The Comic Book Revue

Spotlight: Age of Ultron #10

2013-06-19T13:00:00.000-04:00

(w) Brian Michael Bendis
(a) Alex Maleev; Bryan Hitch & Paul Neary; Butch Guice; Brandon Peterson, Carlos Pacheco & Roger Bonet with Tom Palmer; David Marquez, Joe Quesada

This is what disappointment truly feels like.

I defended Age of Ultron in nearly every review I wrote about the series. And while it has indeed been a fun and generally enjoyable ride, Age of Ultron #10 simply fizzles out where it should have been explosive. And one vague, surreal explosion doesn't count after nine issues of build-up.

** SPOILERS AHEAD. THOUGH, YOU PROBABLY READ A LOT OF THIS ONLINE ALREADY. **

Why do I not like Age of Ultron #10? Let me count the ways. One: there are far too many artists on this issue. Two: introducing Angela in the final pages is such an obvious grab for money that I nearly slammed by laptop's screen shut in frustration. Three: this issue is the epitome of anticlimactic.

There are ten different artists credited to Age of Ultron #10 with no guide as to who has drawn what. Sure, I've got some idea based on what I've seen in other books, but overall, it's extremely jarring to see one issue go through so many different styles. Now, Bryan Hitch, Brandon Peterson, and Carlos Pacheco were featured throughout issues one through nine, but that was for a reason. Hitch drew the original timeline, Peterson drew the 'Age of Iron Man' segments, and Carlos Pacheco tackled the sequences set in the past of the Marvel universe. There were three distinct styles for three distinct parts of the story, and generally, it worked well. The only reason that I can imagine Marvel had for employing so many artists was the nature of the story's conclusion. And even if they did -- which is highly unlikely -- the experiment was not worth it because it looks bad.

Angela, Angela, Angela. Everyone is so excited about Angela, and it turns out her presence in the issue amounts to little more than a cameo. Now it makes sense how Bendis was able to "write" a special new part for the character. I phrased it like that not because I believe Bendis can't write, but because it's not a real sequence. Angela's appearance is just her inner monologue with a two-page spread by Joe Quesada as the backdrop. That's not enough. That's just pandering. And I'm sure there are those out there who loved seeing Angela on those final pages. But if you're unfamiliar with the character, this 'epic conclusion' is just confusing.

Which brings us to the fact that Age of Ultron #10 is the most anticlimactic ending to an event Marvel has produced since...well at least before House of M. The biggest revelation we get is that the multiverse is now bleeding into itself, meaning various universes will cross over with relative ease. While this is a big change in status quo, there's only one single splash page that's interesting. The rest is panning images of space and bright lights. It might be menacing and mysterious, yes, but these are the final pages of Age of Ultron.

The big battle we get is basically a reprint of Avengers #12.1 from two years ago, and though it ends differently here than it did before, it's just a big letdown. Alright, sure; the Avengers defeated Ultron before he ever started his apocalyptic invasion of Earth. But we knew that was going to happen. What we needed here was something bigger to keep the momentum going now that the event is over. Unfortunately, Marvel thought giving us one glimpse of Galactus and a spread of Angela would do the trick. And even though the crossover nerd in me did summersaults when I saw Miles Morales facing down Galactus 616, it was a fleeting emotion because the only real reason it was included was for that specific reaction, not because it had anything to do with Age of Ultron.

Age of Ultron wasn't a huge failure. Bryan Hitch's artwork for the first five issues was fantastic, Carlos Pacheco's style fit the 1960s sequences perfectly, and the goal of the entire narrative was achieved by the end of Age of Ultron #10. Brian Michael Bendis set out to create an grand story about the dangers of abusing technology we don't understand. Unfortunately, this sentiment becomes hollow when the lesson isn't learned. Wolverine isn't punished for basically unraveling all of time and space, while Hank Pym believes he can correct the errors in Ultron's programming instead of understanding that creating and manipulating consciousness -- biological or artificial -- isn't right. So what was the point?

Bendis threw the biggest players in the Marvel universe through the ringer for no reason. The characters don't truly grow because they haven't learned from their mistakes, which makes it all the more obvious that the true endgame of Age of Ultron was to allow Marvel to dig into it's plethora of fan-favorite characters with far more ease. This might sound harmless at first, but it means the characters were simply props throughout this event. All the tie-ins, all the deaths; none of it technically matters. And that's a problem. As an event, Age of Ultron was mediocre. As the final issue Age of Ultron #10 was completely lackluster.

GRADE

5/10

The Week in Revue (June 19-25, 2013)

2013-06-18T12:30:00.000-04:00

------- Spotlight

Age of Ultron #10 of 10
(w) Brian Michael Bendis
(a) Bryan Hitch, Brandon Peterson, Carlos Pacheco, et al.

------- DC Reviews

Green Lantern: New Guardians #21
(w) Justin Jordan
(a) Bradley Walker and Andrew Hennessy

Wonder Woman #21
(w) Brian Azzarello
(a) Cliff Chiang

------- Marvel Reviews
Captain Marvel #13
(w) Kelly Sue DeConnick
(a) Amanda Conner

Uncanny Avengers #9
(w) Rick Remender
(a) Daniel Acuna

Guardians of the Galaxy #3 Review

2013-06-15T19:00:00.001-04:00

(w) Brian Michael Bendis
(a) Steve McNiven and Sara Pichelli

Though it started slow, I've really been digging Guardians of the Galaxy. Brian Michael Bendis is at his best writing epic, team-based stories, and this series checks off both those boxes. Man fans of the previous iterations of the Guardians were upset with the way Bendis basically ignored a lot of what came before in exchange for his own vision of the franchise. I never read any Guardians stories before this, so all I have to go on are these three issues (and the #0.1).

Guardians of the Galaxy #3 finds the team in the clutches of mean old King J-Son, Peter Quill's father and the ruler of the Spartax Empire. It's been pretty obvious since issue one that J-Son has some sort of scheme a-brewin due to his general withholding nature, the very existence of the galactic council he seems to lead, and the overall vagueness of everything he says. I'd be more frustrated with how enigmatic J-Son and his agenda are if I wasn't as familiar with Bendis' work as I am.

Other than that, the narrative is exciting and fast-paced without feeling rushed. Bendis is at his best writing teams. His work on the Avengers franchise is more than enough evidence to this fact. Guardians of the Galaxy #3 really conveys just how legendary this team of heroes is, though many consider them menaces and pirates. Basically, this series allows for Bendis to use all his favorite tropes in one place: pomp and grandeur, deriving conflict and character development from emotional resonance, the proverbial "David vs. Goliath", divisive interpretations of consequential happenings. All of this stuff can be seen in Guardians of the Galaxy #3. Bendis graduated from the Earth's Mightiest Heroes to the defenders of the entire galaxy.

