Green Lantern: New Guardians #26 – Review

By: Justin Jordan (writer); Brad Walker and Geraldo Borges (Pencilers); Drew Hennessy, Marian Benes, and J.P. Mayer (inkers); Wil Quintana and Hi-Fi (colors)

The Story: War has come to Paradise. Just remember, no hitting…

The Review: I don’t think that it’s controversial to say that I found last month’s issue of Green Lantern: New Guardians to be, by far, the best in the title’s run. Justin Jordan came out of Lights Out with purpose, defining who Kyle was in this brave new universe while crafting an excellent sci-fi adventure. In short, it was pretty impressive. So now that question is: can he live up to it? The answer is ‘kind of’.

If I had to describe this issue in a single word, I think I’d choose uneven. Despite the pathos that Nias-2 brings to the story, his unclear power set and refusal to press important issues limit his effectiveness as an antagonist. Often his dialogue feels fairly generic but his conviction is clear throughout and when Jordan give him a stronger line – “I would kill them a billion times over for one more moment with my wife, my children” comes to mind. Most of the characters suffer from this as well, but Kyle, Carol and Nias-2 being the standouts. Kyle proves a particular problem, as his attempts to empathize with both sides fail to provide any workable ideas of their own. He rarely gets beyond, ‘what happened to you was horrible’, opting instead to repeat it in many different ways when ‘I know right’ is not forthcoming.

The Green Team: Teen Trillionaires #4 – Review

By: Art Baltazar & Franco (story), Ig Guara, Robson Rocha, Travis Moore (pencils), J.P. Mayer, Júlio Ferreira, Jose Marzan Jr. (inks), Wil Quintana & Chris Sotomayor (colors)

The Story: Blue blood is thicker than water—and more expensive, too.

The Review: Well, never let it be said that I don’t give things a fair shake.  I never had much confidence in the premise of this series—the sur-title of Teen Trillionaires made me ever so slightly nauseated—but I was willing to place some trust in Baltazar-Franco and see if their offbeat vision could lead The Green Team somewhere unexpected and enjoyable.  Unfortunately, it may be a step above its sister title, The Movement, but that’s not really saying much, is it?

Both titles suffer from the superficiality of its characters, albeit from opposite directions.  While the members of the Movement always seemed to be trying too hard to fit into carefully constructed, oddball personalities, the Green Team started out more centered and credible, but never gained the distinguishing qualities which makes characters human.  Though occasionally displaying sparks of life when paired off, their dynamic as a group is flat and affected, leaving you underwhelmed by any declaration that “No matter what happens…we’re still friends.”

The Green Team #3 – Review

By: Art Baltazar & Franco (story), Ig Guara (pencils), J.P. Mayer (inks), Wil Quintana (colors)

The Story: Deathstroke refuses to be part of a buddy-idiot comedy.

The Review: I had a pal once who fancied himself an entrepreneur.  He had no scientific or business experience whatsoever—he was a fellow English teacher at the time—so he was often coming up with things that stood little chance of ever coming into existence, like a combination sprinkler/pesticide system for home use.  At the same time, he had so much love and enthusiasm for his own ideas that you couldn’t help feeling charmed by him.

That’s kind of the feeling you get from The Green Team, which at its heart is patently ridiculous (I mean, teen trillionaires—really), but so committed to its hyperbolic premise that it does end up pretty enjoyable.  While the idea of J.P. and Cecilia ordering crates of sparkling water to bathe in sounds silly-stupid, the idea of Commodore instant-purchasing a hotel and having it airlifted away by technicians in alien masks to save his girlfriend from bad press (and promote her latest alien abduction film) is silly-funny/clever.  When money is no object, this is exactly the kind of craziness it should be spent on.

The Green Team #2 – Review

By: Art Baltazar & Franco (story), Ig Guara (pencils), J.P. Mayer (inks), Wil Quintana (colors)

The Story: Money can’t buy you happiness, but it can buy you a cybernetic arm.

The Review: The way I see it, Baltazar and Franco really need to toe the line so as to make this title a success in one main area: the fact that hardly anyone really sympathizes with—can really sympathize with—the ultra-rich.  It may be fun for us as kids to play that classic scenario, “What would you do with a billion dollars?”  But as we grow up, the idea of any one person having that much money at their fingertips, solely for their own consumption, just seems appalling.

