Blackest Night: Superman #3 – Review

By James Robinson (writer), Eddy Barrows with Allan Goldman (pencils), Ruy José with Eber Ferreira (inks)

The Story: Superman is getting the stuffing beat out of him by Black Lantern Kal-L and Superboy. Ma Kent is being stalked by Black Lantern Lois Lane. Psycho-Pirate is turning Smallville into a warzone. Welcome to the final issue of this miniseries.

What’s Good: I mentioned in my last review that James Robinson had let the tension slip in issue #2. He brought it back. The last issue is wall-to-wall action with people we care about and villains we desperately want to see getting their just desserts. The dialogue is sharp now that we don’t have those clunky Norman Rockwell moments out of Smallville. On the plot, there are a lot of ways this could have gone wrong, considering the scope of the event and how it has been built up. Robinson pulled this off well, because (this isn’t really a spoiler) in this issue the heroes discover two weaknesses of the Black Lanterns. Also, I was wondering why Robinson included Supergirl and New Krypton in this miniseries. I now see why he did and it works. I expect that we’ll see the results of this issue brought back to the larger Blackest Night series, hopefully in issue #4 next week. It also makes me wonder if the other Blackest Night minis will be discovering similar vulnerabilities. All that being said, great story, satisfying conclusion.
On the minor players, Geoff Johns seems to have been conspiring to make Krypto cool. James Robinson helped out big time here. Krypto is awesome. All dog. All super. He’s like lassie…with a cape…and he’s indestructible…and he chews zombie arms right off…oh, and he’s got heat vision. The art team was critical in making Krypto work. A lot of books deliver solid heroes-in-tights moments, but Barrows and company brought dog expressions to the DC zombie apocalypse and that’s what made Krypto cool….along with heat vision. I’ve also got to give kudos to the art team for the color work on the different emotional states, some brilliant action sequences, a burning naked old zombie Lois Lane (trust me, she’s no Red Sonja), and some larger-than-life heroism.

What’s Not So Good: The first big splash page with Kal-El was so busy that I had a bit of trouble figuring out what was happening. Otherwise, nothing but nit-picking.

Conclusion: Robinson, Barrows and team brought this miniseries to a satisfying conclusion that will tie effectively into the larger Blackest Night book. A lot of fun. I’m looking forward to the other Blackest Night minis, especially Wonder Woman’s.

Grade: B

-DS Arsenault

Blackest Night: Superman #2 – Review

By James Robinson (writer), Eddy Barrows (artist), Ruy Jose with Julio Ferreira (inkers), Rod Reis (colorist)

The Story: Black Lantern Kal-L (the original Superman from Earth-2) is looking to paint Smallville black, and he brought some post-living help in the form of Psycho-Pirate and the original Lois Lane. Standing for truth, justice and a speedy end to DC’s zombie apocalypse are Kal-El (our Superman), Superboy and Ma Kent.

What’s Good: I can’t say enough good things about the art. Every face is expressive, every hero expertly muscled and every Black Lantern is scary as sadistic zombie superheroes can be. The color work by Reis was also brilliantly done, especially in all those unlined glowing effects, as well as the color cuts across people showing their emotions. If you want a really nice piece of art, color and all, check out the shards of ice on page ten. I also loved watching the Black Lanterns almost drool over the emotions they were producing. The art team produced an effect that was really creepy. Rage, avarice, fear, hope, will, compassion, love: each with their own color and mood, all being sucked up by the foot soldiers of the zombie apocalypse.

What’s Not So Good: A lot of this issue felt really flat in the writing department. Blackest Night: Superman #1 built up a great head of steam and set all the pieces in play, but this second issue didn’t move them very far. The balance between Kal-L, Kal-El, and Conner has shifted a bit, but really, the fist fight they were in the last issue is dragging on.

The minor Norman Rockwell dialogue flaws I pointed out last issue also reappear in this one, stronger than before and at times, incoherent. The over-smiley barber in Smallville in the morning is told “Thanks for staying open,” which in the morning makes no sense at all (leave me a comment if you think I missed something). Through some problem in the lines around the dialogue bubbles, some kid called Simon says his own lines and his mother’s. And unfortunately, the small panel with the Army vet had me reaching for my insulin. The shame is, none of that first set up page was necessary. Robinson could have thrown us into some substantive action. Given how I think the plot didn’t advance very far, and how disconnected the subplot feels with Supergirl, I’m wondering if there just wasn’t enough story material to fill the three issues of this series.

