I have been waiting for this for months.

I love Aquaman. I know that he has immense potential, but that potential only ever seems to be realized for issues, years at best, at a time. Like the waves, he crests and falls.

Do you know how many Aquaman series there have been? This is the eighth. And that doesn’t count Aquaman: Time and Tide, Aquaman and the Others, or years of appearances in More Fun and Adventure Comics. Like Wonder Woman, Aquaman is no stranger to “Bold New Directions™” so, while I consider myself a staunch fan of the character, I often don’t buy Aquaman comics. Dan Abnett’s latest attempt to give the character his due has intrigued me multiple times since Rebirth began, but nothing I’ve seen or heard has ever quite gotten me to jump back on. Until today.

Say what you want about “moving the needle”, Stjepan Sejic was absolutely what I needed to gleefully pick up Aquaman again. And it felt like a big deal. Perhaps due to the time intensive nature of Sejic’s paintings, this has been a light on the horizon for what feels like ages. Sejic has been giving glimpses of what looks like a pitch perfect Aquaman and Mera on social media for months and it’s been working to get me excited.

So for those like me or who I’ve successfully kindled interest in, let me begin by clearing up a misconception, or at least clarifying a bit. This is not another “Bold New Direction™”.

No, while there’s quite a bit more nuance to it, this is still very much a continuation of the work that Abnett has been doing on the title for the past twenty-four issues. It is not a reboot or even necessarily the start of a ‘new season’, it’s just the beginning of a new arc. And that may surprise. It surprised me, at least. But while this isn’t the ideal jumping on point, I don’t want anyone to think that the issue is unfriendly to new readers, even if the first few pages lean that way a bit harder than what is to follow.

Despite being steeped in Abnett’s previous work -- itself reminiscent of Jeff Parker’s recent take, itself built on Geoff Johns’ foundation -- this issue also serves as a reintroduction and reinvention of the character. Stripped of his kingship and believed dead by his people, Aquaman goes into hiding among the disenfranchised of Atlantis, becoming an avenging specter as his nation descends into totalitarianism. It’s an effective set up, if not a sustainable one, and it really allows Arthur to show off his power as well as his intelligence, a quality that many attempts to finally kill the image of the useless Aquaman fail to call upon.

There’s plenty of Batman inspiration here, culminating in an explicit shout out that channels Batman: Year One beautifully. Thankfully Abnett doesn’t seem to be trying to force Arthur into the Batman mold. One of the things that really works is that, while Batman’s totemism projects a certain invulnerability that Arthur seeks to replicate here, Aquaman has a power and a nobility that helps frame this as a battle of wills between two kings of Atlantis.

Speaking of which, Corum Rath, as an antagonist, is a mixed bag. On one hand, Rath is simple and blunt. He hates the surface world and any implication of imperfection with his Atlantis, but no amount of Shatnerian pauses can disguise his textbook totalitarianism. No, what keeps him interesting is his interactions with others. Though his goals are basic as they come, Rath proves effective at balancing and introducing the various power systems of his court. He gives out praise, but is ready to yank it back and regift it to whoever best supports him in that moment. He surrounds himself with fanatics who he can ‘moderate’ when it suits his purpose. He lets others fumble to guess at his thoughts, welcoming their “advice” when they’re right and lecturing them when they’re wrong.  And in this he makes for a compelling villain.

It also points to something that Abnett has been striving towards that proves effective here, building up Atlantis. With the Silent School, the Widowhood, the Hadalin, the Elders, the Drift, and more, Aquaman has what any good political drama requires: constituencies. The push and pull of these various factions around the new king give Abnett’s Atlantis a vibrancy that’s needed to pull of this story. Unfortunately, new readers, especially those picking up an Aquaman comic for the first time, will not find much to explain who these varied interests are. Additional context clues are included for the reader’s benefit, however they are not enough to make plain the workings of the court and, once a reader moves past any confusion, they can leave scenes feeling performative.

It’s an odd mixture, being at once opaquely complex and excessively expository. Characters tend to say exactly what they think and to lay out their motivations plainly, yet somehow it still feels like Abnett is using a gentle brush to paint his characters, and there’s fun in ‘reading the room’, deciphering who everyone is and how they work together despite knowing exactly what they want.

