Elephantman #34 – PREVIEW

Elephantman #34 PREVIEW

story RICHARD STARKINGS
art/cover BOO COOK

Part One: GENERAL STONE TIGER The first of the two-part sequel to WAR TOYS: Yvette is alive, and artist BOO COOK (Judge Dredd, X-Factor) pits her against a new foe… with Hip Flask, Ebony Hide and Obadiah Horn caught in the middle!

 

 

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Deadpool: Merc With A Mouth #3 – Review

By Victor Gischler (Writer), Bong Dazo (Pencils), Jose Pimentel (Inks), and Matt Milla (Colors)

Some Thoughts Before The Review: There’s definitely room for another Deadpool series. The problem, however, is that Merc with a Mouth just can’t compare with the Daniel Way series. M.w.a.M. is entertaining enough and Bong Dazo is a great fit for a Deadpool comic. but it’s next to impossible to forget about cool Way’s take on the twisted character is.

The Story: Hydra, Deadpool, cavemen, and, thanks to Ka-Zar, a T-Rex battle it out as the Zombiepool head gets tossed around.

What’s Good: Deadpool: Merc with a Mouth #3 is, in nearly every way, a step forward in the right direction for the series. It’s not perfect, but it definitely hits far more than it misses. The premise lives up to its promise, the chaotic situation finally explodes in a fun, violent way (as it turns out, guns, two ‘pools, a dinosaur, and crazy cavemen make for a good mix), and the creative team manages to find a nice rhythm with the visual and dialogue-based humor (“Where’s Waldo?” on a splash page, for instance)

Writer Victor Gischler seems to take more from the Daniel Way school of Deadpool writing than he has before in Merc with a Mouth #3. As a result, the funny stuff is more satisfying all around. In addition, there’s a buddy-comedy feel to the humor that works really well. Deadpool and the zombie severed head make a pretty good team and I’m now looking forward to seeing how much Gischler can squeeze out of the pairing before real sense of Deadpool overdose sets in.

There’s a hell of a lot happening on every single page of the latest Deadpool comic. Bong Dazo and his art team handle it extremely well. Dazo’s shockingly detailed (considering how much is going on) pencil work is just the right type of crazy for what the script demands. You want an insane splash that features Hydra, a rampaging dinosaur, cavemen, a talking severed head, Deadpool, Zabu, Ka-Zar, and the sexy A.I.M. agent? You got it. Thanks to some excellent (though sometimes heavy) inking by Jose Pimentel, the chaos never gets out of control. The action is easy to follow, individual characters stand out as needed, and you never get the feeling of the visuals overwhelming the storytelling. Special mention must also go out to Matt Milla for making Deadpool: Merc with a Mouth #3 one of the most colorful, vibrant comic books I’ve seen in quite some time.

What’s Not So Good: Remember how I said that Gischler seems to take a lot from the “Daniel Way school of Deadpool writing?” That’s something of a double-edged sword because it stops Gischler’s series from feeling as though it’s truly standing out on its own merits. In addition, I wouldn’t be doing my job if I didn’t mention that, as a whole, Gischler’s take on Deadpool seems like a tiny step backward in light of what Way is doing with the character in the main series. Wade’s actually getting some depth thanks to Way, so Gischler’s back-to-basics approach must be noted.

Conclusion: If you’re in the mood for a bit more Deadpool, Merc with a Mouth #3 is definitely worth checking out. The book is a whole lot of fun and a solid addition to your weekly reading list.

Grade: B

-Kyle Posluszny

Weekly Comic Book Review’s Top Picks

Ray’s Top Picks

Best of the Past Week – Superman: World of New Krypton #3
Most Anticipated for this Week – Green Lantern Corp. #36
Other Top Picks for this Week – Young Liars #15 and Action Comics #877

Kyle’s Top Picks

Best of the Past Week – Exiles #2
Most Anticipated for this Week – Secret Warriors #4/Unwritten #1 (Tie)
Other Top Picks for this Week – Umbrella Academy #6, The Walking Dead #61, The Wonderful Wizard of Oz #6, Captain Britain & MI:13 #13, and Fusion #1

Rob’s Top Picks

Best of the Past Week – Irredeemable #2
Most Anticipated for this Week – Battlestar Galactica: Final Five #2
Other Top Picks for this Week – Ultimate Spider-Man #132, Dark Tower: The Fall of Gilead #1, Green Lantern Corps #36, War of Kings: Ascension #2, Secret Warriors #4, The Walking Dead #61,and Unwritten #1