GRADE

8/10

Batman #21 Review (Zero Year, Part 1)

2013-06-14T23:09:00.002-04:00

(w) Scott Snyder
(p) Greg Capullo
(i) Danny Miki

Let's get this out of the way right up front: this issue is amazing. Not only does it perfectly set up the entire storyline that's set to last for the next calendar year, but it also introduces a host of new elements to Batman's 'New 52' history. It's a tight race this week for which of Scott Snyder's books -- Superman Unchained #1 or Batman #21 -- is comes out on top. I'm in the Batman camp this time.

I'd like to address an issue I've been seeing online since "Zero Year" was announced, and that now is becoming more prevalent. Many people are upset that Snyder is taking Batman into the past for an entire year's worth of issues. This criticism is two-pronged: the arc is too long, and it's firmly set in the past instead of progressing Batman's current-day adventures. On both counts I'm not convinced.

The allegation that "Zero Year" -- at 11 issues, but taking a full year due to the break in September for Villains Month -- will be too long seems silly at this point in Snyder's career writing Batman. His initial arc on Batman for the 'New 52' was technically also 11 issues in length, though it's considered two arcs. "Death of the Family" may have been only five issues in Batman, but the numerous tie-in issues gave the core narrative a larger breadth than it normally could have achieved by itself. At this point, I trust Scott Snyder to deliver something incredible. And on a purely logistical level, the title page says "Zero Year - Secret City: Part One" alluding to the idea that this mega-arc will be broken into more manageable segments.

On the gripe with Snyder focusing on Batman's past instead of his current day exploits is just redundant. First of all, Batman has been framing the Batman family of titles for most of the 'New 52', if not directly than at least through Snyder's characterization of Batman staying mostly consistent across all the titles he's featured within. Second, Batman is the solo star of two other series -- Detective Comics and Batman: The Dark Knight -- as well as having his name in an additional two others -- Batman and Robin and Batman, Incorporated. All of these titles will be telling current day stories (save for November, from some rumors I've seen online), so why can't Snyder delve into the past? One of the major complaints about the 'New 52', in general, is the lack of information regarding the five to six years between the first appearance of Superman in Metropolis and what's going on in the current day. For the next year, we get to see just that.

Batman: Year One was bout Batman's relationship with Jim Gordon. "Zero Year" is about Bruce Wayne becoming Batman. It's a simple concept that bears a lot of weight because with the condensed nature of the 'New 52', this is the year of Batman's career when he establishes his rogues gallery. Yes, there seems to be a central antagonist here at the starting point, but it would be folly to assume Snyder will only stick to one villain for eleven issues that spans a year of Batman's life.

GRADE

10/10

Spotlight: Superman Unchained #1

2013-06-12T17:46:00.001-04:00

(w) Scott Snyder
(p) Jim Lee
(i) Scott Williams

Was it that hard to produce a non-Grant Morrison Superman book, DC?

Superman Unchained is exactly what I've been wanting from Superman in the 'New 52'. Now, I loved Morrison's run on Action Comics, but it was a high-concept story that was difficult to follow month to month. Then there's the eponymous series that was mishandled from day one, only to be given to Scott Lobdell who has managed to drive the title even more into the ground than it already was. Letting Scott Snyder take a crack at the Man of Steel was a great decision that has resulted in the single greatest Superman issue of the 'New 52'.

** SPOILERS AHEAD! **

My favorite part of Superman Unchained #1 is when Clark is reentering Earth's atmosphere while attempting to divert a falling satellite from crashing into a populated area. While speeding toward Earth, Superman experiences the same sensation of free falling as he did when he was a boy jumping from a silo into a giant stack of hay. It's not the most bombastic or exciting part of Superman Unchained #1, but it's extremely important to the Superman mythos, in general.

Many writers attempt to humanize Superman through the use of the character's inner psychological conflicts. Since Clark is a god among men, a lot of good storytelling comes from analyzing just how he handles himself beyond fighting villains or stopping alien invasions. Superman: For Tomorrow was one of the most successful examples of this kind of narrative. But then it became commonplace. It felt like Superman's emotional turmoil was becoming the focus instead of the lining that gave meaning to Clark's actions.

Snyder's decision to make Clark reminisce about his life in Smallville is meaningful because it rarely ever happens. Sure, there are flashbacks to random moments here and there, and the Kents are always at the forefront of Clark's thoughts, but specifics have been few and far between. The story of the Colder Jump shows Superman's humanity. And not through the lens of holding back his strength or doling out sage advice to mere humans, but through being human himself. Everyone has triggers that set memories into motion -- Superman's are just a little larger than life. For all the times Clark talks about Smallville, it's great to finally experience a real connection to the Man of Steel's life as just a Man.

This scene is one example of Snyder employing a theme that basically juxtaposes the ordinary against the extraordinary. Clark is remembering life in Smallville at the same time he's literally moving a building-sized satellite through our planet's atmosphere. The theme continues into Superman's conversation with Lex Luthor, which takes place in a helicopter that Clark is holding upside down. Both Clark and Lex speak to each other like they're sipping tea at a Parisian cafe even though one is an alien Jesus figure and the other is a hyper-intelligent sociopath bent on destroying Superman. By the end, it's clear that the theme has been present throughout the issue. More or less, Superman Unchained #1 gives readers a good, basic view of what Superman does day to day. Clark never breaks a sweat, his voice never falters, and his step never misses. An extraordinary life is simply life to Superman.

Superman Unchained #1 is what readers have been waiting for: a true flagship title for the Man of Steel. Scott Snyder so fantastically taps into what makes Superman great that I actually found myself disappointed that the issue was over and that there wasn't any more to read. If Snyder can do with Superman what he's done with Batman in terms of overall character development, Superman Unchained is set to be one of the best series of the 'New 52.'

GRADE

9.5/10

The Week in Revue (June 12-18, 2013)

2013-06-11T12:00:00.000-04:00

------- Spotlight

Superman Unchained #1
(w) Scott Snyder
(a) Jim Lee

------- DC Reviews

Batman #21
(w) Scott Snyder
(w) Greg Capullo

Green Lantern Corps #21
(w) Robert Vendetti and Van Jensen
(a) Bernard Chang

------- Marvel Reviews
Guardians of the Galaxy #3
(w) Brian Michael Bendis
(a) Steve McNiven and Sara Pichelli

Thor: God of Thunder #9
(w) Jason Aaron
(a) Esad Ribic

Green Arrow #21 Review

2013-06-10T22:59:00.002-04:00

(w) Jeff Lemire
(p) Andrea Sorrentino

"The Kill Machine" finishes up this month with not a bang, but a subtle whimper. I want to like Jeff Lemire's run on Green Arrow, I really do. And there are elements that I think are very strong, but Green Arrow #21's attempt to expand the mythos of Oliver Queen actually backfired and made the character a whole lot less charming. Since Ollie technically defeated Komodo last issue, this issue is mostly about tying up all the loose ends Lemire has left dangling.

