Review: Batman Eternal Volume 2

With Jim Gordon behind bars and Alfred Pennyworth recovering from an injury, Batman must enlist the aid of SAS operative Julia Pennyworth to track down the villain Hush. Meanwhile, Spoiler continues her crusade against her father Cluemaster and Catwoman is targeted by the gang lord Louis Ferryman after she interferes with his operations.

Batman Eternal Volume 2 collects Batman Eternal #22-34, conceived by Scott Snyder and James Tynion IV. It features scripts by James Tynion IV, Ray Fawkes, Tim Seeley, and Kyle Higgins, with art by such artists as Fernando Pasarin, Jason Fabok, and Dustin Nguyen.

Just as with the previous collection, volume two of Batman Eternal is densely plotted with an oversized cast and numerous subplots. Thankfully, it's been refocused to concentrate on three central narratives - Batman's pursuit of Hush, Spoiler's actions against her father, and Catwoman's involvement with Gotham's criminal underworld. However, it does also tie up the loose ends of plots from the previous collection as well. 

Of the primary storylines presented here, the bulk of the action is concerned with Batman and Julia's burgeoning partnership as they work in unison to uncover the truth about the recent events in Gotham City. Batman believes it to be the work of his old foe Hush, which leads him on a hunt across the city. The most engaging aspect to this narrative is the dynamic between Batman and Julia, as well as the overall development of her character. As an operative of SAS, she's used to working in the field and seems out of place working behind the computers in the Batcave. Even still, her ability to adapt and fill the role her father once filled is quite remarkable. Similarly, there's quite a bit of development done with Catwoman as well. The purpose of her inclusion in this particular chunk of Batman Eternal is to shift her character from independent thief to queen of Gotham's underworld. It's a bold new direction for the Feline Fatale that works really well and that I find to be absolutely brilliant. 

While the story has been streamlined, the art in this collection is inconsistent. Since Batman Eternal employs a variety of artists to provide the pencils for the series, it creates an uneven tone that lacks a uniform aesthetic. There's a lot of lacklustre art, particularly early on, that is muddy and lacks dynamism. However, there are some artists whose work stands out tremendously. Javier Garron, Meghan Hetrick, and Jason Fabok all contribute memorable art that shows just how magnetic the series could be visually.

Batman Eternal Volume 2 is an improvement over the previous collection, which was admittedly quite stuffed. The emphasis placed on character development is refreshing from the more action-oriented issues that preceded this volume. The storylines presented here are still quite involved and requires a working knowledge of the Batman mythos, especially since there are some lesser known characters who appear here. Fans of Spoiler and Catwoman are sure to enjoy this trade, though those who enjoyed Jeph Loeb and Jim Lee's Hush are likely to find this to be an unfavourable rehash of it.

RATING: B-

Review: Batgirl Volume 2 - Family Business

Tasked with solving Gotham City's vigilante problem, Jim Gordon (as the new Batman) begrudgingly sets his sights on apprehending Batgirl. This proves to be a major inconvenience for Burnside's fearless defender as he begins hindering Batgirl's pursuit of the recently escaped Livewire. Then, Batgirl must deal with a series of mysterious tiger attacks on some of the city's most prominent tech firms.

Batgirl Volume 2: Family Business collects Batgirl #41-45, DC Sneak Peek: Batgirl #1, and Batgirl Annual #3, written by Cameron Stewart and Brendan Fletcher with art by Babs Tarr.

Family Business is an energetic continuation of the revamped Batgirl series set in Gotham City's trendy Burnside neighbourhood. This collection brings it with colourful villains and guest stars galore. It begins with Batgirl's conflict with her father in his new mantle as Batman and focuses on their subsequent team-up to bring down Livewire. These issues are frenzied and colourful, with plenty of action and gorgeous art done by Babs Tarr. Liveware's inclusion feels like a throwback to The New Batman Adventures episode "Girl's Night Out." She's a character who visually and thematically works as a villain for Batgirl and would be a welcome addition to Batgirl's relatively modest rogue's gallery. The latter half of the book focuses on Batgirl's investigation of a series of tiger attacks led by a Catwoman/Cheetah knock-off named the Velvet Tiger. Despite its somewhat uninspired villain, these issues feature Batgirl doing some fantastic detective work and highlight how effective she is as a hero.

The action in Family Business is undeniably engaging. We get to see Batgirl team up with the likes of Spoiler and Batwoman, while also flexing her own investigative muscles. What is even more remarkable though is the character work that Stewart and Fletcher lay down over the course of the issues collected in this trade. Amidst the insanity of Barbara's career as Batgirl, we see her take on the role of maid of honour when her best friend Alysia becomes engaged. Through this subplot, the writers explore how difficult it is to be a good friend and perform normal tasks when you live a double life. It's a nice little glimpse into how Barbara is as a friend and her loyalty throughout is endearing. There's also a subplot involving Frankie Charles' evolution from a supporting civilian character into a hero in her own right. There are several really cool hints at her becoming Oracle as she involves herself actively in Batgirl's investigations and begins using her impressive technological skills to help. Batgirl's reluctance to accept Frankie's help, largely out of concern, add depth to this ongoing development. Finally, Stewart and Fletcher indulge in a little matchmaking as they give Batgirl a new boyfriend in the form of Luke Fox (AKA Batwing). He's a really great match for her and the two have palpable chemistry. Even still, there's the added complication of Dick Grayson, who just can't seem to keep himself out of Babs' life for too long. I appreciate the exchange Stewart and Fletcher write for the pair when they're forced to confront the fact that Babs is now dating someone new. It's a standout scene that is reminiscent of one Gail Simone wrote during her tenure on the book as it solidifies Babs' need for independence and freedom from the drama that follows her relationship with Dick. It also gives the writers the opportunity to orient readers towards her new beau and accept that change is sometimes necessary.

