Sinestro #3 – Review

By: Cullen Bunn (story), Dale Eaglesham & Rags Morales (art), Jason Wright (colors)

The Story: As with most former dictators, it’s hard to wring an apology out of Sinestro.

The Review: So I saw Transformers: Age of Extinction last night, the first Transformers film I’ve ever seen beyond the trailer. This isn’t really the time and place for a fully-fledged review of the movie, but for those curious, I’ll say that it’s extremely distressing to see how much money could be spent to produce something so soulless and utterly lacking in redeeming quality other than visual spectacle. Clearly very little of that $210 million budget was expended on the writing.

More than anything else, I’m angry at myself for actually paying money to see the film and thus indirectly supporting such wanton lack of integrity. That’s the upside of reading comics; even if you feel like you’ve wasted your money on some bad issues, you can take comfort in knowing the profits aren’t terribly encouraging anyway. And with that, I think I’ve successfully brought us back to our real topic of choice, Sinestro #3, which might not be exceptional, but at least it has characters with dimension, which can’t be said of certain works with a gajillion times the resources.

Sinestro #2 – Review

By: Cullen Bunn (story), Dale Eaglesham (art), Jason Wright (colors)

The Story: Sinestro retakes his position as president of his fan club.

The Review: In my blessedly brief, somewhat humiliating, always entertaining time doing stand-up, I learned that half the secret to getting up into the spotlight and getting out without a beer bottle thrown at you is to proceed as if everything is going extremely well, even you’re dying inside. When it comes right down to it, a person’s charisma is almost always a byproduct of how much they always seem to be in control, which is why presidential approval rates always plummet as the term goes on.

This also explains the great appeal of Sinestro, a man who’s always in control of all parts of his life, even “his legendry.” Yeah, he’s more than a little bit of a sociopath, but that air he gives off, as if nothing or no one can ever touch him, is amazingly attractive. Throughout his nearly one-man battle with his usurped Corps, he remains undaunted, his attitude being of one dealing with a tedious task, but by no means a very difficult one. This alone would make him seem like a stud, even before he slays a Lantern without turning his back and then melting the ring before it can find a replacement. And then his parting line: “Does anyone else wish to register a grievance?”

Sinestro #1 – Review

By: Cullen Bunn (story), Dale Eaglesham (art), Jason Wright (colors)

The Story: Just when you need a fear-mongering dictator, he decides to give it all up. Figures.

The Review: As Hal Jordan’s primary arch-nemesis, Sinestro has always been a formidable villain, but in recent years, under Geoff Johns’ revitalizing pen, he’s now become one of the all-time greats of DCU antagonists. In some ways, he blends elements of two of his peers; he has rationality and arrogance to rival Lex Luthor, but like Joker, he has loftier aims than merely destroying his rival. But Sinestro is more than their amalgamation; he’s nobler and more capable of genuine sympathy than either.

Weird as it is to say that Sinestro has a heart, it’s the only way to explain how he can be driven to weariness, even something like depression. These are foreign emotions for most other villains; they require a degree of self-reflection that would take a villain too close to questioning his purpose, and God forbid we should have that. But for all the violence and callousness of his methods, Sinestro’s purpose has never been outright evil. He can appreciate the costs of his actions, which is why here, we see him weighing his real, personal losses against his scant, vague achievements.

Iron Man #11 – Review

By: Kieron Gillen (Writer), Dale Eaglesham (Artist), Guru eFX (Colorist), VC’s Joe Caramagna (Letterer)

Review: I guess I’m not alone in finding video games about as addictive as comic books; if you draw a Venn diagram that converges the two, the crossover segment’s probably pretty damn huge. Recently it’s been fun watching from the sidelines as the fanboys wade in against Microsoft, the XBone’s DRM measures inciting a feverous backlash from a community who, by all accounts, are happy with the way things are. They don’t need these needless alterations screwing up their hobby. Gamers have DRM; comic fans have retcons. And Iron Man totes a retcon so massive that it may see several readers toss their copies to the floor in despair.

