Powers: The Bureau #9 – Review

by Brian Michael Bendis (Writer), Michael Avon Oeming (Penciler/Inker), Nick Filardi (Colors).

The Story: The curious case of Extreme and his many, many pouches.

The Review: As a Screenwriting/Playwriting student at a university, I’ve always appreciated that the comics industry not only has room for a writer that has more of a naturalistic voice for dialogue and pacing, but also that his writing style has been embraced and led to such astonishing success. That said, I’ve started to feel that the delays with his creator owned books such as Brilliant, Scarlet and Powers are really starting to diminish my enjoyment of them.

I’m not assigning blame to Bendis, I’m not sure if blame for the book’s delays can be laid at his feet, whether its the demands of artists workloads or a confluence of events, what I do know is that when I opened this book I had no recollection of the previous issue. Despite being a tad foggy on the particulars of issue #8 I still found this issue to be a great read, other than the Retro Girl sub-plot that gets a little movement at the close of this chapter, issue #9 is business as usual for detectives Pilgrim and Walker as they interrogate 90’s throwback Extreme. The Hollywood setting of this arc really does play to the strengths of Powers VH1 Behind the scenes take on super-heroes behaving badly, as Hollywood is the epitome of celebrity excess, so to is the 90’s the epitome of super-hero excess. Bendis and Oeming tie these two elements together with their hilarious send up of 90’s extremism in the form of, well, Extreme. The former “mentor” of the teen super-group The Circle is suspected of having a hand in their deaths and this issue alternates between the detectives interrogation of him and the flashback sequence detailing their final, fateful mission.

The art in this book is some of the most idiosyncratic on the stands, Oeming excels at both the moody, shadowy interrogation room scenes as well as the bright, poppy, Kirby-esque invasion sequences, other than perhaps Mike Mignola or Chris Bachalo I’m hard pressed to think of any working artist that is more singularly unique than Oeming. His partnership with Bendis at this point is a well oiled machine, there is never a duff panel, never a confusing sequence, and the over-cross hatched double page spread this issue is hilarious.

Powers #10 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: The murderer of the Golden Ones reveals his backstory and we learn that there are far, far bigger and nastier things out there than the Golden Ones.

The Review:  Wow…just….wow.  If anything, this issue is proof that when it comes to Powers, Brian Bendis does not hold back.  From the absolute, gut-wrenchingly vivid brutality of the serial god-killer’s backstory to the manner in which Bendis expands his comic’s universe and the stakes of this story, Bendis has basically laughed at the idea of limiting how far Powers can go.  It’s a brave and unflinching performance from Bendis in what is, in my opinion, by far the best issue of Powers since it relaunched.

When reading the murderer tell his story through a confessional tape, it becomes increasingly shocking and downright disturbing to read.  Bendis pulls back the curtain on the Golden Ones for us to see the ugliness and depravity that lurks behind.  They are certainly less than the golden gods they portray themselves at and are, in the case of Damocles at the very least, nothing more the humans that have come into incredible power, only to become twisted and depraved as a result.  I cannot describe how intense this extended scene, and narration, was.  To say that it “hits hard” is putting it lightly.  There is no holding back, no sugar coating, and Powers lives up to its “mature readers” label.  Through words alone, Bendis paints an unfathomably brutal scene that is as appalling as it is haunting, one that feels real, while also highlighting what has become a theme in Powers – that superpowers take the old adage “absolute power corrupts absolutely” to new heights of accuracy.

Spinning out of this, Bendis also really expands the scope of his universe, which really makes it clear why Powers is becoming Powers: FBI; the stakes have been far larger and so have, well, the powers.  What has long been a police procedural involving superpowers has suddenly become a statement on the relationship between god and man.  It almost feels as though Bendis puts a Lovecraftian spin to Powers; in revealing the true nature of the Golden Ones and whether they really are gods, we end up getting an answer that leads to more questions, an answer that tells us of the enormous, unimaginable, ancient powers that lurk behind the workings of the world.  The Golden Ones were small fries compared to these cosmic forces and in violating the threshold between god and man, man pierces the veil between the two just a little bit, and the result is a punishment of biblical proportions.  We end up a hell of a long way away from the safe, old police procedural.  Instead, there’s a sense that Powers, with its cops and criminals, have gone too far, played with powers too far beyond understanding, and the result is Cthulian promises fulfilled.  To hammer home this point, this revelation of the great powers at work behind the scenes of Powers universe is accompanied by a shocking, tragic character death, one that sees polar opposites meet, true and unquestionable representatives of the godly and the human/mundane; suffice it to say, it does not go well.

Powers #7 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: Christian and Enki question members of the Golden Ones while dealing with Deena Pilgrim’s surprise return.