For any simplicity of expression, however, I must say that Abnett seems to have a strong grasp on his characters. Arthur holds himself with just the right balance of empathy, nobility, and questionable people skills that have defined him since the Bronze Age, while I don’t know that I’ve seen a better summary of the Post-Flashpoint Vulko than this well-meaning, politically inflexible, loudmouth. I can’t say that I like Mera falling to pieces without Arthur, but fans of the queen need not worry in the long run.

As interesting as Abnett’s writing is, Stjepan Sejic was always bound to overshadow him and there is no upset in that regard.

This book is gorgeous. Everything Sejic touches is gorgeous, obviously, but this really is something else. Every page and panel is rich with detail and thought and the colors are practically worth the price of admission alone.

I almost don’t know how Sejic hasn’t been drawing Aquaman for years. The series plays to all of his strengths, encouraging him to draw ornate, semi-organic armors; fantastic animal men; gorgeous redheads; and more. It goes even deeper than that though. Sejic’s set design is wonderful and the vast emptiness of the ocean not only allows him to sometimes leave the background out of focus when it would otherwise distract or take up time but encourages it, conveying a sense of scale and allowing a showcase for his skill with lighting effects.

Especially in political moments, the characters benefit from an emotive ability that is almost entirely separate from the dialogue. That bodes especially well for a story that seems to feature a mute character, but it really does help to balance the delicate information vs. exposition equation I mentioned earlier.

Sejic also does a phenomenal job at structuring his pages. It’s easy to get lost in the sheer beauty of the art, but don’t forget for the minute that Stjepan Sejic is an immensely talented storyteller, and this issue is a incredible reminder of that fact. Stylishly unusual panel shapes and dramatic, integrated location captions set the stage and clear, legible motion throughout each page gives the book a distinctly cinematic flair.

One of the most fascinating elements of Sejic’s artwork is panel size. Especially towards the end of the issue you start to find pages that feature six, seven, ten panels and still feature big, widescreen moments. It’s against conventional wisdom to include such tiny insets, but it actually really works well. The sense of pace is strong and the purpose and action of each panel remains startlingly clear. It would have been a bold move no matter what, but to do so in an extra-sized, twenty-eight page story is quite something and the fact that Sejic pulls it off with such effortlessness should tell you something about what else he may well do before this run is over.

The post Aquaman #25 appeared first on Weekly Comic Book Review.

The secret of DC's Rebirth project is that there is no secret at all. Commercially, the project aims at discerning the most popular versions of the company's proprietary characters and presenting those versions to readers. Whether it is a true renewal or a giant exercise in retail pandering, or whether there is any real difference between those things, is a judgment that can be safely left to comic book fans. After all, those fans are famously, and notoriously, erudite and combative.

Rebirth also has a full creative agenda yet to be completely revealed. So far, it is clear that the initiative involves the intrusion of Doctor Manhattan, and perhaps other Watchmen, into the DC Universe. One suspect yes that somewhere in Northampton Alan Moore, bizarre curmudgeon that he is for all of his undoubted talent, is figuratively howling at the moon. Nevertheless, Batman #21 features a variety of homages to Moore and Dave Gibbon's 1986 opus. Most of those come by way of artist Jason Fabok, who utilizes Gibbon's famous nine-panel layout to frame (literally) the tale of a confrontation between Batman and Eobard Thawne, the Reverse Flash who, we know from the pages of The Flash, has recovered his memories of the Flashpoint event, including his death at the hands of Thomas Wayne. Fabok also makes use of the bloodstained Smiley Face, both in its actual form and in various symbolic representations of circles and slashes.

The actual story, as penned by Tom King, is rather less successful than the art. King's formalism fits well with an exploration of Moore's themes. Indeed, King has stated on multiple occasions that Moore is one of his literary heroes. However, King's heavy handed emphasis on patterns and themes and his overwrought plots and dialogue tend to lay bare what the more subtle hand of Moore revealed gradually and/or through dramatic twists. It doesn't help that King is setting up the first installment of a crossover, or that he has the thankless task of chronicling a fight between Bruce Wayne and Eobard Thawne. The legions of rabid Bat fans will explode if the feel Batman has been used as a helpless punching bag. On the other hand, hordes of obsessive continuity experts will want to know how the human Bruce can survive more than a few seconds, literally, against a time-traveling super speedster. It also doesn't help that many of these fans are one and the same, or that an important plot twist has already been spoiled by solicits.

