Powers: The Bureau #9 – Review

by Brian Michael Bendis (Writer), Michael Avon Oeming (Penciler/Inker), Nick Filardi (Colors).

The Story: The curious case of Extreme and his many, many pouches.

The Review: As a Screenwriting/Playwriting student at a university, I’ve always appreciated that the comics industry not only has room for a writer that has more of a naturalistic voice for dialogue and pacing, but also that his writing style has been embraced and led to such astonishing success. That said, I’ve started to feel that the delays with his creator owned books such as Brilliant, Scarlet and Powers are really starting to diminish my enjoyment of them.

I’m not assigning blame to Bendis, I’m not sure if blame for the book’s delays can be laid at his feet, whether its the demands of artists workloads or a confluence of events, what I do know is that when I opened this book I had no recollection of the previous issue. Despite being a tad foggy on the particulars of issue #8 I still found this issue to be a great read, other than the Retro Girl sub-plot that gets a little movement at the close of this chapter, issue #9 is business as usual for detectives Pilgrim and Walker as they interrogate 90’s throwback Extreme. The Hollywood setting of this arc really does play to the strengths of Powers VH1 Behind the scenes take on super-heroes behaving badly, as Hollywood is the epitome of celebrity excess, so to is the 90’s the epitome of super-hero excess. Bendis and Oeming tie these two elements together with their hilarious send up of 90’s extremism in the form of, well, Extreme. The former “mentor” of the teen super-group The Circle is suspected of having a hand in their deaths and this issue alternates between the detectives interrogation of him and the flashback sequence detailing their final, fateful mission.

The art in this book is some of the most idiosyncratic on the stands, Oeming excels at both the moody, shadowy interrogation room scenes as well as the bright, poppy, Kirby-esque invasion sequences, other than perhaps Mike Mignola or Chris Bachalo I’m hard pressed to think of any working artist that is more singularly unique than Oeming. His partnership with Bendis at this point is a well oiled machine, there is never a duff panel, never a confusing sequence, and the over-cross hatched double page spread this issue is hilarious.

Powers Bureau #6 – Review

By: Brian Michael Bendis (story), Michael Avon Oeming (art), Nick Filardi (colors)

The Story: The first major story arc of the new Powers Bureau is wrapped up in an action filled finale.

The Review: Ever read Encyclopedia Brown mysteries? Most of the time, the clue was pretty transparent and easy to discover. Once in awhile, the clue was some obscure little factoid that had nothing to do with the actions of any of the characters and I re-read the story several times before flipping to the answer in the back of the book. That’s the way I felt after reading this issue. I really wish I knew what was happening with this title. Bendis must have something hidden up his sleeve because the quality that once marked the adventures of Christian Walker and Deena Pilgrim has deteriorated to such a degree that it is actually embarrassing to read.

Generally when I’m confronted with such a drop-off in quality I search to see if there is something I’m missing.  The only thing that seems fundamentally different is the appearance and behavior of Walker. Since becoming a federal agent, the verbal sparring and razor-sharp dialogue between Walker and Pilgrim has disappeared. Perhaps this reflects their new roles as federal agents and not actual partners. Bendis hints at something else, though. At the end of the Powers title, during the war with Damocles, Walker and TripHammer are missing and presumably injured. This issue of Powers Bureau hints at the events that happened immediately following the GODS storyline and immediately preceding Powers Bureau. Something terrible happened that delivered a major psychological and possibly physical blow to Walker and resulted in the death of TripHammer. Will Bendis explore this in future issues of Powers Bureau or will this story thread be dropped and forgotten like so many others?

Powers: Bureau #5 – Review

by: Brian Michael Bendis (story) Michael Avon Oeming (art) Nick Filardi (colors)

The Review: It seems that Mrs. Bendis and Oeming spend a lot of time and ink apologizing for explaining why there have been publication delays with this iteration of the Powers series and hyperbolic promises that the next issue is speeding to your local stores RIGHT NOW! I’ve come to expect delays in this series, as has happened in previous series, and for the action to just sort of fritter out and fade away or come to an illogical and rushed finale. I’d wait patiently for each new issue of Powers: Bureau if the story wasn’t just so pedestrian.

There is nothing original or even remotely interesting about this story arc. Some criminal is running around selling powers-infused semen and impregnating people. In probably the most implausible aspect of the story, Walker goes undercover in the powers crime gang to try to root out the mastermind behind the sales of super-sperm. Some criminals seem to recognize him and others don’t, some think he is a spy and others believe his preposterous cover story. How many times have we seen this story or something just like it on cop drama shows since Starsky wired up Hutch?

