came out the week before). The conclusion to Jim Shooter's 2-parter was by no means groundbreaking, but I think this title is on solid ground. I hope he continues to move in a new direction. Manapul had some nice moments -- I appreciate his backgrounds and the design of the monster aliens. He has some rough spots, but I think he'll be great in no time at all.

[O.J. Flow]

...much of my more negative assessments of the artist changeup in WW #16 was based off the book's cover and the DCComics.com posting for the issue (which I HAVE to assume a webmaster can edit at any given time).

I think I gave Ron Randall ample praise for his contribution, and I was speaking to a bigger picture issue that has plagued the Wonder Woman books since Greg Rucka was writing the book.
I know it's my prerogative to flip through the book at the store before buying it, I had no indication that a change in art was going to happen until the second half of the book on the twelfth page when they finally decided to do production credits for the issue.
That, to me, is disconcerting as a consumer, all due respect to Ms. Simone, the Dodsons, and Mr. Randall.

[Binker]

WW #16 was another good one, as I said in my review (located in the reviews section). BTW, Gail is a SHE, not a HE.

[Troy Brownfield]

Originally Posted by Binker

WW #16 was another good one, as I said in my review (located in the reviews section). BTW, Gail is a SHE, not a HE.

Where does anyone say that Gail is a man?

I just opened the piece to fix a hanging italics code, and I've looked at this thing top to bottom. Who says that?

[artiepants]

Originally Posted by Armfaloffboy

I must have read a variant issue of WWH Damage Control. The first half of the book was filled with corporate restructuring by characters I didn't recognize or care about, then in the second half a cameo of the new (yawn) Black Goliath. I thought it was dull.

see, i read DC back in the day, but barely remembered the characters (seems like Marvel should ahve put out a big trade of the 3 minis to coincide with this, yes?) but i thought it was really well done, well told, funny and serious. and the art was outstanding, like a more cartoony McNivin. I really wasn't expecting to enjoy it as much as i did, i kinda added it for the nostalgia of remembering i really enjoyed the original series, and that McDuffie was revisiting it. for some reason DC is one of the first times i really remember paying attention to the name of the writer, i was more of an artist guy as a kid.

[darrenmdr]

Damage Control and She Hulk were probably y favourites out of all those reviewed. Damage Control was a really well written amusing comic and has the potential to be a really good mini series. She Hulk is just one of my favourites every month and the transistion between Slott and PAD has been seamless. The Order possibly just had it's best issue, but it's too little too late and Countdown is getting better each issue.

Ultimates 3.2 was crap, but I have a feeling it may read better when it's completed. Young Avengers felt a bit pointless, as in I didn't understand the point. I'm not familar with Patriot as a character and he just feels like a cheap teenage mini cap. Unless he is being groomed as a replacement, I don't see the point in him as a character or as a comic.