But the story, or rather the story mechanics and elements, have never been the important part of Rebirth. This initiative is about the destination, not the journey. We aren't exactly getting there with the speed of a Flash, but things are moving along very nicely, indeed.

The post Batman #21 appeared first on Weekly Comic Book Review.

DC comics have always been at their strongest when emphasizing deep continuity. The long history of the DC universe in real time, with a corresponding but convoluted chronology within the fictional reality it represents, provides rich opportunity to explore long term developments and the thick texture of layered stories. In terms of character, this manifests in the multiple generations of legacy heroes for which DC is justly famous.

The New 52 era was to an extent a departure from this tradition. The experiment was not altogether successful, to put it diplomatically. The Rebirth initiative has taken the restoration of history and legacy as one of its chief goals, so far to generally good critical and commercial reception. Titans is a direct result of this new emphasis on history and legacy. Or, it has been about legacy in theory, as we have had little chance to see the team members interacting with their older counterparts, Nightwing's relationship with Batman providing a crucial exception. In this annual, writer Dan Abnett takes the opportunity to explore some of these relationships in the world of Rebirth.

The set up to the story is familiar from any number of science fiction stories and films. Four Titans, Nightwing, Tempest, Wally West, and Donna Troy, find themselves transported into a vast metallic labyrinth, cut off from the outside world and beset by various synthetic foes. They are joined by Batman, Aquaman, Barry Allen, and Wonder Woman. The villain is almost incidental to the story. It turns out the Key has kidnapped these heroes to manipulate them psychologically, siphoning the energy of conflict and distress to break a mysterious entity out of an extradimensional prison. We never learn the identity of this ultimate foe, although one suspects it is the hungry demon introduced by Abnett in Titans Hunt and Justice League #52.

The heart of this story lies in the character interactions and the themes they reveal. That between the two Flashes is warm, friendly, and smooth. That between Nightwing and Batman is superficially very different, but probably even smoother and stronger. Aquaman, on the other hand, shows a haughty side to his personality that comes as a surprise to those who forget that he is, after all, a king. Tempest, whose particular relationship with his mentor in modern continuity has yet to be chronicled, reacts with respect laced with tension and rebelliousness. Wonder Woman reacts to Donna with suspicion and hostility, much to the latter's confusion.

And here Abnett drops a bombshell. It turns out that Donna has a new origin, not in itself surprising considering her long history of those. As we saw in the New 52, she was created from clay as a weapon to destroy Diana. It isn't clear the rest of her New 52 story still holds, although considering it involved mass murder one suspects it does not. Nevertheless, her memories are largely false, created to give her stability and the illusion  of humanity.

The post Titans Annual #1 appeared first on Weekly Comic Book Review.

What if they held a Crisis, but somebody forgot to send out the invitations? That is the feeling of SUPERMAN REBORN, the story arc that has threaded through the pages of Superman and Action Comics over the last month. It is, on its own merits, an excellent story of the Kent family and one of their oldest and most popular nemeses. However, it is also a bold rewriting of continuity for the Family of Steel and everyone whose story touches theirs, in other words, every major character in the DC Universe.

The story features the adventures of Mr. Mxyzptlk (let's just call him Mixy for short) and his encounters with the mysterious Mr. Oz, who decides Mixy's brand of chaos would be unwelcome in the New 52 world. Oz manages to imprison the imp for a time, but even his strange powers are not a permanent match for Mixy, who escapes somewhat bitter that Superman didn't come to free him. Mixy discovers the New 52 Superman and Lois dead, and the new Super family in their place. He also learns that Superman's identity has been revealed, so decides to help out by impersonating Clark Kent and proclaiming it was all a trick, Clark was never Superman. Clark's lack of appreciation for this further enrages Mixy, who decides to depart for his home dimension taking the new Superboy with him. In fairness to the imp, he seems rather fond of Jon Kent in his own mad way, and wants to shield the new Superboy from an encounter with the being who has twisted the reality of the DCU.