Alex’s Top Picks

Best of the Past Week – Shrapnel #5
Most anticipated for this Week – Secret Warriors #4
Other Top Picks for this Week – Unwritten #1, The Sword #18, The Green Lantern Corps. #36, The Walking Dead #61, Fables #84,

Weekly Comic Book Review

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Things are brewin’ here at WCBR.  Expect more consistent reviews on some of the industry’s hottest and awesomely obscure titles, get ready for our feature articles, and be on the look out for our forum. If you have any thoughts and criticism, don’t hesitate to contact us.  In the meantime, keep checking back and follow us on our Twitter and our MySpace.

Incognito #3 – Review

Ed Brubaker (writer), Sean Phillips (artist), Val Staples (colorist)

Story:

Zack Overkill is in a tight spot. As an unwilling participant in a witness protection program for villains, he’s having a hard time reconciling the liberties and excitement of his old life for the doldrums of his beige, office-filled existence. But since he’s been getting his powers back, things have changed – and not for the better. His so-called friend is mooching off his abilities, his parole officer’s pissed, and worst of all; his old boss, The Black Death, has agents on his trail.

And now, of all times, is when that “friend” wants him to go rob a bank, or else he’ll let everybody know who Zack really is…

The Good:

There’s good, and there’s loads of it. Brubaker’s writing, which has always found the balance between descriptive and evocative, finds a certain strength in combining his two passions – noir and superheroes – into a single project. The characters are amusing, intriguing, and, most of all, relatable, but to a stronger extent; many of us’ve had a fantasy of watching a maligned workplace burn to a cinder, but Zack Overkill could actually do it. And it pains him that he’s forced to work there, to troll around like a regular shmoe in a shit job, when he could be doing so much more.

The art from Phillips is phenomenal. As seen in his run on Criminal with Brubaker, he draws characters with personality and clarity. There’s distinction, perspective, and a certain stylization that makes everything easier to deal with – which makes the story that much more engrossing. His gritty style is a perfect setting for the story, and even with rayguns abounding, these elements come across as cool, rather than trite.

Val Staples brings a strong, savvy style of coloring that plays well with contrast and effect. It’s a great match for Phillips’s pencils, and is that third, truly crucial piece to bringing Brubaker’s words to life – because not only does it bring life, but it also brings personality to the pages. And when coloring can do that, you’ve really hit the nail on the head.

The Bad:

It’s very hard to find anything bad or disappointing about this book. It’s a cool, fast, fun, easy read with multiple layers to it. The colors are spot on, the art is great, and the writing is a perfect fit. If you can find something wrong with it, I’d imagine you’re trying far too hard. But, I do have one complaint – we were kept waiting almost two months between issue two and issue three. Brubaker apologizes profusely in the back of the book, saying that “from here on in, we should be monthly for the rest of the series and then we’re going right into the next run of Criminal, with no break this time.”

…I suppose we can cut you a little slack, because you two really delivered with this issue, and hopefully, the rest of the series.

Grade : A

The Walking Dead #60 – Review

By Robert Kirkman (Writer), Charlie Adlard (Pencils & Inks), and Cliff Rathburn (Gray Tones)

Some Thoughts Before The Review: Sixty issues in and The Walking Dead is still going strong. I continue to be amazed at how well Robert Kirkman keeps adding twists, turns, and depth to a story that initially, seemed extremely familiar (simple, even). I can’t wait to see what he has up his sleeve next.

The Story: Rick, Carl, Abraham, and Morgan attempt to elude the massive zombie herd they came across last issue. Meanwhile, Dale begins truly thinking about settling down with Amanda and the kids at a farm that seems almost too perfect for words.

What’s Good: It’s been a while since the zombies truly felt like the massive threat they once where, so the obvious highlight of The Walking Dead #60 is the intensity that is generated by the herd. The less obvious highlights are the quiet moments that the creative team handles so well. The most notable of which is a scene in which Morgan makes a grim, graphic discovery that really hits hard thanks to the fantastic work by Charlie Adlard and Cliff Rathburn. Also worth a mention is how effortlessly Robert Kirkman reestablishes Dale, the kids, and Maggie in the issue. The character moments are quiet, but they will linger in your mind (especially the one with the kids).