Family Business is enjoyable from beginning to end. The dialogue is snappy and the character development is consistent throughout. The art is almost always on point, with Babs Tarr and Bengal being the major aesthetic innovators in this collection. Their art is dynamic, distinct, and has a youthful flare that visually distinguishes this book from most other traditional superhero titles. Stewart, Fletcher, and Tarr's Batgirl is light-hearted and is far more concerned with the interpersonal relationships of its cast than on superhero antics. For some, this may be a drawback. Aside from Livewire, this series hasn't had any memorable villains under their tenure and the action is always quite brief. From my perspective, it's a welcome change and it's just a whole lot of fun. It brings a kinetic energy and youthfulness back to the character, while also giving readers a really fantastic supporting cast we can become attached to.

RATING: A-

Review: X-Men - The Road to Onslaught Volume 1

The X-Men have been pulled into the ruthless machinations of the mutant terrorist group Gene Nation, whose leader Marrow has a decades-long grudge against Storm. Marrow intends to make Storm suffer for the neglect she felt when the X-Man led the Morlocks. Then, Rogue and Iceman go on a roadtrip to escape from the drama that surrounds their lives as X-Men. Their departure may prove to be ill-timed as a shadowy villain known as Onslaught seems to be closing in on the X-Men.

X-Men: The Road to Onslaught Volume 1 collects X-Men Prime #1, Uncanny X-Men #322-326, X-Men #42-45, Annual '95, and X-Men Unlimited #8, written primarily by Scott Lobdell and Fabian Nicieza with art by Roger Cruz, Terry Dodson, Bryan Hitch, Joe Madureira and more!

This collection pulls stories from a transitionary period of the X-Men books between the critically-acclaimed Age of Apocalypse and the companywide crossover Onslaught. As such, it shouldn’t be a surprise that the majority of the issues here are stuck between dealing with the aftermath of the former and setting up the latter. This creates an inconsistent tone that constantly shifts the narrative focus, leaving the reader with the sense that there doesn’t seem to be a whole lot of movement forward with the storylines being presented. For the most part, the issues that deal with the set-up of Onslaught are far more interesting than those that pull in some of the forgettable baddies from AoA (Dark Riders, I’m looking at you guys).

The writers tread a lot of water here as they place more of an emphasis on the interpersonal dramas between their characters than on action. For example, we’re treated to a date between Psylocke and Archangel and suffer through the continued melodrama of Rogue and Gambit’s tenuous relationship. Admittedly, I find the then-budding romance between Psylocke and Archangel to breathe new life into both characters. It helps to lighten Warren’s personality after being depicted in a grimmer manner following his transformation into Death at the hands of Apocalypse, while Psylocke gets to act as something other than just the team’s T&A. The drama between Rogue and Gambit is more contrived. The issues collected here occur after an incident where Rogue kissed Gambit, which ultimately left him in a coma and her with his memories. She’s thus left the X-Men and is travelling westward with Iceman in tow. This subplot is really engrossing, particularly as we get to see two characters that had previously never interacted much bond on a good ol’ roadtrip. Although, Rogue’s behaviour puts a damper on the two becoming overly close as she seems eager to remain closed off to all those around her. She is also contemptuous towards Gambit and remains judgmental over his past, which ultimately makes her look like a big flaming hypocrite given the fact that we know she’s no saint either (which both Carol Danvers and Dazzler can attest to). However, her icy rejection of Gambit does lead towards a touching scene with Storm consoling Gambit.

While a fair share of the stories in this collection read more as supplementary rather than essential, there are a few noteworthy issues that are worth discussing. Uncanny X-Men #322 sees Beast, Bishop and Psylocke going up against the Juggernaut, who is the first to reveal the coming of Onslaught. Uncanny X-Men #323-325 deals with Marrow and Gene Nation. This three-parter serves as a conclusion to a culmination of events that date back all the way to when Storm won leadership of the Morlocks from Callisto. Storm’s subsequent neglect of the Morlocks, the Marauder’s massacre, and Mikhail Rasputin’s teleportation of them into another plane laid down the groundwork for Marrow’s hatred towards humans and the X-Men. She returns in these issues to enact her revenge, but instead she finds herself up against Storm’s legendary will and ultimately underestimates her opponent. Finally, X-Men Prime is a beautifully poignant series of vignettes written by Lobdell and Nicieza with the help of roughly half a dozen of the decade’s most talented artists. Though it is a transitionary issue meant to wrap up the remaining threads of Age of Apocalypse, it is grounded by an incredibly (and depressingly) relevant story of a mutant who is viciously attacked by a group of humans while he is mere miles away from seeking refuge within the hallowed walls of the Xavier Institute.