In this issue we’re really getting into the meat of Gillen’s The Secret Origin of Tony Stark. The hints have been heavy, but there’s now no getting around it. Tony Stark – heroic Avenger, genius and billionaire party boy – is no ordinary human. Never was. Everything he’s achieved up to this point has been at least partly down to the modifications 451 made to his genetic structure while he was in utero. He used to be the frail mortal who’s tenacity and ingenuity alone allowed him to stand shoulder-to-shoulder with Norse Gods and Super-Soldiers… but now he shares that success with the cosmic tampering of 451, the Rigellian Recorder who’s coming to play something of a key role in most of Marvel’s cosmic books.

Iron Man #9 – Review

By: Kieron Gillen (Writer), Dale Eaglesham (Artist), Guru eFX (Colorist), VC’s Joe Caramagna (Letterer)

Review: I’d call this issue a return to form if, as has sadly not been the case, any previously appreciable ‘form’ had yet been enjoyed during Gillen’s Iron Man run. It’s just lacked something. Greg Land’s artwork has been a sticking point for many (though I thought some of the criticism was unnecessarily harsh) but really it’s the stories that have failed to ignite. Unlike, say, Matt Fraction’s one-two punch of opening awesome on Invincible Iron Man (with The Five Nightmares followed sharply by World’s Most Wanted), there’s been nothing so far to convincingly set the series’ tone. When part of a new series sees its main character relocated to Space, yet still fails to achieve distinction? That’s when you know there’s a problem.

Alpha Flight #1 – Review

By: Greg Pak & Fred Van Lente (writers), Dale Eaglesham (pencils), Andrew Hennessy (inks), Sonia Oback (colors), Simon Bowland (letters), Jake Thomas (assistant editor), Mark Paniccia (editor)

The Story: Alpha Flight is called into action to save Vancouver from one of the hammer-wielding “Worthy” of Fear Itself.

What’s Good: This is a title that had a LOT to live up to.  When I was a kid, everyone read Uncanny X-Men and while we all loved those stories, the “cool comic kids” read Alpha Flight.  I was lucky enough to catch the first 25 issues of John Byrne’s initial series and thought it was outstanding.  Then I missed all the later stuff that I know some people have derided, so I really hoped that this issue wouldn’t do anything to damage my memory of those first 25 issues from the early 80’s.

This isn’t a perfect comic (more on that below), but it’s pretty darn good and worthy of the Alpha Flight name.  The basic set up for the issue flings us right into the action as Attuma and his fancy FEAR ITSELF hammer storm ashore in Vancouver and start smashing stuff.  Alpha Flight joins the fight and in the matter of a few pages, the creative team has introduced us to the entire team by name and shown us how their powers work.  The whole issue is mostly a big, fast-paced fight scene that works really well and is enjoyable to read.

Dale Eaglesham is just a really solid superhero artist.  There’s a lot of different stuff for him to draw in this issue: muscular guys like Guardian, attractive women like Vindicator & Aurora, hairy & hulking characters like Sasquatch, and the whole pile of Attuma’s Atlantean forces.  Eaglesham nails them all.  The issue is also nicely inked and colored.  It is a very attractive superhero comic.

Steve Rogers: Super Soldier #1 – Review

By Ed Brubaker (writer), Dale Eaglesham (artist), Andy Troy (colorist)

The Story: Steve Rogers, now America’s premiere Spymaster and national security czar, infiltrates a party held by Nextin Pharmaceuticals to investigate rumors that the company has perfected the Super Soldier Formula and is planning to sell it to the highest bidder.

The Good: Not much, which sucks because I was really looking forward to this story when I first heard about it. While I love the idea of Steve Rogers taking over Nick Fury’s role as America’s top superspy, the execution of that idea has left me feeling very underwhelmed. I have yet to see Rogers in any comic ever really acting like a spy; even though his mask is off and he’s now prone to wearing black turtle necks, he still acts like a superhero and, more to the point, a soldier. He’s still given to charging headfirst into a battle and pounding his opponents into a pulp whereas any other spy, like…oh, say, Fury, would have done his very best to avoid that same conflict. It occurred to me, reading this issue, that Rogers really doesn’t do subterfuge very well; don’t get me wrong, I rather liked that scene of him zip lining into the hotel in Madripoor in the middle of the night, but he still had to resort to busting some heads, in a conspicuously pro-American, Captain Americaish costume, to get the job done. What I can’t get my head around right now is whether Rogers is supposed to be a superhero pretending to be a spy or a soldier reassigned to law enforcement. For me, this issue was a little too much superhero and not enough superspy, and I’m hoping Brubaker can correct that next month.

