Justice League #29 – Review

By: Geoff Johns (story), Doug Mahnke (pencils), Keith Champagne & Christian Alamy (inks), Rod Reis (colors)

The Story: I, Cyborg. You, Grid.

The Review: Ever since Cyborg showed up on Wil Magnus’ doorstep last issue, I’ve been pretty excited at the prospect of a Cyborg-Metal Men team-up. It’s one of those no-brainer pairings that probably would’ve eventually happened in The Brave and The Bold, had DC kept that eminently useful series around. If Avengers A.I. has taught us anything, it’s that there’s a lot of potential in seeing how different kinds of robots—or androids, or cyborgs, or what have you—relate to each other.

Johns capitalizes on that potential almost immediately with the Metal Men’s various reactions to Vic, whom they see as a distant relative, curious and horrifying by turns. That, perhaps, is what makes the Metal Men unique: they are of the old school of comic book A.I., with a purely robotic perspective on existence. In one of the issue’s more amusing moments, Mercury sees Vic not as an upgrade, but as a chimera gone wrong: “Oh, God, is this the future? Are we all going to be merged with human beings and turned into monsters? No offense, buddy.”

Doom Patrol #4 – Review

The Story: The world’s strangest super-heroes return home to Oolong Island just in time to be attacked by old teammates and lovers under the control of the Black Lanterns.  In the second feature, the Metal Men must contend with the creation of three extremely dangerous – and cranky – new robots.

The Doom Patrol in “Dead Reckoning” by Keith Giffen (writer) Livesay & Justiniano (art)

What’s Good: Although the writing wasn’t much to my liking, Justinano’s artwork fell into the win column for me.  I wasn’t aware that regular artist Matthew Clark was taking a break for this arc, but I have to admit I was pleasantly surprised that was the case.  I’ve never been a fan of Clark’s, but I have been one of Justiano’s.  The artist has a dark, sharp style that suits this tale of zombies and shadows and he was a great choice to fill-in on this issue.  His design of Black Lantern Negative Woman in particular gave me chills.

What’s Not So Good: It was with some trepidation that I picked up this issue of Doom Patrol.  I’d given the new series a chance once already with the first issue, but didn’t find anything enticing enough to make me want to continue collecting the series.  The shadow of the DC juggernaut that is Blackest Night, however, has fallen over many of the publisher’s output this month and I decided to give this comic another try.  I wish I hadn’t bothered.

Giffen certainly tries to take advantage of the opportunity he’s been given as a result of the crossover to interest new readers in the title.  He brings us up to date on the history of the Doom Patrol itself, while simultaneously using that device to inform us as to the identities of the deceased characters that make their return.  It’s a good idea and one that should have worked when it came to eliciting an emotional reaction in the reader when the past and present D.P. members confront each other.  Except that it doesn’t.  Placing what is essentially an info dump at the beginning of the story only served to turn me off from the book.  The Doom Patrol is one of those titles that people usually saddle with being too difficult to get into due to it’s heavy continuity baggage, and this introduction does nothing to combat that criticism.  I appreciate the writer’s ambition in bringing new readers up to speed, but I suspect he would have been better off simply concentrating more on the present.

Another problem with the script is the lack of any emotional reaction from the cast when confronted by the ghosts of their past.  If it weren’t for the fact that we can see what they’re feeling through the eyes of the Black Lanterns, I’d be hard-pressed to guess that they were feeling anything.  If the characters don’t seem to care about who has come back to haunt them, then why should the reader?  To be fair, this might be the fault of the artist, but it’s also reflected in the dialogue, so I assume that it wasn’t because of a miscommunication between the two creators.  Giffen comes close to overcoming this with his last page reveal and Robotman’s reaction, but it falls too late in the story for me to care.

The Metal Men in “The Coming of… The Clique!” by Keith Giffen & J.M. Dematteis (writers) & Kevin Maguire (art)

What’s Good: The first thought that comes to mind when reading Giffen’s & Dematteis’ smart, funny adventure of the Metal Men is “Why isn’t this the lead feature in this comic book?”  When you get a look at the amazing art of Kevin Maguire, the next thought is inevitably, “This NEEDS to be the lead feature of this comic book!”  The writers do in this eight-page back-up what the lead feature didn’t manage to in twenty.  I’m immediately caught up on what and who the Metal Men are, what the story is, and I care about what happens next.  The fact that this is all successfully accomplished when you consider that the stars of the strip only appear in four out of the ten pages is impressive.

What’s Not So Good: There’s not much wrong here, to be honest.  If I were to nitpick about anything, it would be that Maguire’s design for the members of the Clique keeps him from utilizing his greatest strength: facial expressions.  While I understand what he was going for with the mannequin-esque design, I did find it a little underwhelming.

