Review: The All-New Atom - Future/Past

Upon receiving a call from his high school crush, the Atom returns to Hong Kong under the pretense of helping to protect her from her abusive husband. He soon learns that not everything is as it seems – especially since her husband is dead and has returned to enact his vengeance on the person responsible for his death.

The All-New Atom: Future/Past collects issues 7-11 of The All-New Atom, written by Gail Simone with art by Mike Norton and Eddy Barrows.

Future/Past contains two story arcs. The first is a two-part story featuring figurative ghosts from Ray Palmer’s past returning to haunt his successor, while the second sees our titular hero facing off against real ghosts as he attempts to come to terms with his own past. In “The Man Who Swallowed Eternity,” the Atom is approached by Ryak the Rogue and is threatened into turning over a man he has yet to meet. As the plot unfolds, we learn that the time stream has been tampered with due to the activities of a friend of Ray Palmer. It’s a fairly straightforward science fiction-leaning story that brings our hero into a possible future, one which gives us a potential glimpse at where the DC Universe might end up. It’s engaging, but lacks depth and direction. The second arc, simply titled “Jia,” is really where things get interesting.

Over the course of three issues, writer Gail Simone teases out an incredible horror-tinged sequence of events that see the Atom venturing back to China in order to seemingly protect the woman he’s loved since he was a teenager. Simone rather brilliantly ratchets up the tension throughout the narrative, keeping readers on their toes by forcing us to confront and question the honesty of those involved. Jia, Ryan’s high school crush, is painted as a dejected and emotional wreck of a woman whose husband was abusive. Her husband, as we learn, once tormented Ryan in school and this makes matters even more personal. Upon his return to Hong Kong, Ryan learns that Jia’s husband is dead and is haunting her. Once we learn the reason for the haunting, things get really intense and it places our hero in a position where he feels powerless. Simone has never been one to play things safe or depict characters in a way that is predictable or one-dimensional, which is why it’s all the more thrilling to see how Jia and her husband are developed through this arc. It’s one of her most cohesive and compact storylines, especially since it occurs within a relatively short amount of time. I personally love when Simone gets dark and twisted, throwing horror at her readers, and she certainly doesn’t disappoint here.

The art in this collection is flawlessly executed and sets the tone for both stories. Mike Norton’s pencils are exuberant and youthful, depicting Ivy Town and its inhabitants in a much more colourful manner. Norton is more simplistic in his style and this suits the two part “The Man Who Swallowed Eternity” quite well. By contrast, Eddy Barrows has a more mature and detailed aesthetic. It’s darker and he excels at creating a sinister vibe for the book. His action sequences also continue to be superb.

I enjoyed Future/Past significantly more than the collection that preceded it. Simone hits her stride here. She trims down the supporting cast, utilizing both Panda and Ryan’s father in a manner that helps to further define Ryan’s character. She develops our hero’s past and hints at his future while delivering two engaging storylines, the second of which is massively entertaining in a twisted kind of way. This is further enhanced by the incredible work done by Norton and Barrows.

RATING: B+

Review: Batman - Bad Blood

When Batman seemingly dies in an explosion, his one-time partner Nightwing returns to Gotham City to continue his mentor’s legacy as the city’s protector. With a new Batman on the streets, the original Batman’s estranged son Damian and the newcomer Batwoman join him in investigating what really happened to the Dark Knight. This uneasy alliance must find a way to work together in order to combat the devious Heretic and his shadowy boss.

Batman: Bad Blood is a 2016 animated film starring Jason O’Mara, Yvonne Strahovski, Stuart Allan, Sean Maher and Morena Baccarin.

Batman: Bad Blood is the second sequel to Sonof Batman and is the fifth entry into the DC Animated Movie Universe. In the aftermath of Batman vs. Robin, Batman has returned to operating alone while his wayward son Damian is honing his skills in the Far East. Additionally, a new vigilante named Batwoman has surfaced and she’s determined to rid Gotham City of a mysterious crime syndicate that has its tendrils imbedded into the city’s underworld. Batman and Batwoman thus begrudgingly team up together, which only leads to Batman’s apparent death during a high octane explosion. His surrogate family must then pick up the pieces and continue his legacy, but they’re not so convinced that he’s truly dead and gone. In actuality, he is being held captive by an old enemy and they plan to bend him to their will.

