I, Vampire #1 – Review

by Joshua Hale Fialkov (writer), Andrea Sorrentino (art), Marcelo Maidlo (colors), and Pat Brosseau (letters)

The Review: Every once in a while, you read a comic that just has that indefinable, special “something” where everything just clicks.  This is one of those books and despite being semi-retired from WCBR, I had to come back for it.

With Catwoman, Red Hood, and Voodoo all coming out over the last two weeks, a lot has been made about the sex and violence that’s present in the DCnU.  For many, things like Starfire’s sex drive, Catwoman’s various states of undress, and Voodoo’s stripping constitute “mature content.”  I, Vampire is a book that makes such a definition of “mature content” appear laughable.  This, my friends, is quite possibly the most “mature” of the DC new 52.  There’s off-screen sex, there’s dead bodies galore, there’s violence, and there’s blood.

But unlike those other DC titles I mentioned, not a bit of this content is sensationalist or exploitative.  None of it is done purely for its own sake.  This is “mature content” that lives up to its name, where the violence is meaningful and emotionally laden and hence, all the more horrifying and affecting for it (there are a couple panels, a vampire attack in a subway station, that will surely haunt any reader).  The sexual tension between main characters Andrew and Marie is sincere, gripping, a relationship that is completely character driven.

There’s a strong argument to be made that Mary may be the sexiest female of the new 52.  She manages this without ever contorting her body into strange poses or showing off her lingerie.  Rather, it’s all in her words.  Mary’s dialogue is absolutely riveting.  Her sexuality is palpable, one psychological weapon in a mental toolbox for a character that is brilliant, sadistic, sociopathic, and utterly manipulative.  Fialkov has managed to fashion a character that leaps off the page.  Moreover, he’s made Mary into a character that is at once attractive and repulsive.  It’s clear that she’s evil and twisted as hell, and yet there’s no denying her charisma.  In fact, she’s such a seductive character that she seduces the reader almost as much as she does Andrew.  Her words, her playing on Andrew’s guilt and their shared history, her sadistic and sickening playfulness, all lead to an absolutely fascinating foil for Andrew.

Secret Six #33 – Review

by Gail Simone (script), J. Calafiore (art), John Kalisz (colors), and Travis Lanham (letters)

The Story: The Six fight for their (after)lives against Prince Ragdoll and his legion of demons.

The Review: Secret Six has been on absolute fire lately, and the conclusion of this latest, and very strong, arc comes to a rousing conclusion without any letdowns whatsoever.  Quite honestly, this is one of those issues where there’s just so much to rave about.

Perhaps the first and most crucial thing to touch upon, however, is how Simone once again taps not just the awesome team dynamic of the seeks, but the emotional ties that bind them together.  Scandal’s decision between Knockout and her team as well as Ragdoll’s recognition of his having a new family are definite highlights that really hit home.  It never ceases to amaze just how emotionally powerful Secret Six can really be.

Each character also has their moment.  Catman, for instance, meets his mother again and it’s one of the best scenes of the series.  Confronted with a grotesque and bloodthirsty torturer for a parent, the resulting scene is both repulsive and touching.  It feels so, so wrong for this to be a feel-good moment for Catman and this comic, but that’s what it is, and the disturbing paradox is testament to Simone’s skill.

Or what about Deadshot?  Once again, badassery looms in his whole-hearted dedication to almost anarchic violence.  Simone again uses Deadshot’s complete ambivalence to matters of life and death as a means of showing that, at his heart, he does actually care about his team.  Much like with Catman, it’s another paradox that works so, so well.

Secret Six #31 – Review

by Gail Simone (writer), J. Calafiore (art), John Kalisz (colors), and  Travis Lanham (letters)

The Story: Scandal finally decides to use the Get Out of Hell Free card on Knockout, but discovers that to be easier said than done, while Liana finds herself in hot water.

The Review: The solicitations call this the most requested Secret Six storyline yet, and in my case at least, they don’t lie.  I’ve been dying for this strand to be picked up and honestly, just getting the Secret Six back in their own comic after a couple of crossovers is certainly appreciated.