Action Comics #976 consists largely of a struggle between Mixy and Jon, who the imp has separated from his parents. DC seems to be positioning Jon as a key player in the future of their universe. It is likely no accident that SUPERMAN REBORN echoes the more general REBIRTH idea that has been the theme of the DCU over the past twelve months to widespread, albeit not universal, reader acclaim and commercial success. And a rebirth is precisely what Jon accomplishes in this issue. In the course of his struggle with Mixy, Jon learns that both Lois and Clark exist in two different forms. One version is characterized by red energy, and represents the New 52 characters, who are not even married and do not remember Jon. The other version, imbued with blue energy, are his parents. It's suggested that the two versions were formed by a split, presumably at the time of FLASHPOINT. Jon brings the red and blue energy together, releasing a force that overwhelms Mixy (how precisely is not explained).

So far, so satisfying. But the real twist comes when the joining of red and blue release Jon's parents, now anchored in the REBIRTH timeline. Or a better way of putting it would be that the joining rewrites the timeline so that from the beginning Jon and his parents have been the native Kents.

The post Action Comics #976 appeared first on Weekly Comic Book Review.

What can Batwoman do that Batman can’t?

That’s the question set before Marguerite Bennett, James Tynion IV, and their readers as DC relaunches Batwoman.

For many the question is sort of a reflection. Those unappreciative of Batwoman might see it as a matter of what Batman does that Batwoman doesn’t. Save the city, fight iconic villains, have a memorable supporting cast; in these areas Batman has generally held the upper hand. Perhaps that’s why they’re the first things that Bennett and Tynion prove Kate can do with this issue.

Tynion has said that where Batman wants to end crime, Batwoman wants to end terrorism. The first advantage that the creative team take advantage of is setting. Beginning in Istanbul and ending in Mediterranean waters, Batwoman #1 offers fantastic new settings for classic action and opens up a literal world of possibilities for her. Gotham City is great, but Bennett and Tynion almost instantly demonstrate the power of bringing the Bat out of its comfort zone, creating tension out of reality and mystique out of the unknown.

It’s also notable that Batwoman’s most prominent supporting cast member is currently incarcerated. Jacob Kane, Kate’s father, ran afoul of the Bat-clan in Tynion’s Detective Comics. Colonel Kane served a similar role to Batman’s ‘father’, Alfred Pennyworth, and so it’s only natural to fill that void with another Pennyworth, Alfred’s daughter Julia.

It’s admittedly strange to see Kate and Julia enter the series in a seemingly serious relationship when, to my imperfect knowledge, the two have never shared a panel before, but it’s hard to argue with the results. There’s immediately something very intriguing and true to character to have Kate care for and dependent on an exceptionally capable woman who may very well be a mole.

Julia is Kate’s present and, perhaps, a future for her, but we are not entitled to all the specifics yet. That’s very real in a way that I don’t know that comics are really used to but it also represents an important paving of the way for future events. This series is not only dealing with Kate’s present but her past and, just the same, there are many secrets to be discovered within “The Lost Year”. Batwoman may have an uncanny knack for running into the most dangerous women in the world, but her missing adventures on the island of Coryana are already shaping up to be a worthy origin story all on their own.

To be honest, as intriguing as Kate’s mistrust of Batman’s metaphorical hand on her shoulder is, the necessity of it is unfortunate in my view. While some will appreciate the natural flow of continuity or be pacified by a quiet reassurance in Batman, I found most of the the moments that reminded of him the issue’s least interesting. It feels a little like editorial didn’t trust the character, or at least the general audience, enough to let Batwoman stand completely on her own and, while it’s not a terrible drag on the issue, the time spent connecting the two cousins steals valuable seconds from an issue with a very specific pace.

And pace will be a big part of a reader’s enjoyment here. Bennett, Tynion, and Epting are not afraid to get into a moment, but that can make some transitions rather sharp, a quality that some will love and others will tolerate. Likewise, it’s interesting to note that, while this isn’t a light issue by any means, the plot is very easy to summarize. It’s not what happens in this issue but what possibilities it opens up that make Batwoman #1 such an engaging read.