X-Men: The Road to Onslaught Volume 1 is pretty much what you’d expect from a collection of comics from the middle of the 1990s. With significantly fewer pockets and shoulderpads than its early-‘90s predecessors, these issues are gorgeously illustrated by some of the best artists in the industry at that point. Those penciled by Joe Madureira are especially memorable. Amidst the many forgettable villains presented here, Lobdell and Nicieza make up for lackluster storylines with excellent dialogue and themes that remain relevant to today’s intolerant society. I’m especially left impressed by how multi-dimensional and dynamic the women they write are. Storm, Jean Grey, Rogue, Psylocke, Callisto, Trish Tilby, and even Marrow are all easily the most memorable characters in this collection. Colossus, Gambit and Beast also have their moments. If anything, The Road to Onslaught Volume 1 is perfect for fans of these characters (especially if you love Rogue and/or Gambit).

RATING: B-

Justice League: The Darkseid War Part 1

While investigating the deaths of several women sharing the same name, the Justice league uncover a nefarious plot set in motion by their old nemesis Darkseid.  It soon becomes evident that a dark secret from the Amazons’ past has returned to ignite a deadly war with the tyrannical ruler of Apokolips. With the potential death of a God looming, the greatest battle the Justice League may ever face lies ahead of them.

Justice League Volume 7: The Darkseid War Part 1 collects Justice League #40-44 and material from DC Comics Divergence #1, written by Geoff Johns and illustrated by Jason Fabok.

The Darkseid War reads purposefully as a culmination of the conflicts and events of Geoff Johns’ best-selling Justice League from DC Comics’ New 52 initiative. Taking place after the events of Convergence, this multi-part story arc reveals that Darkseid had a daughter named Grail with an Amazon and she has grown up with the singular mission of destroying her father. To accomplish this Grail and her mother have allied themselves with the seemingly unstoppable Anti-Monitor. Darkseid returns to the pages of Justice League, bringing a nice symmetry to the series after playing a crucial role in their origins during the opening arc of the title. The introduction of Grail is well-done and she serves as a rather neat addition to the League’s rogues gallery. I also appreciate the effort made to intertwine her origins with Wonder Woman’s, as it helps to add a sense of importance to both characters and links the two together in a meaningful way. This proves consistent with the overall direction Geoff Johns has taken with Justice League. It’s been a carefully piloted with stories that are written with purpose and give greater prominence to Wonder Woman than ever before.

The first part of Darkseid War is action-heavy and features quite a bit of exposition, but is still remarkably light on character development. For the most part, the Justice League don’t actually feel like the stars of the book. With such a heavy focus placed on Metron and Mister Miracle, many of the League members become marginalized within the story. For instance, Cyborg and Shazam don’t offer much to the overall narrative and are thus easily forgotten. Regardless, there are many great character moments. Notably, we get to see the Flash working a crime scene, Batman taking control of the Mobius chair, and Jessica continuing to test her limits with the Power Ring. Johns also pens some fantastic interactions between Superman and Lex Luthor, as well as between Green Lantern and Batman (which is a dynamic I missed after Hal was removed from Justice League for a time).

Overall, this is a promising start to what could be an epic storyline. Johns’ dialogue is on point, as it almost always is, and I appreciate the focus he’s continued to place on Wonder Woman. Additionally, Jason Fabok’s glossy art elevates the quality of the book tremendously. His work is polished, his characters distinctive (especially Wondy!), and his ability to render compelling action sequences is impressive. Put simply, The Darkseid War is quite possibly one of the strongest story arcs from Johns’ Justice League run.

RATING: B+

Review: Ultimate Spider-Man Volume 5 - Public Scrutiny

When a thief begins masquerading as Spider-Man to commit his crimes, the real Spider-Man is declared public enemy number one. With the police determined to arrest him and a public that fears him, Spider-Man is determined to clear his name. Then, Peter’s relationship with Mary Jane hits the skids after Gwen moves in with him and Aunt May.

Ultimate Spider-Man Volume 5: Public Scrutiny collects Ultimate Spider-Man #28-32, written by Brian Michael Bendis and illustrated by Mark Bagley.

Much of the internal conflict within Spider-Man’s character is comprised of his feeling of duty to protect innocents from harm and the lack of trust the public seems to have for him. Bendis and Bagley explore this explicitly in this collection. The Ultimates have made their debut and have been embraced by the public, which feeds into Spider-Man’s insecurities. To make matters worse, a bank robber has started disguising himself as Spider-Man during his criminal escapades. As can be expected, the media and the public turn against him, leaving the police eager to stop Spider-Man for good. This creates a heightened tension within the narrative as it hinders Spider-Man’s ability to actually operate as a hero. It also affects Peter’s mental wellbeing. What is fascinating about this is that Bendis and Bagley are able to tell a tense story that pushes their lead hero to his limits without relying on a supervillain to do so.

As I’ve mentioned in previous reviews, Gwen Stacy is a standout character in Ultimate Spider-Man and this arc is no exception to that observation. There’s a sincerity and honesty to her that is lacking from most of the others in this comic. This means that Gwen’s character can be utilized to either lighten the mood or force others to react more transparently. My favourite scenes are those that are focused on Gwen, particularly the one in which Aunt May asks Gwen to stay with them on a permanent basis. It’s a touching moment that endears the reader to the characters and the event itself helps to open up new storytelling avenues, as well as to increase the strain on Peter and Mary Jane’s relationship. Gwen is easily the most sympathetic character of this book as a result of her familial situation.

