Review - Aquaman Volume 4: Underworld Part 1

Aquaman is dead and the throne of Atlantis has been usurped by the terrorist Corum Rath. After imposing an isolationist and extremist regime on Atlantis, Corum has targeted the poorest and most vulnerable Atlanteans in order to further homogenize the kingdom. With his dictatorial reign in full effect, small contingents of rebels have formed to oppose him. Former royal advisor Vulko, the disgraced Mera, and a mute Atlantean named Dolphin each work towards ending Corum’s regime.

Aquaman Volume 4: Underworld Part 1 collects Aquaman #25-30, written by Dan Abnett and with art by Stjepan Sejic.

After a stellar introductory arc on his Rebirth run on Aquaman, Abnett and his creative team stumbled with a collection of mediocre stories that culminated in the Crown of Atlantis trade. While the series started out with a political tinge by tackling the subject of diplomacy, Abnett and co fell back on a more traditional approach to superhero storytelling for a handful of issues. Underworld brings readers back into the world of political intrigue. Abnett and artist Stjepan Sejic immerses readers in an Atlantis that is in the midst of a dictatorial reign as a result of a coup by the terrorist Corum Rath and his followers. It feels very topical, especially considering how classism and racial discrimination become central themes in this story arc. Abnett and Sejic re-introduce classic Aquaman supporting character Dolphin as a mutated Atlantean who lives in the poorest section of the kingdom. It is through her narrative that we see the danger that the Atlanteans live in under Corum’s regime. Those who live in the Ninth Tirade, like Dolphin, are mutated and live in severe poverty, thus becoming scapegoats for those in power. Dolphin must not only survive the crime in the Ninth Tirade, but she must also deal with the persecution she faces from Corum’s followers. It contrasts starkly with characters like Mera and Tula, whose adjacency to the throne afforded them certain privileges that Dolphin does not have.

This arc is filtered through the perspectives of four primary characters – Corum Rath, Mera, Vulko, and Dolphin (and her very familiar companion SPOILER ALERT - it's Aquaman). Corum is desperately trying to hold onto his power, barking orders at whoever will listen. Meanwhile, Vulko strikes an alliance with an unlikely benefactor and sets out to undermine Corum’s rule. Mera returns to Atlantis with the aid of Aquaman’s one-time sidekick Tempest to destroy the magical barrier that surrounds the kingdom. Finally, Dolphin convinces a vigilante operating in the Ninth Tirade to oppose Corum. The plot is structured in such a way that each character’s narrative never gets lost in the shuffle, though Corum does seem to be the most inessential character to be following (despite his important role in the events). The pacing works quite well as Abnett and Sejic perfectly manage to balance action sequences with character building exchanges. One of my favourite moments blends both of these together. While Mera and Tempest attempt to destroy the barrier around Atlantis, Tempest confides in Mera by telling her the reason why he gave up using magic. It’s a poignant moment that adds to the impact and high stakes of the action occurring around them.

One of the most impressive elements of Underworld is its art by Sejic. There’s a storybook-like quality to his work that elevates the material outside of the traditional superhero aesthetic. The painted style truly suits the underwater setting and gives readers some of the most beautiful backgrounds possible. I’m also incredibly impressed by the appearance of the female characters. Mera and Dolphin are especially striking. Both Mera and Dolphin are rendered in a very elegant way. Additionally, the mutation on Dolphin’s legs and arms has a certain level of realism that provides a kind of tangibility to her appearance. With that said, the quality does tend to vary from panel to panel. The colours are applied imprecisely in some spots and Sejic seems to be less consistent with men than women when it comes to proportions.

Aquaman Volume 4: Underworld Part 1 is a satisfying return to form for the Rebirth Aquaman series. Abnett’s refocusing on the intrigue of Atlantean politics gives this trade a unique quality in comparison to other superhero books. There’s a ton of action, but there’s some substance there as well. Abnett and Sejic give us plenty of touching moments between the characters, for instance, while also adhering to a set of topical themes that feel relevant to what’s currently going on in the world. Though I’ve never considered myself an Aquaman fan (like others might), Abnett’s run has impressed me and this collection in particular is worth a read.

RATING: B+

Review - Aquaman Volume 3: Crown of Atlantis

With the war between Atlantis and the United States over, Aquaman finds new and old threats on the horizon. First, he must contend with the cyborg Warhead. Then, he forms an unlikely alliance with the Aquamarines in order to investigate the re-appearance of the lethal Dead Water.

Aquaman Volume 3: Crown of Atlantis collects Aquaman #16-24, written by Dan Abnett and illustrated by Scot Eaton, Philippe Briones, and Brad Walker.