The Review: It has been five months since the last issue of Powers came out.  Five months.  It wasn’t the end of a story-arc.  It wasn’t an official hiatus.  There was never  a stop to the solicitations.  That’s really the biggest, and truly the only, knock I have on this issue.  I absolutely hate the fact that Bendis and Oeming took a five-month break to work on Takio between issues during a story-arc.  As a result, some of the details here are a bit murky without going back to re-read issue 6.  For instance, I struggled to remember much at all about the murdered Damocles.

But it is an excellent comic, one that shows that Brian Bendis can still write a really smart book when he wants to.  He espouses some interesting ideas on religion, particularly conventional religion in a world populated filled with superpowers, and how that phenomenon challenges faith.  It’s thought-provoking and elegantly, honestly written stuff.

More than that though, this whole arc with the Golden Ones is fulfilling the promise I saw in the first issue.  Bendis begins to really mine the concept of mythological gods in a superhero-populated universe here.  Indeed, there always has been something a bit ambiguous and problematic about Thor, Hercules, and such running about in such a world.  There are so many interesting questions that arise, and Bendis scratches the surface here.  For instance, there’s the fact that in the world with superpowers, there’s no black and white distinction between man and god; there’s now a weird gray area of superhumans between the two.

Powers #6 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: Walker and Calista go on their first adventure together, a god (maybe) is found murdered, and a certain someone makes her unexpected return in an unexpected capacity.

What’s Good: Calista comes out as the star this month.  While her role as Walker’s student expands with her first team-up alongside him, she’s the highlight this month if only because her personality really shines.  Calista is really at her most adorable this month, so much so that it’s impossible not to like her.  Best of all is that this likability is wholly natural and never saccharine, as it’s accomplished chiefly through Calista’s absurd sense of humor and Bendis’ writing of her youthful impatience.  Calista’s dialogue was a job well done by Bendis this month; she’s funny, she’s human, and her age and personality really come through.

Other than Calista-related awesomeness, this month is fairly devoted to set-up.  That’s not necessarily a bad thing, as it’s intriguing and really promising for the future, as Bendis seems to intend this arc to address a region of superheroics that he’d left untouched so far.  It looks as though this arc is going to be dedicated to the mythological gods who always seem to somehow find their way into superhero tights in the comics world.  That Bendis has never even once mentioned this area before is stunning and that I had never thought of it myself is testament to how good Powers really is.  Considering the various intelligent riffs Bendis has made on superhero comics in Powers, I can’t wait to see what he does here.

Then of course, there’s the surprise return.  Even though it’s not really a surprise, given the solicitations and the cover of next month’s issue, the capacity in which the character returns is certainly an interesting one.

Powers #5 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: Christian hits rock bottom as his relationship with Heather suddenly falls apart but unbeknownst to him, Heather has two very big secrets.

What’s Good: Oeming’s artwork is absolutely superb this month, but it’s really unique in that its greatest strength isn’t jaw-dropping visuals or stunning splash pages.  In fact, this is arguably a pretty restrained issue as far as Powers goes.  What makes the art stunning is how Oeming emphasizes the “sequential” in “sequential art” and what exactly that means.  The panel-to-panel transitions are incredibly smooth and both physical actions and mental processes are incredibly well plotted out.  There’s a great sense of logic and movement from panel to panel that leads to a really organic feel.  Honestly, it’s the sort of work that  makes most other comics feel stilted by comparison.  It’s been a while since I’ve encountered a comic with such a natural flow to it.

Plot-wise, quite a bit happens this month.  As the opening issue to a new story-arc, this issue certainly fulfills its function, offering tantalizing bits of some very major things to come.  When a first issue is giving you visions of an apocalyptic future, you know you’re going to be in for on heck of a ride.

It was also a very good month for Enki Sunrise, who Bendis is clearly trying to build up as a character.  He, more than ever, shows a softer, more human side to the character, letting us see a more sympathetic, even maternal Enki which really stands in juxtaposition to the hard-nosed Enki we’ve mostly seen these far.  Bendis is quickly adding texture to Enki and is making her a fully realized character and I like what I’m seeing.

Speaking of vulnerability, it’s hard not to feel for Christian when he’s down in the dumps.  Bendis has always done a great job of writing his leading man’s heavy burden(s) and that’s no different here.  It’s just always so easy to feel bad for Christian.

Powers #4 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: Walker and Sunrise’s murder investigation comes to a close.

What’s Good: It’s satisfying to see Bendis and Oeming planning for the long haul.  This issue the creation of what should be a new antagonist for the series for some time to come.  A great deal of detail is added to Erika Broglia’s character, a mixture of trauma and a twisted sense of tradition.  She ends up being a very interesting character and this issue leaves her in a very intriguing position, one where the door is left very much open.  It’s satisfying to see a character that could have been so easily clichéd be given so much depth.