** SPOILERS AHEAD **

First and foremost is how Ollie and his father are connected to the island where Ollie first learned to shoot a bow. Magus -- Lemire's 'deus ex machina' that's been popping up from time to time to lend a helpful story about the past -- finally decides to lay out the cards for Ollie and explain everything. Turns out Richard Queen and Simon LaCroix were friends once, but LaCroix murdered Queen. The reason? I'm not entirely sure. Magus explains that, "...LaCroix was everything your father wished you would be. He made him his protege in both business and his quest for the arrow. And then LaCroix killed him for it." Doesn't make too much sense to me: to murder the man who gives you opportunities unbounded. But that brings me to my second point.

THE CLAN OF THE ARROW?!?!?!?

Years ago, then-Marvel writer J. Michael Straczynski attempted to explain that Spider-Man was just the current avatar of the Spider God who had bestowed the power of the spider to various humans throughout history. It was a stupid and pointless endeavor that only succeeded in cheapening the character's rich narrative history, betrayed the core concept that anyone can rise up to a hero, and generally mucked up Spidey's continuity so much that everyone basically just doesn't talk about it anymore. It was a ridiculous attempt to give more meaning to a hero who didn't need some deeper meaning to his powers. It was completely unnecessary.

This is the feeling I'm getting from this whole 'weapon clans' concept Lemire is introducing. Basically, Oliver Queen was always destined to pick up a bow and become one of the most formidable and talented archers in the world because there is an ancient Arrow Clan of which is family was part of. I understand that part of the 'New 52' is actually making some things new, but this is the kind of change that makes fans angry.

Oliver Queen used to be about helping the less fortunate because he felt a sense of responsibility due to his being born into wealth. He took it upon himself to learn and grow as a person and become something better than he was before. And for a few issues, Lemire was beginning to lean toward this direction with the character after 16 issues of Ollie being a total ass and a pale ghost of his former self. Instead, Lemire decided to make Green Arrow just another hero who was 'destined' to become a hero instead of reinforcing Ollie as an example of peoples' ability to do better.

This just doesn't feel fun anymore. It feels forced. Not everything in a comic book universe has to be tied to fate, destiny, or past events. Sometimes, heroes arise because they need to and not because their great-great-grand uncle was cursed by an evil warlock for generations or somesuch like that. I like Lemire's dialogue; it's quality work and the all characters feel organic. I also love Andrea Sorrentino's artwork. It's honestly just the story that's turning me off of Green Arrow now.

GRADE
6.8/10

Earth 2 #13 Review

2013-06-06T19:21:00.001-04:00

(w) James Robinson
(p) Yildiray Cinar
(i) Rob Hunter

James Robinson gave himself a big task with Earth 2. I phrase it like this because Robinson was the one with the concept from the beginning and he's written every issue so far. It's quite obvious the man has epic plans for this series. It's a true shame he'll be leaving the series after issue 16. But that's another rant altogether.

Earth 2 #13 introduces Captain Steel, a character most modern readers probably don't know. And that's okay, because Robinson gives us such a fantastically comprehensive look at Hank Heywood and what he means to the ongoing narrative. What's most interesting about him, though, is not his powers or his origin story (though both are fun), but rather his personality.

** SPOILERS AHEAD **

Steel is less man than metal after his father saved his life from a degenerative bone disorder by injecting him with living metals that rebuilt most of what was dying inside his body. It's nice to focus on all the amazing things Captain Steel can do now that he's not restricted by conventional human weaknesses, but the real change in Heywood was psychological. And it all comes down to a single panel.

Unlike the rest of the wonders featured in Earth 2 so far, Captain Steel is a "lone ranger" of sorts. Though he's associated with the World Army and he follows commands to a tee, it's not because he wants to. He doesn't have the passion or the sense of duty that any of the other wonders possess. The living metal that saved his life also striped him of whatever emotional ability he once had. Now, he's just a husk of a man who does what he does "because what else is there? But I do not care." It's an extremely powerful sentence that shows a different side to the concept of a superhero. Captain Steel is still just as heroic, brave, and just as the other wonders, but his motivations are nonexistent, which is fascinating when you think how that basically never happens in modern comic books.

I am very sad that James Robinson is leaving Earth 2 because we're now getting to the point in the series where all the various bits and pieces we've been getting over the past year will finally start coming together. He's taking old ideas and totally revamping them in a way that even the rest of the 'New 52' can't top.

GRADE

9/10

Spotlight: Green Lantern #21

2013-06-05T22:18:00.002-04:00

(w) Robert Vendetti
(a) Billy Tan

After a grand send-off with Green Lantern #20, Geoff Johns has passed the series on to Robert Vendetti. Johns was with the franchise for almost ten years. He poured a lot of his time, energy, passion, and love into that title. In this modern age of comic books, it's very rare for a writer to stay with a 'Big Two' character for more than a few years, and that's an impressive run. Other than Brian Michael Bendis (and Robert Kirkman, if we're looking at indie labels as well), Johns is one of the only writers whose guided a single title for so long. This can also be perceived as a negative; one writer means one vision means one style. I love Geoff Johns' work, but it's definitely time for a new voice to be heard.

That voice is, as I mentioned above, Robert Vendetti. When i first heard the announcement, I didn't know what to think because I had no idea who Robert Vendetti was. Would this mysterious new writer be able to match Johns' quality while still doing things his own way? Then I read Valiant's X-O Manowar and I was completely at ease. At it's core, Green Lantern is a sci-fi story. Vendetti's work for Valiant is a clear and extremely strong example of how good he is at writing science fiction. This revitalized X-O Manowar is one of the most compelling ongoing series I read every month. By the time I caught up to the current issue, I knew Vendetti was going to make Green Lantern his own.

And thus he has.

Green Lantern #21 is not only a phenomenal opening salvo from Vendetti, it's one of the most refreshing GL stories in a while. Johns' work was solid and fun to read, but after a while, story after story dealing with the Guardians' mistakes again started getting stale. With a new status quo, Vendetti is able to shape Green Lantern into a much leaner version of it's former self. Johns packed on the pounds with loads of mythos, characters, expanding history, and overall pomp. Vendetti aims to trim down the franchise into something more manageable to the more casual reader. It's not dumbed down by any means, simply elegant in a way that could have proven difficult in the Johns era when it wasn't uncommon for two or three other-colored Lanterns to show up and get into something.

** SPOILERS AHEAD **

Yes, Larfleeze and Kyle Rayner (now a White Lantern) are both featured in Green Lantern #21. The difference here is that, 1.) Larfleeze isn't attacking Oa because of some prophecy or really anything to do with the emotional spectrum, and, 2.) Kyle Rayner is more or less a Green Lantern anyway. The point is that near the end, much of Johns work seemed to rely on the concept and plot device-ness of the emotional spectrum instead of building it. Here, Vendetti uses two other colors, but it's because they're part of the mythos he's working with, not something he's actively creating.

This isn't to say that Vendetti is just going to rest on the work of Johns. Quite the opposite, in fact. While we don't know yet who or what is going to be the next real adversary for the Green Lantern Corps, what we do know is that Vendetti isn't looking to just jump into another massive, intergalactic crisis. Throughout Green Lantern #21, we see elements of world building, but on a much more subtle level than usual.