In comparison to the two trades that preceded it, Crown of Atlantis is a dull collection of stories that ultimately fail to meet the excitement and action of its predecessors. Where The Drowning and Black Manta Rising focused on the saga of the shadowy organization N.E.M.O. orchestrating a war between Atlantis and the United States, this trade reads as a disappointing denouement that treads water in an attempt to tie up loose ends. It opens with a three-part arc where Aquaman faces off against Warhead, a cyborg with telepathic abilities who is leaving a trail of bodies in his wake. It’s a forgettable storyline with an incredibly unremarkable villain. It’s followed up by another three-parter, this time featuring Aquaman and Mera joining forces with the Aquamarines to stop the monstrous Dead Water. It’s a marked improvement over the first arc and gives us some really great moments between Atlantis’ iconic power couple. For instance, we see Aquaman and Mera at odds over the correct course of action to dealing with the threat. Interestingly, there’s a role reversal in that Mera seeks a diplomatic solution while Aquaman reaches for the aggressive one. Nevertheless, the arc fails to impress. Though Abnett was likely aiming for something along the lines of Alien or The Thing, the narrative isn’t given enough room to breathe. This results in haphazard action sequences and an abrupt ending that doesn’t effectively interrogate the very real tension that should have been between Aquaman and Mera due to their conflicting attitudes.

Where Crown of Atlantis shines is in the arc that this collection was named after. It’s a paltry two issues, but in this storyline a coup is led by Atlantean rebels and Aquaman is swiftly deposed from the throne. He, Mera, and Tula must escape before they can be imprisoned (or worse). In these issues, Abnett returns to writing stories that have some political intrigue to them and tangible themes that are likely to feel relevant to today’s climate of isolationism amongst many of the world’s nations. The juxtaposition of Aquaman’s liberal views contrasted with Atlantis’ traditional ones feels topical, as does the antagonism towards our titular hero for being an outsider. Still, these two issues feel more like a prelude than a fully formed arc. They even end on a cliffhanger. As such, they feel tacked on to an otherwise mediocre collection.

Art-wise, the trinity of artists working with Abnett remain fairly consistent. Eaton, Briones, and Walker are true assets as their work elevates the otherwise unremarkable stories being churned out with this trade. Disappointingly, Walker does take a step back and only provides interiors for one issue (along with the covers). Briones remains a favourite for me. I really enjoy his aesthetic. It’s also worth mentioning that Eaton’s work improved with this issues and adds some consistency overall. With that said, there’s a rather surprising (and glaring) error in issue 24. Towards the end, Aquaman is meeting with the Atlantean rebels and both Mera and Tula are drawn with him. The problem is that both characters aren’t actually in Atlantis at the time, so the colourist (bless Gabe Eltaeb) had to get creative by re-colouring both to try to make them look like different characters. For example, the Mera character is given a pink outfit, silver crown, and blonde hair.

I was surprised by how disappointed I was by Aquaman Volume 3: Crown of Atlantis. After enjoying the previous trades due to their complexity and creative action sequences, this one felt like a major step down. With a lack of memorable villains, precious little done with the women, and an overall lack of direction during the first two arcs, Crown of Atlantis is a bit of a mess and certainly makes me question the direction the creative team is going in.

RATING: C+

Review - Aquaman Volume 2: Black Manta Rising

When a war between America and Atlantis is ignited by the actions of the nefarious N.E.M.O., Aquaman must fend off the invading forces and prove his nation’s innocence in the conflict. With the Justice League remaining neutral and Mera absent while preparing for their pending nuptials, the King of Atlantis seeks out the aid of a British naval officer and the Atlantean Elder of Science to expose N.E.M.O. to the world.

Aquaman Volume 2: Black Manta Rising collects Aquaman issues 7-15, written by Dan Abnett and illustrated by Scot Eaton, Brad Walker and Philippe Briones.

Black Manta Rising continues the saga of Black Manta’s campaign to destroy Atlantis and discredit Aquaman through the machinations of N.E.M.O. First, he unleashes the unstoppable Shaggy Man to demolish Aquaman’s hometown of Amnesty Bay. Then, after successfully baiting America into a war with Atlantis, Black Manta enjoys the fruits of his labour as a group of assassins are sent to infiltrate the undersea kingdom in order to kill his Atlantean nemesis. It’s an intricate arc that ultimately leads to an epic brawl between Aquaman and Black Manta. Before that, we’re treated to plenty of action and a fair bit of political intrigue. The effectiveness of diplomacy becomes a central theme throughout and Abnett appears eager to critique war itself. He also explores the necessary qualities it takes to be a leader. The combination of these narrative elements creates a layered story that goes beyond good guy beating up bad guy.