So while I’m sure Baltazar-Franco are just having fun coming up with increasingly outrageous expenditures for the Green Team, they’d be wise to keep it under control.  Not only do some of the transactions strain credibility (Commodore, in a fit of hunger, buys out a hot dog vendor’s entire stand*), but they can turn us off to the characters, period (J.P., unable to decide what to order from room service, says, “I don’t know…just bring two of everything on the menu.”).

The Green Team #1 – Review

By: Art Baltazar & Franco (story), Ig Guara (pencils), J.P. Mayer (inks), Wil Quintana (colors)

The Story: The best things in life are free—or, arguably, worth billions of dollars.

The Review: As I did with The Movement, its sibling title, I had my reservations about The Green Team.  Admittedly, the premise of a group of “teen trillionaires” trying to get into the superhero gig is pretty unusual.  At the same time, it’s one of those things where execution is really, really crucial.  Depending on how Baltazar-Franco handle the series’ development, it could prove to be very interesting or incredibly ill-conceived.

Big stakes, but Baltazar-Franco do seem to pull it off in their debut issue.  There’s certainly more credibility here than you probably would have expected.  It’s true that the characters’ wealth are hyperbolic exaggerations (“Hey, would you turn down sixty-four trillion dollars?”)*, allowing them to have some fairly exotic lifestyles (e.g., debating whether to jet to France or Quebec to satisfy a French food craving).  Despite that, the cast is self-aware and intelligent, avoiding the fate of becoming caricatures of the rich.

Superman #711 – Review

By: J. Michael Straczynski & Chris Roberson (writers), Eddy Barrows (penciller), J.P. Mayer (inker), Rod Reis (colorist)

The Story: No, Superman–not the electric-blue costume!  The situation’s not that desperate!

The Review: It’s pretty obvious the original premise of Straczynski’s storyline—Superman walking across the country, discovering the real America, or something—has largely faded from view.  This may be a wise choice, since there’s only so much angst to be mined out of it, especially for a dozen-plus issues.  Whatever hang-ups prompted the Big Blue to embark on this bizarre journey in the first place long ago exhausted all dramatic possibilities.

Since his takeover of the series, Roberson has pretty much been giving you the usual Superman activities, and only the non-Metropolis settings tip off the fact you’re still reading “Grounded.”  Except for Supes’ singing of praises for America at the end (those of you concerned after reading the over-sensationalized story in Action Comics #900 can rest easy—he still loves us), Superman steers clear from the dislikable preachiness of this storyline’s early issues.

Instead, he spends most of his time doing what he does best: in the air, helping people with his usual sincerity and sympathy, even someone as troubled as Livewire.  Her outrageous behavior and senseless rants (“Every time I try to have a little fun, you have to come along and spoil everything.”  ) come off a bit contrived, but shutting her down puts Superman’s old electric costume to good use, and at least she gets a more formidable power set out of it.

And at least her antics allow for some fun guest spots.  It’s great seeing Jimmy Olsen using his quick-thinking (and high school physics on top of that) to offer his pal ground support.  Nick Spencer showed us Jimmy really takes off as a character when he has a more active role in facing trouble, instead of acting the mansel-in-distress for Superman to swoop in and save.

We also get cameos from some relatively obscure characters, like Dr. Roquette, young genius of Cadmus (Superboy’s old haunt) fame, now of S.T.A.R. Labs.  Honestly, it’d be great to see her more regularly, with all her retro gear (spangled jacket-vest—really?) and colloquialisms (“Oh, poop.”) intact, as she can serve a very useful, if semi-deus ex machina role to the title.  You can’t say the same for Iron Munro, who has little sway over the plot, and gets hardly any face-time with Superman before taking off to replace Livewire-thrashed dinner jacket.

This issue also introduces a mystery lady with an attitude problem, who has in her possession a crystal a là Kryptonian tech, with Superman’s most painful memories held within.  No doubt she’s a sign this storyline’s finally getting some much needed direction, but she vanishes before you learn anything about her, so her appearance seems rather superfluous to the plot.