Vendetti is framing his initial arc upon the rebuilding of the GLC after the events of "Wrath of the First Lantern." Things are at an all-time low, and Hal Jordan has suddenly been shouldered with leading the entire Corps when the newly-freed Templar Guardians decide they've been away from the rest of the universe for too long and, thus, must depart Oa to grow and become worthy of leading their Corps. It's a surprisingly simple, yet highly effective way to lay the groundwork for new stories.

Now that the terrible secrets of the original Guardians have all been revealed and all the awful prophecies have played out, it's time for a new direction for Green Lantern. Robert Vendetti is just the man to do it, and Green Lantern #21 is stellar.

GRADE

9.5/10

The Week in Revue (June 5-11, 2013)

2013-06-05T18:54:00.001-04:00

------- Spotlight
Green Lantern #21
(w) Robert Vendetti
(a) Billy Tan

------- DC Reviews
Earth 2 #13
(w) James Robinson
(a) Yildiray Cinar

The Movement #2
(w) Gail Simone
(a) Freddy Williams II

------- Marvel Reviews
Age of Ultron #9 of 10
(w) Brian Michael Bendis
(a) Brandon Peterson and Carlos Pacheco

Hawkeye #11
(w) Matt Fraction
(a) David Aja

Earth 2 Annual #1 Review

2013-05-30T22:23:00.001-04:00

(w) James Robinson
(p) Cafu and Julius Gopez
(i) Cafu and Cam Smith

What should have been a knock out of the park for James Robinson turned out to be a rather wishy-washy issue with very little connecting the various elements. Earth 2 Annual #1 was advertised in a big way because it would include the first appearance from Earth 2's brand-new Batman. And that's pretty much the only element of the issue promoted. Which is unfortunate because the new Batman bit was easily the weakest part of the issue.

I like that Robinson has the freedom to do almost whatever he wants on this title (which makes his recent departure announcement all the more frustrating), and creating a whole new Batman is interesting for this world. What I don't like is how little we know. We get to see the new Bats in the field. We see him helping other wonders from the shadows. We ever get some of his thoughts. But that's it. There's nothing explaining his motives, who he is, how he became to agile and strong, where he got a Batman suit and what his expectations are for being a masked vigilante. I wouldn't have a problem with all of these unanswered questions if the new Bats wasn't plastered on the cover like it's all about him.

The World Army aspect of Earth 2 hasn't been focused on much, simply because Robinson was playing with Green Lantern, Flash, and Hawkgirl. Earth 2 Annual #1 goes more in-depth with the WA's going-ons, and even introduces a brand new wonder that's sure to be part of the Justice Society whenever that gets around to forming.

The real problem with Earth 2 Annual #1 is how disjointed it feels. Yes, it's supposed to act as an "interlude" in between arcs here, but the drastic shift of focus from the pre-JSA to the wonders employed by the World Army is too abrupt with absolutely no transition. Usually, this isn't a big problem. Here, though, since Robinson is building the entire world, he's got to make the world more cohesive. Right now, we have a lot of different elements that may or may not fit together.

I like Earth 2 Annual #1. It's a fun read. Regular readers of the series will appreciate how much James Robinson is pouring into Earth 2 from all angles. That being said, it's really only for regular readers.

GRADE

7/10

Spotlight: X-Men #1

2013-05-29T21:37:00.003-04:00

(w) Brian Wood
(p/i) Olivier Coipel
(i) Mark Morales

I don't know what I was expecting.

Honestly.

I had absolutely no idea how to feel about Brian Wood's all-female relaunch of X-Men. Well, I had one. I felt (and still feel) that it should be titled X-Women. But that's beside the point.

X-Men #1 is a surprisingly awesome book. It starts out slow, and unless your generally familiar with the X-Men lore as of late...and into the 1990s, you might have a harder time jumping on. But that's to be expected in this modern age of continuity and time travel travesties. Wood has assembled all the most bad-ass female X-Men for a squad whose mission is to stop the destruction of all life in the universe.

While it doesn't sound like a terribly original plot, the threat itself that really drives this title. John Sublime was created by Grant Morrison during his run on New X-Men. He's the embodiment of a sentient bacteria that's been infecting living things since the beginning of life on Earth. Though he became somewhat buried amongst Morrison's numerous high-concept ideas for the X-Men at the time, Sublime represented a deep-seeded fear of someone or something having control over us as humans. He was a powerful character, not only literally, but also literarily.

**SPOILERS, HOOOOO!!!!!!!!!**

And now we learn Sublime has a sister.

Unfortunately, she's not like her terrestrial brother who chose to nurture life on Earth. Sublime reveals that their ancient, bacteria-level, primordial war resulted in his choosing Earth and casting his sister out into space to fend for herself and hope for evolution. And now she's all grown up and angry as hell.

Wood's focus on family comes through with this brother/sister relationship, as well as through Jubilation Lee's return to Westchester County to seek help from the X-Men. Though I detest narration boxes, Wood employs them well here with Jubilee, keeping it light and fast-moving to avoid lingering on something too long and sounding corny.

Jubilee has been out of the picture long enough for Wood to bring her back without having to do much by the way of quick character development. It's not like she's Wolverine and Wood's got to establish that this is, in fact, Wolverine by making him say "Bub" and look menacing while discussing an ethically impossible scenario. This is Jubilee, a character whose been out of rotation for a long time and needs to be treated accordingly. Fortunately, Wood does this by keeping her panel time relatively small. Though the infant she carries is the focal point of the issue, we don't get an intimate look at Jubilee. She's been away for a reason and now, she's wary of returning.

I LOVE Olivier Coipel's artwork. There's not much more to say there.

These days, I find myself enjoying stuff I often scoff at when reading solicitations. It's a bad habit I'm trying to drop, but it's also a testament to how early previews sometimes skew opinions before the book has a chance to really make it's own case. I made a choice to invest myself in #1's when I got back into comics with the 'New 52' and Avengers vs. X-Men. I did this so the comic could prove itself without my preconceived notions getting in the way. X-Men #1 makes my case.

GRADE

9/10

The Week in Revue (May 29-June 4, 2013)

2013-05-28T20:03:00.000-04:00

It's a fifth week, so things are a bit slow. I'll only be covering three issues here on The Comic Book Revue this week, as I've started splitting my time between this blog, my work for Pop Matters, and reviews for DC Comics News, which is a BRAND NEW site dedicated to all things DC Comics.

Also, make sure to check out The Comic Book Revue later this week for a...drumroll please...A PODCAST! That's right: I'll be taking the plunge and recording my first ever podcast about various comics, news, and happenings. More information will come as I figure it out :/

------- Spotlight
X-Men #1
(w) Brian Wood
(a) Olivier Coipel

OLIVIER COIPEL IN AN ONGOING SERIES! YEEESSSSS!!!!!!

------- DC Reviews

Earth 2 Annual #1
(w) James Robinson
(a) Yildiray Cinar, CAFU, and Julius Gopez

LET'S MEET THE NEW BATMAN OF EARTH 2!