Speaking of Gwen’s family, her father John Stacy is an individual who is intended to be important to this collection and whose demise is meant to provoke an emotional response from the readers. Unfortunately, this isn’t the case. Much like Gwen, he’s almost always fated to die in every incarnation he’s introduced in. However, his death must mean something. In the original continuity, George Stacy was a champion for Spider-Man and even deduced the wallcrawler’s identity. His character was given the room to grow and for readers to attach themselves to him. Bendis and Bagley didn’t give him enough panel time before they offed him, which denies Spider-Man the opportunity to have his own Commissioner Gordon for a bit and it changes John Stacy from a character to a plot device. They’d have done well to elaborate on John Stacy’s relationship with his daughter, fleshing out their dynamic more, and perhaps developing a romantic relationship with Aunt May. As is, his death here is only sad because the reader (hopefully) empathizes with Gwen. Otherwise, he might as well have been just some random officer.

Ultimate Spider-Man continues to be inconsistent in its quality for me. The stories themselves have potential and many of the characters are quite likeable as a result of the relationships that are cultivated by the creative team. This book is at its best during quieter moments where Bendis digs deep with his dialogue, revealing the plethora of insecurities that his characters are carrying around with them. I’m also continually impressed with his depiction of Aunt May, whose every appearance urges the reader to forget about her as the cumbersome geriatric damsel in distress and more as the multi-dimensional guardian whose empathy for others seems to know no end. Public Scrutiny gets major props for being able to tell a strong, character-focused narrative that’s light on action and heavy on the drama. Unfortunately, John Stacy’s death came too soon and it really hinders the storytelling potential there.

RATING: B-

Review: Ultimate X-Men Volume 3 - World Tour

While on an international press tour for his book, Professor Xavier is forced to confront a dark secret from his past when his homicidal son escapes from his confines on Muir Island. He sends the X-Men into the field to capture him, but it soon becomes clear that their powers may not be enough to stop his wayward son. Then, Jean Grey and Cyclops are tasked with bringing Colossus back into the fold after he leaves the team and heads home to Russia.

Ultimate X-Men Volume 3: World Tour collects Ultimate X-Men #13-20, written by Mark Millar and Chuck Austen with art by Adam Kubert and Chris Bachalo.

World Tour serves as an update of the classic Proteus Saga from X-Men #125-128. In this version, Proteus is reimagined as the twisted son of Professor Xavier and Moira MacTaggert. After years of being confined to Muir Island through sedation, David Xavier awakens from his sleep when he senses Professor Xavier’s presence in Europe and sets about enacting his revenge on the man who abandoned him when he was still a child. It’s a creative modernization of the story and the twist of Proteus being Professor Xavier’s son is actually something I would have liked to have been canon in the main Marvel universe. Millar is to further be commended for the way in which he infuses the theme of parental abandonment into this narrative. David Xavier is a complex villain because he commits unforgiveable acts of murder and yet has an upbringing that begs the reader to empathize with him. His father was neglectful and abandoned him when David needed him the most. This is made worse by the fact that his father has now created a surrogate family for himself with the X-Men, intensifying his feelings of loneliness and rejection. It humanizes both David and Professor Xavier, the latter of which used to seem more like an archetype than an individual who makes mistakes in his pursuit of his dream.

The validity and effectiveness of pacifism is another theme that permeates this story arc. Professor Xavier preaches a non-aggressive approach to the protection of human lives, which is something that doesn’t always seem to work in implementation. Colossus in particular doesn’t share the same views as his mentor and leaves the team because of this, though he has added reasons pertaining to his feelings of underappreciation and the endangerment he faces as a member of the X-Men. Colossus also vehemently disagrees with Professor Xavier’s psychic manipulation of Magneto. Indeed, many important questions are raised here. Are non-violent actions a viable solution when faced with aggressive opponents? Can one really claim they are a pacifist when they’re manipulating the mind of another person without their permission? World Tour doesn’t really provide any answers to either of those questions. Although, Millar comes close as he gives the X-Men an irredeemable foe that must be dealt with in as aggressive a manner as possible. Professor Xavier’s psychic surgery of Magneto’s mind creates a rift in the X-Men as well. There’s a growing distrust towards him, particularly from Beast and Colossus, the former of which suspects that his relationship with Storm may be a lie. These kinds of character explorations are really interesting and help to add depth to this collection.

The main storyline for this collection is really great. Millar pens a really cohesive narrative that is sure to resonate with readers and he continues to flesh out these characters so that they feel like complicated individuals. Kubert and Bachalo’s pencils are noteworthy, with Bachalo especially adding a touch of creepiness to the arc once things start to get topsy-turvy with David’s manipulation of reality. The two issues written by Chuck Austen, which introduce fan-favourite Gambit to the Ultimate Universe, are unfortunately quite weak and feel disjointed when collected in this trade. Regardless, World Tour is more of a hit than a miss and is a really fresh take on an iconic storyline from the X-Men oeuvre. Millar and co also get bonus points for their reimagining of Psylocke (a British S.H.I.E.L.D. agent? Yes please!).