To date, Bad Blood is the most enjoyable of the offerings from the DCAMU. It builds on the elements of its predecessors while adding in a series of unexpected twists. The addition of Batwoman to the cast is simply brilliant and it helps to inject some much-needed estrogen into the mix. She’s tough and she’s sassy, more than proving she’s capable of her spot in the Bat Family’s boys’ club. Best of all, we get her (truncated) origin neatly tied into the plot and her father becomes a minor supporting character. The writers also toss in Renee Montoya for good measure. Batwoman is used in a manner similar to Damian in the first two Batman-centric DCAMU films. She’s more extreme in her methods and even uses a firearm in battle. Though this doesn’t jive with her comic book persona where she’s much more hesitant about taking a life, it does seem to work as a reference to her past as part of the military and works to contrast her against Batman. Her characterization and integration overall is quite strong. The only weak spot is a questionable scene wherein she’s walking around in lingerie in front of her father and she must defend herself against an attack. It’s tonally jarring for the character. That said, it is counterbalanced by a sequence wherein we see Bruce in nothing but his skivvies.

While Batwoman is an organic inclusion into Bad Blood, the same cannot be said for Batwing. Introduced as the son of supporting cast mainstay Lucius Fox, Luke Fox reluctantly becomes a vigilante in order to seek justice for an attack on his father. Though I enjoyed the playful teasing that Batwoman does at Batwing’s expense, his presence in the film was distracting and not as well-planned as it could have been. There’s undeniable potential with his character, but his sidestory was one subplot too many.

The animation and design work is strong with this particular entry into the DCAMU. While I’m rather fond of the details added to Batwoman’s iconic costume, the best work is done on the villains. D-listers Killer Moth and Firefly are given cool modern redesigns, while Onyx gets a very exotic costume update. The one weak link is Mad Hatter, who doesn’t look much like we’d expect him to. The characters all look great and the action sequences are expectedly well done. Interestingly, some of the best sequences are those that focus on female fighters. They’re faster, more fluid and, in some cases, far more ruthless. In fact, one of the standout sequences involves the Bat Family facing off against gun-toting nuns (jokingly referred to as “nunjas”).

Batman: Bad Blood is thus far my personal favourite of the Batman-centric animated films within the DC Animated Movie Universe. Of course, I may be biased due to my love of Batwoman. The film is easy to follow, but features a more layered story than its predecessor. It’s a superior sequel to Batman vs. Robin, especially since it makes a leap forward by developing the Bat Family further and pulling away a little of the focus from Robin. Despite its title, the film features very little of the Dark Knight and it is instead much more concerned with the other members of the cast. This isn’t a bad thing though, as it allows audiences to get to know a different set of characters. Now, if only we could get a Batwoman-centric film as a sequel…

RATING: B+

Review: The All-New Atom - My Life in Miniature

Moving from Hong Kong to the United States, Ryan Choi becomes the new nuclear physics professor at Ivy University. He takes up residence in the former home of Ray Palmer, otherwise known as the superhero Atom. When he discovers the Atom’s size-changing belt, Ryan dons the familiar red and blue costume and becomes the newest Atom. Not long after this, Ivy Town goes topsy-turvy as science and magic duke it out for possession over the town and its inhabitants.

The All-New Atom: My Life in Miniature collects issues #1-6 of The All-New Atom and Brave New World #1, written by Gail Simone and illustrated by John Byrne and Eddy Barrows.

Following his disappearance at the end of the controversial Identity Crisis, Ray Palmer left the world without an Atom. As one of DC Comics’ most prominent Silver Age characters, the Ray Palmer iteration of the Atom was a member of the Justice League and helped to inspire a number of size-shrinking heroes. When it came time to create a new character to fill his boots, Gail Simone, Grant Morrison and John Byrne teamed up to create Ryan Choi. Positioned as a former pen pal of the missing Ray Palmer, Ryan moves to Ray’s old stomping grounds and replaces him as a professor at Ivy University. What follows is a series of events wherein Ryan becomes the new Atom and must deal with the consequences of his predecessor’s size-altering on the powerful nexus beneath Ivy Town.