Fantastic Four #578 – Review

by Jonathan Hickman (writer), Dale Eaglesham (art), Paul Mounts (colors), and Rus Wooton (letters)

The Story: Johnny has a run-in with some Negative Zone badness while the undersea denizens revealed last month make for an unhappy Namor.

What’s Good: It’s great to see Johnny get some love this month.  As much as I like Reed and the kids, and Reed is probably among my top three comic characters, I’m glad that Hickman is trying his best to share the spotlight a bit.

What’s better still is that Hickman doesn’t write Johnny as the two-dimensional comic relief/jerk as it’s all too easy to do.  Sure there’s humour and arrogance, but there’s also heroism and even responsibility.  I’m glad Hickman decided to give Johnny a more serious look and when Johnny’s taking responsibility for his own mistake ends up being an even bigger mistake, there’s a tragic, bittersweet taste behind the irony, seemingly because he doesn’t know how to go about fixing his messes.

The self-reflection on Johnny’s part is outstanding.  It’s all the better due to how little Reed actually has to say; Johnny is already well aware of his shortcomings.  It’s always a strangely voyeuristic pleasure to see Johnny ashamed of himself, perhaps because the character is so defined by his douchebag persona.

Dale Eaglesham continues succeeds at the sci-fi insanity as usual, this month with a horror tinge, but it’s the more subtle stuff that caught my eye.   His work on his characters’ facial expressions is truly outstanding this month and absolutely spot on.  His work on Val and Johnny feel incredibly human, even adorable at times while the opening portrait is sure to catch the eyeballs.

Fantastic Four #577 – Review

by Jonathan Hickman (writer), Dale Eaglesham (art), Paul Mounts (colors), and Rus Wooton (letters)

The Story: The origin of the human race is discussed, as well as the future path of the Inhumans.

What’s Good: Dales Eaglesham’s art has been tremendous on Fantastic Four thus far, so when I say that this is quite possibly his best outing yet on the series, you know you’re in for some awesome art.  Everything just looks wonderfully creative, not to mention massive in scale.  The giant space ships, the varied and colorful aliens, it’s all really vibrant, creative, and generally impressive stuff from Eaglesham, leading to a 22 page feast for the eyes.  With such wide eyed goodness, insane cosmic stuff, and retro sci-fi goofiness on the page, the art is best described as fun, and yet it maintains a high level of detail and sophistication as well.

As far as Hickman’s story goes, this is the sort of Jonathan Hickman story where it’s hard not to admire the man’s creative aspirations and his willingness to enlarge his scope to truly ridiculous proportions.  Hickman’s narratives often feel vast, treating mind-bursting large ideas, and that’s really not far from the case here.  Why not deal with the origins of the human race in 22 pages and relate it to the species-endangering issues suffered by the Kree?  And keep in mind, this isn’t done in a six part story arc.  It’s accomplished in a single issue.  It’s frankly mind boggling, but it’s also the sort of gigantic insanity that works best in a book like Fantastic Four.

Fantastic Four #572 – Review

by Jonathan Hickman (writer), Dale Eaglesham (art), Paul Mounts (colors), and Rus Wooton (letters)

The Story: The council of Reeds takes on the Celestials, leading our Reed to make a crucial decision.

What’s Good: This issue’s ending was a thing of beauty and a reminder of what the Fantastic Four should be about.  If anything, Hickman’s conclusion to his first arc is almost a chastisement: ultimately, the FF are not about the wacky science hijinks or the epic cosmic struggles.  Rather, it’s about family.

Hickman illustrates this through making Reed choose between family and his own lofty goals, as he’s forced to take a hard look at the increasingly isolated lifestyle he’s been living.  This leads to a final scene that is grand, beautiful, heart-warming, and maybe even a little tear inducing.  It’s a feel-good read that hits home, blending flashbacks with very effective narration by Reed’s father.  I can’t overemphasize how beautiful this last scene is, nor how touching the last splash image of the book.

In the earlier portions of the book, props have to be given to Hickman for being absolutely merciless with his characters.  Suffice to say, some of the versions of Reed don’t make it, and their deaths are sudden, brutal, and decisive.  More amazing still is how, in the space of three issues, Hickman has actually made me care about these guys, despite only just meeting them a couple of months ago and their being duplicate Reeds.  I was genuinely surprised at the emotional moments Hickman was able to conjure up through them.

