Red Robin #5 – Review

By Christopher Yost (writer), Ramon Bachs (artist), Guy Major (colors and digital inks), Mike Marts (editor)

The Story: Tim Wayne, formerly Robin, now the Red Robin, has been traveling all over the world, looking for clues for his crazy theory that Bruce Wayne, his adoptive father, is alive. The only one to believe him so far is Batman’s arch-enemy. The last issue ended with Red Robin being stabbed and left for dead. In this issue, things get worse.

What’s Good: Issue after issue, Tim Wayne is being pushed out of the comfortable world of fellow heroes by his irrational disbelief in his adoptive father’s death. This has made him more alone than most characters I can think of, and has forced him into an alliance with someone totally out of his ability to handle: Ra’s al Ghul. Yost makes us feel not only Tim’s loneliness, but also his discomfort around strangers he cannot trust. That is a universal childhood and coming of age experience and shows where Yost is taking us with Tim.

These coming of age and loss of father themes are rising in a number of books out of the wreckage of the Battle for the Cowl, most especially for the “four brothers” Wayne (Dick Grayson, Jason Todd, Tim Wayne, Damian Wayne). Tim’s journey here is not just a journey to manhood independent of the father, but independent of the new patriarch and of his society. The new and former Batgirls face similar struggles in new roles in a world without Bruce Wayne and this all points to an impressive cohesiveness of editorial vision between Marts and Siglain.

The art team is a flawless choice for this book. Bachs has become increasingly skilled at making Tim muscular, but still youthful. In the beginning of the series, it was easy to mistake him for a man, especially in his new cowl. Now, in costume and out, he’s quite obviously a teenager trying to pretend he’s not out of his depth.

What’s Not So Good: Yost really loves his temporal jumps in Red Robin and they can become a bit disorienting. A flashback as an occasionally-used tool can be effective. When overused, or experienced through multiple characters, they can make the story less clear or pull the reader away from what makes the story great. A step too far, in my opinion, was the introduction of Vitoria in Brazil in some indistinct past, without enough context to really add her to the story. However, these are small points, and some might argue, stylistic, in a much larger success.

Conclusion: The Red Robin series feels like a monthly dose of a summer block-buster: action-packed and thrill-jammed. Check it out!

Grade: B

-DS Arsenault

Gotham City Sirens #4 – Review

By Paul Dini (Writer), Guillem March (Art), and Jose Villarrubia (Colors)

Some Thoughts Before The Review: I thought the last issue of Gotham City Sirens was the best one so far. That’s not necessarily a good thing, however, because Paul Dini didn’t write the book and the main characters were limited to about two pages. What’s that say about the strength of the concept?

The Story: Harley Quinn’s not in the best of positions. She’s unknowingly in the clutches of Hush and also a target of the Joker. Lucky for Harley though, she’s got some backup. She’s just not aware of it yet…

What’s Good And What’s Not So Good: I know I say this in some way for every Gotham City Sirens review, but it is one seriously nice-looking series. From the dynamic scene composition (Joker’s splash page and Ivy’s plant communication scene comes to mind) and storytelling to the character work and action, Guillem March continues to impress. And thanks to Jose Villarrubia’s flawless color work, every panel looks vibrant and feels very alive.

Both March and Villarrubia do wonders for what is, in all honesty, a pretty bland script. While Paul Dini definitely gets across the characters and tells a story that’s decent enough, it all feels somewhat uninspired. That said, I do really enjoy the part where Joker and his thugs play in Gotham City Sirens #4. The thugs because of their fairly smart conversation, and Joker because of his body language (credit to Guillem March for that one) and the way he goes to some interesting lengths to bring down Harley Quinn.

It’s tough to really come down too hard on Gotham City Sirens #4 because it’s, at worst, average. The book certainly gets the job done, yet at the same time it leaves something to be desired. My hope is that eventually, Dini creates some sort of compelling hook that makes Sirens a solid part of my pull list as opposed to a book that’s making the cut solely because of the artwork.