Superman #710 – Review

By: J. Michael Straczynski & Chris Roberson (writers), Eddy Barrows & Travel Foreman (pencillers), J.P. Mayer & John Dell (inkers), Rob Reis & Dave McCaig (colorists)

The Story: Can a nerd from the sticks and an emo from the big city work together to defeat an immortal caveman?

The Review: I’ve managed to stay above the fray when it comes to the polarizing “Grounded” storyline Straczynski’s been writing into Superman, but only by not reading it altogether.  The pitch of Superman walking America for reasons you can only describe as misplaced just didn’t appeal.  But with big things coming his way this year, it’s only appropriate to check in with him before the status quo gets shaken up again.

At first, the issue starts off much as you’d imagine: having come upon another city on his road trip, Superman chats it up with the little people and tries to help them with their problems.  But with the appearance of Batman, Roberson switches gears, flashing back to the first adventure of the World’s Finest, before they get the idea to wear their underpants outside their costumes.

In the grand scheme of things, the story’s a very random aside from Superman’s “Grounded” journey.  Batman shows up very suddenly and for little reason, other than to chide Superman’s sabbatical pretty much the same way Lois, the Flash, and Dick Grayson have.  The recollection of their first team-up feels very out of context from the current plot too, being far better suited for Superman/Batman since it’s largely self-contained and kind of messy, continuity-wise.

That said, Roberson writes it well enough, albeit a little predictably.  It has all the typical elements of a Superman-Batman story: showing off their core personalities, acknowledging each other’s strengths and weaknesses, sly hints to their future heroism.  Vandal Savage and his army get defeated a tad too efficiently, and with so little struggle from the villain you never feel Bhutran (gateway to Nanda Parbat, the immortal city) is ever in any real danger.

This would have been a fun, if slightly pointless, excursion if not for Roberson’s attempts to bring some deep, meaningful conversation into the mix.  Clark and Bruce (both past and present) spend way too much of their idle time pontificating on the nature of justice, the value of their work, and on handling death.  It just feels forced, heavy, and a little pompous—which kind of fits given what I’ve heard about Superman’s slightly arrogant attitude throughout this storyline.

Superman #709 – Review

By J. Michael Straczynski and Chris Robertson (writers), Eddy Barrows and Allan Goldman (pencils), J.P. Mayer and Julio Ferreira (inks), Rod Reis (colors), John J. Hill (letters)

The Story: Superman is still down in the doldrums (yes, still. Only a few more issues to go, folks!), and Lois isn’t returning his calls. Fortunately, Flash shows up and injects a little excitement–and Kryptonian history–into the mix.

What’s Good: I really liked the art in this issue. Barrows and Goldman make a great team that results in a vibrant setting and beautiful characters (especially Flash…Superman himself sometimes suffers from a lack of facial detail in longer distance shots). Besides, I’ve always been a fan of the Superman/Flash races, and this book has a couple wonderful homages. (Although, I’m firmly in the corner that Flash should ALWAYS win such contests; after all, Superman has powers to spare, and Flash deserves to be the best he is at what he does.)

Also: Wonder Woman undergoes no character destruction in this issue. That’s a plus.

What’s Not So Good: I said it last month, and it’ll probably be said next month, but…this storyline is still going nowhere. “Superman goes through a midlife crisis” is NOT a good story arc idea. Especially not a year-long arc. I do realize that the character has been through a lot (as Flash addresses in this issue), and that it should be addressed. But, although the conversation between Supes and Flash is well written and interesting enough, all I can think about is how long it is til this story finally ends, and he can go back to being HIMSELF. Introspective, brooding, Byronic heroes are great…but if I want that, I’ll go read about Morpheus, or Batman, or Moon Knight. When I pick up a Superman comic, I want to read about Superman– the bright, strong, self-confident hero that is their antithesis.

Superman #708 – Review

By J. Michael Straczynski (plot), Chris Roberson (script), Eddy Barrows (pencils), J.P. Mayer with Julio Ferreira (inks), Rod Reis (colors) and John J. Hill (letters)

The Story: The “Superman Squad” arrives from the future to convince the original Superman that he is, in fact, important, and that his heroics do actually help people. Also, Wonder Woman shows up and learns an important lesson.