RATING: B

Review: Ultimate Spider-Man Volume 4 - Legacy

When Norman Osborn makes a re-appearance after his apparent death, Peter fears the return of the monstrous Green Goblin will not be far off. Cognizant of the fact that Osborn knows his secret identity, Peter realizes the lives of his loved ones in danger. He must act quickly to stop Osborn before anyone can get hurt.

Ultimate Spider-Man Volume 4: Legacy collects Ultimate Spider-Man #22-27, written by Brian Michael Bendis and illustrated by Mark Bagley.

Legacy is a remarkably straightforward story that structures itself around an inevitable rematch between Spider-Man and Green Goblin. Harry Osborn returns to school after a lengthy absence, which also prompts the discovery that his father is alive and well. Peter is understandably strung out because he’s certain that Osborn is Green Goblin and that he knows his secret. Sure enough, this proves to be true and Osborn threatens the lives of Peter’s loved ones should he not retire as Spider-Man. Naturally, Peter doesn’t do as he’s told and so Osborn goes after Mary Jane. A whole lot of nothing happens in between these events, which means that there are extended sequences of exposition and dialogue. There’s barely even a glimpse of a subplot in sight. It’s actually reminiscent of the formula used within the Marvel Cinematic Universe – talk, talk, talk, punch, punch, punch and repeat! As such, it seems like what could merely be a three or four issue arc is stretched into six.

For the most part, Legacy seems to allude largely to “The Night Gwen Stacy Died” (The Amazing Spider-Man #121-122). In this version, the Green Goblin lures Spider-Man out to the bridge using Mary Jane as bait. The events play out similarly from there. That said, Bendis and Bagley do inject fresh material into this arc to further distinguish it from its infamous predecessor. Notably, Gwen Stacy (who has not been treated as a love interest thus far) is developed further and we begin to see her imposing herself more into Peter’s personal life. We get a sense that things aren’t so great at home for her and she’s becoming more attached to Peter, as well as Aunt May. There’s an additional implication that this creates a wrinkle in Peter’s relationship with Mary Jane. Gwen is still an enigma, but she’s endearing to the reader. The characters still want to write her off as a freak even though it’s clear that she’s troubled for a reason. Harry is similarly troubled. He first seems to be free from the trauma that occurred during the series’ opening arc, but we soon learn this is merely due to hypnosis at the behest of his father. While I find most versions of Harry Osborn to be annoying, Bendis and Bagley’s take on the character incites empathy from me. It’s evident that he truly cares for his friends and desires a healthy relationship with his father, but Osborn is quite literally a monster. Harry’s arc is subtle in these six issues, but his role in the final conflict adds an impressive dramatic flair to the overall storyline.

Legacy visits a lot of familiar ground, particularly as it dwells on the theme of the responsibility of powers and the bull about how it’s necessary to lie (by omission) to your loved ones since it will supposedly protect them from harm. This combined with yet another “Green Goblin hurls a Spidey girlfriend off a bridge” incident contributes to the overall sense of déjà vu with this storyline. Bendis and Bagley also seem to be treading water as well, since this collection seems almost singularly focused on tying up the loose end of Osborn’s fate during the opening arc. It’s not the most impressive showing from Bendis and Bagley thus far. By its final page, Legacy leaves the reader with some closure as well as some hints towards the direction Peter’s life may take should he continue on as Spider-Man. Thankfully, it also leaves us with a memorable final clash between Spider-Man and Green Goblin as well as questions regarding Gwen’s home life.

RATING: B-

Review: The Ultimates Volume 1 - Super-Human

In the aftermath of Magneto’s attack on Washington, General Nick Fury assembles a team of uniquely qualified individuals to combat any future superhuman threats to humanity. Though the S.H.I.E.L.D.-sponsored Ultimates become the face of heroism in America without ever having thrown a punch, they are put to the test when they must bring down one of their own while the entire world is watching.

The Ultimates Volume 1: Super-Human collects The Ultimates #1-6, written by Mark Millar and illustrated by Bryan Hitch.

Overall, Super-Human is best described as a mixed bag. At its best, it is a cinematic masterpiece that unfolds seamlessly over the course of six issues. At its worst, it seems as if it is written from a frat boy perspective with laughable dialogue and questionable sexist moments. Boiling it down solely to its storyline, this trade gives us an essential reimagining of the Avengers, one which proved so iconic that it served as the primary source material to the early films in the Marvel Cinematic Universe. It begins with a flashback to World War II, where we see the apparent death of Captain America. It’s atmospheric and captures the tone we associate with that era, which is obviously a testament to Bryan Hitch’s skill as an artist. From there, we’re taken to the present day with Nick Fury assembling a S.H.I.E.L.D.-sponsored superhero squadron. This team – consisting of Iron Man, Giant Man, Wasp, Thor and an unthawed Captain America – become overnight celebrities thanks to the public relations savvy of Betty Ross and a harrowing battle against the Hulk. It’s a truly impressive narrative due to its sheer simplicity and creative reimagining of the Avengers as a government-sponsored military strike force. In fact, some of the most interesting moments occur during downtime when we see the machinations that go into such an operation. Bureaucracy, manipulation of public opinion and (mis)use of science all make for fascinating themes within the mythos of the Avengers. Its pacing is admittedly slow, but once we get to the action in the fifth issue it’s positively explosive.