Conclusion: Gotham City Sirens #4 delivers a lot more of the same. That’s a good thing as far as the artwork is concerned. That’s a bad thing as far as the script is concerned.

Grade: C+

-Kyle Posluszny

Detective Comics #857 – Review

by Greg Rucka (writer), JH Williams III (art), Dave Stewart (colors), Todd Klein (letters), Cully Hamner (back-up art), Dave McCaig (back-up colors), and Jared K. Fletcher (back-up letters)

The Story: With Alice’s plot against Gotham revealed, Batwoman moves in to stop her once and for all.

What’s Good: This remains my pick for the best looking book put out by DC or Marvel for pretty much all of the reasons I’ve listed in past reviews of Detective Comics. Abstract, creative panelling which nonetheless flows effortlessly, an astounding level of detail and atmosphere, well-plotted action, and Dave Stewart’s amazing colors continue to make this comic fantastic as an artbook in itself. Williams also does a rather neat thing this issue, actually drawing red boxes around key details in his large splashes…. and boy, oh boy does he have some tremendous splashes, many of which tell a whole sequence of action within them, with Williams never content to risk a single static image in an action-heavy issue.

Williams also often uses his panelling to position Alice and Kate as foils, or diametrical oppositions, using their bodies as borders to the panels, or at one point, even creating a splash that is a mix of both their faces. Williams, through panelling alone, successfully enhances Rucka’s story.

As far as Rucka’s writing goes, there’s a bit of a reveal about Alice’s identity, though it was lost on a Batwoman novice like myself. The action was also really cool and very fluid, detail-oriented stuff, with a blow-by-blow feel. Kate’s relationship with her father/military superior also continues to be interesting, as they end up having a strange language all their own, a mixture of military jargon and imperatives and tender familiarity.

Meanwhile, this was definitely one of the stronger installments of the back-up feature. A good mix of the action we’ve been getting and the characterization we’ve not been getting, the back-up felt much more substantial this month. Hamner and McCaig also put out their best performance yet. While the Saturday-morning flavor is maintained, things feel sharper and more detailed. Add to that a good amount of blue and a thrilling ending, and it’s a winner this month.

What’s Not So Good: Greg Rucka writes a good script, but frankly, I felt that it wasn’t good enough for what JH Williams was doing on art. At times, the discrepancy made the book almost feel like a Williams showcase. Williams turns in ridiculously innovative and totally unique art, while Rucka hands in a script that, while decent, is nonetheless your standard fare.

The problem is, I suppose, that this is an action-heavy issue. As such, Rucka’s script is more minimalist and pragmatic, with fewer character moments. He’s content to just move the action along while Williams goes wild. This is probably Rucka’s blandest script on this title. There’s more or less none of Kate’s trademark humor or menace, as even Alice sounds more comprehensible than usual.

Conclusion: It’s a great issues with amazing art and the back-up is the best yet, but that still makes it a great issue following amazing issues.

Grade: B+

-Alex Evans

Gotham City Sirens #3 (Batman Reborn) – Review

By Scott Lobdell (Writer) and Guillem March (Art)

Some Thoughts Before The Review: While the art has been fantastic, everything else about Gotham City Sirens has been, at best, average. Maybe writer Scott Lobdell can turn things around a bit..  I’m fairly certain that artist Guillem March will hold up his end of the book. Also, how stylish is that cover?

The Story: Edward Nigma, the man once known as the Riddler, finds himself trying to crack a murder case with the help of the new Batman. Meanwhile, Catwoman and Ivy begin their search for Harley.

What’s Good: For the first time in the short history of Gotham City Sirens, the writing is actually something worth talking about. Scott Lobdell’s tight one-and-done Ed Nigma story/character study is one hell of a fun, satisfying read. From the back and forth narration (and dialogue) from Nigma and Batman, to the intriguing villain with a clever name, nearly everything about Lobdell’s script just simply works extremely well.