There’s quite a bit to like here, mostly because this issue shows what makes Gail Simone’s so special, that being its blend of twisted humour with dark, dramatic, violent ugliness.  It’s the kind of issue that will, at different points, make both laugh and wince.  Best of all, that wincing isn’t due to gruesome imagery or gore.  Rather, it’s due to the emotional wringer that Simone puts her characters through.

Part of that wringer is the revival of Scandal’s guilt over Knockout’s being in hell.  I’ve always rather liked Scandal Savage, in all her inner turmoil and social awkwardness, and as such, this is a very good issue for the character.  She’s a sympathetic character, but whose flaws, both in herself and her claim to the card and its uses, are blatantly obvious.  Simone successfully writes Scandal’s emotions, making her position visceral and gut-wrenching.

There’s also a big betrayal on the team over the card, and it comes for a direction that was a complete and utter shock.  In pro wrestling terms, Simone has one of the team members make a “heel turn” that is a total surprise, but also completely fair.  The argument he/she makes over Scandal’s possession of the card is entirely valid, yet seeing the character’s dialogue become so suddenly monstrous is a shocking turn for the character.  It’s a big twist and I absolutely loved it.  Scandal’s subsequent fight with the character is incredibly well illustrated.  It’s a battle of blades and words that are equally cutting and it’s emotionally and physically brutal stuff.  Calafiore’s subtle shift in how he draws the now bad guy/girl’s face is also pretty damned scary.

The Flash #9 – Review

by Geoff Johns (writer), Francis Manapul (art), Brian Buccellatto (colors), and Sal Cipriano (letters)

The Story: Barry Allen finds himself assigned to a very unusual homicide case as Hot Pursuit runs amok in Central City.

What’s Good: For the second month in a row, Geoff Johns hits it out of the park on the Flash.  However, what makes it more important this time around is that while last month was a one-shot of sorts, this is a prelude to the coming months of Flash and Flashpoint.  In other words, this issue being as good as it is a very good sign for the future.

That said, I’ll admit that I’m biased.  I’m a huge, huge fan of Brian Bendis and Michael Avon Oeming’s Powers series.  The idea of homicide detectives investigating superhero murders will never stop being awesome.  This month sees Johns send Barry into just such a task.  There’s a mysteriously dead “cape,” pre-naturally aged, found dead under mysterious circumstances.  It felt like Johns had basically taken Barry Allen and thrown him into a Powers comic, and the resulting mash-up of superhero noir and classic DC comic was an absolute pleasure to read.  It’s a plot I’m really looking forward to seeing more of, as Johns sets this up perfectly as a superhero-related detective/police drama.  It’s very, very cool.

Johns also does a very good job this month of highlighting Barry’s faults as a human being.  Barry’s presented as a man tied to his job, but not in the traditional, clichéd sense.  He’s tied to his job because he’s utterly bound to doing what’s right and doing as much public good as possible.  The tension and loss that this creates in his private sphere is obvious, however.  It’s a familiar, but really effective clash that Johns puts forth, that between doing the public good and the private, with Barry seemingly unaware of the latter.  This also leads to yet more fantastic writing when it comes to the Barry/Iris dynamic, which Johns has been doing so well with.  Iris is understanding and forgiving beyond belief, but she’s also clearly aware of Barry’s failings and isn’t immune to disappointment, however patient she may be.

Art-wise, this the best looking Flash comic in months.  The reason for this has been colorist Brian Buccellatto’s major adjustments.  While Manapul’s artwork is always really awesome and likable, I’d found that Buccellatto’s colors were getting increasingly brown and muddy to the point where they were starting to mute and detract from Manapul’s great work.  This month, Buccellato completely reverses on that.  Things are lighter and crisper, augmenting Manapul and allowing him to shine.  What results is crisper, cleaner, and much more impressive.  I also have to mention that both men did really well depicting Hot Pursuit’s motorcycle in action, which was a treat to watch.

The Flash #8 – Review

by Geoff Johns (writer), Scott Kolins (art), Brian Buccellato (colors), and Sal Cipriano (letters)

The Story: The origin of the Reverse Flash…or at least the origin that he creates for himself.