------- Marvel Reviews

Captain America #7
(w) Rick Remender
(w) John Romita Jr.

Justice League Dark #20

2013-05-26T15:55:00.000-04:00

(w) Jeff Lemire and Ray Fawkes
(a) Mikel Janin and Vicente Cifuentes

** SPOILERS ABOUND **

Last month's "WTF" edict demanded that each title in the 'New 52' drop some big revelation or surprise somewhere in their April issue. For the most part, writers were able to organically integrate this concept into their current narrative. But for some, it felt very forced. Like Earth 2 #11's inclusion of Mister Miracle even though he wasn't actually part of the story at all. Or how the revelation that Eclipso was behind the scheme to destroy House Amethyst in Sword of Sorcery #7 was a surprise to no one who actually read the series.

Justice League Dark #19 guest starred not only Swamp Thing -- which made sense, as Swampy is a Dark-themed character -- but also The Flash. Unfortunately, it was all of a one-page spread. This was an instance where the "WTF" moment felt very forced, like editorial knew Jeff Lemire and Ray Fawkes were gearing up to use Flash in Justice League Dark #20, and just wanted to make #19 all the more attention-grabbing, just for sales. But that's all just my own beef with DC higher management.

Justice League Dark #20 is a fantastic issue. I wasn't expecting it not to be, as Lemire and Fawkes have been delivering amazing issue after amazing issue for months now. I'm always just a bit skeptical of guest appearances that seem too good to be true; like Flash working with the JLD.

Barry Allen is unique in the 'New 52' as one of the only characters who is written so consistently across every title he's featured in -- the Flash is always his good-natured, generous, laid-back self, whichever book you're reading. That's rare these days as many writers simply use guest appearances as a plot device instead of deriving real character relationships from the experience. Barry isn't there just to be fast: He provides a significantly different perspective on how to be a hero. Even after John Constantine berates him in front of everyone else, he still stands up for the surly mage when his compatriots turn against him.

If you're not reading Justice League Dark, you should be. I know that's a cliche thing to say in comic book reviews, but hear me out. It checks off a lot of boxes on the "who would like this?" list. It's a supernatural series (1). It includes well-known heroes like Constantine, Deadman, and Zatanna (2). It's consistently one of the best titles DC publishes each month (3). It's an integral part of this summer's "Trinity War" crossover (4). Mikel Janin's artwork is superb (5). That's five good reasons to read this book.

GRADE

9/10

Teen Titans #20

2013-05-26T11:24:00.001-04:00

Where does one find such a stylish bucket to wear?

(w) Scott Lobdell (a) Eddy Barrows and Patrick Zircher

Scott Lobdell never ceases to confound me.

Why is Red Robin on the cover wearing a weird bucket helmet and acting like a super villain? Maybe it would make sense if RR was acting out of character for more than a single panel per issue. I think Lobdell truly believes that the readers of Teen Titans understand what's going on from issue to issue, so he doesn't feel the need to actually explain things like Red Robin being an enemy on the cover. Or why Psimon is around at all.

Now, the cover being a total misdirect is somewhat forgivable because that's simply an industry-wide problem, not specifically a Lobdell one. But the cover conveys the idea that Red Robin is not himself, that there's someone or something pulling the strings of his mind and, thus, manipulating the Titans in some way. As I mentioned earlier, prior issues have reduced this confusing (yet seemingly important) plot string to a single panel, hoping readers wont forget very forgettable events. Teen Titans #20, however, features Red Robin on the cover, standing over a defeated team of Titans, and sporting some retro-looking, glowing red eyes.

Is there any insight to this change in RR? At all?

No.

None.

About one third of the way in, Lobdell decides it's time we all learned about Trigon and his family of demons by way of a shoehorned history lesson from Trigon himself...talking to his sons. Doesn't sound too odd, does it? Except that why would Trigon be explaining his life and intentions to his OWN CHILDREN!?!?!?!?! There's no reason for ol' six-eyes to wax poetic to his own kin because they already know who he is. I feel like I shouldn't even need to say these things, like Lobdell is purposely going out of his way to make this comic book series nigh unreadable.

Teen Titans #20 is a joke. It's just another issue in this series that depresses me. I think back to the days when Geoff Johns wrote Teen Titans, and I wonder what that Superboy and Wonder Girl would think of their aimless 'New 52' counterparts. Lobdell has eroded almost anything that made these characters likable, sacrificing any modicum of relatability in the name of ridiculous plot advancement.

GRADE

3/10

Young Avengers #5

2013-05-23T17:46:00.001-04:00

(w) Kieron Gillen (a) Jamie McKelvie

Origin stories tend to either be very, very cool, or very, very lame. I don't know why, nor do I pretend to understand why. It just seems to happen that way.

Even before this conclusion issue, it was evident that Kieron Gillen's team of Young Avengers was a whole different beast from Alan Heinberg's from back in the day. And I was prepared for that. I was ready for my favorite franchise to look and feel completely unique from what I'd come to love. But I'd read Phonogram so again, I knew I was in for something different. I wasn't, however, ready for just how awesome it could be.

Gillen's opening arc for the second volume of Young Avengers is one of the most intriguing and interesting takes on the "getting the band together" comic book trope I've ever read. These characters are teenagers and they act like it. What kids are voluntarily putting their lives on the line instead of being glued to their cell phones and tablets? Well, if any would, it would be the ones who are superheroes. Gillen understands that normal teenage behavior doesn't go away when the superheroics kick in. These kids are always thinking about who they are and what they want, just like any other normal kid, The difference is that the Young Avengers have to juggle interdimensional monstrosities.

** SPOILERS AHEAD **

These kids don't want to be a team. This simple fact is what makes this vision of the Young Avengers so appealing -- by the end of Young Avengers #5, the only reason they all decide to stay together is to physically prevent an otherworldly invasion. It's not because they all necessarily like each other. In fact, everyone hates Loki mostly, and Miss America doesn't trust anyone else. Just like normal teenagers, their relationships are complicated. And just like eighteen-year-olds in real life, they have to recognize when to grow and step up to the challenge. This is as good at time as any.

GRADE

9.5/10

Spotlight: The Green Team - Teen Trillionaires #1

2013-05-23T09:36:00.000-04:00

(w) Art Baltazar and Franco (a) Ig Guara and JP Mayer

When DC announced The Movement and The Green Team as two sides of the socioeconomic coin it was intriguing, but also felt forced and dependent on the current economic climate. Dating yourself to a certain timeframe is never a good idea. I'm sure you can go back through DC issues in the early 90s and find all sorts of examples of how that's true. Fortunately, these two titles seem less invested in the economic instability so much as they're focused on how social hierarchy affects the superhero community.

The Green Team: Teen Trillionaires #1 gives readers a well-paced and detailed look at just what this campy, small concept from the 1970s has evolved into now that it's set in the inflated 21st century. I did not imagine I would enjoy this series at all.