Abnett also spends quite a bit of time developing the mythos surrounding Aquaman. He introduces a handful of Atlanteans whose roles help give us a glimpse into the varying factions of this undersea nation. Two of the standouts include Carcharodor, Mistress of the Fleet, and Jurok Byss, Keeper of the Monsters. Both are striking and imposing figures who serve important functions during wartime. Abnett also fleshes out Rowa, Elder of Science, who made a couple of appearances during Jeff Parker and Paul Pelletier’s run. Another unique element to the building of Atlantis’ mythos is the inclusion of the Widowhood, who is tasked with assessing Mera’s worthiness to be Queen of Atlantis. They are a cabal of nun-like women whose judgment is explicitly trusted by the Atlantean people. Aside from their incredible designs, their inclusion provides a matriarchal dimension to this society. With that said, the subplot that they’re brought in for essentially removes Mera from much of the action for this arc. It’s disappointing since she’s a character who comes to life in fight scenes and is instead has her narrative reduced to her relationship (whereas her husband’s gets to be about being a leader).

Eaton, Walker, and Briones continue to do a spectacular job on the art. Walker’s cover and interiors for issue 10 are especially exquisite. His renditions of the Widowhood and Mera are stunningly detailed, which further adds to the appeal and mystique of these characters. His covers for issues 13 and 15 are similarly quite memorable. My fondness for Briones’ work remains strong throughout as well. His work doesn’t have the same kind of intricacy to it that Walker’s does, but it’s dynamic and streamlined. Eaton is sadly still the weakest of the three if for no other reason than it being the most generic in comparison.

Abnett’s Rebirth run on Aquaman is a fun ride. I appreciate that he’s writing his stories to be about something by focusing on Aquaman’s unique status as the ruler of a nation. As one of the few monarchs who are also heroes in the DC Universe, this helps to distinguish the character and his stories from his contemporaries on the Justice League. While there wasn’t enough Mera in this arc for me and found parts of her portrayal to be irksome, Abnett did give other female characters plenty to do. I actually find myself drawn to many of the supporting characters that are used throughout and would love to see more done with them moving forward (especially Tula, Rowa, and Carcharodor). Overall, Black Manta Rising is an exciting conclusion to the Abnett's opening saga for Aquaman's Rebirth era.

RATING: B+

Review - Aquaman Volume 1: The Drowning

Following an attack on the Atlantean embassy and the sinking of an American vessel at sea, tensions between Atlantis and the United States are reaching a peak. Though Aquaman submits himself into custody of the United States, but his diplomatic approach seems ineffective in diffusing the conflict. Meanwhile, Black Manta is recruited into the shadowy organization known as N.E.M.O.

Aquaman Volume 1: The Drowning collects Aquaman: Rebirth #1 and Aquaman #1-6, written by Dan Abnett and with art by Scot Eaton, Brad Walker, and Philippe Briones.

The Drowning serves as a continuation of Dan Abnett’s work on Aquaman prior to DC Comics’ Rebirth initiative. Aquaman and his fiancée Mera are working towards improving relations between Atlantis and the surface world. To do so, they’ve opened an embassy in the United States and Mera has been posted as its ambassador. Their diplomatic work begins unraveling rapidly after Black Manta attacks the embassy. This narrative proves to be quite engaging as it remains relevant to today’s political climate due to its interest in exploring the treatment of the “other” and the often ineffectual nature of bureaucracy. Aquaman, referred to in-text, as a progressive leader is dedicated to peaceful solutions and pursues international unity. Naturally, he’s met with distrust from those within and without his nation. Some extremist Atlanteans disapprove of Aquaman’s departure from tradition and Americans are suspicious of his motives due to the fact that he is part Atlantean. Within this scheme, Abnett presents the surface dwellers as the most impetuous and this seems apt given the way in which humans are quick to distrust and scapegoat outsiders.

One of the most impressive aspects of The Drowning is its impeccable character work. Each character is distinctive in their voice and actions within the story. Aquaman is the idealistic king, Mera is the feisty warrior princess, Tula is the clear-headed leader of Atlantis, Murk is the gruff soldier, and Black Manta is the unrelenting villain. Abnett’s take on Aquaman is atypical, but is refreshing in this regard. He’s more good-humoured and diplomatic than sullen and impulsive, which makes him more like Wonder Woman. That said, he’s far from being the standout character of this trade. That honour goes to Mera. Rather than being portrayed as a one-note warrior woman or as a generic love interest, Mera is Aquaman’s equal and is given many layers to her character. On the surface level, she provides comic relief through her snarky comments and is an impressive combatant. Beyond that, she is smartly positioned in opposition to Aquaman. Where he is partly of the surface world, she is wholly an inhabitant of the seas. This affects their views of humans and influences their approach to conflicts with land dwellers. It’s genuinely just as exciting to see them agree as it is to see them disagree. They read like a real life couple in that respect.