Bryan Hitch’s art is part of what makes it so easy to describe this collection as filmic. He strives for realness in his work, which is successful a great deal of the time. We see him capable of rendering accurate versions of George W. Bush and Shannon Elizabeth, as well as a Samuel L. Jackson-fied Nick Fury. This also ensures a kind of grittiness to his work and this edge creates a distinctive aesthetic for the world in which the Ultimates operate. Hitch should also be commended for his redesigns of the Ultimates – Giant Man, Wasp and Captain American in particular look really chic and streamlined in the ultra-modern looks Hitch depicts them in. If that weren’t enough, he’s also highly skilled at illustrating action sequences. Devoid of its dialogue, the fifth issue’s Ultimates vs. Hulk battle is a non-stop grudge match that’s tightly choreographed and detailed within every centimeter of the panels.

Where Super-Human loses me at points is the characterization and dialogue crafted by Mark Millar. Millar seems like he’s trying so hard to be irreverent, funny and contemporary with his work here, but instead it comes across as immature and incites more eye rolls than it does laughs. Captain America becomes wholly unlikeable for this very reason. He’s a jerk, plain and simple. He lacks the endearing qualities and quirks that make him so beloved in the main universe. Instead he comes across as a hyper-masculine meathead who is down to sucker punch anyone he deems as an annoyance. Cap is such a DB that he makes Iron Man come across rather favourably, though admittedly Millar doesn’t do much to actually make Tony seem like anything more than an eccentric. Millar’s biggest misstep is issue five. Bruce Banner turns into the Hulk and goes after his one-time girlfriend, prompting the Ultimates to go after him in order to prevent this from happening. Millar depicts Hulk’s motivations as being rather simple – he’s horny and he’s angry. With the former, it’s implied that the Hulk’s reasons for acquiring Betty are sexual. This seems to indicate that what he wants to do is assault her, which is extremely unsettling. What is more disturbing is that this motivation appears to be played off as humorous. The Hulk wanting to sexually assault someone is not funny, neither is the Wasp using her breasts as a distractionary tactic. We also get some weird dialogue with the Hulk expressing his desire to use Giant Man’s skull as a toilet bowl (ew). Millar uses a lot of crude humour that’s very unfunny due to the implications behind them and the level of immaturity that it seems to carry with it. Then there's issue six, which depicts a violent domestic dispute between Hank and Jan. Its sheer level of aggressiveness is really shocking. Millar's dialogue for the event really borders between being exploitative and depicting the realities of abuse. It's difficult to really judge whether the sequence serves to draw focus towards a very important and very prescient issue (i.e. domestic abuse) or whether it's there for shock value. There’s a reason there’s a parental advisory label on the back of this trade. It’s certainly not intended for the same audience that the MCU films are.

I really want to like Super-Human and in many ways I actually do. However, there’s a lot of creative decisions that were made that seem out of place and rather questionable for a series that reimagines the Avengers. Bryan Hitch’s artwork is certainly a reason to celebrate this book. His aesthetic is on point and provides a kind of grit that really draws the reader in. Furthermore, the basic elements of Millar’s conception of the Ultimates are really smart and relevant. His portrayal of this team as S.H.I.E.L.D. agents was really a marvelous idea and the way in which he managed to seamlessly weave Bruce Banner and Hank and Janet Pym into the organization is truly inspired. The pacing and plot are similarly very engaging. It pays homage to the Avengers’ very first issue, while also modernizing and expanding upon it. Sadly, the dialogue and character choices really hinder this collection from an otherwise well-deserved high score. Needless to say, I’m not much of a fan of Millar’s vision of Captain America and the humour he settles on for this series.

RATING: C+

Review: Buffy the Vampire Slayer Season Eight Volume 5 - Predators and Prey

When the vapid vampire Harmony Kendall lands a popular reality TV show, the world’s slayers are inextricably cast as villains. With Buffy and her allies’ reputations smeared, they must find a way to continue protecting the very people who now fear and hate them. Buffy must also contend with a malicious renegade slayer contingent and finally deal with Dawn’s continued magical transformations.

Buffy the Vampire Slayer Season Eight Volume 5: Predators and Prey collects Buffy the Vampire Slayer Season Eight #21-25, written by Jane Espenson, Steven S. DeKnight, Drew Z. Greenberg, Jim Krueger and Doug Petrie. Georges Jeanty and Cliff Richards provide the art.

Thus far, the eighth season has been structured with four issue arcs followed by self-contained one-off issues. Predators and Prey eschews this format in favour of a more episodic form of storytelling, enabling this collection’s writers to tell a series of stories that either build on or wrap up events from this season. These stories vary in quality, with the better ones being those that help progress the overall narrative of the season. Jane Espenson’s “Harmonic Divergence” casts Harmony as a Lauren Conrad-esque reality star whose stumbling efforts to achieve fame accidentally leads to the tarnishing of the slayers’ public perception. It’s an interesting turn of events, especially since the insipid Harmony accomplishes something on a global scale that legitimately hurts the slayers’ operations without even meaning to. It’s a complication that works well to ratchet up the tension and makes things more difficult for Buffy and her allies.