What’s Not So Good: Kirkman always handles his characters with the utmost care. That’s why I find the way (new cast member) Dr. Eugene is used so annoying. He seems to speak simply as a plot device and nothing more. His words make an impact, but I feel that they would be more effective if we knew more about the character or his previous situation.

My other complaint has to do with the herd. While I really like the way the herd is used, both as a set piece and a plot device, I wish more time was spent with it. A minor complaint, yes, but still something that disappointed me about the issue. Some hardcore zombie stuff is always welcome and the herd offers lots of potential for it.

Conclusion: As usual, the creative team behind The Walking Dead delivers in nearly every way. Issue sixty is about as solid as they come and serves as a great example of why the series is such a success. Highly recommended.

Grade: B+

-Kyle Posluszny

Batman: Battle For the Cowl #2 – Review

By Tony Daniel (writer/ artist), Sandu Florea (inks),Ian Hannin (colors), Jared K. Fletcher (letters)

The Story: Following the months of Batman’s/ Bruce Wayne’s “death,” there has been nothing but chaos in Gotham City: members of the Bat-Family face various internal struggles regarding the call for the cowl, there’s a mob war between Two-Face and the Penguin, the Black Mask has returned, and a new and murderous Batman emerges and fatally punishes his victims in his war on crime.  In this issue, the war between Gotham’s criminals intensifies, as the Black Mask continues his involvement in the onging war between Two-Face and the Penguin.  Also with the city in need of a Batman, another Dark Knight rises from the ashes to reclaim the mantle of the Bat, as Tim Drake continues his search for the murdering pretender.         

The Good: Along with his amazing art, Tony Daniel’s tale of “Dark Knights” duking it out for the cowl is shaping to be an unforgettable mini series.  It’s finally good to see a simple and entertaining storyline that’s able to accompany it’s wild and brutal battles with some deep moral studies of a world without a Batman.  The film, “The Dark Knight” did this well, and so does Daniel’s, “Battle for the Cowl.”  With this series, Tony Daniel shows us a classic debate of what kind of Batman is needed in the modern world.  A man of honor, or a ruthless and punishing vigilante?  With this theme,  Daniel successfully paints an epic battle between a Batman with ideals, and a Dark Knight that’s lacking of any moral compass.

Furthermore, Tony Daniel’s story has all the symptoms of a legitimate and memorable Batman story.  Fanboys will find themselves drooling over the explicit reference to Batman #428, and the cliffhanger in end of this issue can possibly be just as iconic and timeless as the one in Batman #617.  After reading this issue, you’re going to wish #3 would come out next week.

The Not So Good: Although the story in itself is a good one, the dialogue can make you laugh you out loud unintetionally.  With so many fight scenes, it’s almost inevitable that a cheesy line gets spout out here and there.  Normally I can let this go, but in this issue, there’s just a little too much.  #1 had lines like, Killer Croc saying, “Sushi Time,” as he took a bite out of some human.  #2 has lines like this piece of monologue, “Because Batman has become real fear for once.  And Fear me they do.”  Even though you know what the line means, it doesn’t exactly convey it smoothly.  It’s over-the-top corny, and it sounds like a line reserved for someone that runs through walls, unannounced.

Conclusion: Batman: Battle for the Cowl is shaping up to be a good story. Which is a relief since fans everywhere are treated to a tale that’s not obscured by nonsensical references, and lame story angles.  For the first time in a long time, you can read a Batman book that you can buy.  I can buy that there would be this much chaos if Batman is supposed to be dead.  And I can buy how this is a battle that needs to be told.  Longtime Bat-fans won’t be disappointed, and neither would those who’ve been turned away by R.I.P.

Grade:  B+

-Raymond Hilario

Hexed #4 – Review

Michael Alan Nelson (writer), Emma Rios (artist), Cris Peter (colors)

Before the Review :
If you haven’t been reading Hexed, you might want to. It’s about Lucy, a.k.a. Lucifer, a quick-on-her-feet cat burglar with a special trade. She only goes for things of supernatural interest, such as feathers of angel wings, or as the story goes, the Carasinth; a mystical artifact with deadly powers. Unfortunately, the squeeze is on, and her past has caught up to her.

The Story:
It’s the end of the road for Lucifer. Her employer and close friend are being held at gunpoint, and that son-of-a-gun Dietrich is looking to use the Carasinth to raise his standing in the world. She’s got to think fast, and outwit him before she and Val run out of time.