It seems that the whole concept of a federal “Powers Bureau” was ill-conceived. What really is the difference between having Walker and Pilgrim working for a municipal police force versus working for the feds? None that I can tell. Entire plot threads seem to develop and then are dropped without rhyme or reason. Isn’t Walker supposed to be the chosen intergalactic guardian of the earth? What is he doing running down darkened stairwells and busting up felonious purveyors of bodily fluid? Whatever happened to Enki Sunrise, Walker’s supposed partner? Deena Pilgrim has always been, arguably, the most interesting character in this title, and she is apparently pregnant with a super-baby but what exactly is her status in the “Bureau”? Is she Walker’s partner? Some kind of special agent?

Alex’s Stack

Hey WCBR readers,

So I’m currently sick as a dog and buried with work.  Of course, that doesn’t change the fact that this past week was huge for comics.  In an effort to at least get some opinions out there, I’m going to break from the norm and offer some quick opinions on everything I bought this week.  This isn’t a regular feature so much as it is a stop-gap for my currently ill and mad-cap life.  Also, just because I give a take on here doesn’t mean that a full review won’t be incoming.  Anyway, here goes:

Wolverine & the X-Men #15 (by Jason Aaron (writer), Jorge Molina (pencils), Norman Lee (inks), and Morry Hollowell (colors)

After a couple of good outings, AvX drags this issue back down.  This was a definition of “mixed bag” as it was an incredibly disparate issue with next to nothing in the way of an overall, unifying plot.  Instead, we just got a scattershot array of short vignettes checking in all the characters.  Some sucked (yet ANOTHER scene of Hope and Wolverine belly-aching about Jean), a couple admittedly shone (Toad and Husk’s quirky romance, an EXCELLENT exchange of barbs between Quire and Xavier), while the rest were completely forgettable.  Also, Jorge Molina’s faces are often ugly as hell.  For instance, Hope looks Asian but with a chin sharp enough cut diamond.  Thankfully, Hollowell’s colors are pretty slick.

Grade: C

FF #21 by Jonathan Hickman (writer), Nick Dragotta (art), and Cris Peter (colors)

I’ve been pretty unkind on this title of late due to a seeming lack of direction.  Thankfully, this far and away the best issue of FF in quite some time.  Put simply, it’s a great cosmic story with epic contests between larger than life character all surrounding a Romeo and Juliet sci-fi romance.  The issue, unlike others, works because it’s Hickman telling a story that needed resolution, tying up a loose end from his run.  As such, it isn’t plagued by the lack of necessity that dogged other issues.  Also, this is BY FAR Nick Dragotta’s strongest performance on FF.  His pop art leanings really come to the fore here and they are fantastic fit for a cosmic story, apparently.

Grade: B

Uncanny X-Force #30 by Rick Remender (writer), Dave Williams (art), and Dean White (colors)

Once again, Remender makes magnificent use of a frequent comic book storytelling device that is so hard to use properly.  Last month it was time travel and this month it’s mind control.  Remender makes devilishly clever and cerebral use of high-level telepathy this month, making for a psychological read in which it becomes hard to tell what’s real and what’s not….although I will admit that the twist at the end was nonetheless a little obvious.  It’s hard to judge this issue on its own, as it’s clearly the introduction to the next stage in a larger story, but I enjoyed the feel of the carefully orchestrated game that Evan is locked into, playing the rat in a maze of the Brotherhood’s creation.  I will say, however, that the art didn’t do much for me.  Dave Williams is a fine artist and Dean White is as brilliant as ever, but it’s just a case of standards being so high on this book and Williams simply not being quite on the same ridiculously high level of Opena/Noto/McKone/Tedesco/etc.

Grade: B

Winter Soldier #9 by Ed Brubaker (writer), Michael Lark (pencils), Brian Thies & Stefano Gaudiano (inks), Bettie Breitweiser (colors)

Shame on you for not buying this book!  Now Ed Brubaker is going away…or something.  Anyway, Winter Soldier, unsurprisingly, delivers another excellent issue, full of shadowy Cold War espionage action with bullet-casings scattered everywhere.  I found this issue to be a tight, tense outing that flew by and was very exciting throughout.  At times, the tone of this book felt like James Bond crossed with a noir detective fiction story.  Also, there is a really cool twist near the end of the issue that vaguely reminded me of one of my favourite scenes from the Avengers movie.  Also, Michael Lark continues to bring it as only he can, hitting the tone of the book perfectly.  It did leave me wondering, however, just how much better Brubaker’s run on Daredevil would have looked were it colored by Breitweiser instead of Frank D’Armata.  Anyway, I digress.