All of this is beautifully rendered by Dale Eaglesham, who really shows his range this month.  The flashbacks are warm and intimate while the battle with the Celestials is all-out mayhem.  Eaglesham essentially depicts both big and small, public and personal, in a fashion that makes both sides seem grand.

What’s Not So Good: While it’s clearly intentional, this was still “Reed Richards #572.”  All well and good, but a little irritating when our only scene with Ben and Johnny is only written as a means to get them out of the way.

The biggest problem with the issue though is the fight with the Celestials.  Having a gang of the big dudes fighting an army of Reeds will by nature be chaotic.  In fact, I didn’t even realize that the battle was over when it was.

Part of this is because that the actual means for concluding the struggle are a confused mess of ambiguous deus ex machina.  This has pretty much always been the case with the infinity gauntlet by its very nature, while our Reed magically produces guns that just somehow work against Celestials thanks to some impromptu pseudo-scientific babble.  And of course, Reed has a stack of these lying around at home.

Conclusion: The conclusion to the battle is a bit of a mess, but the rest of the issue is absolutely outstanding, with the ending being one of the finest moments I’ve seen in an FF comic in quite some time.

Grade: B+

–Alex Evans

 

Fantastic Four #571 – Review

by Jonathan Hickman (writer), Dale Eaglesham (art), Paul Mounts (colors), and Clayton Cowles (letters)

The Story: Reed must see both the good and the band, before making the decision of whether or not to join the High Council.

What’s Good: As one of the many Reeds says in one of the strongest conversations of the book, “pretend there is no horizon.”

I think that that line really sums up why this is such an excellent comic book.  It’s insane, it’s ridiculous, and it’s thoroughly impossible, and in so being, it ends up being just what a comic should be.  As I saw dozens of Reeds wandering about, reshaping the universe on a massive scale, battling multiple Silver Surfers, and terraforming planets, I was struck with the enormity and grandiosity of it all.  This book manages to ignore realistic boundaries in ways only a superhero comic can, and it makes the impossible possible in a manner that is pure fun.  Is it taut, intelligent, political intrigue?  No.  But this is the sort of comic that makes you feel like a kid again.

It’s also clear that Hickman has a very solid grip on the characters.  Reed’s internal strife is well depicted and his conversation with Sue is tender; one understands her argument, but Reed is so lovable that it’s impossible for the reader not to forgive him just as Sue does.  Meanwhile, a breakfast conversation between Franklin and Johnny is guaranteed to bring a smile to your face as only the FF can.

I also enjoyed seeing the dark side of the High Council, a side that is coldly logical yet incredibly inhumane and unpleasant.  Yet, I appreciated that Hickman doesn’t use this to go the obvious route of making them evil.

That said, returning to the idea of enormity and impossibility, nowhere is this better displayed than in the issue’s ending, which was pure awesome.  It’s great, great cliffhanger that will have you dying for more. This comic is truly all about achieving the extraordinary and operating on a limitless scale.

Meanwhile, Eaglesham has a better outing this month.  His technology looks great, but more than anything, the entire comic has a warm, comforting, and accessible feel to it.  The book feels both awe-inspiring and inviting, friendly even.   Considering some of the massive things Eaglesham’s drawing here, that’s quite a feat.  He also does great work on the facial expressions, being spot-on with his depictions of even the subtlest emotion.

What’s Not So Good: This isn’t really a Fantastic Four book, nor is this looking to be a Fantastic Four arc.  This issue is basically entirely about Reed Richards and his dopplegangers.  The Fantastic Four have one admittedly fun conversation at the breakfast table, but that’s all we see of the team.  Hell, while it was good, that whole scene wasn’t even entirely necessary save to remind us of their presence.

I complained about this last time as well, but Eaglesham also has the annoying superhero artist tendency of making every male character look like a jacked up power-lifter.  Seeing an army of Reeds all looking like linebackers is quite annoying and Johnny looks almost silly, hulking over the breakfast table.

Conclusion: Pure fun and what a comic should be, I’m completely thrilled to be reading the FF again.

Grade: B+

-Alex Evans

Fantastic Four #570 – Review

by Jonathan Hickman (writer), Dale Eaglesham (art), Paul Mounts (colors), and Rus Wooton (letters)

The Story: After fighting a gang of robots in typical FF style, Reed enters the Bridge to meet a “council” of very familiar faces.