As is often the case, Marguerite Bennett’s uniquely poetic rhythms punctuate the issue. Thoughtful, purposeful musings propel the story from one moment to the next, fading out and returning with striking timing and cruel echoes that don’t so much reveal the writer’s hand at work as revel in it.

But before you can assume this to be an overly wordy issue, the book contrasts these musings with several nearly silent pages, held aloft by Steve Epting’s narrative sense. It’s odd to see both of these in one issue, but, to its credit, Batwoman never feels like it’s prioritizing the writers or artists over one another, merely working together in different formations.

Speaking of the art, Steve Epting’s style is pretty perfect for this story. From Noir-tinged - perhaps soaked - flashbacks to stark character moments to dramatic monster fights, Epting delivers exactly what the script demands. Especially when combined with Jeromy Cox’s inks and Deron Bennett’s colors, Epting’s panels range from a flat, matte style in Kate’s out of costume moments to intricately detailed realism in moments like an assassin’s reveal. Perhaps what’s most striking is the degree to which the transitions between these looks is completely natural. It makes moments where the artists intentionally contrast them all the more potent.

Isolation is a powerful part of Epting’s panels and he seems to enjoy communicating connection or the lack thereof in most of his compositions. It not only hints at the emotional state of the characters but gives readers another level to analyze each scene on and presents Batwoman with an intellectual power worthy of the Bat.

The post Batwoman #1 appeared first on Weekly Comic Book Review.

"I am not a joke. I am not a riddle! I am not a bird or a cat or a penguin! I am not a scarecrow or a plant or a puppet! I am your broken friend! I am not your regretful teacher. I am not a child's fairytale. I am not a circus act here to amuse and frightened you! I am not another one of your madmen howling at the moon! I am not some rich boy playing dress up! I AM BANE!" - Bane written by: Tom King

After reading this issue, I had to just sit back for a moment, and soak in what I just read. During that moment I tried to think of something catchy to write for this opening paragraph, and nothing quite felt right. All I can say is, this is by far the best issue of the Tom King and David Finch tenure. It was a very compelling and heartbreaking story, as you take a deep look into the lives of both, Bane and Batman. Their stories are so similar, and yet, so different. The core of their stories are essentially the same: a young boy orphaned by horrific circumstances, hell-bent on retribution, and trying desperately to regain what ripped from him. The only real difference between Batman and Bane is the environment. Obviously Bruce Wayne growing up a billionaire, had his entire life laid out before him. He also had a guiding light with a great moral compass in Alfred, to help steer his rage in the right direction. Establishing an ethical value in his life for what's right and wrong. Helping him make the right life decision to bring justice to the criminal underworld. Whereas Bane's landscape was completely different. He grew up in a prison, where the only thing he learned was, you either dominate and establish your power, or your dominated and considered weak. It was survival of the fittest. There wasn't a guiding light, just rage. Not only for the loss of his mother, but a rage for the society above, that aimlessly stumble through life without worries. A rage for the ones who were able to have birthdays, holidays, and the simple pleasures in life that he never experienced. For his life was always filled with pain and loss.

It was really amazing to see Tom King bring so much commonality to these life long enemies. It made for such enjoyable read. You really get a sense that these 2 guys, even though stand on opposite ends of the law, share a respect for each other. I really enjoyed how Tom king particularly used the mothers in both their lives as the common ground in this issue, and the driving force for their determination and quest to be the best they could possibly be. Tom did a great job composing this story and explaining the hardships of their childhoods. It really conveyed what gave both, Bane and batman that drive to never give up. That they both needed to make their mothers proud. You could also feel the sense of responsibility they both felt for their tragic losses. Just when you think Tom King couldn't get much better, he goes and writes something like this.

Let's not forget the visually stunning work by David Finch in the issue as well. In my opinion, his art has really grown since his run on batman. Accompanied by the talented colors of Jordie Bellaire, Finch has created some of the best work of his career.

The post Batman #18 appeared first on Weekly Comic Book Review.

This issue starts off with Mr. Slate being the pretentious jerk he's accustomed to being. Firing Fred and the rest of the crew, for a little extra profit. You see Fred In the wake of his unemployment, feeling worthless sitting at home unable to go to work. He prides himself on being a hard worker, and without that, he feels depressed. In the hopes of cheering up her distraught husband, Wilma buys him a new bowling ball, and offers him a night out to take his mind off of recent events. The night doesn't provide Fred with much relieve, but luckily the next morning, Mr. Slate gives Fred and the crew all their jobs back.