What’s Good: In many ways, this issue can be read as one centered around a comic writer gone mad.  Rather, it’s about a character gone retcon crazy, who is hell-bent on retconning his own history as many times as necessary until he gets the optimal result.  It’s a very dark, but also slightly humorous bit of self-aware superhero comic goodness and it shows just how clever a writer Geoff Johns can be when he really tries.

The best part of it is how closely Johns plays it; Eobard Thawne and the Reverse Flash are separate characters.  Thawne is the story’s lead, no doubt, and the Reverse Flash is rather a demonic, mostly wordless presence, lurking around the corner, always ready to jump in and give Eobard a redo whenever things don’t go his way.  What results is a ridiculously fun romp through time that’s an absolute pisstake on the very idea of retroactive continuity.  The Reverse Flash “redos” become increasingly frequent as the issue wears on, which only makes it more amusing.  By issue’s end, you get the sense that if Eobard got a B on a paper, his future self would step in to kill the professor before ever having to write the paper.

That’s not to say that the things the Reverse Flash perpetrates are minor.  We learn that in his becoming antisocial and isolated was a slow, gradual process, one that he was one the one hand doomed to, but one that is also ironically exacerbated by his later attempts to retcon his own history.  Along the way, he does some truly evil things as only the Reverse Flash can.  As ever, the Reverse Flash is a bad, bad man and the acts he’s guilty of are fairly shocking.  Of course, Eobard and the Reverse Flash are two different kinds of evil, and one sees the descent between the two.  At least Eobard, while a wretch, is still human; the Reverse Flash comes across as something not so much

The Flash #7 – Review

by Geoff Johns (writer), Scott Kolins (art), Brian Buccellato (colors), and Sal Cipriano (letters)

The Story: As Captain Boomerang has a meeting with the Reverse Flash, his back-story is explored.

What’s Good: At the very least, Geoff Johns gets an A for effort on this one, as he works his butt off to put as much emotion, heartbreak, and hatred into this retelling of Captain Boomerang’s origins.  There’s a sense of trauma and a building up of seething anger that works quite well.  This issue does wonders in making the reader actually care about Digger, which is crucial given his position in Brightest Day.  It brings the reader close to Digger, and that’s certainly a good thing.

Johns does a decent job of making Digger’s life follow the track of a boomerang; that being that everything comes back or comes full circle, often violently.  It’s a nice way to structure the issue and plot Digger’s emotional trajectory.  That said, Johns plays it fast and loose with this structure, which means that it’s only ever a subtext and never becomes overbearing.

The end result is a character that is still most certainly a bad guy, no questions asked.  That said, he’s the sort of bad guy that’s comprehensible and human, even if there aren’t many shades of grey.

Moreover, Johns, through focusing on Digger, manages to write a Brightest Day tie-in where the Brightest Day stuff doesn’t feel out of place and doesn’t detract from the comic or distract from its actual story.  Instead, Brightest Day fits well here, forcing an otherwise small-fry villain in Captain Boomerang to look at the bigger picture.

Johns also does a fantastic job of writing the Reverse Flash, who is nothing short of pure evil.  It’s nothing particularly overt or detailed in his dialogue, only its tone.  While Thawne may be a bad guy like Digger, he’s far less human and clearly functions on a different level.  Praise is also due to Scott Kolins, who does an absolutely fantastic job illustrating the Reverse Flash, making him seem downright demonic, which really went well with Johns’ dialogue.

Superboy #2 – Review

by Jeff Lemire (writer), Pier Gallo (art), Jamie Grant (colors), and Sal Cipriano (letters)

The Story: Superboy teams up with Poison Ivy in order to figure out what is causing Smallville’s plant life to run amok.

What’s Good: This Superboy comic is delightfully weird.  There’s this wackiness that gives real life to the book throughout the story, from body-snatcher type aliens, to Parasite frogs, to people being physically attached to machines.  There’s a delightful kind of “weird science” to Jeff Lemire’s story, sort of like a slightly darker Back to the Future.  The tech looks home-made and zany and it adds a unique, almost Doom Patrol-like, taste to the comic, while also making the rural setting into something of a more surreal, rustic sandbox for Lemire to play in.