Another problem was that the dialogue was doing extra duty as exposition, like when Psycho-Pirate says “…me, Roger Hayden, the Psycho-Pirate! I steal people’s emotions.” Some villains are talky, but that’s a bit over the top. It’s an example of why text boxes should probably make a comeback. And even dialogue that wasn’t being saddled with exposition felt a little uninspired, like Conner’s “No way, you sick weirdo! Give me back my town!” Too bad.

Conclusion: The Blackest Night storyline has a lot of potential, so it’s unfortunate that this story was so average. It was drawn by an extraordinary art team, though.

Grade: B-

-DS Arsenault

Adventure Comics #2 – Review

By Geoff Johns and Michael Shoemaker (writers), Francis Manapul and Clayton Henry (artists), Brian Buccellato and Brian Reber (colorists)

The Stories: Johns opens the book on a squadron of military helicopters searching for Brainiac and Luthor, who have both just escaped. Brainiac and Luthor are in cahoots and nothing good is going to come of this. Flash forward to Conner getting ready for Cassie to come over for supper. They each have issues to struggle through. The second story is about the Legion of Superheroes. Mekt Ranzz (Lightning Lord) will tell the Legion where all the supervillain safehouses are if Lightning Lad will talk to him in prison. Seems easy, right? Wrong!

What’s Good: Johns did some very solid character work on the Superboy story. Connor  is wound up, worrying about how he looks, and he’s hopelessly transparent, yet perfectly believable. I also really like the clever use of Conner’s obsessive little lists. What did Superman do? What did Luthor do? The amount of time he spends looking at those two columns and comparing himself to them show how worried he is about who he is. Johns also did really deft work on Cassie and Conner catching up. That year apart put a lot of space between them. This character work sounds like it would be dull, but it’s exactly the opposite because both characters are so likable with their desires so obvious.

Johns and Shoemaker pulled some more fine writing out of their hats for the Legion story. It’s been a while since I’ve been able to follow the Legion, so I don’t remember Garth being so spun up, but Johns sets up the characters so even a long-absent fan like me can understand everything. The human supremacy movement was an interesting touch (not original, but interesting), as were the words that Garth and Mekt shared. I didn’t see that surprise coming.

Manapul’s art was brilliantly page-slowing for me. I’d be done with the words, but reluctant to turn the page, because I wanted to keep admiring the art. The double splash page opening the book was awesome and I loved the realism combined with the rough, almost old-school pencil lines that Manapul left for strategic shading. Brainiac sitting in his control chair, wires sprouting from his head, Luthor standing in prison browns with smears of blood on his wrists… All memorable and awesome…Also Manapul’s and Buccellato’s work on Cassie and Conner under a pink, starry sky was just great.

What’s Not So Good: I had no complaints whatsoever about the Superboy story. However, I wasn’t wowed by Clayton Henry’s pencils on the Legion back-up story, nor was it easy on my suspension of disbelief to see super-powered prisoners manacled in their cells in costume.

Conclusion: This issue is worth buying just for the Superboy story. Little action on the outside, but lots of action on the inside. Buy this book.

Rating: B

-DS Arsenault

Wednesday Comics #9 – Review

Batman by Brian Azzarello (writer), Eduardo Risso (artist) – Nice plot progression but confusing dialogue and motivation. Never enjoy seeing Batman get sucker punched by a common thug. He should be above that, no? B-

Kamandi by Dave Gibbons (writer), Ryan Sook (artist)– War on Washington DC. The epic battle to save Caesar and Tuftan begins as Kamandi and the Lion warriors storm the White House. As usual for this strip, great iconic art and storytelling. A-

Superman by John Arcudi (writer), Lee Bermejo (artist) – Jaw dropping art, but not a lot of story. Also, when did Supes get psychic powers to “receive” others thoughts? B

Deadman by Dave Bullock and Vinton Heuck (writers), Dave Bullock (artist) –Who knew Deadman was such a great character. He and his crew battle the main demon, but things look bleak. Absorbing read… Good art. A-

Green Lantern by Kurt Busiek (writer), Joe Quinones (artist), Pat Brosseau (colorist) – Nice character work and superb art with a nice 50’s feel. A little let down that there is another space invasion in Wednesday Comics. Nothing unique there. B

Metamorpho by Neil Gaiman (writer), Mike Allred (artist) – Last week’s periodic chart of elements was smart,fun, and off-the-hook original,  but two weeks of it is just annoying. We got it Gaiman: You’re smarter and a heck of a better writer than the rest of us. But now you’re just showing off. Anyway, I love Algon. B+