Brad Walker and Phil Briones provide the majority of the art for this collection, though Scot Eaton and Oscar Jimenez also provide pencils. Walker and Briones’ styles are quite different, yet work beautifully together to create a nice consistency throughout this trade. Walker’s style is highly detailed and has a slight whimsical quality to it. The way he renders the costuming for the characters is really engrossing and there’s a very cinematic quality to how he sets his scenes. His work on the panels for the Superman vs. Aquaman and Mera fight is especially memorable. It’s also worth mentioning that Walker did all the covers as well, all of which would look gorgeous as posters (especially the first issue’s cover). Briones’ work is simpler and more streamlined. His work has a softness to it that I find really appealing. His depiction of Mera is worthy of praise. I love the way he draws her hair and captures the expressiveness of her character. His Tula is also quite noteworthy and he always draws Aquaman looking like a snack. Briones also gets to hang his hat on one of the coolest action sequences I’ve seen in a long time – Mera and Aquaman teaming up to tear through a literal army (tanks and all!).

I was sufficiently impressed with Aquaman Volume 1: The Drowning as it has everything I need to enjoy a superhero comic. It’s got complex character work, a narrative with depth, memorable action scenes, gorgeous art, and a lead heroine who is multi-dimensional (and also kicks all kinds of ass). While it’s not the most accessible book on the shelves (readers will have to be mildly familiar with the New 52 Aquaman material), it is genuinely entertaining and helps to return the Aquaman series to a higher quality after the middling stories published following Geoff Johns’ exit from the New 52 title.

RATING: A-

Review - Green Arrow Volume 1: The Death and Life of Oliver Queen

With his sister as his comrade-in-arms and a new girlfriend by his side, Oliver Queen has dedicated himself to pursuing social justice as the emerald garbed vigilante Green Arrow. This life that he has built and his credibility as a hero dissolve as he is betrayed by those closest to him. Without money or allies to rely on, he must use his resourcefulness and sheer willpower to uncover the dark conspiracy that has torn his world asunder.

Green Arrow Volume 1: The Death and Life of Oliver Queen collects Green Arrow: Rebirth #1 and Green Arrow #1-5, written by Benjamin Percy and with art by Otto Schmidt and Juan Ferreyra.

Having cited former Green Arrow scribes Dennis O’Neil and Mike Grell as his influences, it’s clear from the onset that writer Benjamin Percy intends to portray the Emerald Archer as a champion for the people whose political beliefs are a key part of his character. Unfortunately, the execution of this is admittedly quite goofy. The Death and Life of Oliver Queen sees Green Arrow facing off against an organization of evil bankers known as the Ninth Circle. They’ve stripped him of his wealth and have turned his allies against him, leaving him alone and ineffectual as a hero. Percy’s approach is very heavy-handed and relies heavily on some pretty tired tropes. In pulling from the oeuvre of O’Neil and Grell, he forgets to leave the problematic aspects of their work in the past. Percy undoes the work Jeff Lemire had done on Shado and Emiko Queen by reducing both to the stereotypical Dragon Lady role. Another example is that Black Canary ends up as a damsel in distress towards the end. There’s also something very campy about the antagonists, which leaves this arc reading more like a ‘60s Bond film than a biting critique on capitalism.

This collection isn’t wholly without merit. I appreciate Percy’s attempt to pare down the Green Arrow mythos and really focus on one of the more iconic portrayals of the character. Oliver embraces the label of social justice warrior and his leftist leanings are evident in his dialogue. In this way, he feels more like Green Arrow than Batman Lite (which is something Arrow is all too guilty of). Kidnapping aside, Black Canary plays a key role in the narrative and gets to be her own character outside of being Green Arrow’s girlfriend. She’s cooler than he is and is more in touch with reality due to her upbringing (even though she may be a semi-famous rock singer now). While I had a ton of issues with the direction he took her in, I at least appreciate that Percy didn’t abandon Emiko Queen. It would have been easy to write her out and replace her with a similar character. The familial dynamic between Emiko, Oliver, and Dinah is admittedly the thing I liked best overall in this trade.

While I had my share of issues with the writing, the art for The Death and Life of Oliver Queen was something I enjoyed consistently throughout. Otto Schmidt and Juan Ferreyra share the art duties. They are both tremendously talented, but their styles couldn’t be more different. Schmidt’s work is highly stylized and is more on the cartoony side. In fact, it almost gives off the vibe of a Green Arrow animated series (which would actually be pretty neat). I do have a couple of issues with Schmidt’s art – some of his compositions look a bit lazily done and he has a penchant for drawing butt shots for Black Canary. Ferreyra’s work has a painterly quality to it. It’s really atmospheric and is cinematic where Schmidt’s art was more animated. His Black Canary is breathtaking and he really captures both the hard and soft qualities of her character.

Green Arrow Volume 1: The Death and Life of Oliver Queen is far from being the return to form that I think Benjamin Percy had intended it to be. It’s often shallow in that it lacks the depth necessary to tackle political issues and is just as easily undermined by predictable tropes that are sexist and racially insensitive. I likely wouldn’t recommend this as an essential read for Green Arrow like I would with Jeff Lemire’s run. With that said, the artwork inside is stunning and is worth a browse.