The Movement was alright, but had a messy first issue, and while I'm not some Robin Hood character, I just could not see myself getting into a book like The Green Team that glorified extreme wealth to such a degree. Fortunately, Art Baltazar and Franco deliver a story that's about character development, creating a solid premise, and showing skeptics like me why this might just be the next great DC title.

Reader proxy characters are meant to mirror the audience's own lack of knowledge while reading a comic book. Prince Mohammed Qahtanii fills that role pretty blatantly, but it's clumsy because the whole situation is clumsy. Mo -- as he's referred to throughout the issue, and, I'm guessing, going forward -- is reaching out. He's trying to make a name for himself outside his father's considerable shadow by attending a Green Team PoxPo (Pop-Up Expo) to find the next best technology to take home and prove he's worthy to follow in his father's steps and rule.

Most of us aren't royalty with our paternal relationships on the line, but any new reader is just like Mo in that we're reaching out. For Mo, it's to the PoxPo, for readers, it's The Green Team #1. We're taking a chance on something that sounds ridiculous and extravagant at first glance, but becomes more enticing and interesting the more we learn. Prince Mo as a metaphor for the reader works because he asks all the right questions and has the same flaws as any other kid his age; he likes to tweet. Not all readers of The Green Team #1 are going to be teenage social media machines, but it still grounds Mo as an organic character who I'm genuinely interested in reading about.

** SPOILERS AHEAD **

The basic concept is that the Green Team, led by mega-trillionaire Commodore Murphy, is a group of young, super-rich teenagers from all walks of wealth who come together to find the most advanced and cutting-edge technology available, buy it, fund it, and reap the rewards. Seems simple, right?

But it's not this premise, per se, that makes The Green Team #1 work so well. More, it's how Baltazar and Franco find the effects of such a concept and how it affects those involved. Murphy and his other Team are in a unique position that requires unique ways of thinking about how they live their lives (not ethically, but logistically). In fact, all of these mega-wealthy teenagers are forced to find new ways to be the Green Team all the time because they are what is desirable: youth and wealth. The Team is the extremity of this trope.

The Green Team: Teen Trillionaires #1 is an awesome issue. It's fun, it's intriguing, it's solid. Baltazar and Franco have found an amazing way to tell this story without every single character sounding completely pretentious, which is a feat. Ig Guara's artwork is a welcome addition after his brief absence after the cancellation of Blue Beetle. This is a buy. Never thought I'd say it, but it's a buy.

GRADE

9/10

The Week in Revue (May 22-28, 2013)

2013-05-21T18:36:00.002-04:00

------- Spotlight

The Green Team #1
(w) Art Baltazar and Franco (a) Ig Guara
THE FOIL TO GAIL SIMONE'S THE MOVEMENT, THIS SERIES FEATURES THE SUPER-RICH TEENAGERS WHO INHABIT THE DCnU!

------- DC Reviews

Justice League Dark #20
(w) Jeff Lemire (a) Mikel Janin
HOW DO THE JUSTICE LEAGUE DARK, THE FLASH, AND SWAMP THING ALL CONNECT? ONLY JEFF LEMIRE KNOWS!

Teen Titans #20
(w) Scott Lobdell (a) Eddy Barrows)
WILL SCOTT LOBDELL ACTUALLY DELIVER A SEMI-COGENT ISSUES THIS MONTH? I'M NOT HOLDING MY BREATH!

------- Marvel Reviews

Uncanny Avengers #8AU
(w) Rick Remender (a) Andy Kubert
THE "AGE OF ULTRON" TIE-IN FEATURING KANG AND THE APOCALYPSE TWINS!

Young Avengers #5
(w) Kieron Gillen (a) Jaime McKelvie
THE FINAL ISSUE OF KIERON GILLEN'S FIRST AMAZING ARC!

Iron Man #10

2013-05-17T17:14:00.000-04:00

(w) Kieron Gillen (a) Dale Eaglesham

Kieron Gillen is no stranger to long-form narrative. Just take a look at his run on Journey Into Mystery and how each arc grew from the last and influenced the next, like a novel with it's many chapters. One would think this is how most comic books are written, but it tends to be a lot more difficult than it sounds. Iron Man didn't start out as strong as everyone hoped it would, but six issues in, Gillen upped the ante by sending Tony Stark into deep space where he faced the consequences of his attempt at destroying the Phoenix Force in Avengers vs. X-Men.

"The Secret Origin of Tony Stark" doesn't aim to retell Iron Man's origins. Quite the contrary, in fact. Working inside the strict parameters of comic book universe continuity seems to be Gillen's inspirational constraint. It's one of the elements of the comic book industry that makes it so amazing, that a creator 40 years removed from the character's origin can still add something to said origin, have it make sense, and make it totally awesome.

** SPOILERS AHEAD **

Iron Man #10 plays out like a 60s spy thriller as Howard Stark assembles a team to steal the one thing all his power, money, resources, connections, and intelligence can't get him: hope for his already dying prenatal child. If it seems a bit dark, then Gillen has done his job. Tony's always had a medically spotty history, but this pushes that concept to a whole new level. The fact that alien technology plays a part in this plan means Tony's life was influenced by technology before he ever left his mother's womb. I really like the team Howard assembles, but I wonder just how Gillen plans on using them as the story moves forward.

Overall, I found Iron Man #10 to be intriguing. It's the first official part of "Secret Origin", and it reveals quite a bit about the story leading up to Tony's birth, but nothing is intersecting yet. It's like one of those new puzzles without edges that are just that much harder to start piecing together, but are so much more satisfying when completed.

GRADE

8/10

Nightwing #20

2013-05-16T11:33:00.000-04:00

(w) Kyle Higgins (a) Brett Booth

Last month, I gushed about how much I enjoyed the new direction for Nightwing. Moving Dick Grayson away from the Bat family was a stroke of genius so simple, it's a wonder it hasn't been done before (I'm not counting Bludhaven, which was right next door to Gotham). Nightwing #20 extrapolates on all the plot lines set up in the last issue.

One of the best parts about Dick moving to Chicago is that he's no longer being bankrolled by Bruce Wayne. It always bugged me that Nightwing so badly wanted to be his own hero -- with a separate name, sister city, the works -- yet he continued to accept financial support from Batman. I understand the logistical reasoning behind the decision, but it belied the concept of independence Dick was going for. Here, Kyle Higgins truly throws Nightwing out on his own. He's subletting a room in an apartment whose normal resident decides to stick around, a situation many people are all too familiar with. It's story elements like this that make Nightwing #20 a treat; Dick's civilian life needs just as much focus right now as his superhero side.

On the Nightwing side of things, Dick finally comes mask to mask with the Prankster, who is a far more menacing villain that I originally anticipated. Cyber crime and pranks don't sound too intimidating, but when it's paired with social responsibility, there's a charm to the Prankster's criminal tendencies. I really do like how Higgins is framing the Prankster as a champion of the disenfranchised, not because those kind of 'villains' don't exist, but because he's presenting it in a much more original fashion. The Prankster isn't some mercenary street general looking for a revolution. He's a sophisticated analyst who sees weaknesses and exploits them one at a time, bringing down his enemies through computer hacking and blackmail designed to cause emotional and professional damage.