The Good :
Michael Alan Nelson puts together a nice, tight storyline and resolution for Hexed, which works by itself and within the larger story of Boom’s Cthulu Tales – the twists, turns, and pacing are present and solid. Emma Rios’ art has a wonderful motion and fluidity, and really brings the characters to life. The coloring, done by Cris Peter (is that his real name? If not, that’s fantastic!) brings a kind of tension to counteract the motion, helping make Hexed one of my favorite comics to look at.

The Bad:
Mostly, the fault lies with Michael Alan Nelson. The dialogue is fun and snappy, but can be just awkward enough to distract the reader from what’s going on. It’s simultaneously a strong and weak suit for him. Thankfully, the rest of his writing is pretty spot-on and fun, but that’s a glaring blemish that’s holding him back. As it stands, it’s keeping a good writer from being a great writer.

Grade : B+

-Brian Lynch

Destroyer – Review

By Robert Kirkman (writer) Cory Walker (art)  Val Staples (color)

The Story: In a remote pocket of the Marvel Universe exists The Destroyer, Stan Lee’s first creation, a hero with super strength and near-invulnerability. I say “near” invulnerability because The Destroyer, Keene Marlow, is actually a senior citizen with a heart condition that could claim his life at any moment. The thrust of this series is the Destroyer destroying (there, I said it: “Destroyer destroying”—you happy now?) all individuals that would threaten his family’s safety after he passes on.

What’s Good: Robert Kirkman has mastered the science of creating fictional worlds that are interesting and natural. Little details, such as a doctor’s office under the sea or a bionic arm on the Destroyer’s wife, lend to a unique and inviting setting.

I like the idea of a “grandpa” superhero who is brutal and tough as nails. Unlike his AARP counterparts in the DC Universe, like the original Green Lantern and Flash, the Destroyer is a realist who solves problems with his fist (usually by putting in through the skull of his enemies), and not a sentimental idealist.

Cory Walker’s art is unique and detailed. His style is definitely unmistakable. There are many more wordless panels in this book than an average comic. However, like Invincible, these panels are full of expression and meaning. There is one scene where just by seeing the Destroyer from a far, we can tell from his body language a lot of details about his life that are expounded later, like his sickness and mental state.

What’s Not So Good: This comic is bookended by excitement and momentum, but the majority of the story is, well, kinda boring. I found some of the scenes between the Destroyer and his family to be a bit torturous to read. Additionally, the fight scenes and graphic, I mean GRAPHIC, violence is a tad protracted, which builds to the burgeoning sense of boredom I found myself falling into.

Conclusion: This is a solid introduction to a unique character and there is definitely a lot of potential for a good mini-series here. I think Kirkman’s creations are best when there are multiple characters for him to work with that interact with and shape the main character. I don’t see that happening here and I think that the Destroyer is worse off because of it.

Grade: B

-Rob G

The Flash: Rebirth #1 – Review

By Geoff Johns(Writer), Ethan Van Sciver (Artist), Alex Sinclair (Colorist)

The Story: Barry Allen, for the better part of twenty-five years, was lost to the world. He had become part of the Speed Force– the thing that gave him his powers as The Flash, and it wasn’t until Final Crisis, that the world saw him again, in flesh and blood. His friends, family, and the city he once called home celebrated his return, but the only thing on his mind was why; not questioning the festivities, or the new world he finds himself in, but why he’s back to begin with.

He’s about to find out…

The Good: Geoff Johns creates a strong, compelling narrative of life, post-Crisis for Barry Allen. He brings into light old friendships, peers, mentors, and enemies in a story touching on past hallmarks of Flash mythology; including a great scene with the Green Lantern at Central City’s Flash Museum. The issue’s solid, and accessible to new and old Flash fans alike.

As for the art, Van Sciver’s work runs the gamut between hyper-realistic and suitably fantastical, perfectly capturing the kinetics of a man who just can’t slow down. It’s always difficult to illustrate hyper-motion in a still form, but he does a fantastic job, and Sinclair holds down the coloring with ease.

The Bad: I don’t know whether to call it irony, but for all its high points, Rebirth feels like it’s moving TOO fast. There’s a lot going on, and for a new reader, it could be quite disorienting. Johns switches gears and bounces around quite often, leaving the reader to play catch-up. As such, the manic attitude of the Flash is captured, but in a very distracting way that detracts from the story, rather than enhancing it.