Conclusion: Hopefully someone at DC will realize that this comic book needs to be called Metal Men.  Dematteis and Giffen and Maguire are producing a fun, humorous piece of storytelling that is unfortunately stuck in the back of a comic book not worth buying. It’s a shame, really.

Grade:  D

-Joe Lopez

Don’t Believe the Hype! – Wednesday Comics

When it comes to the recently completed Wednesday Comics, I will say this much for DC: they are not afraid to take chances, and I will always like that about them.

As you all know, Wednesday Comics has been yet another in a long line of DC’s mostly successful weekly comic serials, but was produced this time with a twist: designed to read and feel like a Sunday newspaper comics section. DC published their anthology in an oversized format that could be unfolded and read like a paper.  Each page of the comic featured one story from a different creative team, and each week the stories would slowly come together, page by lavishly rendered page.

Cool idea, right?  I sure thought so.  But now here I sit, glaring thoughtfully at the stack of Wednesday Comics that have been gathering over the weeks, and I’m wondering why it has left me feeling strangely unimpressed and underwhelmed.  How could such a fresh and inventive idea have turned out to be just another adequate comic experience?  I need to understand why, and if you’re reading this then I’m hoping you do, too.

Wednesday Comics’ faults certainly can’t be found in its production value, that’s for sure.  On all levels this was a gorgeous book, and that’s saying something for glorified newsprint.  Mark Chiarello had an eye on design and aesthetic appeal when he put together this project, something to be expected from DC’s Editorial Art Director, and if his bosses haven’t yet given him a fat bonus for his work then they really, really need to.  By adopting the oversized pages, Chiarello gave his art teams the chance to shine and have some real fun with this book (and say what you will, but Wednesday Comics was a comic clearly intended for the artists.  Don’t believe me?  Just look at what Dave Bullock pulled off with Deadman).

I also found the portability of it to be incredibly appealing, and enjoyed the reaction I got from non-comic readers when I took it out into “the real world.”  I remember one moment where I was sitting in the doctor’s office and, for lack of anything else to do, pulled an issue out of my bag, unfolded it, and began reading.  An older gentleman sitting across from me leaned over and said “those the funnies?”  I smiled and said kind of, and then explained how it was actually a comic book designed to be read and carried around like a newspaper.  He asked if he could flip through it, and asked me questions as he did.  We talked and had a good time, but more on this in a bit.

So Wednesday Comics looked good, and was physically fun to read.  Where then did things go wrong for me?

Sadly, I find fault with the majority of the writers and their inability to use the Wednesday Comics format to their advantage.  Of course, this isn’t to say that no good stories were told, because a few like Strange Adventures and Kamandi were consistently wonderful week after week, but it became painfully obvious that most of the writers were either uncomfortable with this format or simply didn’t know what to do with it.  It seemed to me that they took the safe way out by telling conventional stories that gave their artists little opportunity to do anything other than what they were instructed to.  Azzarello’s Batman and Busiek’s Green Lantern were glaring examples of this; both had the potential to be great, and were ripe with artistic opportunities, but the plots were so formulaic and the scripts so rigid that they instead languished in mediocrity.

I was also shocked that such a “low-fi” project like this (as opposed to comics that tout glossy paper and computer-rendered colors) had the gall to charge $4 an issue.  I mean, we’re talking about 15 pages of story on newsprint here… even the typical 22 page comic book costs less than this.  What if you were only buying this comic so you could read Kyle Baker’s Hawkman story?  Even if you liked the other stories, you simply had to read this one weekly.  This means that if you wanted to follow his entire story, you would have to shell out $48 (assuming you didn’t care one bit for all the others).  That price obviously goes down as you increase your number of must read stories, but anthology comics like this are mixed bags where not every story is going to be that damn good, (did anybody actually read Caldwell’s Wonder Woman!?) and when those stories don’t deliver the maximum bang for the buck each and every week, you’re left paying for more than you actually wanted.

As I look over these complaints and compliments, it seems to me that they ultimately speak to a larger missed opportunity, and that’s one of reaching new readers.  Remember that older gentleman from the doctor’s office I was telling you about?  Why wasn’t Wednesday Comics written for him?  Or the kids who (hopefully) read Teen Titans and Supergirl, why wasn’t this entire serial written exclusively for their enjoyment?  In an awkward attempt to appease all of the people all of the time, DC tried to market this comic to fanboys, new readers, and young readers alike without ever fully capturing any of them, and that’s a shame because Wednesday Comics could have made a great primer to introduce new readers into the medium.