Nightwing is getting better and better the more it's not focused on Bat family issues. Kyle Higgins is proving that Dick Grayson can stand as his own hero without having to live in Batman's proverbial shadow. He's an anomalous character because, unlike Jason Todd, Tim Drake, or Damian Wayne, Dick was able to properly process Bruce's teachings and heroic lifestyle. While the other three Robins mostly retained the darkness and bitterness, Dick stayed positive and is still the most optimistic member of the Bat family.

GRADE

9/10

Spotlight: Age of Ultron #8

2013-05-15T22:37:00.000-04:00

(w) Brian Michael Bendis (a) Brandon Peterson

** SPOILERS ABOUND. DO NOT READ UNLESS YOU ALREADY KNOW OR DON'T CARE **

As of this issue, we should really change the name of this series from Age of Ultron to the more fitting Brian Michael Bendis' Tale of Time Travelling Trepidation. Last issue, we got a good look at the world as it is now that Wolverine murdered Hank Pym in the 1960s. Ultron never came to be, the Defenders are Earth's primary defense force, and Tony Stark apparently runs the damn world. But at least everyone's alive, right?

Wrong.

The true tragedy of Age of Ultron is how the end of all things can push us to places we never believed possible. If faced with the hypothetical question, "Would you eat another human if you were about to starve to death?", most people will explain that there's no way they could ever be persuaded to eat a person, no matter the circumstances. While not necessarily a lie, per se, this is a misconception we tell ourselves is true because the fact is that we have no idea what we would do in the most dire of situations. Wolverine and Sue Storm knew what they were doing when they travelled back in time against the wishes of the rest of the Ultron survivors. Unfortunately, it was a most dire situation, and they felt pressured to do something most dire in response.

Age of Ultron #8 gives a ton of insight into how much the Marvel universe was screwed up by Wolverine and Sue Storm's actions. Recently, Bendis posted a long explanation of exactly how things would be different as a result of Pym's death. The list is astoundingly long, and all from just one character. Everyone is alive, but their lives are significantly worse. Tony Stark runs the planet, but it's not a prestigious job. In fact it's a curse because this new timeline is still in a state of constant paranoia after the Skrull 'Secret Invasion', and before that, a loosing war against the supreme magic of Morgan Le Fey. The Avengers broke up in their infancy. Captain America is only a violent shadow of his former self. Thor is dead. The world is in a police state.

Wolverine believed anything would be better than the apocalypse he left and only succeeded in betraying the legacy of everyone he ever loved. By killing Pym and changing the course of history, Wolverine and Sue Storm nullified everything they and their friends and families have ever worked to achieve. Any victory, any success, any happiness was eliminated and replaced with a new lifetime of struggle, fear, and hopelessness. In their attempt to save the lives of everyone they knew, Logan and Sue cheapened all of their existences.

On the surface, Age of Ultron feels like Brian Michael Bendis just going through the time travel motions and jacking up the action level to compensate for the level of timey whimey talk. But under the initial layer of fun time-space disruption, there's a message about the cost of rewriting history when the going gets rough.

GRADE

8/10

The Week In Revue (May 15-21, 2013) (update)

2013-05-14T15:56:00.000-04:00

------- Spotlight
Age of Ultron #8 of 10
(w) Brian Michael Bendis (a) Brandon Peterson
BECAUSE KICK-ASS 3 GOT PUSHED BACK, AGE OF ULTRON GETS TO BE SPOTLIGHTED THIS WEEK!

------- DC Reviews

Nightwing #20
(w) Kyle Higgins (a) Brett Booth
NIGHTWING'S AWESOME CHICAGO ADVENTURES CONTINUE AS HE BEGINS HIS HUNT FOR TONY ZUCCO!

Wonder Woman #20
(w) Brian Azzarello (a) Cliff Chiang
NEW GODS. THIS IS WHERE THEY'LL BE. I LOVE THE NEW GODS. IN FACT, DC JUST NEEDS TO LAUNCH A NEW GODS SERIES WITH MISTER MIRACLE AT THE CENTER OF IT. BOOM.

------- Marvel Reviews

Avengers: The Enemy Within #1
(w) Kelly Sue DeConnick (a) Joe Quinones
THE AVENGERS ASSEMBLE/CAPTAIN MARVEL MINI-EVENT BEGINS HERE! WATCH HOW DECONNICK CREATES SOMETHING TRULY SPECIAL.

Iron Man #10
(w) Kieron Gillen (a) Dale Eaglesham
"THE SECRET ORIGIN OF TONY STARK" PART 1

------- Other Reviews
X-O Manowar #13
(w) Robert Vendetti (a) Cary Nord
WHEN I HEARD VENDETTI WAS TAKING OVER GREEN LANTERN A WHILE BACK, I CHECKED OUT THIS SERIES AND IT FLOORED ME. SERIOUSLY ONE OF THE BEST ONGOING TITLES RIGHT NOW.

Batman #20

2013-05-13T11:25:00.000-04:00

(w) Scott Snyder (a) Greg Capullo

"Nowhere Man" -- Scott Snyder and Greg Capullo's homage to Batman: The Animated Series -- wraps up this month in the pages of Batman #20. It's been nice to see a shorter tale from Snyder, whose epic stories have, for the most part, outlined Batman's overall narrative in the 'New 52'.

It's hard not to like this issue if you were a fan of Batman: TAS in the late 90s. The series was good for presenting excellent fight scenes and highlighting that fact that Batman and Bruce Wayne were always at odds. "Nowhere Man" hits all the right beats that the show would, it included a generous amount of panel time for James Gordon and Lucius Fox, and keeps with the idea that Batman has a more adventurous side that's not always shown.

** SPOILERS AHEAD **

Then there's the Batman Beyond suit.

I'm gonna nerd out for a moment. Bear with me.

Snyder and Capullo like to play head games with readers, but this bit of fan service is not only another great nod to the DC animated universe, but also just really damn awesome. And it's 20 years away from being financially viable? That fits (generally) into the timeline of the animated Batman Beyond. Also, the suit shown in Batman #20 is far more robotic and encapsulating than the one worn by Terry McGuinness in Batman Beyond, suggesting that even though it's 20 years from being viable, it would be at least 50 before it could be slimmed down to body-fitting size.

Nerd-out over.

Thus, Batman #20 isn't the most memorable issue of the series, but it's still a great comic book. And really, that's what ongoing series are all about. Even when the story isn't world-shattering or life-changing, it can still be high quality and have meaning beyond it's plot. Scott Snyder and Greg Capullo understand this and work the principle into "Nowhere Man" seamlessly.