Grade : B

-Brian Lynch

The State of Weekly Comic Book Review

If you’re reading this, you’re probably wondering, “Where the heck did these guys go?!”  Well, we’ve missed you guys too.  In short, we have been going through some crazy developments over here at WCBR.  As many of you know, we lost our founder and former Editor-In-Chief to a horrible tragedy and we are now in a process of rebuilding and getting over a battle with an evil domain hosting company.  But rest assured, True Believers, we will be back bigger and better than before. Prepare yourselves for the return of WCBR.  Keep checking back for updates, as we’ll keep you apprised of the situation, new launch date, and some new features we’re cooking up for you.  In the meantime, check out our reviews and follow us on Twitter or MySpace. Feel free to send your comments or suggestions here.

-Raymond Hilario

Batman #686 – Review

By Neil Gaiman (writer), Andy Kubert (artist), Scott Williams (inks), Alex Sinclair (colors), Jared K. Fletcher (letters)

Some Thoughts Before The Review: He’s fucking dead?! Well no, not exactly. We’re dealing with Grant Morrison here after all, so we can’t exactly buy the fact that Bruce Wayne/ Batman is dead. Plus the last time we saw the Dark Knight, he was topless and doing cave paintings. So after the past year of Morrison’s wacky mysteries and references you can care less about, let’s hope that a writer of Alan Moore’s status can deliver. Neil Gaiman, I’m banking on you to really give us a more appropriate “final tale” for the beloved Dark Knight.

The Story: The book opens with Batman’s friends and enemies coming together to pay their respects. The Batman’s service is an open casket, and lots of familiar faces appear throughout the issue. After a brief showing of who’s showing up, two of the most important people in Bruce Wayne’s/ Batman’s life deliver their eulogies, and reveal just exactly how the Caped Crusader died.        

The Good: Neil Gaiman’s writing is as sharp as ever in this tale, as he carefully examines and captures all the quirks and the voice of each character throughout the Batman lore. It’s interesting and actually quite entertaining how Gaiman slowly pans through the event, showcasing numerous characters to guide the story. He finds a way to pay tribute to Batman and really examine the whole mythos of the Dark Knight.  Furthermore, it’s nice to have Andy Kubert back. He reminds everyone that not only can he capture Batman from different eras and different interpretations (as shown in each eulogy), he can also perfectly display the necessary raw emotion shown and conveyed throughout this time of crisis.

The Not So Good: When I picked up this book, I was expecting some sort of proper closure. If DC really was going to “kill off” Batman, then it’s only fitting that he’s sent off right by a legendary writer. An iconic writer for an iconic character. However that’s not the case, as Gaiman’s story carries on in a similar way to Morrison’s, where the characters you thought you knew, weren’t who they were after all, and that story of Batman dying is either exactly what did happen or what could’ve happened. You simply don’t know who or what to believe, as you hear two stories that reveal how Batman died.

Furthermore, I can’t help but remember how stupid this whole “Batman R.I.P” ordeal is in the first place. Aside from all the unbelievable/ bizarre situations taking place, an off-screen conversation between Bruce Wayne and an unidentified character is also happening. As revealed in their dialogue, Bruce Wayne has yet to solve another mystery. Therefore, he isn’t exactly dead.  And with “The Battle For The Cowl” around the corner, then the “Batman” can never exactly die. If this is supposed to be the Batman version of “Whatever Happened To The Man Of Tomorrow,” then we can expect to find Bruce Wayne/ Batman living and winking at us at the end of this whole mess. Hence proving that the idea of “Batman R.I.P.” was flawed from the beginning.

Conclusion: “Whatever Happened To The Caped Crusader” is off to a not so memorable start. The portrayal and “revelation” of certain characters will never be remembered, as their depiction tampers with history; making you wonder if this is some “What If” story. Also the focus on the multiple perceptions of the Dark Knight isn’t a memorial of the past’s numerous renditions of Batman. It’s a rehashed concept all packed neatly in one book. We’ve seen this done before in Warren Ellis’ “Planetary/ Batman: Night on Earth,” but I guess we can see how Neil Gaiman does it. So expect to hear more eulogies and more stories that summon the Batman from different eras. However as of right now, this book is not measuring up to Moore’s notable tale, which makes the title undeserving. This tale is rather starting to look more like a mere “imaginary story;” an account that fans DON’T HAVE TO exactly consider canonical with the Batman lore.