RATING: C

Review - Titans Volume 2: Made in Manhattan

In order to better control her nascent metahuman abilities, Karen Beecher-Duncan seeks out the aid of Meta Solutions. Unbeknownst to Karen, the organization is run by the nefarious Fearsome Five. When her husband discovers the truth, he enlists the help of the Titans to investigate Meta Solutions’ true motivations before his wife can be drawn into their web.

Titans Volume 2: Made in Manhattan collects Titans issues 7-10, Titans Annual 1 and material from DC Rebirth Holiday Special. It is written by Dan Abnett, with art by Brett Booth and Minkyu Jung.

While the first arc of this Rebirth series focused exclusively on Wally West, Abnett hits his stride by recalibrating the title to make greater use of its ensemble cast. The interpersonal relationships of the Titans are the focal point of this collection and there are many fantastic interactions between the characters, especially between Donna Troy and Roy Harper. Their flirtatious dialogue acts as a way of grounding the book. This emphasis on the interpersonal is ultimately what drives the overarching plot as well. On a superficial level, it’s a pretty standard superhero beat-‘em-up storyline wherein the Titans face off against their long-time foes the Fearsome Five. The catalyst for this conflict is personal. Their friends, Mal and Karen, are directly affected by the Fearsome Five’s actions. To the team, they are family and what does family do when their loved ones are in danger? They go all mama bear.

The fact that Made in Manhattan revolves around Karen Beecher-Duncan (AKA Bumblebee) is bittersweet. I love that she’s finally given some shine after being relegated to the background for so long in comics, but Abnett fails to understand the appeal of the character. She seems to have no prior history as a superhero and her only connection to the Titans is through her husband (ugh). Furthermore, the manifestation of her powers and reliance on the suit Meta Solutions gives her to control them erases her status as the earliest black girl genius in comics. She went from this bad ass inventor who built her own suit in order to fight crime to being someone’s generic wife who is unable to deal with her metahuman abilities. Hell, even Brett Booth’s art lets her down. It’s clear from the way he draws Mal that he has difficulty drawing black hair, so it’s no surprise that he’s basically given Karen a fairly generic vaguely wavy hairstyle. That said, the scene in which Bumblebee takes on the Fearsome Five is worth the price of admission. She kicks ass. Sadly, Karen isn’t the only character that Abnett misses the mark on. Wonder Woman appears in the annual and her treatment of Donna Troy is ridiculously out of character.

As I previously mentioned in my review of the preceding volume from this series, I’m not a fan of Brett Booth’s art. It’s dated and unattractive. It really lowers the quality of what could otherwise be a really great book. This is made all the more evident when it’s contrasted against Minkyu Jung’s gorgeous artwork for the annual collected here. Jung’s art is cleaner and infinitely more dynamic.

Titans Volume 2: Made in Manhattan is a vast improvement over the first trade. It’s action-packed and more deftly handles its ensemble cast. I appreciate the effort that Abnett has put into ensuring that this group reads like a family as that is central to the appeal of the Titans. Unfortunately, the characterization of Bumblebee and Booth’s art chipped away at what would otherwise be a nearly flawless follow-up to the mediocre Rebirth relaunch of the Titans.

RATING: B

Review - Batgirl and the Birds of Prey Volume 1: Who is Oracle?

When a series of correspondences are attributed to Oracle, Batgirl teams up with Black Canary to uncover who is using her former moniker. Along the way they must contend with the interference of the enigmatic Huntress, who is hunting down the mobsters that Oracle appears to be helping.

Batgirl and the Birds of Prey Volume 1: Who is Oracle? collects Batgirl and the Birds of Prey #1-6 and Rebirth #1, written by Shawna and Julie Bension with art by Claire Roe and Roge Antonio.

Shawna Benson and Julie Benson do an impeccable job capturing the essence of what makes the Birds of Prey such an enduring comic book. Batgirl and Black Canary’s friendship is front and center. The dialogue features playful jousting between the two women throughout, but there’s a constant sense of sisterhood and trust between them. When Huntress is thrown into the mix, it adds a new dimension to their dynamic. With Batgirl on one end of the morality spectrum and Huntress on the other end, Black Canary fits in neatly in the space between them. The Bensons really understand these characters and they write them well, which is largely what makes this such an enjoyable read.

Where the book misses its mark is in its execution of its storyline. It follows two plot threads – one being the investigation into who is using the name Oracle and the other being the pursuit of the criminal mastermind Fenice. As we learn fairly early on, Fenice is a mobster who is chipping away at the competition in a bid to seemingly become the top boss in Gotham City. These two narratives are what link Batgirl and Black Canary to Huntress. The former two are searching for Oracle, while the latter is going after Fenice. Everything that’s done in relation to Fenice is well done and is quite intriguing, even if it was a little predictable, as it helps to add depth to Huntress’ character. Conversely, the reveal of Oracle’s identity left a lot to be desired. After all of the work put into Frankie Charles’ character in Batgirl, it was bound to be a disappointment to see anyone other than her using the name. Spoiler alert: it’s not Frankie and it is a huge disappointment. To add insult to injury, there’s a profound misunderstanding of what Oracle stands for and what that identity means to people. When it’s revealed that Oracle is not only a dude, but also an able-bodied person, it was a severe misstep in terms of acknowledging why Oracle was such a meaningful character. Regardless of whether this Oracle is meant to be a villain or even stick around very long, his placement in this book was unnecessary. The Bensons could have stuck with the Fenice plotline and it would have been just fine.