 

Steven S. DeKnight’s “Swell,” Drew Z. Greenberg’s “Predators and Prey” and Doug Petrie’s “Living Doll” provides a different function in that they’re responsible for tying up some of the loose ends introduced during season eight. “Swell” is a Japan-set adventure where Kendall and Satsu team up together in order to fight off the miniature demonic Vampy Cat dolls. Besides getting to see more of Kendall and being able to warm up to her character a little more, this story is notable for featuring Satsu moving on from her romantic pursuit of Buffy. “Predators and Prey” is both hilarious and touching, as we see Andrew and Buffy working together to dismantle the operations of a rogue slayer group. Greenberg more or less closes the book on the renegade slayer Simone, who functioned loosely as a season three Faith kind of a character earlier in the season. Beyond that, he pens a really funny scene in which Buffy and Andrew bond while en route to their assignment and he also adds a bit of genuine emotion as Andrew finally earns the trust and respect of Buffy and her allies. Then “Living Doll” serves the sole purpose of resolving the Dawn subplot, which means this Dawn-heavy issue focuses on Buffy having to save her little sister. It’s not the most interesting of stories, but at least we get a sense from its closing moments that Dawn is maturing as a character.

The weakest story collected is “Safe,” written by Jim Krueger. It’s a filler issue centered on Faith and Giles as they investigate a supposed slayer sanctuary in Eastern Europe. It has a lot of potential, but it progresses far too quickly due to its short length. It’s a treat getting to see Faith and Giles working alongside one another, but it’s done in a manner that feels far too much like skippable filler.

Predators and Prey is a mild step-up from the previous collection of season eight stories. The dialogue is stronger and there does seem to be a conscious effort being paid towards moving the narrative along. Its major flaw is in the stories’ rushed pace, particularly with “Predators and Prey” and “Safe.” With so many cooks in the kitchen, it’s actually remarkable that this collection feels fairly consistent. Of course, Georges Jeanty and Cliff Richards are to be praised for this as their art helps to unify all of the stories collected here.

RATING: B-

Review: Suicide Squad Volume 1 - Trial by Fire

Recognizing the necessity for Task Force X, the tough-as-nails Amanda Waller resurrects the program and recruits a handful of dangerous criminals into this so-called Suicide Squad. Under the field leadership of Colonel Rick Flag, she sends them off in service of their country. Should they fail, these expendable agents will be disavowed – or worse.

Suicide Squad Volume 1: Trial by Fire collects Suicide Squad #1-8 and Secret Origins #14, written by John Ostrander and illustrated by Luke McDonnell.

The great thing about this book is that it doesn’t read like an average work of superhero fiction. Writer John Ostrander pulls inspiration from military and espionage thrillers, adding a tinge of bureaucracy with international intrigue to the narratives. The tone is gritty, with an emphasis placed on action and the intricate psychology behind the characters involved. There’s also an undercurrent of uncertainty as Ostrander has a penchant for ensuring that not all characters return alive (or sane) from their missions. This book is simmering in its pacing, mirroring Cold War era storytelling sensibilities. Needless to say, Ostrander’s initial eight issues of Suicide Squad aren’t crowd pleasers that amount to light reading. They can be dense, challenging and slow in pacing, but they’re also complex and exciting.

The stories presented in this trade are almost entirely episodic. The trade begins with Secret Origins #14, which acts as a prelude to the series and gives us the origins of both Amanda Waller and the historical precedents to the then-current Suicide Squad.  It’s almost entirely composed of flashbacks, which are admittedly quite dull. The only valuable information gleaned from this issue is regarding the fateful mission that soured Rick Flag’s relationship with his lover Karin Grace and the circumstances surrounding what transformed Waller into such a hardened badass. The series itself then kicks off with a two-parter that sees the Suicide Squad venturing to the fictional country of Qurac to undermine the terrorist efforts of the Jihad. These two issues were a fantastic way to begin the series as its espionage tinted storyline requires the characters to travel to a foreign country, infiltrate the base of operations of a terrorist group, and face off against a cadre of colourful villains. It’s very James Bond in its approach and thrills from panel to panel. This is followed by a one-and-done issue where Darkseid’s Female Furies attack Belle Reve in an attempt to secure the escape of Glorious Godfrey. It’s an action-heavy story that highlights the individual capabilities of the Suicide Squad, as well as the incredible skill the Female Furies have as Darkseid’s top assassins. Another one-off issue sees Deadshot impersonating a vigilante stoking the flames of white supremacy in an attempt to undermine his efforts and to alleviate racial tensions in America (it’s unnerving how little has changed since 1987 in that respect). It’s a little out of place overall and overly simplistic in how it approaches its themes. This trade draws to a close with a three-part story involving the Suicide Squad going on a rescue mission to extract a writer from Russia who has been unfairly incarcerated. The mission goes south rather quickly when they discover she does not want to be rescued and when the Enchantress goes rogue. It’s an admittedly dated adventure that has Cold War tropes all over it. The Russians are all written as one-dimensional archetypes, but the action and concentration on deeper themes regarding free speech and martyrdom help to counterbalance this. Much like the introductory two-parter, this multi-part narrative is influenced heavily by the spy thriller genre and is an engaging follow-up to the 007-esque opener. Its aftermath, an (almost) action-free character study provides a fascinating conclusion to this trade.