Grade: B+

Journey into Mystery #642 by Kieron Gillen (writer), Carmine di Giandomenico (art), Chris Sotomayor (colors) 

The first issue of the Everything Burns crossover led to the best single issue of Fraction’s run on Mighty Thor.  Naturally, Journey into a Mystery, a book that, unlike Mighty Thor, has been awesome throughout its run delivers a performance that’s just as good.  Suffice it to say, when it comes to Everything Burns, I am officially a believer.  I’m rarely one to sing the praises of a crossover, but this is awesome.  This month, Gillen really gives us a good healthy chunk of one of those high fantasy genre elements that make those gigantic novels so addictive:  politics.  The various powers, the deal-making, the shifting allegiances, the bluffs, the gambles, and the lies are all in play, making for a colorful, gripping read.  Also, Gillen reminds us that he really GETS the relationship between Thor and Kid Loki, which feels sincere throughout with Gillen reminding us what can at times be forgotten:  Loki is, in the end, a kid.  It’s great character work throughout.  The only thing holding this back is the art.  I’ll admit that it may be a personal thing, but I’ve just never been a fan of di Giandomenico.  I find his work muddy and too indistinct for my tastes.  That said, even that can’t keep this issue down.

Grade: B+

Justice League #12 by Geoff Johns (writer), Jim Lee (pencils), a ridiculous number of other people (art, inks, colors…etc)

At first, I reacted a little defensively to our own Mr. Nguyen’s review and I think that’s in large part because I really do feel that this title has improved significantly since it’s first arc.  Upon reflection though, this still isn’t exactly a game-changing comic book.  Graves just doesn’t doesn’t work as a villain quite as much as I want him to because…well…I still don’t really understand the nature of his powers and what they’re doing, and Johns only complicates that further this month.  It’s a shame, as I do like his back-story.  The whole soap opera romance stuff was another thing that didn’t work for me quite as well as I wanted it to: the Superman/Wonder Woman thing makes sense, but comes completely out of nowhere while Johns is still acting as though he’s given us a reason to care about the Wonder Woman/Trevor relationship when he hasn’t really.  As far as the art goes, I don’t know if it’s Jim Lee rushing or the brigade of inkers, but this felt rough and at times a little dated.  At times, it felt like I’d picked up a bog-standard 90s superhero book that’d been re-colored.  All that said, I thought the ending to the issue was strong, with a great cliffhanger involving Amanda Waller and a very interesting turn for Green Lantern that reminded me a little of Batman at the end of the Dark Knight movie.

Grade: C+

Powers #10 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: The murderer of the Golden Ones reveals his backstory and we learn that there are far, far bigger and nastier things out there than the Golden Ones.

The Review:  Wow…just….wow.  If anything, this issue is proof that when it comes to Powers, Brian Bendis does not hold back.  From the absolute, gut-wrenchingly vivid brutality of the serial god-killer’s backstory to the manner in which Bendis expands his comic’s universe and the stakes of this story, Bendis has basically laughed at the idea of limiting how far Powers can go.  It’s a brave and unflinching performance from Bendis in what is, in my opinion, by far the best issue of Powers since it relaunched.

When reading the murderer tell his story through a confessional tape, it becomes increasingly shocking and downright disturbing to read.  Bendis pulls back the curtain on the Golden Ones for us to see the ugliness and depravity that lurks behind.  They are certainly less than the golden gods they portray themselves at and are, in the case of Damocles at the very least, nothing more the humans that have come into incredible power, only to become twisted and depraved as a result.  I cannot describe how intense this extended scene, and narration, was.  To say that it “hits hard” is putting it lightly.  There is no holding back, no sugar coating, and Powers lives up to its “mature readers” label.  Through words alone, Bendis paints an unfathomably brutal scene that is as appalling as it is haunting, one that feels real, while also highlighting what has become a theme in Powers – that superpowers take the old adage “absolute power corrupts absolutely” to new heights of accuracy.