Gail Simone, with the help of John Byrne and Eddy Barrows, channels the Buffyverse in her quest to legitimize Ryan Choi as the new Atom and redefine Ivy Town for modern audiences. My Life in Miniature is quirky and darkly funny, utilizing a sleepy university town as a setting for its B-movie style horror monster conflicts. In addition to our shrinking protagonist, Simone introduces a scientifically-advanced miniature society (that lives on a dog) and a Lovecraftian mystical creature as the antagonists for this arc. It’s silly, but playfully so. Humour and horror are two consistent trademarks in Simone’s work and she utilizes both fairly well here. Though it’s not nearly as pitch-perfect as her opening arcs on Batgirl or Secret Six, the tone she selects does what it needs to in order to set-up our hero and his surroundings. Even still, the supporting cast (composed almost entirely of fellow male scientists) isn’t particularly memorable and the overall execution of the conflict is muddied. Despite this, Simone gets bonus points for her creative usage of a civilian Giganta and the admirable creation of the extremely unhinged villain Dwarfstar.

The issues collected from The All-New Atom in this trade are illustrated by John Byrne (issues 1-3) and Eddy Barrows (issues 4-6). Though Simone and Byrne had previously worked together on Action Comics, I can’t say I enjoy his art with her words. Much of this has to do with the decrease in the quality of his work since the 1990s. Byrne makes Ryan look pubescent, while everything else seems to have a sketchy and rough quality. Of course, I may be especially hard on Byrne given his astonishingly bad run on Wonder Woman. When Barrows takes over the art chores for the remainder of the issues collected here, there’s a marked improvement in the dynamics of the book. His characters are more distinct, particularly Atom and Dwarfstar. The action is bolder and seems to match the tone of Simone’s writing.

My Life in Miniature does an adequate job of laying down the groundwork for what could very well be a great series. Simone has more hits than misses under her belt and, in these first six issues, has managed to make me far more interested in Ryan Choi than his predecessors (of course that may also be because of the gratuitous butt shot in issue 1). Though I’m not particularly impressed with the supporting cast and would have preferred more of a focus on Dwarfstar, I dig a lot of the choices made in My Life in Miniature and it leaves me invested in Ryan Choi as a character.

RATING: B-

Review: Batman - Knightfall Volume 2, Knightquest

With Bane finally off the streets, Jean-Paul Valley turns his attention to the seedy underbelly of Gotham City. As the new Batman, he hopes to cleanse the city of its criminal elements in a way Bruce Wayne never dared. He must face off against the Joker, Catwoman and two Clayfaces, but his real challenge may very well be apprehending the unhinged serial killer known as Abattoir.

Batman: Knightfall Volume 2 – Knightquest collects Detective Comics #667-675, Batman: Shadow of the Bat #19-20, 24-28, Batman #501-508, Catwoman #6-7 and Robin #7. It features writing by Chuck Dixon, Jo Duffy, Alan Grant and Doug Moench.

Knightquest was the banner used for the series of stories that occurred immediately after the critically-acclaimed Knightfall crossover. It was split up into two parts – the first, dubbed “The Crusade,” followed Jean-Paul Valley’s nightly quest to rid Gotham City of criminals and the second, called “The Search,” detailed Bruce Wayne’s attempt to rescue Jack Drake and Shondra Kinsolving. This trade paperback only collects the issues under the banner of “The Crusade.” The decision to focus on this particular set of stories is odd and makes it difficult for the reader to fully engage in the material. Jean-Paul Valley is wholly unlikeable and there are so few interesting villains here that it makes it difficult to engage in the narrative. For example, much of “The Crusade” focuses on the new Batman’s search for the serial killer Abattoir. It’s an interesting concept, but is continually interrupted by a series of Z-list villains who show up and require Batman’s attention. The exclusion of “The Search” is puzzling, especially since Bruce Wayne is absent for nearly this entire trade and then re-appears towards the end with passing references to what happened while he was away. At nearly 700 pages, this hefty trade really could have stood to have included those arguably very crucial issues.

For the most part, Knightquest is a forgettable mess of stories that lack excitement and that fail to re-capture the tension that pervaded Knightfall. The point of this particular storyline seems to be the descent of Jean-Paul Valley into moral corruption. The goal is to get him to that point where he’s willing to kill and does so without remorse. Unfortunately, we have to suffer through issue upon issue of stories with varying qualities of enjoyment and the character he eventually kills is one that no one will particularly miss. That said, there was an interesting internal conflict that permeated throughout this collection. Jean-Paul has visions of his father and Saint-Dumas duking it out for control over his thoughts, acting essentially as the figurative devil and angel on his shoulder.