The Objective Part of the Review: The Grounded storyline continues, and becomes more convoluted and confusing in its purpose than ever. Wasn’t Supes’ purpose in this whole exercise to reconnect with America and the common man? So why does he spend most of this issue jumping through time and navel-gazing (with the help of some quite clunky and badly-integrated exposition from the Superman Squad)? I thought this storyline was about Superman and the people he loves and works to protect. So either I completely misunderstood the point of this year long story arc, or the arc itself has been completely derailed and/or misunderstood in the wake of its creator’s departure.

In spite of the feedback I’ve gotten on my opinion on the artwork for this book, I continue to enjoy it. Is it the best ever? No. But I continue to contend that the basic nature of the geometry and bright, bold colors fits Superman’s world quite well. It would be improved (and look less like a “kid’s” comic book) if the pencil work was more carefully detailed, but overall the effect is a good one, and suits the nature of the book well enough.

The Fangirl Part of the Review: Fair warning on this section: this is my personal reaction to the book as a huge Wonder Woman fan, and has nothing to do with the writing, art or other creative aspects of the book addressed above. That said:

SHAME on you, Joseph Michael Straczynski.

So you decide to give Wonder Woman a confusing, yearlong, semi-out-of-continuity (?) reboot. And a new, ‘gritty update’ style costume. Okay. I can live with that. As a Wonder Woman fan, I’ve certainly been subjected to worse. I can roll with almost anything, at this point, and still find enjoyment in the character and the tale. What I absolutely CANNOT abide that takes place in this issue is twofold:

1) You put a big, HUGE moment for Wonder Woman—quite possibly the single biggest character moment in her entire year long arc, since this is apparently the moment she, you know, DECIDES TO BECOME A FREAKING HERO—in a book that is not hers?! What on god’s green Earth convinced you even momentarily that that was a good idea? Do you realize what a betrayal that is for people who have loyally followed the Wonder Woman book through this reboot arc, and have been eagerly awaiting the big hero-realization moment? I understand that you were supposed to write both books through both arcs, and that a crossover probably made sense at that time. I have no objection with the crossover itself. But to put THIS moment in a book that is not Wonder Woman is a terrible, terrible thing to do to her fans.

2) Location (I reiterate: in the WRONG BOOK) of the biggest Wonder Woman moment to date aside, the execution. Good lord, the execution. Superman gives her the impetus to become a hero? Really? She couldn’t have figured that out without him? She couldn’t have followed her own heart and conscience and compassion (arguably the strongest aspects of Diana’s character) to realize that, maybe using her powers to help people MIGHT be a good idea? She couldn’t have been inspired by her fellow Amazons, or maybe some heroes from Greek mythology? ANYTHING besides randomly running into Superman (while apparently taking a break from the Earth-shattering issues going on in her own storyline) and realizing that, durrr, maybe people with heroic-like powers should actually, y’know, BE HEROIC. Not only that, it sets her very, very apart as a (supposed) member of DC’s Trinity. She should be (and has been, til now) Superman and Batman’s PEER, not their wide-eyed apprentice or sidekick.

Superman #705 – Review

By J. Michael Straczynski (writer), Wellington Dias and Eddy Barrows (pencils), J.P. Mayer with Eber Ferreira (inks), Rod Reis (colors), John J. Hill (letters)

The Story: Superman encounters a very young, very special fan who needs rescuing from an all too ordinary villain.

What’s Good: JMS writes the character of Superman well, I’ll give him that. Not that Supes is the most complicated character in the comic book pantheon, but JMS gives him a strong and suitably wholesome voice. He writes Superman’s young fan suitably sympathetic as well—again, not the most difficult of authorial tasks, but it works well within the story.

I’m digging the artwork, especially Rod Reis’ colors. The pencil work walks a fine line between trying to look realistic while still maintaining the fanciful, slightly cartoony look that serves a character like Supes so well. The colors contribute greatly, both by being visually appealing, and by maintaining the upbeat, primary-color infused palette that is a Superman hallmark. In spite of their bold nature, the colors never become so oversaturated that they are overwhelming or distracting.