Spinning out of this, Bendis also really expands the scope of his universe, which really makes it clear why Powers is becoming Powers: FBI; the stakes have been far larger and so have, well, the powers.  What has long been a police procedural involving superpowers has suddenly become a statement on the relationship between god and man.  It almost feels as though Bendis puts a Lovecraftian spin to Powers; in revealing the true nature of the Golden Ones and whether they really are gods, we end up getting an answer that leads to more questions, an answer that tells us of the enormous, unimaginable, ancient powers that lurk behind the workings of the world.  The Golden Ones were small fries compared to these cosmic forces and in violating the threshold between god and man, man pierces the veil between the two just a little bit, and the result is a punishment of biblical proportions.  We end up a hell of a long way away from the safe, old police procedural.  Instead, there’s a sense that Powers, with its cops and criminals, have gone too far, played with powers too far beyond understanding, and the result is Cthulian promises fulfilled.  To hammer home this point, this revelation of the great powers at work behind the scenes of Powers universe is accompanied by a shocking, tragic character death, one that sees polar opposites meet, true and unquestionable representatives of the godly and the human/mundane; suffice it to say, it does not go well.

Powers #7 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: Christian and Enki question members of the Golden Ones while dealing with Deena Pilgrim’s surprise return.

The Review: It has been five months since the last issue of Powers came out.  Five months.  It wasn’t the end of a story-arc.  It wasn’t an official hiatus.  There was never  a stop to the solicitations.  That’s really the biggest, and truly the only, knock I have on this issue.  I absolutely hate the fact that Bendis and Oeming took a five-month break to work on Takio between issues during a story-arc.  As a result, some of the details here are a bit murky without going back to re-read issue 6.  For instance, I struggled to remember much at all about the murdered Damocles.

But it is an excellent comic, one that shows that Brian Bendis can still write a really smart book when he wants to.  He espouses some interesting ideas on religion, particularly conventional religion in a world populated filled with superpowers, and how that phenomenon challenges faith.  It’s thought-provoking and elegantly, honestly written stuff.

More than that though, this whole arc with the Golden Ones is fulfilling the promise I saw in the first issue.  Bendis begins to really mine the concept of mythological gods in a superhero-populated universe here.  Indeed, there always has been something a bit ambiguous and problematic about Thor, Hercules, and such running about in such a world.  There are so many interesting questions that arise, and Bendis scratches the surface here.  For instance, there’s the fact that in the world with superpowers, there’s no black and white distinction between man and god; there’s now a weird gray area of superhumans between the two.

Powers #6 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: Walker and Calista go on their first adventure together, a god (maybe) is found murdered, and a certain someone makes her unexpected return in an unexpected capacity.

What’s Good: Calista comes out as the star this month.  While her role as Walker’s student expands with her first team-up alongside him, she’s the highlight this month if only because her personality really shines.  Calista is really at her most adorable this month, so much so that it’s impossible not to like her.  Best of all is that this likability is wholly natural and never saccharine, as it’s accomplished chiefly through Calista’s absurd sense of humor and Bendis’ writing of her youthful impatience.  Calista’s dialogue was a job well done by Bendis this month; she’s funny, she’s human, and her age and personality really come through.

Other than Calista-related awesomeness, this month is fairly devoted to set-up.  That’s not necessarily a bad thing, as it’s intriguing and really promising for the future, as Bendis seems to intend this arc to address a region of superheroics that he’d left untouched so far.  It looks as though this arc is going to be dedicated to the mythological gods who always seem to somehow find their way into superhero tights in the comics world.  That Bendis has never even once mentioned this area before is stunning and that I had never thought of it myself is testament to how good Powers really is.  Considering the various intelligent riffs Bendis has made on superhero comics in Powers, I can’t wait to see what he does here.

Then of course, there’s the surprise return.  Even though it’s not really a surprise, given the solicitations and the cover of next month’s issue, the capacity in which the character returns is certainly an interesting one.

Powers #5 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: Christian hits rock bottom as his relationship with Heather suddenly falls apart but unbeknownst to him, Heather has two very big secrets.

What’s Good: Oeming’s artwork is absolutely superb this month, but it’s really unique in that its greatest strength isn’t jaw-dropping visuals or stunning splash pages.  In fact, this is arguably a pretty restrained issue as far as Powers goes.  What makes the art stunning is how Oeming emphasizes the “sequential” in “sequential art” and what exactly that means.  The panel-to-panel transitions are incredibly smooth and both physical actions and mental processes are incredibly well plotted out.  There’s a great sense of logic and movement from panel to panel that leads to a really organic feel.  Honestly, it’s the sort of work that  makes most other comics feel stilted by comparison.  It’s been a while since I’ve encountered a comic with such a natural flow to it.