While the majority of the stories within Knightquest are nothing to write home about, there is a four issue arc that crosses over with Catwoman that is stands above everything else as being entertaining and engaging. In it, Catwoman must prevent a group of terrorists from getting their hands on a dangerous chemical that kills and destroys everything in its path instantaneously. In an interesting turn of events, Batman suspects her of foul play and believes that she’ll fence the chemical to terrorists (despite the insistence of the GCPD that it’s entirely against her MO). Batman nearly ruins Catwoman’s entire plan, but she manages to persuade him to team up with her to stop the terrorists. The reason this storyline works so well is that the writers give readers someone to contrast Jean-Paul’s Batman against and someone to root for. In Catwoman we see how an anti-hero should be written. She operates outside the law and does many things that are illegal, but there are certain things she will not tolerate (terrorism being one of them). Where Jean-Paul’s Batman is grim and monotone, Catwoman is vibrant and charismatic. She cracks jokes and has witty repartee with just about every character that crosses her path. These issues are also packed with fantastic action sequences. Notably, we see the new Batman chase Catwoman from the docks to a warehouse where we see Catwoman rather epically knock a humongous gargoyle over in an attempt to squash her opponent. Of course, these issues entirely point towards the reason why Catwoman was such a fixture in the early-‘90s and why it was one of the best books DC Comics had been publishing. She’s literally one of the only enjoyable aspects of Knightquest.

Overall, Knightquest is a disappointing collection of stories. Jean-Paul Valley makes for a rather uninteresting protagonist and the writers do very little to make readers relate to him. His adventures as Batman are severely lacking in conflicts against notable villains and the exclusion of “The Search” issues really hinders the overall reading experience presented here. While the four-part crossover with Catwoman is a major standout and a Renee Montoya-focused Mr. Freeze one-off is brilliant, the rest of the stories here are mediocre at best. Of course, I’m not entirely convinced that the writers were fully committed to Jean-Paul as Batman and the point of “The Crusade” may very well have been to prove why Bruce Wayne is and probably always should be Batman.

RATING: C+

Review: X-Men - Fatal Attractions

Under the leadership of the fanatical Fabian Cortez, the Acolytes launch a series of deadly attacks on humans. Then, Magneto returns to reclaim control over the Acolytes and offers his fellow mutants a sanctuary on a satellite orbiting the Earth. There’s just one catch – those who do not join him are free to die alongside the humans Magneto despises. The X-Men, along with splinter teams X-Factor and X-Force, must stop their powerful adversaries in a fight to the finish.

X-Men: Fatal Attractions collects Uncanny X-Men #298-305, 315, Annual #17, X-Factor #87-92, X-Men Unlimited #1-2, X-Force #25, X-Men #25, Wolverine #75 and Excalibur #71. It is written by Fabian Nicieza and Scott Lobdell, with art by Andy and Adam Kubert, Greg Capullo, Jeo Quesada, Ken Lashley and John Romita, Jr.

Unlike previous X-Men crossovers, Fatal Attractions is relatively short and it features a succinct narrative aimed at celebrating the X-Men’s then-30^th anniversary. Story-wise, it serves as a loose sequel to the events of MutantGenesis and X-Cutioner’s Song. It follows the aftermath of the virus Stryfe unleashed upon mutants, leading to the death of Colossus’ little sister Illyana. During this time, the Acolytes make their reappearance and Magneto returns after having seemingly being killed by Fabian Cortez. Magneto’s presence is felt early on, but once he makes his official appearance in this collection it becomes quite clear that he is more powerful and more unhinged than ever before. This ultimately leads to one of the most shocking moments in X-Men history – spoilers – Magneto rips the adamantium out of Wolverine’s body and then Professor Xavier lobotomizes Magneto to ensure he can never harm another living soul again. This turn of events shattered the status quo and would have severe repercussions for all characters involved.

While Fatal Attractions itself spans a mere six issues, this deluxe hardcover collects an impressive array of issues that build-up to the shocking events of the crossover. These issues, particularly the ones of Uncanny X-Men, involve the games played by the young and villainous Upstarts. We see their attempts at impressing the Gamesmaster in order to win their wicked contest for world domination. Consequently, it is Fabian Cortez who has leveraged his “murder” of Magneto and control of the Acolytes in order to gain an advantage over his competitors. The concept and execution of the Upstarts is quite fascinating and works effectively. Unfortunately, this plotline is sidelined the moment Fatal Attractions kicks in. Quite a few issues of X-Factor are collected here as well, though they don’t offer the same punch or context as the ones from Uncanny do. In fact, they feel quite out of place.