You can see how DC kind of wanted to try this.  While it helps that they also serialized the Superman story in USA Today, why didn’t they then also serialize stories in teen magazines, or fucking Highlights for that matter?  Why was Wednesday Comics only sold in comic shops when it could have done so much more good in a bookstore, grocery store, or Walmart?  By trying to appeal to those of us already locked into the direct market, DC inadvertently missed even greater markets of new readers and customers.

Ultimately, the stories contained in Wednesday Comics were nothing I needed to read, and as a diehard fan with years of reading experience I felt they weren’t anything I haven’t already seen before.  I applaud DC for taking a chance in trying something different, but I’m disappointed that they worked so hard to sell this to me, the guy who’s going to buy their comics regardless, when all along they should have marketed it to a newer, younger reader, and thus a potential new customer.

-Tony Rakittke

Wednesday Comics #12 – Review

Well, there you have it. Perhaps the most novel and interesting comic book format to ever hit the stands wraps up this week with the final installment of Wednesday Comics. My co-editor Tony has a longer column in the works about this whole endeavor, but before I get to the individual story reviews, I’d be remiss not to share some brief general thoughts.

When this comic first came out, I absolutely loved it. I mean LOVED it. But as the installments kept coming, my enjoyment began exiting. I think the main reason for this is that in the beginning, this truly unique newspaper format captured and catapulted my imagination into directions the comic itself wasn’t taking. For example, I for one wasn’t thinking that every story was going to be an arc. I thought there would be some variance in the stories and some would be a series of one shots, some would be mini-arcs, and some would be full blown arcs. I was shocked that they would all be slow building arcs, which essentially meant that creators were making a full comic and segmenting it into different parts. To me this is a failure to really maximize the format and an inability for the content to match the novel form.

As I said, more to come from WCBR on this topic, so now let’s get down to grading the individual stories per this issue and their final grade:

Batman by Brian Azzarello (writer), Eduardo Risso (artist) – A tragic story whose conclusion we all saw coming 2 months ago. However, this installment captured the moment fantastically much like the first one. Unfortunately, I will always associate this strip with the bloody kiss at the end. Yuck. B+ (Final Grade: B)

Kamandi by Dave Gibbons (writer), Ryan Sook (artist)– A great ending to a great series. This is one of the true successes of this series. A (Final Grade: A+)

Superman by John Arcudi (writer), Lee Bermejo (artist) – Great, great art. But stupid writing. For example, why would residents of Smallville be comfortable with a huge Alien sitting in the street? Little dogs just walking by it? Superman using a pay phone? Confusing Lois and Batman scenes at the end… C- (Final Grade C+)

Deadman by Dave Bullock and Vinton Heuck (writers), Dave Bullock (artist) –This was the surprise hit for me. I could never imagine being into Deadman, but this was one of my favorites. Nice ending that tied-up loose threads cleanly. A (Final Grade: A)

Green Lantern by Kurt Busiek (writer), Joe Quinones (artist), Pat Brosseau (colorist) – Overall, an unimaginative story with excellent character development that played homage to iconic moments. Fans of old school GL will probably like this much more than those of us in the post- Johns take on GL. This issue was a true microcosm  of the story’s entirety. B- (Final Grade B)

Metamorpho by Neil Gaiman (writer), Mike Allred (artist) – This comic came together much better than when it started and in the end, I thoroughly enjoyed it. The end kept up the fun weirdness and quirky characters. A- (Final Grade B)

Teen Titans by Eddie Berganza (writer), Sean Galloway (artist) – Lame action, confusing story, and failed nostalgia. Really hoping the bad guy (who ever it was- I was lost to it) destroyed the Titans. D (Final Grade D)

Strange Adventures by Paul Pope – Awesome comic, awesome installment. Clicked on every level and ended in existential musings that were perfect for this title. Put Pope on this regularly. A+ (Final Grade (A+)

Supergirl by Jimmy Palmiotti (writer), Amanda Conner (artist) – This was my second favorite series behind Strange Adventures. The direction was clear, focused, and the momentum took it to all the right places of the DC Universe. Loved the ending, even though it was cliche’ and silly. A (Final Grade A)

Metal Men by Dan Didio (writer), Jose Luis Garcia-Lopez (artist) – Really enjoyed the art and characters, but the story was just stagnant and claustrophobic. Such a forgettable ending and series… B- (Final Grade C+)

Wonder Woman by Ben Caldwell – I never read this. The color scheme and art turned me off, so I have no grade. But, I will read it….. one day… maybe.