GRADE

8/10

Superboy #20

2013-05-13T10:20:00.001-04:00

(w) Justin Jordan (a) RB Silva, Rob Lean, Kenneth Rocafort, and ChrisCross

There exists, in the comic book industry today, a debate over systematic ageism. Jerry Ordway’s now infamous rant detailing his experience of being a comic book writer after his prime has become a sort-of galvanizing point to those who believe middle-aged and older writers are being pushed to the side to make way for younger talent. Ordway waxed poetic about ideas he’s yet to see happen, that he still has a lot to offer story-wise, and that he isn’t ready to be pigeonholed as a commission artist at conventions. On the intimate level Ordway is trying to reach his fans upon, his talking points sound fair and legitimate. Why take a risk on inexperienced, young writers when there’s a gamut of veterans waiting for a call from the Big Two?

What Ordway seems to forget is that it was his generation of ‘Young Turks’ who blew onto the scene in the mid-80s and ‘stole’ work opportunities from creators who carried DC and Marvel through the Silver Age of comic books. The reasoning behind this was simple: comic books were changing, readers were changing, and the industry was changing. Established writers from the 60s and 70s were having a hard time keeping up with the demands of the then-current pop culture zeitgeist, which prompted companies to find writers that understood how to connect to current readers.

It's no different today, yet DC has fallen behind in this way while Marvel has been stacking their talent pool with a diverse group of younger writers whose voices have raised up the company's marketshare and earned critical accolades. DC still has Bob Harras, who likes to hire his friends who all happen to be middle-aged, worked at Marvel in the mid-90s under Harras, and who now produce only echoes of their most popular work.

** SPOILERS AHEAD **

Scott Lobdell spent 20 issues of Superboy trying to make the character's concept new and exciting, and only succeeding in driving the Boy of Steel into the ground. Nothing was the same, and that was a problem. This new Superboy shares no similarities to the pre-relaunch one other than his Kryptonian DNA harvested from Superman, and the title of 'Superboy'. Quite frankly, it was maddening, and if you look back at old entries I've written on issues of Superboy, you'll find a consisten pattern of frustration and anger.

Justin Jordan takes over with Superboy #20, and even though he's inherited yet another ridiculously convoluted Scott Lobdell excuse-for-a-plot, this is the best issue of the series to date, hands down. And it's because Jordan moves away from what made Lobdell's runs o frustrating: valuing action and lore over character and organic plot flow. Even though he's appeared in two issues prior to this, I really had no concept of who Dr. Psycho was until this month. Perhaps it was designed that way, but history shows that Lobdell tended to forget what he started or tried to mask the fact that he didn't have an ending by awkwardly segueing into some new story.

Superboy #20 is great because it feels natural. I wasn't a fan of Jordan's work on Team 7, but that was less about his style and more about the series' base premise being somewhat underwhelming. Here, Jordan finds a voice for Kon-El that makes him come across as a real person and not just a prop in an ongoing narrative that feigns a greater purpose, yet never delivers. A line like "Now I'm pissed. I don't have enough clothes to waste them like this." is so much better than a character thinking this sentiment within the ever-constraining thought balloon.

Scott Lobdell often fails at writing good comic books because he's trying to hard to make everything accessible/easy to read/pick-upable. It attempting to cater to everyone, he caters to no one because how he writers is condescending to readers. Justin Jordan's style is a breath of fresh air and a welcome change for Superboy, who still has one of the foggiest and least-memorable origins of any 'New 52' character. Now, I actually want to read Superboy.

GRADE

8.5/10

Justice League of America #3

2013-05-08T23:22:00.000-04:00

(w) Geoff Johns (a) David Finch

I want to like Justice League of America more than I do. The first issue was fun in as much as a set-up issue can be, and the second issue was build-up for the teams first mission. There hasn't been a lot of time to develop the team dynamic, and it's starting to hurt the series as a whole. It's surprising because Geoff Johns is usually spot-on when it comes to character development and team books.

Before I get into the issue proper, I want to address something that's been bothering me since the first issue. WHERE IS SIMON BAZ? He was completely absent from the first two issues -- his dossier introduction aside -- and in Justice League of America #3, he appears in all of two panels, and they're both panorama shots so he's barely visible. Simon's inclusion on the team is a big reason why I was interested in the title in the first place, and he's still nowhere to be seen three issues in. A lot of people had the same issue with Justice League when it first began, but those first six issues were a complete origin story where all the Leaguers meet for the first time. The JLA is established and has yet to have a full-team mission.

Alright. Moving on.

** SPOILERS AHEAD **

Justice League of America #3 opens with a scene between Stargirl and Amanda Waller. While their conversation starts off innocently enough, it quickly takes a sharp left turn when Waller takes a hard stance against Stargirl's wish to be a more active member of the team. The comic book trope of the youngest superhero of the bunch feeling left out drives the sequence, but Waller's ugly attitude shows just how sketchy this team is at it's most basic level. Courtney Whitmore -- as Waller reveals her name to be -- joined the team as a bright-eyed, optimistic do-gooder who is now being blackmailed into running PR for this government-sanctioned superhero team. It's all very intriguing. And David Finch's facial work really characterizes Waller's ugly nature.

Vibe feels like a 'deus ex machina' to get the team and himself out of almost any technological quandary. Oh, there's a security camera? Vibe can't be photographed and neither can those around him...as of this issue. Not in his own series; only in this issue of Justice League of America. Also, I really don't like Katana. I've never read any of her pre-New 52 material, and the first issue of Katana was so hideous I just put it down and screamed into a pillow for a few minutes. She just seems like such a ridiculous Japanese stereotype that I just can't understand why people stomach her.

Green Arrow's faux pas during an orchestrated arrest of Catwoman fantastically well done, and Ollie's subsequent use of the privileged information about Catwoman's true allegiances to garner a place on the team is eloquent and hilarious.

Speaking of Catwoman, I read Catwoman #19 after Justice League of America #3 because it's supposed to be a look at Selina's 48 hours inside Arkham Asylum before she escapes at the end of JLA #3. I wouldn't recommend doing the same unless you're interested in reading a story that has nothing to do with anything at all. The whole plan was for Catwoman to get info about the Secret Society whilst inside Arkham. Instead, she antagonizes everyone and really doesn't get much in the process.

GRADE

7/10

Total Side Note:
Within the pages of Catwoman #19, Ann Nocenti took it upon herself to explain that Arkham Asylum isn't actually a historic mansion turned into a hospital, but rather a fully modern facility employing holographic technology to make it look like a historic mansion.

Two reasons why I hate this so much.

1.) It totally and completely destroys the idea that Arkham is a genuinely frightening place. The facility's presence is juxtaposed to it's primary function which is what made it such a compelling part of the Batman mythos. If this holds across other titles, it will mean that Arkham is just another loony bin, no different than your average high-tech insane asylum.

2.) If Dr. Arkham has the money to spend on holographic infrastructure for an entire facility, why can't he spend more on security, overall structural integrity, and pooling of resources to achieve real results? It makes absolutely no sense. If Dr. Arkham is some weirdo who only runs the asylum to play around with the criminally insane, why does Batman trust him? And if he truly does think he's doing the best he can, why does Batman suffer such a fool?