But Erika’s not the only character brought to the table this month.  As last month’s cliffhanger suggested, this is also a big issue for Billy Mace, who looks to be another series fixture in the making.  Mace occupies a unique position in the book as a figure that is in touch with Christian’s past.  In many ways, he looks to act as Christian’s conscience for past misdeeds and imperfections.  He’s a dark character, while still being disgruntled enough to be oddly likable.  His scene with Walker is the high point of the issue, as he maintains a full conversation while literally leaping around and drinking vodka.

Mace also opens the door to another investigation of one of the more intriguing elements of Powers: Christian’s memory and specifically, the functioning (or non-functioning) of the memories of those who live incredibly long lives.  Bendis does a good job of portraying the pain of this ongoing cycle of dim recollections, while hinting at more exploration to come.

Art-wise, I don’t think that Oeming is physically capable of putting out a bad issue of Powers.  The scene with Billy Mace is fantastically plotted, as he bounds about the building.  Oeming is even able to make the most mundane things look dynamic and beautiful; Christian’s jog in the park is absolutely amazing to experience.

Powers #3 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: It’s a high-speed, super-powered chase as Walker and Sunrise try to get their murder suspect back to the station in one piece.

What’s Good: This is just a gorgeous display of sequential art at its finest.  Not only is Oeming’s work beautiful to look at in and of itself, but as always, his sense of narrative flow and storytelling is also creative and really fun.  Oeming’s work remains explosive, yet comfortingly adorable.  He also creates a wonderful sense of atmosphere and tension throughout the issue.

As always, the actual action mirrors the panel structure (if you can call it that), giving the book a fast, organic feel.  For instance, a car drives from one panel to another, snaking its way through a double-page spread.  How can you not adore something like that?

His work on a tense scene in a sewer is also in wonderful contrast with the rest of the issue, which is a high-paced car chase.  Oeming’s style easily shifts to accommodate and create a real sense of claustrophobic tension.  It’s great stuff, as is that car chase, which explodes with a real sense of speed.  Colorist Nick Filardi also helps quite a bit and the usage of light in the sewer scene is amazing, telling a story in itself.

On Bendis’ end, the chase itself is perfectly paced.  There’s also a very well timed flashback towards the end of the issue that both feels natural and surprising; it feels like it came out of nowhere, yet also satisfies.  Bendis also hits you with one big, badass ending to this issue.

Powers #1 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: Detectives Christian Walker and Enki Sunrise try to learn to live with each other as they embark upon their first case together.

What’s Good: Powers is a rightfully celebrated series and I can assure you that this relaunch issue lives up to its previous volumes.  In more or less every way, this is the definition of what a good comic should be.

Certainly, all of the Bendis hallmarks are in place.  The staccato dialogue and the creative profanity are in fine form.  That said, what also returns is Bendis’ ability in Powers to portray multi-layered, real, and complex human relationships.  It’s all the more impressive that he manages this with Enki Sunrise, a character that has remained ill-defined and two-dimensional up until this point and was one of the few weak spots of Powers’ last arc.  Finally, Bendis manages to flesh out the character a bit and give her a little more life.  Moreover, he’s actually well on his way to making her likable.  Readers of Powers will know this to be no small feat.

And he does this through minimal, subtle strokes.  In a few pages of near-wordless action, we arguably learn more about the character than we have through the entirety of the last arc.  Furthermore, when she attempts to forge a bond with Christian, the dialogue is expertly played; her conversation is scattered, stumbling, and awkward.  Really, the syntax says as much about the character and her desires as her actual words.

For a first issue, Bendis also manages a large scope.  Upon finding an old associate dead, we get a flashback to a period of Christian’s past that is all gaudy film noir.  I’ve always loved Bendis’ visiting of Christian in previous eras, as his treatment of these time-periods are evocative yet honest, and this is the case here.  I also have always enjoyed noticing the subtle differences, and similarities, between Christian’s personality then and now.  It’s an absolute pleasure to see a Christian this month that is, for lack of a better word, an asshole, if not a tag-along.

Beyond this, the sense of mystery is palpable and Bendis makes me want more.  This is also thanks in large part to Oeming’s artwork, and this is his best work in some time.  His paneling is as abstract and creative as ever (one memorable double-page spread tracks our characters’ path across a street and up a building), without causing the confusion that Powers’ previous arc was at times guilty of.  Colorist Nick Filardi also improves the series, alleviating it of the slightly excessive darkness of prior issues.

Oeming’s style urban environments are absolutely beautiful despite their seeming simplicity, heavy with mood and dark ambiance.  His rendition of the flashback is also well done: it glows with just enough life and vibrancy to distinguish it from the present day without becoming overly self-conscious, and of course ,the present-day is as grim and gritty a place as ever.

What’s Not So Good: None whatsoever.  Some might say that we didn’t get enough information regarding the actual murder and make cries regarding plot progression.  Relax, it’s only the first issue and besides, Powers has long been more about the characters anyway.

Conclusion: Comics bliss… This should satisfy even the most stalwart Bendis-hater.

Grade: A

-Alex Evans