Sgt. Rock by Adam Kubert (writer), Joe Kubert (artist) – I liked the message and emotional importance of the ending, but overall, seeing Rock get tortured for 4 weeks straight was a waste of this story. Loved the art though. B (Final Grade C)

The Flash by Karl Kerschl and Brenden Fletcher (writers), Karl Kerschl (artist) Iris West by Dave McCaig (writer), Rob Leigh (artist) — Can someone please diagram for me what happened here? I have never been so lost in a story. Did Kershel acknowledge that the whole plot was nonsensical when Iris read a Flash comic and said, “I don’t get it?” Art saves this from being an F. D- (Final Grade D-)

The Demon and Catwoman by Walter Simonson (writer), Brian Stelfreeze (artist) – Solid outing all around. That being said, none of this particularly interested me. The Shakespeare reference was cool, though. B+ (Final Grade (B-)

Hawkman by Kyle Baker – Next to Pope’s work, this was my favorite art. Looked like drawings on a wet newspaper and I loved it. Overly, chatty ending that seemed all a little corny. But, really an entertaining story in entirety.  B (Final Grade A-)

Grade: B

-Rob G.

Wednesday Comics #7 – Review

Batman by Brian Azzarello (writer), Eduardo Risso (artist) – Sure it looks good and the dialogue has that scathing snap I’ve come to expect from the creator of 100 Bullets, but I’m shocked at how boring this story is.  I can’t blame Azzarello for not wanting to do a standard superhero story, but even for crime fiction this falls far below the quality he’s capable of.  Grade:  C-

Kamandi by Dave Gibbons (writer), Ryan Sook (artist) – Easily one of my favorite stories.  Sook’s artwork is gorgeous and epic and I’m making it my mission to follow his stuff from now on.  I adore Gibbons’ decision to not use dialogue because it makes me feel like I’m reading a prose adventure story and not a one page comic strip.  I’d love to see these guys do a monthly Kamandi series when this is over!  Grade:  A

Superman by John Arcudi (writer), Lee Bermejo (artist) – While Bermejo’s art benefits from the larger page size and conveys a wonderful sense of action, Arcudi’s script is flat and his characterization of Superman is one of the most painful I’ve ever read.  This is THE icon of DC Comics, and deserves a much better story than this.  Grade:  C-

Deadman by Dave Bullock and Vinton Heuck (writers), Dave Bullock (artist) – I did not expect to enjoy this story, but this is turning out to be a seriously wild ride, full of invention and mad energy.  Bullock uses the oversized page to have some serious fun with his art, as evidenced by this week’s sick splash page.  As with Kamandi, if these guys were to do a monthly Deadman series, I would gladly pay for it.   Grade:  B+

Green Lantern by Kurt Busiek (writer), Joe Quinones (artist), Pat Brosseau (colorist) – I’ll admit I’m rather confused as to why Busiek chose to set this story in the past… Perhaps because the idea of an astronaut being turned into a space monster is more plausible when it happens in the early days of our space program.  Either way, this is a straight forward story with really enjoyable art and stunning colors.  Grade:  C+

Metamorpho by Neil Gaiman (writer), Mike Allred (artist) – Of all the stories in this anthology, this is the one I was most looking forward to, and sadly most disappointed with.  I love the writer.  I love the artist.  You’d think the two would come together to tell a truly fantastic story, but they seem more concerned with paying homage to Silver Age antics. Too bad.  Grade:  C-

Teen Titans by Eddie Berganza (writer), Sean Galloway (artist) – This story, along with a few others, highlights a major problem I have with Wednesday Comics, which I’ll address shortly in an upcoming installment of Don’t Believe the Hype! This story reads like an extended episode of the Teen Titans cartoon, but I don’t think that sensibility translates as well onto the printed page, especially when you’re doing one page a week.  Grade:  C

Strange Adventures by Paul Pope – Yes, yes, yes!!!  This is what I want all Wednesday Comics stories to be like, bursting with madness, awe, and wonder.  Pope’s art is exotic and looks like something torn from the pages of Heavy Metal, a perfect choice when illustrating a beautiful space opera like this.  Here again, I would pay good Yankee dollars for a monthly Pope Adam Strange series.  DC, are you paying attention!?  Grade:  A+

Supergirl by Jimmy Palmiotti (writer), Amanda Conner (artist) – This story was clearly not intended for me, and I’m cool with that.  Conner is such an amazing artist; her illustrations are consistently expressive and beautiful to look at.  Palmiotti’s script is  sugary sweet, perhaps a little too much even for young female readers this was intended for. I’m curious to know if that demographic is actually reading this.  Not a bad story for what it is though.  Grade:  B