What’s Good: As a Fantastic Four comic, Hickman’s first go is generally a success for being 22 pages of pure fun that manages to put a smile on your face.  In other words, it’s exactly how an FF comic should be.  The battle with the robots is flashy and fun, the bad guy sounds suitably crazy, providing the necessary darkness in an otherwise bright comic, and the comic ends with some required inter-dimensional wackiness.

A special mention must go to the first scene of the book.  It truly is an iconic way to begin a run, feeling both intimate and grand. It’s touching, yet it also foreshadows an epic lot of stories to come. Let’s hope Hickman can live up to that promise.

It’s always a test for a writer’s first issue on a venerable series; and it’s good to see that Hickman has a solid handle on the various characters’ voices.  Johnny and Ben maintain their humourous banter (or glum moroseness in the case of Ben), but a special mention must go to the way Hickman handles the kids.  The kids are all too often the victims of poor writing, either sounding mentally handicapped, inappropriately mature, or some bizarre hybrid of the two that just sound off. Hickman passes the test with flying colors.  Franklin sounds like the fun, adventurous kid that he is, while Val definitely sounds too old for her age, but it’s appropriate for her character and Hickman makes sure to point out the oddity of it while maintaining Val’s tone of innocence despite the outrageous maturity of her dialogue. She’s still a kid, just an outrageously smart one.

All told, this is a fun comic that takes a little break from the Dark Reign glumness. It’s nice to see Reed venturing out into alternate Earths and in-between spaces once again. The party he finds on the other side of the bridge is a bit of surreal, almost comedic fun, while the last page reveal promises more cosmic mayhem to come.

What’s Not So Good: While Eaglesham’s art is solid by and large, it needs to be asked: what the hell is up with Reed? When did the lanky scientist become a world-class bodybuilder? This may sound like I’m nitpicking, but it’s really distracting. Seriously, Richards looks way, way too buff.

Despite Eaglesham’s calibre as an artist, I did find some of his action scenes in the early parts of the issue a little hard to follow at points as well. I could tell that the Thing was clobbering a robot, but how and what part of the robot remained a bit of a mystery. I’m not sure if the panels were too small, or what it was exactly, but it was a little hard to decipher.

Also, while the comic is far from unreadable, I do feel as though I would have benefited from reading Hickman’s Dark Reign: Fantastic Four miniseries, which is a little irritating.

Conclusion: A solid and promising start to what will hopefully be nice run.

Grade: B+

-Alex Evans

Captain America # 600 – Review

By Ed Brubaker, Roger Stern, Mark Waid (writers), Alex Ross, Dale Eaglesham, Butch Guice, Howard Chaykin, Rafael Albuquerque, David Aja, Mitch Breitweiser, and Kalman Andrasofszky (art), Frank D’Armata, Edgar Delgado, Matt Hollingsworth, Paul Mounts, Marte Gracia and Mitch Breitweiser (colors)

The Story: Everything you knew about the death of Captain America is wrong. On the eve of the one-year anniversary of that fateful day, Sharon follows a path built by fractured memories to discover a game-changing clue in Steve’s death. On the other side of town, while heading towards the memorial at Central Park, the Patriot meets a new hero from a different world, or at least she says, who has a particularly strong connection to both Bucky and Steve. Also attending the memorial is Bucky and the new avengers where they get a swift punch in the gut from Osborn, but not in the way you think.

What’s Good: Brubaker goes back to his mastery of spinning a mystery, crime noir story by starting with revisiting the first piece of evidence at any murder scene. From there, he weaves in hints of upcoming story-plots, centered around The Grand Director and this new, alien character, but then comes back to main issue at hand — Steve’s return. Most interesting is the surprise return of the Red Skull who we knew was out there somewhere, so don’t worry, I didn’t spoil anything here as its what he says that is the big reveal.

For me, it’s not just that Cap is back, but rather the whole series is back. I’ve felt that since Bucky became full-time Cap this story has been running on fumes and that all though it is extremely well written, it seemed like Brubaker was killing time or playing it safe. And this issue confirms my suspicions as all the dynamics, tone, feel, and even characters are back to where this series was at around issue 25. I’m no fan of Bucky being Cap at all, but who knows, the fact that this new direction is in full force and Cap is back, maybe it will retroactively sweeten Bucky’s roll for me? Also, there is a nice little vignette involving Crossbones and Sin that is sweet and yet so, so disturbing.