What’s Not So Good: So Supes looks like Supes, and he sounds like Supes, but here’s the problem: this story is not worthy of Supes. Now don’t take that the wrong way (small spoiler warning ahead); domestic violence, and ESPECIALLY child abuse, is very serious, and nothing to belittle. In fact, it’s exactly the heinousness of the offence that makes it so maddening here, to see it used for nothing but cheap and ham-fisted emotional manipulation.

I’m already on the record as saying that I like the entire concept of this story arc, and I still do. Superman taking some time off from world-saving to reconnect with his human side is a great idea. And if handled well, this sort of domestic violence plot, while a tad cliché, still seems like a natural sort of every day problem for Superman to solve.

Except, the whole arc—and this issue in particular, which finally made me lose my patience with the whole thing—is not being handled well at all. Where the book’s art strikes a nice balance between realism and cloying cartoonishness, the writing takes a flying leap off of that balance beam. None of the supporting characters have any development at all beyond their very basic archetypes—the cute kid, the abusive father, and so forth. It’s grating, juvenile and insulting.

Conclusion: I came into this arc loving the concept, and wanting to like it in the worst way. I gave JMS every benefit of the doubt (see my review of #702), but I have to draw the line somewhere. Putting Superman in an after school special about why it’s EVERYONE’S responsibility to prevent domestic violence is ridiculous, does nothing to further the character, and does nothing to help achieve his set goal of reconnecting with humanity. While it’s hard to argue with the overall message of the book—beating your kid is bad, yo, and you should tell someone if you see a child getting slapped around—is hard to argue with, the insultingly ham fisted and sanctimonious way in which it’s delivered is just too much.

Grade: C-

-SoldierHawk

A SECOND OPINION

Superman #703 – Review

By J. Michael Straczynski (writer), Eddy Barrows (pencils), J.P. Mayer (inks), Rod Reis (colors) and John J. Hill (letters)

The Story: Superman continues his flat-footed journey of reconnection with the common man, but is interrupted first by Batman, and then by a common man who has quite suddenly gained some very uncommon powers…

What’s Good: The first good news to report is that the dialogue has been toned down quite a bit, and that’s for the better. Instead of being completely over the top aw-shucks-gee-whizz-jes’ folks hokey, the corn factor has been reduced to more manageable levels. Not soon enough, either. It’s all well and good to watch Supes interacting with everyday people; it’s quite another to watch him interact with a bunch of stereotypes.

The art team is doing some very nice work here as well. I especially love the bright, energetic colors Reis uses to bring Superman’s world to life. They’re warm without being sappy or overly saturated, and inviting without being saccharine. More even than the (quite cool) heroic poses Barrows gives Superman to strike, it’s the colors and the balance between them that sets this world’s tone and give it a smattering of verisimilitude. In the same way the right dark and shadowy art can make you believe (at least momentarily) that, yes, maybe someone like Batman could exist, Reis’ vibrant palette builds a world that allows for someone as good and pure-hearted as Superman to exist.

Birds of Prey #4 – Review

By Gail Simone (writer), Ed Benes and Adriana Melo (pencils), Ed Benes and J.P. Mayer (inks), Nei Ruffino (colors) and Steve Wands(letters)

The Story: White Canary continues to torment the Birds, so Black Canary sets out to destroy her hold over them once and for all. Meanwhile, Barbara is forced to focus on an even more personal—and just as deadly—blast from her past.

What’s Good: I love Gail Simone, let me put that out there right off. Despite that, Birds of Prey—my high hopes for the series notwithstanding—has yet to really grab or impress me. It’s been alright of course, and I don’t regret purchasing any of the issues, but it just hasn’t been able to clear the bar that Simone set for herself in books like Wonder Woman and Secret Six. That said, this issue of Birds is absolutely the best one to date, and I take that as a very hopeful sign that the series is finally starting to find its feet.

All of the pieces that have been planted and set in motion in the last three issues come to a head here, in quite spectacular fashion. The opening sequence (in which we gain some insight into White Canary’s tragic origin) is some of the best writing and storytelling I’ve seen in the series yet, while the tense interaction between Barbara, Creote and Savant has some truly winning nuggets of characterization to mine.