From the excellent character work to the detailed settings, Guillem March’s art is, as expected, incredible (though some of the action is a tiny bit hard to follow). His Edward Nigma looks as shady and charismatic as the script makes him out to be, his Batman is appropriately threatening, and his cheesecake stuff is… well… they’re as expected, but always executed in a way that feels anatomically realistic (even if it is gratuitous). In short, Gotham City Sirens continues to be one great looking series. Also, for fans of cool-looking stuff, there’s another Guillem Gotham gargoyle to check out that looks even more badass than the ones featured G.C.S. #1.

What’s Not So Good: Gotham City Sirens #3 is a pretty great comic all around and easily the best issue of the series so far. There’s two major problems though. The first problem is that the titular Sirens are shown on exactly one page. What’s that say about the group of characters the series is based around? The other problem is that the main writer for the series, Paul Dini, has nothing to do with the latest issue of Gotham City Sirens. What’s that say about the writer that’s supposed to be handling the series? My opinion? I think that Lobdell should be given the reigns and Ed Nigma (The Riddler is dead) should be added to the cast permanently.

Conclusion: Even if the whole Gotham City Sirens thing isn’t up your alley, you really should take the time to check out Gotham City Sirens #3. It’s basically a great looking one-shot about a cool character.

Grade: B+

-Kyle Posluszny

Detective Comics #856 – Review

by Greg Rucka (writer), J.H. Williams III (art), Cully Hamner (back-up art), Dave Stewart (colors), Laura Martin (back-up colors), Todd Klein (letters), and Jared K. Fletcher (back-up letters)

The Story: Batwoman narrowly escapes the clutches of the Religion of Crime, thanks to some unlikely allies. Meanwhile,  the Question gets away, only to return to deliver a beat-down.

What’s Good: The best thing about this issue is that it gives us a chance to get to know Kate Kane without the cowl.  A flamboyant yet oddly lonely character,  Rucka places her in a formal gathering at which she feels mightily uncomfortable.  It makes her all the more likable while also tastefully approaching her sexuality.  Stuck with a sense of otherness and the never-ending duties of being Batwoman. It’s clear that she feels that she doesn’t belong, but rather than try her best to  mingle, she goes the opposite direction, purposefully making herself stand out.  It’s nuances like this that make for a great, lively character.

We also get a look at Kate’s other familial relationships.  From the stepmother who doesn’t understand her to the tragically ignored cousin, it’s all fairly bittersweet stuff.  It’s hard not to read Kate’s cousin Bette, desperate for Kate’s friendship, and not feel bad for her.

On art, JH Williams continues to put out some of the best work in mainstream comics today.  The fantastic, dynamic, and endlessly creative panel layouts continue, with Williams doing some cool work with the gutters between the panels.  The really impressive thing about Williams’ work this month, however, is his versatility.  With monsters and hallucinogens abounding in the first Batwoman scene, JH Williams takes on angular, pulpy, horror-styled panels and a more blurred/painted feel.  Juxtaposed to this is the Kate Kane formal party scene, where the paneling suddenly becomes less abstract and the painted feel disappears for a more clean, defined, and “graphic” style.  Both sides are clearly and distinctly Williams, but he’s really showing two completely different modes here.

What’s Not So Good: I’m just not really digging the newly introduced characters of Abbott and his fellow “hybrids.”  Somehow, having a gang of Were-animals in a Bat comic just feels a bit too weird.  I feel like Batwoman just melded with an IDW horror comic.  It’s funny, since in human form, Abbott really is a great character and an effective foil to Kate.  But the whole idea of werewolf characters just seems silly and out of place.  The fact that Abbott in wolf form is written terribly doesn’t help.  Does he really have to say “rrrrr” and “grrrr” after every third word?

Rucka’s story also made me feel a bit out of the loop this month with all of Abbott’s references to past storyarcs regarding the Religion of Crime.  Surely I’m not alone.