There is a team of artists on this book and I found each one of their parts to be executed to near perfection. My favorite was the art on the Red Skull tale, where the ultra-villain’s flash backs and current state were equally intense, his power and plans foreboding.

What’s Not So Good: As with all annual’s or event comics, like this “hundredth” issue, this pamphlet is a mixed bag as far as price. I’m not sure with the entire buzz and greatness imbued in Brubaker’s main tale, there was little worth reading in the smaller tales by Stern, Waid, and Lee. Waid’s didn’t make sense at all in the current marvel Universe as we see Tony Stark poised behind a desk with an assistant. Perhaps those that follow the Captain America Universe very tightly will have nostalgic feeling towards what these tales were about, but I didn’t and rather have had the extra cash to put towards another comic this week. I mean this comic was $5.30! That’s half of a decent trade. Tossing in these throwaway tales and cover gallery doesn’t justify the price point for me. I’m sure some collectors are happy with this and for them Marvel should offer two choices: a collector’s edition, like this issue, or a regular edition, with just Brubaker’s tale.

I think it is a fair critique to say that despite all the artists doing a yeoman’s job on their given task, the overall aesthetic feel for Brubaker’s main tale is jaded at best. Having Chaykin follow Guice next is like using a sponge instead of sandpaper. When I returned to the normal visual feel of Captain America at the end of the story, it felt like I was reading several other comics in between. Besides showcasing Marvel’s talent, there was nothing gained by using such radical art styles on one story. In fact, this decision hurt the book.

I know that Captain America has a rich history of team-ups, so I will wait and see how this eventual team-up between the Grand Director and this alien girl goes, but for now, I’m not sure that the Captain America mythos needs another partnership or anymore characters. Especially with the Skull and Steve returning.

Conclusion: Because of Captain America # 600, Reborn is by far the most anticipated event for me. This is the upcoming project helmed by Brubaker and Hitch that continues what was laid out here. I didn’t think anything could dampen the excitement around Blackest Night, but Steve’s return does. Most surprisingly, I am not pessimistic about how Steve’s resurrection will be handled as I have great faith in Brubaker and his talents, especially with crafting a good old-fashioned murder (or not) mystery. Brubaker’s story is an easy A, but with all the mishandled art oversight and expensive fluff stories, I have to give Captain America #600 an…

Grade: B

-Rob G.

Justice Society of America #21 – Review

By Geoff Johns and Alex Ross (writers), Dale Eaglesham and Nathan Massengill (art).

The Story: The hammer that has been on its way down for the last few issues of JSA finally drops as Gog reveals himself to be the evil false deity that the elder members of the JSA suspected all along.  After Gog’s nefarious intentions are publicized, infighting amongst the JSA ensues while Gog tries to convince his devotees about his purity of purpose. However, when his followers eventually fall out of line Gog metes out vengeance in proportion to what he once gave.

What’s Good: It’s good to see the JSA wipe that creepy, crazed smile off of Gog’s face. There are some very sly homages to the Kingdom Come universe as a couple of JSA members take on the appearance of their Kingdom Come counterparts.  Additionally, Johns and Ross do a great job of producing and working with new religious themes, rather than just copying the same ones that drove the Kingdom Come story.

The art team does a fine job of dealing with a crowded environment, while retaining character integrity and group dynamics.  The action scenes are detailed and clear.

What’s Not So Good: This story suffers from the fact that the creators have made Gog so powerful that it seems ridiculous for the JSA to decide the way to deal with him is to “destroy his body.” Gog has turned people into trees, filled-in an earthquake he created, and sent people to other dimensions with a mere gesture, so it’s hard to believe that Star Girl and Hour Man punching him in his foot will have great effect.

Also, everything that happens in this issue has been predictable for the past several issues of this series. The fact that we arrive at this junction after the useless Power Girl detour and the decent, but mostly unnecessary, one-shots is a little frustrating.

Conclusion: This is a one of the better chapters in the “One World, Under Gog” arc. It resolves many plot lines while developing interesting new ones, especially regarding some of the newer members to the JSA. I look forward to the next issue and I’m very curious to know what impact, if any, this arc will have on the greater DCU.

Grade: B

-Rob G.