Another thing this issue does very well is balance action with exposition and dialog. All three are important all three are important ingredients in my recipe for a good comic, and they harmonize in this issue quite well—in an (almost) Secret Six fashion, in fact, which is about the highest compliment I can give. Although the stakes always remain pleasantly high, cutting back and forth between the high octane physical battle between the Canaries, and the much more quiet (but equally intense) verbal and psychological confrontation between Barbara and her nemeses make for a good contrast, and the shift never feels abrupt or ill-timed.

Superman #702 – Review

By J. Michael Straczynski (writer), Eddy Barrows (pencils), J.P. Mayer (inks), Rod Reis (colors) and John J. Hill (letters)

The Story: Superman continues his walkabout, getting a human’s-eye view of the country and its people and helping out when and where opportunities present themselves.

What’s Good: Full disclosure: Superman has never been my favorite character. I have nothing against the Man of Steel, you understand, it’s just that he’s always been too powerful, too omnipotent, too…perfect, I guess, for me to really identify with and enjoy. When I heard about the “Grounded” storyline, though, I knew I was going to have to check it out. It sounded exactly like the kind of story that would get me on board with a character like Supes, and so far it has not disappointed.

Issue #701 was a great introduction to the concept of the storyline, and #702 builds on that foundation very well with more quiet encounters with everyday folks from around the country. And if the everymen seem just a little overly saccharine and folksy at times…I’m willing to forgive that. It does get a little grating after a while—to my ear at least—but it does fit in to the quite Mayberryesque world that Superman inhabits. (Mayberryesque minus the occasional supervillian attack, of course.) This certainly isn’t the slam-bang-gee-whizz action I would usually associate with Superman, but both the character and the story itself end up better for that fact.

Superman #701 – Review

by J. Michael Straczynski (writer), Eddy Barrows (penciler), J.P. Mayer (inker), Rod Reis (colorist)

The Story: In his first Superman book, Straczynski brilliantly takes the beloved Man of Steel and brings him down to Earth, where he walks the streets of southern Philadelphia, emotionally lost and contemplating the balance of heroism against humanity.  Superman struggles to find the answer of being a hero to the world, when it means sacrificing  individuals with specific needs for help.

The Good: Straczynski starts things off running full speed with this extremely reflective side of Superman, which is a side that we don’t often see.  Off of the celebratory anthology that was issue number 700, where Superman is confronted at a press conference by someone who needed his help to save her husband, JMS has Superman deep in contemplation about having let one man die versus saving the many.  JMS literally brought Superman to Earth, having him walk the streets and helping solve problems as he came upon them on his stroll, as opposed to flying through the skies focused and seeking out reigns of terror and havoc.

With the question “what makes a hero” in mind, Superman starts to answer his own concerns through interactions with the people he comes across while walking.  He explains to a child that what matters is fixing the “right here” as opposed to the “over there.”  And instead of whisking a would be jumper off of the ledge of a building and bringing her to safety, he takes the time to just listen to her and uses his words to connect with her, and thusly, saving her emotionally, as opposed to just her physical being.  Superman starts to recognize that being a hero might be about more than just being at the right place at the right time, in the nick of time, only to move on to the next crisis.

Superman #700 – Review

By James Robinson (Writer), Bernard Chang (Penciler), Dan Jurgens (Writer), J. Michael Straczynski (Writer), Eddy Barrows (Penciler), J.P. Mayer (Inker)

DC celebrates its biggest title with a look at Superman’s past, present and future. All three, of which, look at the importance of Superman to Earth, and the need society has for him on his adoptive planet.

The first story looks at Superman just post the Hundred Minute War. As Lois Lane is being hunted by Parasite, the Man of Steel steps in just in the nick of time to get Lois out of harms way and get the bad guys to jail. But that’s not the focus of the story. The writing of this story, by Robinson, really touches on the importance of Superman to Lois Lane and the continual struggle she has to share the man she loves with the world that needs him. The artwork in this story wraps up with a beautiful one-page illustration of Superman recommitting himself to Lois Lane while poised in the night sky high above a blurred out Metropolis skyline.