The art throughout is consistent and helps to match the often light-hearted dialogue. As such, there’s an expressiveness that each character has. I’m especially fond of seeing how Black Canary’s sass and snark is conveyed visually through her expressions. Similarly, there’s a semi-poignant sequence of panels where Batgirl is being introspective about her identity. She questions whether she is Batgirl or Oracle. It’s a standout in this collection, largely in part due to the art that accompanies it. Additionally, the action scenes are rendered really well. There’s an especially memorable sequence that features Black Canary and Huntress on motorcycles. It’s badass. My one point of contention is Huntress’ design. For one thing, her new outfit is not cute. It seems heavy and looks cobbled together (which I suppose matches Black Canary’s rather uninspired Rebirth ensemble). The cut is unflattering and the lack of a belt certainly doesn’t help matters either. There also seems to be a lack of consistency with her ethnicity, which still requires some definition given how she appears to have gone from black in the pages of Grayson to being racially ambiguous here.

Who is Oracle? truly feels like a return to form for DC’s iconic all-female team. The camaraderie that made the Birds so compelling is on full display and the level of action matches that dynamism. Overall, I enjoy the direction that Shawna and Julie Benson are going in as I feel they have a firm grasp on who these characters are. What would push this book from being pretty decent to being stellar would be if they brought Frankie Charles in as the new Oracle and if Huntress was given a bit of a makeover since what she’s wearing now doesn’t come close to matching her personality.

RATING: B

Review - Titans Volume 1: The Return of Wally West

Having been removed from existence, Wally West has mysteriously returned. He and his friends must work together in order to find the person responsible for his erasure. In the process, he must come to terms with his relationship (or lack thereof) with his one-time love Linda Park and face off against one of his oldest foes.

Titans Volume 1: The Return of Wally West collects Titans: Rebirth #1 and Titans #1-6, written by Dan Abnett and illustrated by Brett Booth.

Put simply, Titans is a deceptively titled series that presents itself as a team book, when in reality it is in fact a Wally West-starring comic with the rest of the Titans in supporting roles. While this is unlikely to be a problem for fans of the Flash, it’s a problem for anyone looking for something that features the Titans in more substantive roles. Wally is front and center in a narrative that sees him confronting classic Flash foe Kadabra, who is responsible for erasing all traces of him from the timeline. While it would stand to reason that the book would primarily deal with the Titans’ various perspectives on this event, it instead focuses primarily on Wally’s complicated relationship with Linda Park. He still remembers a point in time when they were lovers while she has no memory of him whatsoever. The overall thrust thus becomes about whether the pair will fall in love again. Anyone hoping for any kind of depth or development added to any of the other Titans, especially characters like Donna Troy or Lilith who don’t appear in any other books, will be sorely disappointed. They’re merely set dressing, useful only for when the male characters need to flirt or to fill up the panel during action scenes. Sadly, the focus on a rather silly villain and a lack of attention paid to the female members of the Titans did nothing to endear me to this book.

Perhaps a more egregious fault with The Return of Wally West is the cringe-worthy art by Brett Booth.  I wasn’t a fan of his work on the New 52 Teen Titans and I’m still not a fan here. His proportions are wonky and he often gets lazy the smaller characters appear on a panel. As others have mentioned before, his work has a ‘90s quality to it. In fact, I find it to be very reminiscent of Rob Liefeld’s style (just with fewer pouches and shoulder pads).

With a mediocre storyline and subpar art, it’s hard to find a reason to like The Return of Wally West. Perhaps I’d have a sunnier opinion of it were I a fan of Wally West, but unfortunately this book does nothing to make me one. Instead, I find myself frustrated that there’s so little attention paid to the other characters present (all of whom I tend to like more). I’m hopeful future arcs remedy this situation, especially since I rather love the line-up presented here. Lilith, Donna Troy and a sprinkling of Bumblebee? Yes, please! As is, I’d only recommend this one to the Flash fans.

RATING: D+

Review - Wonder Woman Volume 2: Year One

With the outside world in peril, Princess Diana of Themyscira must leave her island paradise to do battle against Ares as he threatens to plunge Earth into darkness. She must depend upon the help of Steve Trevor, Etta Candy, and archaeologist Barbara Ann Minerva to navigate Man’s World and overcome the God of War’s malicious influence.

Wonder Woman Volume 2: Year One collects Wonder Woman issues 2, 4, 6, 8, 10, 12 and 14, written by Greg Rucka and illustrated by Nicola Scott.