What really draws me into John Ostrander’s world for the Suicide Squad isn’t the stories themselves, as they’re certainly fairly generic, but rather the incredible character work that he does. I’m most fascinated by the female characters in this collection. It should go without saying that Amanda Waller is the standout. Her gruff persona and take-no-prisoners attitude is highly entertaining, but there’s also an undercurrent of loyalty beneath that tough surface and her tragic past makes it easy for readers to empathize with her. Similarly, June Moone’s unique predicament of being the host to the evil entity known as the Enchantress draws sympathy from readers. The June and Enchantress personas are at constant odds with one another and that creates tension within the narrative as we’re unsure just how much damage the Enchantress will cause when she’s in the driver’s seat. Though she’s written in more of a supporting role, I also found Nightshade to be a really engaging character. She’s initially introduced as the team’s contact point in Qurac, having been working undercover within the Jihad, and her role then evolves into being an invaluable member of the Squad as the team’s resident teleporter. Layers of complexity are added to her character as we see that she has feelings for team leader Rick Flag and that she’ll push herself past her limits for the team. Aside from these three, Deadshot and Rick Flag are also standouts. Deadshot is an absolutely fascinating character who is unapologetic in his approach to relationships (or lack thereof) and his extremely grey conscience. He’s contrasted against the by-the-book Flag who becomes very much invested in this team and who appears to value life much more.

For those looking for the hilarity and insanity of the Suicide Squad film, Trial by Fire may not be an ideal read. It’s grim and gritty, with a decidedly serious take on the team. The bureaucratic aspects are played up, with the narratives playing out more like an Ian Fleming James Bond novel than your average superhero popcorn flick. That’s not a bad thing either. There’s a real sense of intrigue to the stories Ostrander created here and the characters have a lot of depth to them, with many being quite sympathetic despite being criminals or having questionable morals. Luke McDonnell’s art further compliments these stories. His characters are expressive and dynamic, with scenes involving the Enchantress being especially thrilling. He manages to make her seem genuinely creepy despite the fact that she’s dressed in green and wearing a pointy witch’s hat. Ostrander and McDonnell make for a great team. Together they make this collection of stories truly entertaining.

RATING: B

Review: Buffy the Vampire Slayer Season Eight Volume 4 - Time of Your Life

When Buffy and Willow head to New York City to learn more about the Scythe, Buffy is unwittingly sucked into a portal and is taken to the far future. There she meets Melaka Fray, the only slayer left on Earth. Buffy learns that a mysterious madwoman is responsible for bringing her into the future and that Melaka’s vampiric brother is plotting their demise.

Buffy the Vampire Slayer Season Eight Volume 4: Time of Your Life collects Buffy the Vampire Slayer Season Eight #16-20, written by Joss Whedon and Jeph Loeb with art by Karl Moline, Georges Jeanty and Eric Wright.

Despite being penned by Joss Whedon, Time of Your Life is the weakest of the story arcs from season eight thus far. It’s a four-part narrative that contributes very little to the overall direction of the season. Buffy gets plucked out of the present and spends some time in the far future with Whedon’s lead heroine from his comic book series Fray. It’s a diversion from the machinations of Twilight, but isn’t quite as fun or inventive as it should be. It’s fascinating to see Buffy in the role of a fish out of water by having her interact in an environment so different from what she’s used to. However, Whedon’s dialogue seems uncharacteristically immature at times. Buffy’s dialogue and overall behaviour throughout seems childish and vapid. At this point, she’s a woman well into her twenties who is the leader of hundreds of slayers. Whedon instead writes her as if she’s still in high school. She practically wets herself in excitement over being in New York City and then reacts like the dullest tool in the shed whenever she interacts with another person. Whedon seems far more capable of writing Willow and Kennedy as fully-formed characters here, as they are given more of an opportunity to be both humorous and serious (and act their age). In fact, I quite like Kennedy here and her dynamic with Buffy proves to be quite amusing following Buffy’s tryst with Satsu.

This collection concludes with a singular issue written by Jeph Loeb set in the style of the halted Buffy animated series. As a concept, it’s fascinating and the designs (drawn here by Eric Wright) provide really neat visual representations of the season one cast. Where Whedon explored the future with his four-part arc, Loeb examines the past. He gives both Buffy and the readers fuzzy nostalgic feelings by setting the issue during a simpler time in the titular slayer’s life. It’s filler, but it’s done in a way that’s far more creative than usual. It also works to show just how cool an animated series would have been for Buffy, though I’m sure we can all agree that it’d be better without Dawn lurking about.

Time of Your Life is the first real stumble the eighth season has had. Its inconsistent characterization and lack of progression is disappointing. By its final page, we’re no closer towards reaching the resolution of the Twilight storyline or knowing more about the Scythe. I wasn’t terribly impressed by Whedon’s dialogue for Buffy and his artist Karl Moline struggled to differentiate characters from one another (Buffy and Melaka’s sister Erin look like the same person). Loeb’s one-off issue was entertaining and held potential, making it the most enjoyable part of this trade.

RATING: C+