Now, what I found to be the most enjoyable part of this issues, was the back story involving the armadillo and the rest of the household appliances. In the beginning of this issue you see all the appliances taking a load off after a long days work, and really enjoying each other's companionship. After Wilma buys Fred the new bowling ball, which is an armadillo. The old one must be disposed of for the garbage company to haul away. The other appliances have trouble coping with thought of their old friend rotting away at the dump, so they devise a plan to rescue their pal, and bring him back to the house. Mark Russell does another brilliant job in this issue, bringing a the perfect amount of humor and intellect to the reader. What was really amazing to see was, how a depressed Fred seemingly tosses aside his bowling bowl for a newer model, while he sulks in the decision Mr. Slate made to toss him aside for a better model. Russell's ability to show that contrast in the midst of humor, is incredibly brilliant.

The art work has been consistently great through this entire run with Steve Pugh at the helm. He's able to take an old child hood favorite, and make it a more visually mature, and life like. I think Russell and Pugh compliment each other perfectly, and make a great duo.

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It’s strange how certain characters can come to embody elements of stories, sometimes even feelings that they inspired. Greg Rucka’s original run on Wonder Woman is a masterpiece in a slew of different ways, but, in general remembrance, I tend to fixate on its attention to the ‘real’ Wonder Woman.

Who is the ‘real’ Wonder Woman? Is it Diana, ambassador of peace? Is it Wonder Woman, hero to millions? Is it Princess Diana, the public face? Is it Wonder Woman, the unachievable dream? Rucka’s run humanized Diana even as it demonstrated her startling perfection and the dangerous effects it could create. And so, to return to my original point, two characters have come to represent this spectrum of Wonder Womans to me. And it just so happens that they’re the two that get the spotlight this issue.

Seeing Ferdinand again immediately puts a big, stupid smile on my face and, it seems, that’s very much the point. Ferdinand’s very existence, aside from being surprising, summons both the fantastic and the down-to-earth of Wonder Woman and allows Rucka  to further assemble a team that quietly demonstrates Diana’s importance through the devotion she inspires.

Ferdinand’s reintroduction also jumpstarts the scenes that he’s in enough to allow the reader to view them from the villains’ point of view without losing a connection to the heroes. So while these moments are relatively brief they pack an impressive punch. Wonder Woman’s greatest enemy has always been war and Liam Sharp conveys that beautifully, instantly summoning up the camaraderie and horror of a great war movie.

Of course, I mention the villains and it’s there that we find the other major character of this issue, as well as my fond recollections of the original Rucka Wonder Woman, Veronica Cale. I cannot say that Rucka’s handling of Cale is his most subtle this issue, but, nevertheless, I can easily call it masterful. Cale slithers between sympathetic pretender and out-and-out monster in the blink of an eye. From her first sentence her duplicity is on display, shoring up her ‘feminist’ derision even as she weaponizes patriarchy. There’s a slickness that proves how easy this is for her and a repetition that demonstrates how many times she’s played this over in her head. And though I highlight these contrasts and contradictions, what makes it work is how unified it all is.

Alongside these core pillars are a dramatic scene on Themysciera and another incredible check in with Diana. Rucka is positively Morrisonian in this latter scene, but, even if Morrison is not be a flavor to your liking, here it’s decidedly effective and clever. Even an exercise as simple as seeing Diana’s word associations is full of clever little insights.

If that sounds like a lot of content, you’re not wrong. This issue is pulling a lot of different ways and that robs it of a sense of focus. Diana’s struggles with her identity could easily have supported an entire issue, as could the temptation of Barbara Minerva, even including the attack on Ferdinand and co. One suspects that the parallel stories playing out in this bi-weekly title played a part in the somewhat harried structure of the issue. That said, it’s also obvious that Rucka was willing to only say what was needed, as even the limited space he was allowed is frequently used to set tone.The introduction on Paradise Island, for instance, is cool in how different it is, but it lacks a sense of necessity as of yet. It seems that both the opening and ending sequences were likely structured as they were to give Liam Sharp some playgrounds.