When it comes to Wonder Woman, DC’s Rebirth initiative served as a much-needed palate cleanser for the character. Greg Rucka and artist Liam Sharp got the character back on track with TheLies, while Rucka’s partnership with Nicola Scott resulted in a revised take on the iconic character’s origins. Where The Lies was about undoing the damage done to Wonder Woman during The New 52, Year One is about providing a modern and definitive origin for her. There’s just one problem – she already has one. Though it’s been 30 years since George Perez rebooted Wonder Woman’s origins following the events of Crisis on Infinite Earths, it remains a classic and is thus difficult to top.

If there’s one thing that is consistent about Year One it’s Rucka and Scott’s acute understanding of Wonder Woman. It is a character-centric arc that plots her development as a naïve princess of a hidden island to a self-assured superheroine. Diana doesn’t have all the answers and she makes mistakes, but she also has the guts and bravery necessary to save the day. In a similar vein, Barbara Ann Minerva ends up being a standout character in her role as Diana’s pseudo-mentor. She’s really the one character who helps Diana understand Man’s World and it adds a really interesting dimension to her as she’d been consistently portrayed as a near-irredeemable villain prior to Rebirth. Rucka and Scott also incorporate Diana’s patron gods into the story, even going so far as to make them crucial to the final conflict. That said, Year One never quite manages to re-capture the magic of Perez’s iconic origins. Though the character work is strong and the overall tone is engaging, it’s remarkably light on action and the stakes are not quite as high as they were in the 1987 reboot.

Year One is buoyed by Nicola Scott’s flawless art. She draws readers in with her lush, detailed pencils. In many ways, Scott falls into the same titanic camp as George Perez and Phil Jimenez with her work. I’ve long said that Scott is one of the best when it comes to drawing Wonder Woman. She understands the costuming, the body language, and the optimism of the character better than most. She’s also adept at differentiating characters from one another, which is something many comic book artists often fail to do. I especially love how striking Queen Hippolyta is. I’d also be lying if I said I didn’t appreciate the fact that she gives us copious amounts of panel time of Steve Trevor in various stages of undress. It’s a really fascinating way of subverting the male gaze by catering more to a female (and gay male) gaze. It’s brilliant.

Wonder Woman Volume 2: Year One is a commendable redo of Wonder Woman’s origins. It’s accessible and entertaining with gorgeous artwork throughout. Though it’s light on action, it has a lot of great character moments that are enough to draw readers in. There have been many creators in recent years who have tried their hand at revising Wonder Woman’s origins – some have been successful (Renae De Liz), while others have been wildly off base (Grant Morrison). Thankfully, Rucka and Scott sit comfortably in the success end of the spectrum.

RATING: B+

Review: Green Lanterns Volume 1 - Rage Planet

When Atrocitus sights his sights on conquering Earth, rookie Green Lanterns Simon Baz and Jessica Cruz are the only line of defense against his Red Lanterns. They must overcome their shortcomings and learn to work together as partners in order to destroy Atrocitus’ deadly Hell Tower and save Earth from being transformed into a planet governed by rage.

Green Lanterns Volume 1: Rage Planet collects Green Lanterns: Rebirth #1 and Green Lanterns #1-6, written by Sam Humphries and primarily illustrated by Robson Rocha.

Rage Planet is light on plot, but heavy on character development. Not a whole lot happens in the six issues collected in this trade and the narrative seems to tread water until its rather abrupt conclusion. It’s a fairly standard invasion storyline where the Red Lanterns come to Earth in order to make it their new home world. To do so, they must install what is known as a Hell Tower, which infects the planet and all those living on it with unyielding rage. With the rest of the Green Lanterns out of the picture, newbies Simon and Jessica are the only heroes equipped to deal with this threat. There isn’t a whole lot of action or conflict until towards the end when Simon and Jessica finally face off against Atrocitus and his Red Lanterns. Prior to that, we mostly get scenes involving the rage infection and our protagonists’ reactions to it. If I’m being honest, it’s a bit of a paint-by-numbers zombie story (but with an alien force as the cause rather than some kind of radiation or virus).

Where Rage Planet really engages is in its character work. Simon was once unjustly imprisoned and is continually faced with the islamophobia directed at his family. He is an individual who feels he has something to prove as a result of the way the society around him wishes to discard and profile him. This makes him brash and impulsive. By contrast, Jessica is someone crippled by anxiety and who has spent the last three years of her life hidden away in her apartment following a traumatic event. She’s never sought help, but shows signs of either being agoraphobic or of suffering from PTSD. It remains a mystery to Jessica as to why she’s even a Green Lantern and Rage Planet is largely built around her inability to create constructs with her ring. The dynamic between the two characters is tense and argumentative, as can be expected based on how different they approach their new roles. While I quite like Simon as a character, it is Jessica who I relate to the most and find to have the most potential. This is someone who is really hindered by self-doubt and this is something that really prevents her from being the hero she needs to be. She has to overcome her fear. It’s refreshing to have a Green Lantern like her as the preceding ones have long existed in various stages of being messianic heroes (save for Guy Gardner).