Lemire also continues to highlight Simon Valentine’s role in the comic.  On the one hand, Simon plays to the old literary tradition of being the guy who follows a great person, recording all of his mighty deeds.  This is, of course, complicated by Simon’s dissatisfaction of this state of affairs, and his strong desire to be a teammate as well.  Indeed, when Simon and Connor finally do team-up, it’s great fun and the two share a strong, and warm, dynamic.  How Simon comes to the rescue is also guaranteed to make you smile, as the kid in you will no doubt find it all kinds of awesome.

Poison Ivy is written very well.  Lemire does a very subtle job writing her; as you read the comic, you’ll constantly be distrusting her, even though you’ve no clear evidence for doing so.  Lemire also does a great job on her voice.  She’s arrogant, clearly feels superior, and many of her lines carry a distinct sexuality to their tone.  Yet, despite all of this, Lemire’s Ivy never chews the scenery or comes across as over the top, which makes her all the better of a read.

Pier Gallo’s art remains strong as well.  He delivers a comic that feels truly family friendly and, hence, likable.  Despite this, he also does a great job illustrating the machines, whether they’re made by Simon or the aliens.  I also felt that his framing was particularly strong.

Speaking of those aliens, I loved them in the couple of pages we saw them in.  From Gallo’s design to Lemire’s concept, they are simply brilliant.  The make the rural setting all the more weird, while functioning as a sort of call-back to old, black and white monster movies.  It’s body-snatching awesomeness and it makes me absolutely starved for Superboy #3.

What’s Not So Good: Not a lot.  I guess you don’t get as much reflection and thoughtfulness as last month and the insanity overrides the more contemplative stuff, but it’s still very fun, partially because of that.

Gallo also draws a couple of iffy faces, and his characters do look a little stiff at points.  Compared to how great the rest of his work is, it’s a little off-putting at some points.

Conclusion: Yup, no sophomore slump here.  Jeff Lemire is quickly establishing himself as a fresh new voice in superhero comics.

Grade: B+

-Alex Evans

A Second Opionion

Action Comics Annual #13 – Review

by Paul Cornell (writer), Marco Rudy & Ed Benes (art), Val Staples & Jason Wright (colors), and John J. Hill (letters)

The Story: A young Lex Luthor finds himself the unwilling “employee” of Darkseid and, in the back-up, the disciple of Ra’s Al-Ghul.

What’s Good: First things first: this issue is $4.99, but it’s a big, quality package that ultimately earns that price tag.  That being said, this isn’t just a double-sized issue of Paul Cornell’s Action Comics.  It has Lex Luthor, sure, but this is something different, something that allows for Cornell to show his range as a writer.

Cornell does a fantastic and very subtly nuanced job of writing the young Lex Luthor.  It is most definitely Lex, but it’s a Lex that’s more brash, fearless, and arrogant.  He’s like the first LP of your favourite band: more raw with both his flaws and strengths more readily apparent.  Sure he’s brave to the point of lunacy, but he also has a near pathological hatred of being dismissed – his inferiority complex is never clearer.  All told, young Lex makes for a compelling protagonist.

The main feature is all kinds of kooky, having a tone not unlike the old, sci-fi/cosmic adventures of the past.  It’s a kind of pure, wacky sci-fi that makes for a distinctly different read.  Helping this along is Cornell’s Darkseid, which is all kinds of awesome.  Cornell clearly has the time of his life writing the character, who is a classically bombastic “muhuhahaha” villain.  This makes for a fantastic adversary for Lex, one who clearly functions at a different level.

The generally fun artwork of Marco Rudy is a perfect fit for this story, playing up the goofy retro tone while drawing one hell of an Apokolips.  His work is a sort of noir acid trip and it ends up being quite a bit of fun.

The Flash #6 – Review

by Geoff Johns (writer), Francis Manapul (art), Brian Buccellato (colors), and Sal Cipriano (letters)

The Story: The Flash goes on trial and tries to settle the score with Top.