Fatal Attractions is impressive in its ability to deal with complex philosophies and difficult subjects, all while developing its characters with a surprisingly degree of care. The most important figures in this collection are Professor Xavier, Magneto, Colossus, Jean Grey and Jubilee. They are the emotional touchstones that help us navigate through the events leading up to and through the crossover.

Once again, we see Professor Xavier and Magneto debating the viability of Xavier’s dream. After all that has happened to him and to his fellow mutants, Magneto is convinced that Xavier is delusional and that peaceful coexistence will never happen. This, of course, isn’t an entirely new viewpoint for Magneto. The difference comes with Xavier’s approach to dealing with Magneto. For years, he’s attempted to see the good in his friend and has tried to rehabilitate him. This time around, passivity isn’t going to cut it. This time, Magneto needs to be stopped at all costs. What’s great about what Nicieza and Lobdell do is that they embrace the moral grey area between Xavier and Magneto’s ideals rather than outright paint either character as being “right.”

Colossus is given incredible prominence in the stories collected here, which is great considering how often he gets ignored by most writers. He blames Xavier for taking him away from his simple life, selling him on a dream and then having that dream amount to nothing but the deaths of everyone he holds dear. His presence is a visceral reminder of the failures the X-Men have faced throughout their existence. On top of that, his defection from the X-Men to join Magneto’s Acolytes was yet another twist that illustrated how far Nicieza and Lobdell were willing to go in order to shake up the status quo.

Amongst the darkness and moral ambiguity of Fatal Attractions, there were two beacons of hope in the form of Jean Grey and Jubilee. While Xavier contemplates and ultimately settles on using drastic measures to bring down his rival, Jean Grey does not waver from the moral highground. We see her, rather importantly, questioning Xavier’s actions and motives. She is a counterpoint to Colossus and even to Xavier in that she is the physical representation of Xavier’s dream. She’s kind, intelligent and has a strength of character that is unmatched in this particular collection of stories. With Jubilee, Nicieza and Lobdell explore her innocence slowly being chipped away (not that she was ever all that naïve to begin with). It is through Jubilee that we feel Illyana’s death and experience grief. It is also through her that we may see a better future. Two of the best moments from this collection feature her prominently. Notably, Uncanny X-Men #303 features a grief-stricken Jubilee consoled by Jean Grey and Wolverine #75 sees the titular hero saying goodbye to Jubilee in order to seek out answers to the questions he has after the loss of his adamantium.

After the lackluster and convoluted crossover X-Cutioner’s Song, Fatal Attractions served as a reminder that storytelling could be done in an evocative and thoughtful way during the notoriously “extreme” ‘90s. Nicieza and Lobdell effectively deal with themes of life, death, pacifism, extremism and everything in between all while crafting a twist-filled epic that celebrated the X-Men’s monumental 30 year anniversary. While there are a whole host of characters to keep up with and a fair amount of dangling plot threads, Fatal Attractions is a more intimate and accessible crossover than those that preceded it. It’s a must-read for any fan of the X-Men and is quite possibly one of the most important events in the history of the X-Men.

RATING: B+

Review: Cutie Honey (Manga)

Honey Kisaragi is an android powered by the incredible Airborne Element Solidifier, which enables her to transform herself into a variety of identities. When her creator is murdered by the nefarious Panther Claw organization, Honey must do battle against them as the superheroic Cutie Honey in order to prevent them from gaining access to the Airborne Element Solidifier.

Cutie Honey was a two volume shōnen manga series created by Go Nagai originally published in 1973.

Cutie Honey is largely regarded within the manga and anime canon as a seminal, game-changing work that introduced the first magical girl to strictly male audiences. It’s an iconic series that has had many iterations and its lead character is perhaps one of the most well-known heroines from Japanese popular culture. That said, its original manga is utter garbage. It is a childishly written series that constantly undercuts its narrative in favour of scenes of exploitative nudity and gross-out gags. For example, almost every fight scene leads to Honey’s clothing being torn and each time she transforms into a new identity there are several panels featuring her posing nude. There are a few deplorable sequences that are rather uncomfortable to read. The first is when Honey transforms into a nude statue and is “comically” molested by two male characters, these same characters later continually interrupt her while she’s bathing in order to see her naked, and another near the end when Honey has trouble transforming and is without clothing for several pages. In this respect, Nagai takes every opportunity to objectify his protagonist and it undermines her chance at being an empowered heroine.

