Young Justice Episode 10 – Review

By: Andrew R. Robinson (writer)

The Story: Good luck!  Try not to get us involved in World War III, hm?

The Review: From the start, this show has aimed for a more sophisticated, mature kind of tone, which is still something of an oddity for American cartoons.  While the creators’ efforts to produce that kind of show has run into sharp corners from time to time, the admirably high quality it’s brought demonstrates just how committed they are to ensuring the series’ success.

Still, they have to keep a younger crowd in mind, which they’ve done admirably by scripting plots that have enough topicality with the real world to stimulate the grown-ups, but dumbs it down enough for the kids to keep up (and maybe get a little enriched in the process—who knows?).  This time around, we have peace talks between the squabbling North and South Rhelasias, the results of which apparently crucial for international stability.

Arbitrating the talks is none other than Lex Luthor, not the greatest choice as he gets targeted by the League of Assassins, who doesn’t give a hoot about collateral damage.  Mark Rolston delivers a fine slipperiness as Luthor, chiding reluctant bodyguard Red Arrow with a finely-tuned degree of condescension.  When Red comments he should let Luthor and Ra’s al Ghul duke out their enmity themselves, the business mogul delivers one of the best lines of the series: “Your stab at pragmatism is, well, adorable.”

Batgirl #20 – Review

By: Bryan Q. Miller (writer), Ramon Bachs (art), Guy Major (colorist)

The Story: Here’s a lesson for you kids: if you slack off in college, you may wind up a costumed speedster robbing millions in bank heists for a living.

The Review: When Batgirl relaunched with Stephanie Brown under the mask rather than Cassandra Cain, there was an expected uproar over the switch.  Cass spent many years getting over her grim background to earn her right to wear the Bat, while Steph in a lot of ways pushed herself into the biz.  But you can’t deny Steph’s nonchalant, happy-go-lucky attitude gives the title more energy and humor than Cass probably ever could.

Cass’ lone wolf personality made her interactions with other characters, even within the Batman family, infrequent and often cold.  By comparison Steph’s chemistry with all her supporting cast just flies off the page (with the exception of perhaps Proxy, who still needs to develop beyond angry nerd with punk hair).  You definitely can’t imagine Cass ever crushing on an older detective, nor can you imagine said detective giving her a paperclip bent into the Batgirl insignia.

Almost every title on the stands uses humor to some degree, only Batgirl has a female lead devoted to self-aware comedy, mostly because Steph’s character can pull it off.  Miller knows the trick to delivering jokes that work: they make a point about the characters or plot.  The beat Oracle takes after going overboard with her pep talk shows she knows she’s trying a little too hard to be a mentor to Steph and Proxy when they’re clearly handling things on their own.

Batgirl’s independence comes across full-force this issue, as she and Proxy design their sting pretty thoughtfully, but execute it thanks to some accidental deductions on Steph’s part.  Her wide-eyed realization of who’s been napping beside her in class this whole time instantly cuts to her running across campus to frantically get into costume.  It’s a sitcom-like moment Miller writes very well with her, and a scene which shows that she’s a rare bird in the DCU.

Sweet Tooth #19 – Review

by Jeff Lemire (writer & artist), Nate Powell, Emi Lenox, & Matt Kindt (art), Jose Villarrubia (colors), and Patrick Brosseau (letters)

The Story: Lucy, Becky, and Wendy share their histories with one another as they wander through the forest.

The Review: One certainly can’t fault Jeff Lemire for not taking creative risks with Sweet Tooth.  Last month we got a landscape-styled “storybook” issue and this month we have Lemire bring along three indie cartoonists to help illustrate three separate tales and, much as was the case last month, he makes gold out of what could have been a disaster.

Given that it’s the main attraction this month, the art seems a fitting place to start.  All three guest artists, and Lemire himself, have incredibly different styles.  Yet, it really, really works as each artist was masterfully chosen for each particular story he or she illustrates.  Each artist has a very unique look, but it suits the stories of the particular characters they illustrate beautifully.  Nate Powell’s more mundane, slice-of-life look on Lucy’s previous life as a married nurse, Emi Lenox’s tragic Saturday-morning cartoon take on Becky’s childhood, or Matt Kindt’s dreamy, surreal storybook take on Wendy’s life with Mom.  Each artist brings something unique to the table and each gives a certain life to their part of the issue, what that highlights the tone Lemire that was going for in each little story.

Sweet Tooth #18 – Review

by Jeff Lemire (writer & artist), Jose Villarrubia (colors), and Pat Brosseau (letters)

The Story: Gus and the gang hit the road to Alaska, readjusting to the outside world.

What’s Good: Jeff Lemire is never afraid of getting experimental with Sweet Tooth’s layouts, and nowhere is this more on display than this month, where the book is in landscape and, at points, narrated like a storybook, with a splash page on top and a page of prose narration below.  But that’s not what’s best about this issue.

What’s best is its emotional resonance.  Take for example the tension between the newly reunited Jepperd and Gus.  Jepperd’s obvious sense of guilt and his clumsy attempts to reconnect are absolutely heartbreaking, regardless of whether he’s done wrong.  There’s something pathetic in his actions this month, using relics in an attempt to rekindle a time long past and regain a friendship with a Gus that no longer exists.  Or is that Gus simply buried?  Either way, it’s really gut-wrenching, eye-watering stuff that is sincere in the utmost.

Gus himself functions incredibly well this month as a kind of moral compass.  His clear sense of right and wrong show a much clearer, more defined character than the impressionable kid from issue 1.  Perhaps he’s idealistic, but he’s steadfast.  Gus shows himself to be a restraining force on the adults, a figure who reminds them of their humanity.

I also really enjoy the group dynamic that the comic has taken on.  In some ways, it reminds me of the Walking Dead: it’s an ensemble in a post-apocalyptic world, with each character having his or her unique characteristics and place in the group.  A special mention also has to go to Bobby, who gets in a couple of really hilarious lines this month.  It was surprising to get that out of Lemire, as Sweet Tooth has never been the comic to go to for laughs.

There’s also a heavy emphasis on the importance of the innocence of childhood this month that was really quite touching.  Seeing all the tension and horror of the series break away, even for a moment, to allow for kids to be kids and friends to be friends was a beautiful sight to see.  Indeed, the final splash of the issue almost made my eyes water.  It was such a display of friendship and goodness and acceptance that it’s hard to put into words.