Plot-wise, quite a bit happens this month.  As the opening issue to a new story-arc, this issue certainly fulfills its function, offering tantalizing bits of some very major things to come.  When a first issue is giving you visions of an apocalyptic future, you know you’re going to be in for on heck of a ride.

It was also a very good month for Enki Sunrise, who Bendis is clearly trying to build up as a character.  He, more than ever, shows a softer, more human side to the character, letting us see a more sympathetic, even maternal Enki which really stands in juxtaposition to the hard-nosed Enki we’ve mostly seen these far.  Bendis is quickly adding texture to Enki and is making her a fully realized character and I like what I’m seeing.

Speaking of vulnerability, it’s hard not to feel for Christian when he’s down in the dumps.  Bendis has always done a great job of writing his leading man’s heavy burden(s) and that’s no different here.  It’s just always so easy to feel bad for Christian.

Powers #4 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: Walker and Sunrise’s murder investigation comes to a close.

What’s Good: It’s satisfying to see Bendis and Oeming planning for the long haul.  This issue the creation of what should be a new antagonist for the series for some time to come.  A great deal of detail is added to Erika Broglia’s character, a mixture of trauma and a twisted sense of tradition.  She ends up being a very interesting character and this issue leaves her in a very intriguing position, one where the door is left very much open.  It’s satisfying to see a character that could have been so easily clichéd be given so much depth.

But Erika’s not the only character brought to the table this month.  As last month’s cliffhanger suggested, this is also a big issue for Billy Mace, who looks to be another series fixture in the making.  Mace occupies a unique position in the book as a figure that is in touch with Christian’s past.  In many ways, he looks to act as Christian’s conscience for past misdeeds and imperfections.  He’s a dark character, while still being disgruntled enough to be oddly likable.  His scene with Walker is the high point of the issue, as he maintains a full conversation while literally leaping around and drinking vodka.

Mace also opens the door to another investigation of one of the more intriguing elements of Powers: Christian’s memory and specifically, the functioning (or non-functioning) of the memories of those who live incredibly long lives.  Bendis does a good job of portraying the pain of this ongoing cycle of dim recollections, while hinting at more exploration to come.

Art-wise, I don’t think that Oeming is physically capable of putting out a bad issue of Powers.  The scene with Billy Mace is fantastically plotted, as he bounds about the building.  Oeming is even able to make the most mundane things look dynamic and beautiful; Christian’s jog in the park is absolutely amazing to experience.

Powers #3 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: It’s a high-speed, super-powered chase as Walker and Sunrise try to get their murder suspect back to the station in one piece.

What’s Good: This is just a gorgeous display of sequential art at its finest.  Not only is Oeming’s work beautiful to look at in and of itself, but as always, his sense of narrative flow and storytelling is also creative and really fun.  Oeming’s work remains explosive, yet comfortingly adorable.  He also creates a wonderful sense of atmosphere and tension throughout the issue.

As always, the actual action mirrors the panel structure (if you can call it that), giving the book a fast, organic feel.  For instance, a car drives from one panel to another, snaking its way through a double-page spread.  How can you not adore something like that?

His work on a tense scene in a sewer is also in wonderful contrast with the rest of the issue, which is a high-paced car chase.  Oeming’s style easily shifts to accommodate and create a real sense of claustrophobic tension.  It’s great stuff, as is that car chase, which explodes with a real sense of speed.  Colorist Nick Filardi also helps quite a bit and the usage of light in the sewer scene is amazing, telling a story in itself.

On Bendis’ end, the chase itself is perfectly paced.  There’s also a very well timed flashback towards the end of the issue that both feels natural and surprising; it feels like it came out of nowhere, yet also satisfies.  Bendis also hits you with one big, badass ending to this issue.

The Best & Worst of ‘09

FORWARD

Welcome to WCBR’s year end comic book industry report card. In essence, this report card is a list of offerings we’ve enjoyed and disliked for the entire year 2009. There was definitely a lot of debate over each editor’s pick, and in the end we just decided to let everyone have their say. Let us know if we’re out of our minds, or if you concur.