Metal Men by Dan Didio (writer), Jose Luis Garcia-Lopez (artist) – Nevermind that Metal Men is an incredibly stupid, outdated concept that stopped being relevant forty years ago, what I want to know is why DC keeps bringing them back!?  Didio’s story reads like a vanity project, and is barely kept alive by Lopez’s serviceable art.  Grade:  D

Wonder Woman by Ben Caldwell – Who the fuck commissioned this?  Caldwell, an otherwise wonderful artist whose style looks like something from a really good Disney movie, repeatedly shoots himself in the foot here with claustrophobic page layouts that completely destroy his art and render his story incomprehensible.  Incredibly bad storytelling, which is a real shame because so much more could have been done with the character.  Grade:  F

Sgt. Rock by Adam Kubert (writer), Joe Kubert (artist) – A refreshing addition to the anthology and a solid war story, as told by comic book royalty.  Joe Kubert, best known for his prior work on Sgt. Rock, returns to the character without missing a beat.  His art is appropriately grim and gritty, and Rock looks like a man who’s stared into the face of death too many times to count.  I’m really glad they chose to include this story.   Grade:  B

The Flash by Karl Kerschl and Brenden Fletcher (writers), Karl Kerschl (artist) Iris West by Dave McCaig (writer), Rob Leigh (artist) — Part superhero story, part romance comic, and partly successful.  I understand what these guys were trying to do and I applaud the attempt, but for me it’s not quite working.  Frankly, I would have preferred this as a smartly written romance comic. I’am disappointed at the fact that they felt it necessary to include a superhero plot.  Grade:  C

The Demon and Catwoman by Walter Simonson (writer), Brian Stelfreeze (artist) – Despite being an incredibly unusual pairing, I think this is one story that has been getting better every week.  As represented by the main characters, the story is part crime caper, and part supernatural weirdness, and entirely satisfying.  Grade:  B

Hawkman by Kyle Baker – Another story that has not once disappointed me.  Baker’s art is wildly inventive and takes full advantage of every page.  There is something going on with the colors that gives the art a dark, overcast look, but the effect does little to detract from the quality of the art.  Grade:  A-

Doom Patrol #1 – Review

By Keith Giffen (writer), Matthew Clark (artist), Livesay (inker), Guy Major (colorist)

So is everything old new again, or is everything new old again?  Either way, Doom Patrol is back, and nothing will ever be the same.  Or maybe everything will stay the same.  I don’t know.  I’ll admit that I’m a bit confused as to why DC chose to reactivate this title, but you need to understand that I first read Doom Patrol during Grant Morrison’s run on the title and thought he had done a stellar job telling their story and resolving it.  Then again, with all of the earth-shattering, continuity-raping big event stories DC’s been birthing over the years, maybe Morrison’s Doom Patrol continuity has been erased and rewritten and become obsolete.

In this latest iteration, Keith Giffen uses the traditional team roster, consisting of Elasti-Woman, Negative Man, Robot Man, and team leader Niles Caulder.  There were a few more in there, but they were all as disposable as the guys in Star Trek who wear the red shirts and die as soon as they touch down on that alien planet.  The issue opens with the team already in the middle of a case involving purple, leech-faced humanoids that ends too quickly before it’s ever fully explained.  The other half of the story sees the Doom Patrol returning to Oolong Island, a sovereign, tropical island nation that serves as their new headquarters.  Here amidst the palm trees, the team unwinds and we come to better understand them through the most annoying new character of 2009: Father Leslie, the team’s de facto therapist who seems to have been dumped into the story by Giffen solely for the purpose of trying to make them talk about their feelings.  The pathos that Leslie pushes on each member was incredibly irritating, and my biggest fear is that we’re only going to see more of this tool as the title progresses.

Fortunately, Matthew Clark turns in some solid art, and if there’s any reason to continue reading this, it’s to see more of what he can do.  On a final note, this is the first issue of DC’s new pricing plan that I’ve picked up, and my first impression is that this can really work.  Basically, even though this is Doom Patrol #1, you’re paying $3.99 for 20 pages of Doom Patrol (2 pages less than a typical 22 page comic retailing for $2.99) and 10 pages of a second feature story.  This issue featyred the Metal Men as the backup, which I thought was a ridiculous waste of time as I hate everything about them, but I nonetheless can appreciate that DC is at least offering me more content to justify their price, which is a hell of a lot more than I can say for Marvel.  Based on this first issue, I don’t think I’ll stick around to pick up the second, but I may come back to try the graphic novel if and when it’s released.  Buy at your own risk.

Grade:  D

-Tony Rakittke