The back-up story is also suffering a bit due to how good the main feature is.  Cully Hamner puts out his best work yet on the series, but it still feels like a drop after Williams’ work.  Meanwhile, the story is beginning to feel just a little overly straightforward.  It’s just another 8 pages of the Question fighting, proving herself to be a badass, and getting another location.  Again.  Entirely composed of action scenes. It’s also a lightning quick, barely there read.

Conclusion: Still a fantastic book, this time focusing more on charaterization,  making me  love Kate Kane even more.

Grade: B+

-Alex Evans

Detective Comics #855 – Review

by Greg Rucka (writer), J.H. Williams III (art), Cully Hamner (co-feature art), Dave Stewart (colors), and Todd Klein (letters)

The Story: Batwoman gets a hold of Alice and looks for answers, while Renee gets in a fight and moves up the bad guy food-chain.

What’s Good: I actually thought the art this month was better than last month, even though that should be impossible. In a scene where Batwoman gets poisoned really unleashes Williams, allowing him to go apeshit with his already boundlessly creative panel layouts. The hallucinations are contrasted beautifully with the real world surroundings and the technicolors are enjoyable. It’s just all-around another fantastic effort by Williams, with a tremendous amount of work going into the smallest frame. The characters really stand out, the use of lighting is superb, and ultimately, this at times looks more like an art-book than a monthly floppy. I truly enjoy when Williams gets especially creative with his layouts, almost drawing “optional frames.” Your eye is led across a series of bigger images to get the story across, but you can look at the surrounding “optional” smaller images if you’d like to catch extra details. Really, really cool.

As far as Rucka’s tale goes, this is a “character” issue. Rucka does a great job of establishing Alice as a major character, creating a villain that is very unsettling and, well, utterly insane in a way that we’ve perhaps not seen before. His writing of Alice’s dialogue is nothing less than masterful, will all of her lines bordering on nonsensical gibberish while nonetheless being strangely intelligible. At times, it felt as though she were speaking her own language, “fluent crazy” as Kate aptly puts it. We also get a really, really brutal series of sequences that cement Alice as an evil person underneath all of that twisted, surreal whimsy.

Building on last month, Kate’s dialogue with Alice continues to develop her biting wit, making her all the more likable. Her hallucinations were also arguably the most fascinating bits of the issue, hinting at horrid suffering with a military edge as well as a love that is all but over. Really tantalizing stuff.

Meanwhile, the Question back-up is certainly solid enough to foster no complaints about the $4 price tag.  It’s pure fun, no more and no less, with Hamner once again showing his skills at depicting action scenes.  Renee’s fight banter is humorously badass, as is her bravado in general. It must also be said that the art, particularly as it synchs with Renee’s blue outfit, is really slick in the last scene.  This is a back-up story that is a perfect partner to the Batwoman feature.

What’s Not So Good: As a character issue, there isn’t a whole lot that goes on plot-wise this month.  Other than the tables being turned from where they were last month, there aren’t really any developments or discoveries. Kate hallucinates and Alice proves herself worthy of being a central villain, but we’re no closer to finding any answers regarding anything. This also made the book fly by surprisingly quickly; I was surprised when I hit the end.

Also, perhaps it’s unfair of me, but I kind of expected more out of this comic than a typical “our hero is unconscious and surrounded” ending, I get one not only in the main, but in the back-up as well.

Conclusion: Awesome art, a cool villain, and some foreboding hallucinations lead to another fantastic issue.

Grade: B+

-Alex Evans

Gotham City Sirens #2 (Batman Reborn) – Review

By Paul Dini (Writer), Guillem March (Artist), and Jose Villarubia (Colors)

Some Thoughts Before The Review: The first issue of G.C.S. wasn’t anything special. Guillem March’s artwork looked great, but Paul Dini’s story and dialogue left quite a bit to be desired. Things need to develop more if I’m going to be adding another ongoing to my pull-list.