What’s Good: I remember a little over a year ago, when I lived in the UK (Bristol to be exact), having a conversation about Geoff Johns with a Forbidden Planet staffer. He said that he enjoyed Johns’ work because, while it was rarely overly cerebral, he could always rely on Johns for “good old fashioned superhero stories.”

As this issue wraps up this Flash relaunch’s first arc, that really stuck in my head regarding this month’s installment, and this new Flash series in general, because that’s exactly what this book’s strong-point is. This issue ties everything up in a “good, old fashioned superhero story” sort of way and yet, while this means it doesn’t re-invent the wheel, in typical Johns fashion, it also doesn’t feel phoned in or uninspired. In fact, the book feels incredibly lively, exciting, and downright gleeful. It may be just your average superhero story, but that only makes Johns’ own excitement all the stronger and all the more infectious.

Breaking it down into its components, there’s a lot to like here. The action scenes are great and Johns does a really great job in making Top and Flash’s dialogue flow amidst and among the fighting, no small feat given how explosive the battle actually is. Johns also does surprisingly strong work on Top, creating a villain who believes the reasons behind his actions to be totally rational, even though those very reasons are so absolutely absurd to everyone else. Despite this, Top never comes across as exaggerated in his lunacy.

Johns also handles the whole time-traveling thing fairly well, which could’ve gone horribly awry given how much this issue is centered around changing the past. It’s all kept as simple as possible, never really leading to any big head-scratchers, while also opening the door for some light ruminating over the Renegades’ MO that works quite well. The fact that this reflection occurs in a conversation between Barry and Iris only makes it better, as the Iris/Barry dynamic has been one of the strongest, and warmest, aspects of this series.

Superboy #1 – Review

by Jeff Lemire (writer), Pier Gallo (art), Jamie Grant (colors), and John J. Hill (letters)

The Story: Superboy defends Smallville from a major member of Superman’s rogues gallery.

What’s Good: Reading this first issue of Superboy, it’s clear that there are two different Jeff Lemires at work here. There’s the contemplative, indie creator attuned to the tone and rhythm of rural life and then there’s the gleeful, DC fanboy eager to use his new toys in explosive fashion. The fact that these two sides of Lemire are perfectly balanced is why Superboy #1 is such a success.

It’s clear right from the get-go that Smallville itself is not only key to the book’s atmosphere, but is such a presence that it almost constitutes a character in its own right. Lemire has managed to use Smallville to give the book an affable, friendly, and joyful tone; Superboy reads a lot like the superhero cartoons you loved as a kid, the sort that had that happy innocence but also never condescended. Smallville makes this book lovable, what with its intimacy and its nuances. It influences Connor, forcing him into contemplation as he interacts with nature itself in almost Romantic fashion and is also a vulnerable figure that needs protecting.

Then the DC fanboy Lemire steps in. The DC figures (Phantom Stranger, Parasite) are so opposite to Smallville that they create a sort of dissonance the lends the book a kind of goofy weirdness while creating some real excitement. Once the action starts flowing or Parasite is shown sucking the life out of Smallville, it’s clear that Lemire is having the time of his life, and that joy is infectious.

The transition between Smallville contemplation and comic book action is also expertly done and Lemire’s sense of pacing throughout the book is fantastic. Part of this is thanks to those moments where the indie Lemire and the DC fan Lemire bounce off one another, which is also when the book is at its most interesting. Take, for instance, Lemire’s choice of Parasite as a first victim; big and purple-skinned, it doesn’t get any more comic-booky and Lemire goes on to show the villain destroying and rotting out Smallville’s farmland wherever he sets foot. It’s as though the DCU is poisonous to the sanctity of Smallville innocence.

Then there’s the wonderful link between the book’s beginning, which features lovely narration as Connor ponders thoughtfully over a field, and how that very physically foreshadows how Connor defeats Parasite. It was definitely a fist-pumping moment where, in a way, Connor uses Smallville’s natural setting to defeat the outsider, Parasite.