As a whole, Green Lanterns Volume 1: Rage Planet is a fairly predictable (but enjoyable) start to Simon Baz and Jessica Cruz’s Post-New 52 life. The character work that Humphries puts into the story injects an otherwise unremarkable narrative with interest and engagement. I especially like what he’s done with Jessica, making her the real reason to read this book. On the artistic front, Rage Planet is unfortunately very inconsistent as it features the work of multiple artists. It’s not the best decision to make, especially for the first six issues straight out the gate of DC’s Rebirth initiative. I’m not terribly impressed with Rage Planet, but Jessica is enough to keep me interested for the time being.

RATING: B- 

Review: Wonder Woman Volume 1 - The Lies

Unable to return home, Wonder Woman seeks the help of an unlikely ally to get back to Themyscira. Venturing deep into the jungles of Bwunda, the Amazon Princess makes a deal with her one-time nemesis Cheetah in the hopes that she may be able to aid her in her quest. But first she must do battle against the God Urzkartaga and free Cheetah from his divine influence.

Wonder Woman Volume 1: The Lies collects Wonder Woman: Rebirth #1 and Wonder Woman #1, 3, 5, 7, 9, and 11, written by Greg Rucka and illustrated by Liam Sharp.

Superficially, The Lies reads as a deliberate retcon disguised as a storyline. It seems designed to erase the stories that preceded it from DC Comics’ The New 52 initiative, slowly washing away Azzarello and Cliff Chiang’s divisive take on Wonder Woman. On a deeper level, Rucka and Sharp are restoring Wonder Woman’s mythos to a more faithful interpretation while also keeping some of the elements that helped to modernize the character. For instance, The New 52’s controversial take on the Amazons is excised while Cheetah’s past as Wonder Woman’s friend remains intact. Rucka and Sharp are to be commended for their efforts as they have a clearer understanding of who Wonder Woman is and what a great Wonder Woman story should consist of, which contrasts their predecessors who seemed more intent on changing the character to suit the tastes of their audience. Furthermore, they have the creative talent necessary for taking what amounts to a retcon and transforming it into a well-crafted narrative.

The premise for this arc is simple enough. Wonder Woman discovers that something is amiss in her life and uses the lasso of truth on herself to figure out why only to find out that many of her memories are false. Now unable to return to Themyscira, she allies herself with Cheetah to find her way home. Along the way she does battle against a God and reunites with her former flame Steve Trevor. It’s a remarkably breezy arc that moves along at breakneck speeds, teasing out the mystery surrounding Wonder Woman’s manufactured memories in a way that keeps the reader engaged. Rucka impresses throughout, especially when it comes to the dialogue he writes for Wonder Woman. There are very few writers out there who truly “get” her and it’s thrilling to read. While there’s a lot of action in this arc, some of my favourite moments are the quieter ones. I love the exchanges between Diana and Etta, as well as the romantic interlude between Diana and Steve upon their return from Bwunda. Though I’ve never been a big fan of Steve and Etta is rarely given much to do by contemporary writers, I found myself genuinely interested in seeing more of them. The same could not be said for Cheetah and Veronica Cale. The former I felt was compromised and neutered, becoming an ally ended up diminishing why she’s such an effective villain for Wonder Woman. With Veronica Cale, it’s essentially an instance of Rucka trying to make fetch happen with her character. Wonder Woman doesn’t need her own Lex Luthor. If he was intent on having a strong, independent woman pulling the strings behind a shadowy organization, he could have gone with someone like Baroness von Gunther or Doctor Cyber.

Liam Sharp’s art really elevates The Lies and enriches the reading experience in a way that perhaps hasn’t been celebrated enough. Even without the words on the page, Sharp’s work tells a distinctive story. The way he composes his pages is cinematic and makes the reader feel as if they are watching a movie rather than reading a comic. For one thing, his settings are awe-inspiring. From the lush green jungles of Bwunda to the ominous ruins of Themyscira, there’s a richness and depth to this trade that is rarely found in comics. Sharp should also be applauded for his character work. While there are some issues with consistency, I’m sufficiently impressed by how unique everyone looks in this arc. Wonder Woman is vaguely reminiscent of Lynda Carter, Etta Candy receives a much-needed makeover, and Veronica Cale looks positively Emma Frost-ish.

Wonder Woman Volume 1: The Lies is a great jumping on point for new readers. It’s an accessible storyline that sheds the past few years of continuity in favour of re-establishing who Wonder Woman is and should be. Rucka and Sharp focus on the essential elements of the character’s mythos, trimming down her supporting cast, and giving us an engaging and straightforward narrative. It’s certain to please both new and old fans for this very reason.

RATING: A-