The biggest issue I had with Cutie Honey as a series was its blatant and often sickening level of homophobia. Honey is sent by her creator to an all-girls school in the mountains to keep her hidden away from the evil Panther Claw. It’s there that we learn the staff and students are all lesbians, due to the absence of men at the school. We see very little of the students, but much is made of the staff’s insatiable and often sadistic sexual appetites. One of the teachers routinely checks the dorms and will often torture misbehaving students, which means whipping them until their clothing is shredded. These women are monstrous in their appearances and behaviour, which implies that homosexuality itself is horrific and outrageous. There is one slight inconsistency with this perspective in that it’s possible to make the case for Honey herself being gay and that she has a relationship with her roommate Natsuko. There’s an affection and sweet playfulness to their interactions, which contrasts sharply against the more sensationalized portrayals of homosexuality. It does seem like Nagai is attempting to play within the themes and narratives present in Class S fiction, but he seems to fumble a bit with it since he de-emphasizes romance and emphasizes any and everything sexual.

Overall, Cutie Honey is a huge disappointment largely because it had the makings to be an absolutely riveting and complex series. The general narrative is quite fascinating – an android with the ability to transform into a variety of disguises must do battle against an all-female criminal organization – but is constantly undermined in favour of providing moments of levity by objectifying its heroine. In effect, the concept is great but the execution is awful. When read from a modern perspective, the series seems immature and is bogged down by really bad writing (and art).

RATING: D

Review: A-Force - Warzones

On the idyllic island of Arcadia, She-Hulk governs as the Baroness and leader of the elite A-Force. When one of the members of A-Force is banished for breaking the rules of the island, She-Hulk and the others launch a mission to bring her back. However, they soon discover that there is a traitor in their midst and must force them out before any further damage can be caused.

A-Force: Warzones collects the five issue mini-series A-Force, written by G. Willow Wilson and Marguerite Bennett with art by Jorge Molina.

Despite the fact that there are so many strong heroines in the Marvel Universe, very few series have been created featuring an all-female team à la Birds of Prey. There was the mini-series Marvel Divas and its thematic sequel Heralds, as well as the female-led X-Men. However, such Marvel releases are hard to keep in publication and even titles starring singular heroines are often swiftly cancelled. A-Force was originally published as a tie-in mini-series to Secret Wars, becoming a teaser for the subsequent ongoing series that debuted in January of 2016. Writers G. Willow Wilson and Marguerite Bennett used this opportunity to throw as many heroines into one book as possible and create a fascinating one-off storyline featuring characters that otherwise get sidelined during major events. It’s a fun, breezy read that emphasizes sisterhood and the power of female friendship.

When reading A-Force, it’s hard not to feel like it’s actually a Wonder Woman story that was re-purposed using Marvel heroines instead. Arcadia is envisioned as a “feminist paradise” by Wilson, which means that it seems like it was created to be Marvel’s version of Themyscira. We see Loki positioned in a role that’s very similar to Circe’s and the Thor brigade is certainly very Amazonian as well. She-Hulk is also devoid of much of her more defining characteristics and instead comes across as a green-skinned Wonder Woman, especially in her role as a ruler and leader. Of course, I can’t blame Wilson and Bennett for knowingly or unknowingly borrowing elements from the wonderful world of Wonder Woman. She is the best fictional heroine and her segment of the DC Universe remains vastly underrated.

I love the conceptualization of this mini-series and really like the cast that Wilson and Bennett use throughout. There are a lot of great cameos, but much of the focus is placed on She-Hulk, Nico Minoru and newcomer Singularity. The latter two are especially well-written and I find Singularity to be quite a scene-stealer. As a massive Dazzler fan, I was pleased to see her utilized as one of the main members of A-Force. However, the writers never really bothered to develop much of a personality for her beyond the somewhat tired “mutant disco queen” role everyone seems to tote out when she makes an appearance. Similarly, Captain Marvel goes woefully underused and Medusa has only one defining moment in the entire series. Even still, I have to give it to the writers for chanelling into the key ingredient that made Birds of Prey such a beloved series for DC Comics – friendship. There’s an electric chemistry that exists between all characters. We’re seeing them not only as comrades in arms, but also as friends and companions. This sense of familiarity between them is often lacking from most mainstream comics, where it seems like most teams can only ever have a maximum of one or two women on it. So where Wilson and Bennett stumble in the character development department, they almost make up for it with character interaction.