Pier Gallo’s artwork is also a wonderful choice for the book and reminds me of a simpler, stream-lined, and softer Frank Quietely. Gallo’s work is subdued and homey, and thus perfect for Smallville. This, however, contrasts wonderfully with his depiction of Parasite, who is a lumpy monstrosity. Jamie Grant’s colors are also wonderful match for Gallo, enhancing everything that makes his work strong while glossing over and smoothing out any weaknesses. His tones a bright, happy, and, in a way, innocent, mirroring both Gallo’s work and Smallville itself.

What We’re Looking Forward To In November

Dean

There is a LOT to look forward to in November. For one thing, there is a lot of neat stuff in the Spider-Man world as Amazing Spider-Man kicks off its new “big” story line Big Time written by Dan Slott with art by Humberto Ramos. This is also the end of the thrice-monthly ASM with a rotating team of creators, so it should be interesting. Also in the Spidey-world, we get Spider-Girl #1 by Paul Tobin. This is not Mayday Parker (who could never find a stable audience) but Arana of Young Allies fame. If you like teenage drama, it should be fun. Finally, we get Osborn #1 by Kelly Sue Deconnick and Emma Rios (who are both really good) to see what Marvel’s favorite villain has been up to since Siege ended.

A few other things in Marvel that I’m looking forward to. She-Hulks #1 launches in November with art from Ryan Stegman. Stegman is a very gifted artist and he draws a mean She-Hulk, so this should be good. Although Invincible Iron Man has had slow pacing, the current story arc, Stark Resilient wraps up this month and Matt Fraction seems to have this title headed to a very good climactic battle. For all those Punisher fans who HATED Franken-Castle, you get plain, old, normal Punisher in the Blood #1 from Rick Remender. And finally, there is yet another X-book with Generation Hope. The idea for this book is to have Hope running around with all the “new mutants” who have had their powers come alive since Second Coming.

Over at DC the big news is in the Bat-books as we get 2 new Bruce Wayne titles: Batman, Inc. by Grant Morrison and Batman: The Dark Knight by David Finch. If you’re into Batman, these are going to be must reads. And….after much waiting and delay, we get Batwoman #0 by JH Williams, III. I am really excited for this book and eager to see if it can maintain the quality that Williams and Greg Rucka established during their run on Detective Comics last year. Also, just to prove it isn’t all about new Bat-books, we also get a whole new creative team on the venerable Detective Comics with Scott Snyder of American Vampire fame teaming up with Jock and Francesco Francavilla on what is sure to be very well done series of Dick Grayson stories.

Not a whole lot going on over at Image, but folks might want to take a look at Utopian #1 by Marc Guggenheim. The story is: “What happens after the heroes win and the world is saved?” Image has become the go-to publisher for many creators to do interesting things, so this has promise.

 

 

Alex

While I’m as excited about all the Grant Morrison stuff as the next guy, the Batman title that really has my eye is Detective Comics #871 by Scott Snyder and Jock. It’s an utterly fantastic creative team and Snyder’s promise of a realistic, CSI type Batman has me curious. Of course, there’s also Batwoman #0 by JH Williams III to consider, which anyone with a pulse should be excited for.

Outside of Batman, I find myself confronted by two relaunches of titles I’m either completely unfamiliar with and/or indifferent to. Yet I’m picking them both up. They are THUNDER Agents #1 by Nick Spencer and CAFU and Superboy #1 by Jeff Lemire and Pier Gallo. In both cases, it’s the creative teams that have me excited, crewed as they are by exciting new talent with writers that have proven track records outside the superhero realm.

At Marvel, it’s all about Spider-Man’s Big Time. Now bi-monthly with a steady, and good, creative team, I’m happy to be back aboard with Amazing Spider Man #648 and #649 with Dan Slott and Humberto Ramos. Hopefully big times are also good times. Meanwhile, Thor #617 by Matt Fraction and Pasqual Ferry has my attention as well, with its seeming promise of a reincarnated Loki. Fractions other book, Invincible Iron Man #32, also isn’t to be missed as it concludes the excellent slow-burn of “Stark Resilient” in explosive fashion.