Grade:  C+

-Raymond Hilario

Agents of Atlas #1 – Review

By Jeff Parker (writer), Carlo Pagulayan (artist), Jason Paz (inker), Jana Schirmer (colorist)

The Story: The quirky sci-fi heroes of Marvel’s 2006 surprise hit miniseries are back in a new ongoing series!  Taking a page from Norman Osborn’s Book of Irony, Jimmy Woo, Namora, Venus, Marvel Boy, Gorilla Man, and the robot, M-11, have assumed control of the Atlas Foundation, and are leveraging their perceived status as villains in an effort to attack Osborn’s own nefarious operations.  But when Woo and Osborn discuss lending support to each other’s empires, it seems even the youthful undercover agent may have succumbed to his own dark reign.

The Good: “Gorilla Man’s Continuity Catch-Up” had me in tears, as I was laughing so hard.  Funny beyond belief, it recaps Marvel’s last five event stories in a way that would have put Bendis, Millar, and Pak out of work if it had come out any sooner.  This issue was well-written and incredibly friendly to new readers by explaining who the Agents of Atlas are and what their agenda is, but in a way that doesn’t detract from enjoying the story.  By taking what is essentially a motley crew of goofy, throwaway characters and treating them seriously, Parker writes a story that can successfully be both silly and dramatic without ever feeling forced.  I love the idea of a group of heroes trying to beat Osborn at his own game by pretending to be villains, and can’t wait to see Woo’s machinations unfold in future issues.

The Not So Good: I was not a fan of Jana Schirmer’s colors.  Warm, fuzzy, and soft, her palette seemed overly-saturated in light, to the point where characters looked self-illuminating and radioactive.  Also, I could have done without the backup story featuring Wolverine.  While I like the idea of exploring the Agents’ history and past missions, this was an incredibly dull way to go about doing it.

Conclusion: There’s no reason a comic like this should work, but it does and I’m grateful to have something new and different to read!

Grade:  B

-Tony Rakittke

Final Crisis # 7 (of 7) – Review

By Grant Morrison (writer) Doug Mahnke (pencils), Tom Nguyen and Cristian Alamy (inks)

The Story: DC’s Final Crisis concludes with Superman saving all of reality by defeating a resurrected Darkseid and an insidious Mandrakk, the Dark Monitor. All the various plot threads coalesce as time and space are restored through Superman utilizing miracle technology from the future. In addition, the status of Batman, who is perhaps the biggest conversation topic of Final Crisis, is visited and his future narrative is formulated.

What’s Good: The way Grant Morrison wrote this installment reads like a flip book whose pages are out of order. Whether or not this is effective is a subjective assessment. Nevertheless, I find it to be enjoyable and rewarding. Don’t get me wrong: this is highly nontraditional story telling, but I am intrigued with the multi-narrative approach that reflected the “real” representation of the broken time line.

Like a great dessert can retroactively make an average meal good, so too the end of this issue’s ability to sweetened the beginning. The dramatic conclusion of the Monitor saga worked really well, as did the final pages, which will no doubt be the most controversial.

What’s Not So Good: There are way too many sub-plots at play here. I would have liked to see more time allotted to the main thrust of the story, rather than peripheral stories involving marginal characters. There’s so much time spent catching the reader up with what has happened previously in the story, a reader could pick up this issue and get all the information needed for the whole series without reading the ones before it. If you’re confused by this issue, then the previous installments won’t clear anything up for you. And if you get all the heavy DC continuity and meta-narrative stuff, than this issue is all you need.

Additionally, changing art teams for this final issue might have been necessary for practical and editorial reasons, but it is nevertheless jarring. It changes the tone and feeling of this series, and for-better-or-for-worse, wrecks whatever momentum was working for FC. Don’t get me wrong, Doug Mahnke draws very well and tells the story clearly. I just would have liked him to be on from the beginning or not at all.

Conclusion: It is hard to sum up this comic because I don’t really know what it was supposed to do. If this issue is meant to be an exercise in experimental comic book creating, using mainstream superheros as a pallet, than this issue is a success. But if this series is meant to impact the modern DC universe and satiate a reader’s appetite for DC superhero stories, than this issue is slightly above being a failure.

I think the biggest setback of this issue (and this series, for that matter) comes when Morrison focuses to much on cool ideas by sacrificing solid story telling. Perhaps the most damming conclusion I’m forced to say about this comic is that it is un-recommendable.

Final Grade: C+

-Rob G

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