BEST ON-GOING SERIES

Detective Comics – Detective has reached consistently dizzying heights throughout the year.  The sheer creativity and astounding quality this title has seen in 2009 is simply mind-blowing.  From March to April, we had Gaiman’s “Whatever Happened to the Caped Crusader.”  Then, we quickly moved into Greg Rucka and JH Williams’ landmark work on Batwoman.  Gorgeous artwork met epic storytelling all year long.  We started out with a beautiful farewell to one great character, only to be introduced to another.  -Alex Evans

Captain America – Ed Brubaker’s smart, suspense and intrigue stories with a doubting, redemption-seeking hero really top the game in the ongoing category.  -DS

Detective Comics – Greg Rucka and JH Williams took this B-list character from the forgettable pages of 52, and made 2009 her year. Batwoman in Detective Comics makes a strong case for a series of her own. -Ray

BEST NEW SERIES

The Unwritten – The Unwritten is the smartest book on the racks today.  It’s an English major and literary critics dream and by series end, I expect it to be appearing on the university syllabuses of more liberal-minded professors, right next to Sandman.  Yet, despite all that, it’s also got enough mystery and fancy to entertain and pull in the average reader.  And of course, its pop culture awareness is more than enough to grab anyone’s attention.  This is a must-read.  -Alex Evans

Batman and Robin – It’s difficult to argue against Grant Morrison and Frank Quitely, dealing with the heir apparent to DC’s second biggest pair of boots (some might argue biggest). The amount of conflict, psychological tension and sheer creepy villainy set the bar for the noir avenger corner of the superhero industry.  -DS

Sweet Tooth – This is indie genius hitting mainstream, while managing to maintain its literary charm. Jeff Lemire’s Vertigo title offers us a fresh new journey/ coming-of-age story, while providing us a bizarre and post-apocalyptic world filled with violence and isolation– all the ingredients for an entertaining and relevant series.  -Ray

Powers #1 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: Detectives Christian Walker and Enki Sunrise try to learn to live with each other as they embark upon their first case together.

What’s Good: Powers is a rightfully celebrated series and I can assure you that this relaunch issue lives up to its previous volumes.  In more or less every way, this is the definition of what a good comic should be.

Certainly, all of the Bendis hallmarks are in place.  The staccato dialogue and the creative profanity are in fine form.  That said, what also returns is Bendis’ ability in Powers to portray multi-layered, real, and complex human relationships.  It’s all the more impressive that he manages this with Enki Sunrise, a character that has remained ill-defined and two-dimensional up until this point and was one of the few weak spots of Powers’ last arc.  Finally, Bendis manages to flesh out the character a bit and give her a little more life.  Moreover, he’s actually well on his way to making her likable.  Readers of Powers will know this to be no small feat.

And he does this through minimal, subtle strokes.  In a few pages of near-wordless action, we arguably learn more about the character than we have through the entirety of the last arc.  Furthermore, when she attempts to forge a bond with Christian, the dialogue is expertly played; her conversation is scattered, stumbling, and awkward.  Really, the syntax says as much about the character and her desires as her actual words.

For a first issue, Bendis also manages a large scope.  Upon finding an old associate dead, we get a flashback to a period of Christian’s past that is all gaudy film noir.  I’ve always loved Bendis’ visiting of Christian in previous eras, as his treatment of these time-periods are evocative yet honest, and this is the case here.  I also have always enjoyed noticing the subtle differences, and similarities, between Christian’s personality then and now.  It’s an absolute pleasure to see a Christian this month that is, for lack of a better word, an asshole, if not a tag-along.

Beyond this, the sense of mystery is palpable and Bendis makes me want more.  This is also thanks in large part to Oeming’s artwork, and this is his best work in some time.  His paneling is as abstract and creative as ever (one memorable double-page spread tracks our characters’ path across a street and up a building), without causing the confusion that Powers’ previous arc was at times guilty of.  Colorist Nick Filardi also improves the series, alleviating it of the slightly excessive darkness of prior issues.

Oeming’s style urban environments are absolutely beautiful despite their seeming simplicity, heavy with mood and dark ambiance.  His rendition of the flashback is also well done: it glows with just enough life and vibrancy to distinguish it from the present day without becoming overly self-conscious, and of course ,the present-day is as grim and gritty a place as ever.

What’s Not So Good: None whatsoever.  Some might say that we didn’t get enough information regarding the actual murder and make cries regarding plot progression.  Relax, it’s only the first issue and besides, Powers has long been more about the characters anyway.

Conclusion: Comics bliss… This should satisfy even the most stalwart Bendis-hater.

Grade: A

-Alex Evans