The Story: Through a flashback, it’s explained how Selina can resist revealing the identity of Batman, even though she’s under Ivy’s power. Selina’s answer satisfies Ivy and Quinn enough anyway, and off goes Harley to do some shopping. She then encounters “Bruce Wayne.”

What’s Good: Once again, Guillem March and Jose Villarubia take center stage in Gotham City Sirens. Clearly, they are up to the challenge. Their fantastic work absolutely carries Gotham City Sirens #2 in nearly every way.

Guillem March brings the cheesecake, sure, but it’s very well-done cheesecake that takes into consideration things like anatomy and realism. March’s eye for detail is also noteworthy, as every flower near Ivy is given a certain amount of care and every bystander during Harley’s trip to the store really feels like a unique entity, not a faceless one. The action in Gotham City Sirens #2 is satisfying as well, especially since it flows in a way that really adds to the frantic pace of the Bruce Wayne kidnapping. As for the opening flashback? Visually, it’s executed damn near perfectly. It’s trippy, creepy, and just the right kind of weird thanks to March’s surreal imagery.

Jose Villarubia’s color work makes March’s impressive artwork look even better. Villarubia truly shines during the moody, dark scenes taking place inside of Selina’s head. That said, special mention must also be made of the more colorful scenes as well. Vibrant, sunny, and full of life, Villarubia really takes March’s work to another level.

What’s Not So Good: The writing in Gotham City Sirens #2 is passable, but weak. It certainly isn’t bad, but I have yet to truly get hooked on the story Paul Dini is trying to tell. He’s giving Sirens a solid foundation, but nothing about the foundation ever really rises above average and generic. Simply put, March and Villarubia deserve something better to work with.

Conclusion: Pick Gotham City Sirens #2 up for the artwork. The story is nothing special.

Grade: C+

-Kyle Posluszny

Gotham City Sirens #1 (Batman: Reborn) – Review

By Paul Dini (Writer), Guillem March (Art), and Jose Villarubia (Colors)

Some Thoughts Before The Review: I decided to check out the first issue of Gotham City Sirens after hearing nothing but good things about Guillem March’s art. While I’m far from familiar with the current status quo of the three Sirens, my hope is that Paul Dini will provide the necessary “#1” information to keep me from feeling lost.

The Story: Catwoman has a run in with new Gotham thug Boneblaster and finds herself overwhelmed. Luckily, Poison Ivy is in the area to make the save. Ivy and Catwoman go back to Riddler’s place (where Ivy has been staying) where they are soon joined by Harley Quinn. The three ladies catch up and form an alliance…

What’s Good and What’s Not So Good: I picked up Gotham City Sirens #1 for the artwork and Guillem March’s work does not disappoint. While it’s heavy on cheesecake (Zatana in bondage, Quinn as a naughty schoolgirl, Ivy…being Ivy, etc.), it’s also very stylish (March’s gargoyles look AWESOME) and full of impressive details. My only complaint about the visuals is that, from time to time, March gives characters little more than the most of basic facial features.

The script for the debut of Gotham City Sirens is pretty disappointing. While I can’t, in good conscience, knock it for relying on continuity a bit more than I had expected (considering the book is labeled as a #1 issue), I can knock it for being rather bland, formulaic, and completely average. The characters and their relationships are defined well enough (translation: there’s decent banter and exposition that works), but there isn’t any real plot hook that makes me interested in reading the series for the long term. That said, the ending of G.C.S. #1 is intriguing enough to keep me reading for at least another issue or two in order to see if Dini can improve things enough to keep me around.

Conclusion: Gotham City Sirens #1 isn’t bad, but it isn’t all that good either. Guillem March’s work is the obvious highlight, but nice artwork can only take a series so far. Paul Dini’s got a solid concept to work with. Now he just has to do something interesting with it.

Grade: C

-Kyle Posluszny