The second story of the book, by Dan Jurgens (the man who killed off Superman), brings us back to Superman’s past, but focuses on one of Robin’s escapades as he attempts to stop gun smugglers on the docks of Gotham City, before they unload the boat from Metropolis. With Bruce Wayne at a stockholders meeting that he can’t get out of, Robin steps in, against Bruce’s orders, and finds himself in a bit of trouble, when Superman steps in to not only save Robin, but to reiterate Bruce’s words that Robin just isn’t ready to be out on his own. It’s a fun little story with some clear interplay between Clark Kent and Bruce Wayne, through a hand written note handed off to Kent at the end of this story.

Superman: War of the Supermen #1 – Review

By: Sterling Gates & James Robinson (writers), Jamal Igle (penciller), Jon Sibal (inker)

The Story: Superman is getting the tar beat out of him by Zod’s henchmen while an army of super-powered Kryptonians closes on Earth. Superman is going to try to talk Zod out of the attack. Problem is, the Kryptonians are right – Earth has been screwing with them.

What’s Good: I was expecting Eddy Barrows on art, so Igle surprised and disappointed me on the first page. But then, I kept reading. And his art grew on me, but fast. By pages six and seven, I was digging the opaque light suffusing the tense confrontation between Kara and her mom. By page eleven, the burning yellow color work was wowing me. By page fifteen, the disintegrating Kryptonian in panel two had sold me on Igle. Then came the double splash page. Boom! Wow. His work on texture and expressions (especially Jimmy’s) really had my appreciation, and then the tears in space sealed the deal. Excellent choice on art.

Gates and Robinson, on the plotting and dialogue, told a tight, tense, speeding story filled with war crimes, authentic moral struggles, secret plots, double-crosses, carefully laid traps and a whole lot of grief and sadness. And megalomaniacs. Did I mention megalomaniacs? Let me lay it out mathematically for you. [Zod] = [Awesome]. He’s creeping up my list of top DC villains. And you know what makes him good? He’s got a real beef. He’s justified. Hate him or love him, it doesn’t matter. He’s a man who’s going to protect his people, no matter what the cost. That’s the same kind of greatness that elevated Magneto back in the 80s.

Titans #15 – Review

By J.T. Krul (writer), Jose Luis (artist), J.P. Mayer (inker)

The Stories: The Titans are in a bit of a strange place right now. They finished the appallingly bad Deathstrike storyline too early to jump into Blackest Night right away, so they’re doing a bunch of 1-issue solo stories. In this issue, we see Tempest (formerly Aqualad), dealing with the fallout of the destruction of Atlantic and of the death of Aquaman and the power vacuum that has left in the undersea world. We see his past, watch him visit with Dick Grayson and ultimately, bring himself to a crossroads. There is also a very suspicious encounter with the villain, Slizzath, that I’m guessing ties this to the broader Blackest Night arc.

What’s Good: First of all, if you wanted to get into the Titans, now is the time to do it. These 1-issue stories are perfectly self-contained, giving you all the background you need to hop on board as a new reader. Also, this issue was a relatively satisfying arc fit between two covers, but it also left some tantalizing hints of doom and what is to come with Blackest Night. The parallel talk that Dick and Garth get into, both having lost their mentors and father figures, serve an interesting character studies. They have both reacted to their loses in different ways, but they themselves spot some parallels.

As for the art, it was also solid throughout the book. Luis and Mayer evoked the undersea world with the fall of Atlantis, giant fish on most pages, kelp and seagrass and the hint of currents in the aquatic world… I thought the art really hit its stride with the arrival of Slizzath. This villain was pretty revolting and had to be depicted well to get the full effect. The art team clearly succeeded in delivering the goods.

What’s Not So Good: Unfortunately, the plot was a bit of a straight line. I was able to guess the ending seven pages before the last page. That’s never good. Even the battle with Slizzath was a bit of a one-note affair. More could have been done with this plot. And as a nod to a small pet peeve, this is another one of those books where the cover has absolutely nothing to do with the story.

Conclusion: A pretty good offering by DC. Not a home run, but a respectable base hit, and maybe a double for Titans fans.

Grade: C+

-DS Arsenault