Speaking of Mr. Sharp, as ever this issue manages to combine lush fantasy with gritty realism in an impressive fashion. From cartoon snakes to grotesque, techno-magical transformations to proud Amazons at faith’s end, Sharp shows off his range this week.

More than simply being aesthetically pleasing, Sharp demonstrates formidable storytelling skills, particularly on Themysciera. Many of Rucka’s best scenes take the form of extended conversations, but Sharp and Rucka work naturally together and the layouts and compositions inject tension and narrative depth into nearly every page.

Noses have a tendency to look a little too flat and many of the characters in the spotlight lack the facial details that bring out the specificity in Sharp’s drawings, but between a nearly silent finale and a score of clever tricks - notably including a well placed window muntin - the issue remains visually intense.

The post Wonder Woman #17 appeared first on Weekly Comic Book Review.

This Issue ends with the Night echoing with Caw’s that act like a road map leading Batman to the monster standing in the dark. Bane gazes across at Batman, with a red illuminating light from the burning flair in his hand, displaying Batman’s captured allies. This is Bane bluntly saying, check mate. Now the fate of what happens next, falls once again on Batman, because now, the next move is his to make.

Tom King’s approach on Bane is brilliant. It’s easy to have him showcased as the door busting, back-breaking venom enraged mindless gladiator. Who will stand toe-to-toe with you that's ready to rip your heart out. Not here though, this issue, along with the previous have played out like a horror film. You know the monsters there, and that he’s out to get you, but you rarely see him until the end, until he’s ready. All the while intricately weaving conflict all around you, he’s seemingly one step ahead at every turn. It’s a marvelous approach to Bane, and it’s intriguing to ponder how this story will eventually end.

Let’s also not forget how much of a boss Alfred is in this issue. Near the beginning of the story you see Alfred sneaking around Arkham in disguise, just to bring Gotham girl in front of Psycho Pirate, and ordering his cooperation while holding a gun to the side of his head. That’s an Alfred I can stand behind. It was a pleasant surprise throughout the issue to see the use of some old, but familiar faces too like – Trogg, Bird, and Zombie who haven’t been used in quite a while.

I was also equally impressed with David Finch’s art in this issue. Finch is one of those artist you either love him or hate him. It’s hard to find that middle ground when it comes to his style, but the way he visually constructed Bane in this issue, is everything I envision him being: A towering behemoth, God like man. The mere look at him screams evil. The last person you would ever want to run into down a dark alley. Plus, I don’t think you can ever complain about a Finch splash page, and this issue really played into Finch’s wheel house, which made it visually stunning.

The post Batman #17 appeared first on Weekly Comic Book Review.

What comes after "meet cute?" Well, I suppose one might as well ask what comes after "the thing that isn't precisely meet cute but falls short of the apocalypse." Yes, yes, it's obvious that Damian Wayne and Jon White (Kent) are well on their way to fast and enduring friendship, even if one is an absurd tyrant and the other is ... much, much taller. Nevertheless, the first meeting of these future demigods of the DC Universe was not exactly chocolate and puppies.

Peter Tomasi seems, fortunately, determined to mine the natural compatibility issues in this relationship for every nugget of comic gold he can find. In Super Sons #1, He is ably aided by artist Jorge Jimenez and colorist Alejandro Sanchez who produce a world of bright hues and sharp, elongated forms that bring to mind the look of the original Scooby Doo. It is a perfect design for a book that brings together friendship, adventure, mystery, and super powers with a refreshing absence of darkness.

The story begins in medias res, as Robin and Superboy find themselves running, bickering, and fighting a horde of robots made to somewhat resemble them - or at least to resemble them by way of the Tin Man from the Wizard of Oz. We then visit what appears to be some kind of TV soundstage dominated by a powerful but juvenile monster who strongly resembles Billy Mummy's vicious child god from The Twilight Zone. The bulk of the tale chronicles Damian's attempt to appreciate Jon's life as Robin impersonates a bus driver and a schoolteacher. After a detour to deal with some bullies and a brave sneak into Superboy's room under Clark Kent's nose, the boys decide to investigate a hacking episode at Lex Corp. Unfortunately, it turns out Lex Luthor has the   same idea.

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