Finally, it’s a big, but sad, month at Vertigo as two excellent titles reach their conclusions. Madame Xanadu #29 goes out with a bang as main series artist Amy Reeder returns for the farewell. Meanwhile,  Unknown Soldier #25 is sure to end things in bloody and tragic fashion, as Joshua Dysart’s fictional tale directly collides with a real world villain of the worst kind. On a happier note, Fables #100 is a giant-sized book of excitement featuring a mega-powered duel; it’s also a landmark for Vertigo, an imprint for whom longevity isn’t common.

 

SoldierHawk

So I’ve been harping on it since it was announced months ago, but my pick for November is, without question, Batwoman #0, the prelude to the new Batwoman ongoing series written and illustrated by J.H. Williams III. I’m quite literally X-ing the days off my calendar until this comes out. Kate Kane/Batwoman are fantastic characters and–perhaps even more importantly–she has a fabulous supporting cast surrounding her. Even leaving all that aside… MORE J.H. WILLIAMS III ARTWORK! That alone will be worth the cover price.

I’m also really, really looking forward both to the first Kill Shakespeare Trade (which collects Kill Shakespeare issues #1-6), and to issue #7. This series has been a gem (albeit a slightly rough one in spots) since its launch last April, and issue #6 set some very interesting plot points and characters into motion. I’m waiting with baited breath to see how this is going to play out, and what other famous Shakespeare creations might throw themselves into the mix.

 

The Flash #5 – Review

by Geoff Johns (writer), Francis Manapul (art), Brian Buccellato (colors), and Sal Cipriano (letters)

The Story: The Flash and Top try to stop the Rogues from unleashing the Mirror Lords while the Rogues and Renegades to battle.

What’s Good: Despite my feelings to the contrary during the first couple of issues, I’m really starting to warm up to this whole Rogues/Renegades plot.  The involvement of Captain Boomerang, Top, and the Mirror Lords have imbued the story with a needed life.

Top in particular continues to be an asset this month.  He gives the otherwise bland Renegades personality, giving us an individual character to latch onto.  There’s also something rather cool about seeing Barry Allen team up with a Rogue lookalike.  While I can’t go into things too much for fear of spoiling the issue, Top is most definitely a star this month and is just as much fun to read as he is to see in action.

And really, between the giant Mirror, the Rogues, the Renegades, and Captain Boomerang, there’s a lot of action this month.  There’s a feeling of total mayhem that lends the issue quite a bit of excitement, truly making it feel like the penultimate issue of a story arc.  There are explosions and desperation aplenty, and as a result, this ends up being a pretty fun ride.

Of course, Francis Manapul again deserves his due on this end, as his art really defines this new volume of the Flash and is a good chunk of why it’s as much fun as it is.  Manapul’s action scenes and his depictions of speed are fantastic, and his illustrations of the Rogues’ powers in action are no different.  Seeing the Weather Wizard conjure a cyclone is magnificent and when it combats a spinning Top, it’s all the better.

Speaking of Weather Wizard, I liked how Johns gave him a moment to shine this month.  It’s these little moments that show how great Johns is when it comes to dealing with the Rogues.  While the rest of them don’t have big moments like Weather Wizard does, each of them maintains a distinct and uniquely villainous voice.

The Flash #4 – Review

by Geoff Johns (writer), Francis Manapul (art), Brian Buccellato (colors), and Sal Cipriano (letters)

The Story: The Flash battles Captain Boomerang in downtown Central City and learns the secrets behind his future murder of Mirror Monarch.

What’s Good: I think part of what marks out this issue is the sense of wonder that is present in the depictions of the Flash’s powers.  It shows Johns’ love for the character and it’s creative in a way that evidences that Johns has thought quite a lot about the Flash’s super-speed.  Johns and Manapul, together, are masters at depicting the Flash’s powers, putting Barry in positions that allow for cool feats and ridiculously awesome demonstrations of his speed.  The result is truly awe-inspiring, at one point resulting in a double-page spread that got an audible “holy shit” from me.

The battle between Captain Boomerang and the Flash feels every bit like the classic duel between old foes that it is.  Johns is doing a great job at building the character back up.  I also enjoyed Boomerang’s feeling out of sync with current events, always trying to catch up after being out of the loop; this only makes him a more appropriate nemesis for Barry, given Barry’s own recent struggles.