Teen Titans by Eddie Berganza (writer), Sean Galloway (artist) – Clunky work all around here. Trident is not a good foe and this story has been too segmented to be engaging in the long run. C

Strange Adventures by Paul Pope – This is awesome on many levels, but the art is just amazing. I was very confused what happened last week, but this week, I just don’t care as everything clicks in this installment. Why isn’t Paul Pope on a regular “Big 2” comic? Pay the man, somebody! A+

Supergirl by Jimmy Palmiotti (writer), Amanda Conner (artist) – It may not be the best story but it is my favorite and the most fun. Well crafted and plotted. Every installment has had a great take away and this installment is no exception. A+

Metal Men by Dan Didio (writer), Jose Luis Garcia-Lopez (artist) – This story is getting really, really old. Same enemy, same situation, same setting, week after week. I really enjoy the art, but it is a remote affair. C-

Wonder Woman by Ben Caldwell – I can’t read this. I can’t even look at it too long without needing to down some dramamine. F

Sgt. Rock by Adam Kubert (writer), Joe Kubert (artist) – Finally, something happens and there is a plot twist, rather than things just remaining static. I can’t help to think that this would have been a better comic if it took place on a battlefield. B

The Flash by Karl Kerschl and Brenden Fletcher (writers), Karl Kerschl (artist) Iris West by Dave McCaig (writer), Rob Leigh (artist) — I am so lost here it’s not eve funny or enjoyable. D

The Demon and Catwoman by Walter Simonson (writer), Brian Stelfreeze (artist) – Reminds me of an 80’s Hanna Barbera cartoon with over the top dramatic dialogue and characters one dimensional and predictable. That being said, that’s not necessary bad here.  B

Hawkman by Kyle Baker – Its all predictable but well done. Hawkman has been a particularly strong character throughtout this series and I’ve thoroughly enjoyed it. Plus, the artwork is just so unique.

Blackest Night: Superman #1 – Review

By James Robinson (writer), Eddy Barrows (penciller), Ruy Jose with Julio Ferreira (inker), Rod Reis (colorist)

The Story: Kal-L, the original Superman, the one born on pre-crisis Earth-2, rises from the dead. Kal-El (the current Superman) and Conner (Superboy) are in Smallville on the anniversary of Pa Kent’s death. Just imagine how things gets bad.

What’s Good: The Art, it blew me away. I haven’t run into Barrows with Jose, Ferreira and Reis before. This art team is brilliant. The ‘camera’ angles run from ant-point-of-view (splash page), bird’s-eye view (page 2), pedestrian point-of-view, to ceiling-fan-point-of-view, to out-of-the-pit-point-of-view. It sounds like a lot of contortions, but visually, Barrows keeps approaching every scene, and even panels within scenes, from different angles, making every view fresh. And the level of realistic detail is sharp, from the cracks in a headstone, to the lettering on the general store, to textured hair and clothing. Colorwise, Reis does an amazing job. Robinson shows us Smallville frequently through the eyes of Black Lantern Kal-L and he runs across the Blackest Night colors and emotions: purple for love, yellow for fear, etc. It’s not only well-done visually, but it fits perfectly with the writing.

What about the writing? With only a few dialogue issues, it’s top notch. Robinson evokes small town America in Smallville. At the diner, they talk about the guy who cut his hand in a band-saw. Kal-El and Conner are natural and real, while Kal-L is probably the creepiest Black Lantern. He keeps on making promises that inspire more and more fear. He belittles Connor and manipulates Kal-El’s emotions. He’s really, really powerful. There’s no reason for me to think that he won’t win. He’s simply a great villain.

As a side note, I think another great example of how good Robinson’s writing is would be to look at Krypto. The concept of Krypto is frankly stupid. He’s an early-silver age DC creation pandering to the juvenile audiences of that time. In 2009, it’s really easy to not hit the right note with him and have him come off like the Jar Jar Binx of the Superman mythos. Robinson handles Krypto deftly: the reader likes him, as they want him to protect Ma Kent. He definitely has grown to be a character that readers can’t easily get annoyed with.

What’s Not So Good: This was almost a flawless performance. The failings were minor and are mentioned now only because I’m picky: I thought the dialogue of some of the residents of Smallville came off as cliche or a little too Norman Rockwell. I think Robinson overdid it in those moments, but it doesn’t detract much.

Conclusion: Buy this book now! You’ll love it. I did.

Grade: A

-DS Arsenault