Though I hate to admit it, Wilson and Bennett’s work is all but overshadowed by Jorge Molina’s gorgeous artwork. The characters are so vibrant that they practically jump off the page. Everything from the expressions (especially Singularity’s) to the hair is done so impeccably well that I was left staring at the images long after I’d finished reading the words on the pages. In fact, the last time I remember Dazzler looking so beautiful was when Sana Takeda drew her for an appearance during Curse of the Mutants.

A-Force: Warzones is an enjoyable read featuring just about every Marvel heroine you can imagine. It’s a treat to fans of these characters and it’s entertaining. I also love the themes it presents and the overall chemistry between the characters. Most importantly, it sets the groundwork for the ongoing series that spun out of Secret Wars, thus proving that an all-female team of Avengers can and does work. At the same time, A-Force is fairly disposable as a one-off mini-series and lacks depth in its portrayal of many of its characters. It’s trying to capture the magic of Birds of Prey, but falls short of its target.

RATING: B

Review: Batman - Knightfall Volume 1

After escaping from the hellish prison that is Peña Duro, the villainous Bane journeys to Gotham City on a mission to become its kingpin. Before that, he must rid the city of its protector – Batman. He orchestrates a mass break-out at Arkham Asylum, unleashing all of the Dark Knight’s greatest foes onto the streets. With hopes of pushing Batman to his breaking point, Bane’s ultimate goal is to destroy Gotham City’s Dark Knight mentally and physically.

Batman: Knightfall Volume 1 collects Batman: Vengeance Of Bane Special #1, Batman #491-500, Detective Comics #659-660, Showcase '93 #7 and 8 and Batman: Shadow Of The Bat #17-18.

Knightfall is arguably one of the most iconic Batman storylines of all time. Much like the infamous Death in the Family, this arc shook up the status quo and gave readers a glimpse at a darker, angrier Batman. As the creative brainchild between Dennis O’Neil, Chuck Dixon, Doug Moench and Alan Grant, Knightfall details the now-legendary breaking of the Bat at the hands of Bane and the takeover of the Batman mantle by the unhinged Jean-Paul Valley. It is a carefully crafted storyline that, like any good novel, unfolds over the course of several chapters. It begins almost immediately with the break-out at Arkham, followed by Batman’s fevered attempt at re-capturing all of the inmates despite his ailing health. When he is at his most vulnerable, Batman is attacked in his own home by Bane and is paralyzed during the conflict’s climax. Now recovering from his grievous injuries, Batman appoints Jean-Paul Valley as his successor. There’s just one problem – Jean-Paul is too violent, too unpredictable and far too willing to cross the line into killing criminals. In essence, he is everything Batman isn’t supposed to be.

My hat goes off to the creative team behind Knightfall. It’s a grand scale crossover that pulls out all the stops. The first half of the saga focuses almost entirely on Batman’s one man mission to apprehend the Arkham escapees. It was a brilliant choice to make because it gave the writers an excuse to toss in as many iconic villains as they could without it seeming forced or inorganic. From the Joker to Poison Ivy, Knightfall is a veritable smorgasbord of Batman rogues. Obviously, some conflicts are more thrilling than others. Notably, the subplot of the Joker and Scarecrow teaming up together is well-done. It is only after this revolving door of villainy that we get the epic Batman vs. Bane grudge match. It’s clear from the onset that Bane has the advantage, but the fight is engaging nonetheless. The concluding paralysis of Batman was ballsy and this shake-up allowed the writers to actively engage in dialogue concerning the role and importance of heroes like Batman.

What is most admirable about Knightfall is that it serves as a critique of the ridiculous popularity of anti-heroes at the onset of the 1990s. There was an influx of gun-toting mercenaries who were willing to kill their enemies whose status as being en vogue suggested that the more morally upright characters like Batman might be antiquated. As such, the creative team responsible for the Batman titles tried their hands at an experiment by removing Bruce Wayne from the mantle and replacing him with someone who was his opposite. In this collection, we really only see the early effect Jean-Paul Valley has as Batman. He takes over roughly towards the end of this trade and we are witness to the beginning of his descent into using extreme methods. Surprisingly, we see that his methods are in fact successful. He defeats Bane and the crime rate plummets. That said, there is a cost to Jean-Paul’s actions. Specifically, his relationship with Robin deteriorates and the police are left on uncertain grounds regarding their approval of him.

