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-