Despite being written in the early-‘90s, there’s a feeling of timelessness to Knightfall and it’s a remarkably easy read. Despite a lack of exposition done to properly explain who Jean-Paul Valley is, this collection is incredibly easy to follow and is one of the more accessible Batman events. It’s definitely more action-oriented and there isn’t a whole lot of character work done. In this respect, I mean that the creative team doesn’t dwell too much on the interpersonal relationships and instead have a laser focused sight placed on the endgame of Jean-Paul Valley’s ascension into the role as Batman. That said, they are attentive towards showing readers Robin’s perspective and much of the emotional core of the story revolves around his perception of the events. Still, there is a very clear divide in terms of narrative quality and reader engagement. The events leading up to Bane’s attack on Batman are far superior to the events that occur afterward.

Knightfall is essential reading for anyone who considers themselves a fan of Batman. It’s an exciting and engaging storyline that examines the role of Batman in a way that also critiqued the popular characters of those times. It may be the first chapter in what would become a rather expansive saga, but it’s also the most important. The art is consistently on point and the action is always impeccably done. One of the only downfalls to Knightfall is the varying qualities of certain storylines. Notably, the material from Showcase ’93 and Batman: Shadow Of The Bat are kind of a drag. It also would have been nice to have fuller development done for what little we see of Nightwing and Catwoman, though both would later play important roles in the events that transpire after Knightfall.

RATING: B+

Review: All-New Captain America Volume 1 - Hydra Ascendant

With a young boy affected by the Terrigen Bomb in their grasp, Hydra intends to use his powers in order to sterilize the human population and allow only themselves to continue forward in the evolutionary chain. It is up to the all-new Captain America and his partner Nomad to prevent their insidious plot from coming to its conclusion.

All-New Captain America Volume 1: Hydra Ascendant collects All-New Captain America #1-6, written by Rick Remender and illustrated by Stuart Immonen.

In Hydra Ascendant, writer Rick Remender does an impeccable job of establishing who Sam Wilson is both as a person and as the new Captain America. He gives an abbreviated look back at Sam’s past through flashbacks and exposition, which is invaluable in making the book accessible to both new and veteran comic book fans. It also clearly illustrates to readers what his motivations are and what being Captain America represents to Sam. In this way, there is a clear sense of history and legacy to the narrative. Remender certainly seems like he’s done his homework and fills these six issues with just about every iconic Captain America villain you can think of. In some ways, it’s reminiscent of Allan Heinberg’s five-issue run on Wonder Woman.

The story itself is very straightforward. Sam Wilson has become Captain America and one of his first assignments in the role is to take down Baron Zemo and his Hydra associates. Their scheme du jour is to sterilize every human on Earth in order to ensure the progression of Hydra’s superior race. Everyone from Sin to Crossbones attempts to prevent Captain America from foiling their plans. It’s a cinematic narrative that is packed full of action and surprising plot twists. On top of that, there is incredible character work that leaves the reader with a clear understanding of the titular hero. In that way, Remender is able to perfectly balance action with character development.

Stuart Immonen’s art is the icing on the cake in this collection. His pencils perfectly compliment Remender’s writing and create a dynamic world for the new Captain America to operate in. He really knows how to set a scene and create stunning panel work. Beyond that, his characters are just absolutely gorgeous. Captain America, Misty Knight and Madame Hydra are particular standouts in this collection. However, I do have some issues with Immonen’s output here. His rendering of Captain America’s wings often looks overly simplified and comes across looking sloppy. He also seems to have a difficult time drawing older characters and some action scenes are a little hard to follow.

All-New Captain America Volume 1: Hydra Ascendant does an excellent job of establishing Sam Wilson as the titular character and reads as a classic-in-the-making. Much ballyhoo was made about Sam taking over the mantle, much of which came across as racist nonsense (and is actually addressed in-story), but Remender proves why it makes sense for him to be Captain America. In fact, he’s arguably more qualified than anyone else to continue on the tradition. He’s been Captain America’s partner for a long time, held a membership within the Avengers for years and has the fortitude of character that is necessary for standing behind that iconic shield. Remender and Immonen work in unison to deliver a near-perfect Captain America story, one which every Marvel fan should check out.

RATING: A-