Review: Forever Evil

In the wake of a war that nearly tore the Justice Leagues apart, Earth’s greatest heroes have disappeared and have been replaced by their evil counterparts from another world. With no good guys around to stop this anti-Justice League, it’s up to Lex Luthor and his fellow villains to ensure that Earth does not succumb to the dictatorial reign of the Crime Syndicate.

Forever Evil collects the six issue mini-series of the same name, written by Geoff Johns and illustrated by David Finch.

Forever Evil reads like the antithesis to its predecessor Trinity War. Where the latter was a multi-book crossover involving a large internal conflict between dozens of characters, Forever Evil is a rather intimate self-contained six issue story with a small cast and traditional good vs evil style narrative. The twist here, of course, is that the good guys are actually our Earth’s villains. Though this isn’t the first time we’ve seen a villain-centric mini-series from DC Comics and while this series owes much to Grant Morrison’s JLA: Earth 2, Geoff Johns manages to keep things fresh and exciting by focusing with pinpoint-like precision on his characters and driving the plot forward.

I’ve never been much of a fan of Lex Luthor as a character or even as a villain. Most writers depict him within this caricature-like lens of him being a maniacal and obsessive genius whose entire raison d’être is to destroy Superman. With Lex as the lead protagonist in Forever Evil, I was prepared to find myself glazing over much of the series with vague disinterest. Instead, I was surprised to find that Geoff Johns had made Lex a multi-dimensional character that was likeable and relatable. Much of this obviously had to do with the fact that there was no Superman around for him to obsess over, but it was also due to Johns allowing Lex to embrace his humanity and to show a wider spectrum of emotions. For example, Lex’s parental affection for Bizarro was touching and created an interesting dimension to both characters.

Another standout character from Forever Evil is Catwoman. Johns’ tone for the Feline Fatale is absolutely purrfection. He captures her voice in all of her dialogue, nailing the dynamic chemistry between her and Batman. She’s sassy, funny, but also loyal and smart. In a story where Batman is the only legitimate good guy, Catwoman proves to be an interesting partner for him and is the support system that he’s desperately in need of. As a Catwoman fan, I couldn’t be more pleased with how well she was treated throughout Forever Evil. She was consistently zipped up and was never used as a device to emotionally torture Batman, plus she got all the funny punchlines.

Still, Forever Evil had its share of issues. Besides Catwoman, there aren’t really many women in this story who are all that noteworthy. Atomica and Superwoman come close, but both are tragically overshadowed by their male colleagues in the Crime Syndicate. Similarly, Lex Luthor’s rebellion against the Syndicate lacks any female representation. Surely, Cheetah or Killer Frost could have been added to the roster instead of Captain Cold or even Black Manta (though that would mean sacrificing a few rather badass panels of both inflicting serious damage against Syndicate members). Furthermore, David Finch’s art looks disappointingly unfinished and his baby-faced characters lack expressiveness that’s required in the comic book medium.

Forever Evil is proof as to why DC Comics’ villains are so popular. Johns does an amazing job fleshing out his cast, allowing them to grow in their atypical roles as protagonists here. The focused narrative helps lock the reader into the story and keep them invested in the characters. Though not quite as epic in scale as most of Johns’ other events, this proves to be a nice change of pace.

RATING: B+

Review: Guardians of the Galaxy - The Complete Collection Volume 1

With the galaxy torn apart by interstellar conflicts, Star-Lord assembles hastily assembles a ragtag group of heroes to proactively prevent any future wars. Dubbed the Guardians of the Galaxy, this dysfunctional team must face off against an intergalactic religious cult, Skrulls and the warlord Blastaar. Their greatest enemy, however, appears to be coming from within.

Guardians of the Galaxy by Abnett & Lanning: The Complete Collection Volume 1 collects the first year of Dan Abnett and Andy Lanning’s landmark Guardians of the Galaxy series.

As seemingly one of the few people who found James Gunn’s Guardians of the Galaxy extremely underwhelming, I was eager to see if the film’s source text could shift my perception of these characters. Happily, it did. Abnett and Lanning’s Guardians of the Galaxy is an expansive book that delivers moments of enthralling action, snicker-worthy humour, and compelling character development. The series’ greatest strength is in its colourful cast of cosmic heroes. From the stoic Drax to the sarcastic Star-Lord, Abnett and Lanning provide a wide variety of personalities for their readers to latch onto.

Guardians of the Galaxy has a very large cast. This can be rather difficult to manage, particularly since not everyone is going to get equal panel time. Abnett and Lanning utilize the usage of confessional videos throughout the first few issues to really establish the personalities of those on the team and it really flavours the book well. Even still, in this particular collection the emphasis is placed mostly on Star-Lord, Major Victory, Quasar and Drax. Quasar specifically stands out amongst her co-stars as one of the more captivating characters. She’s contrasted against the more sardonic Gamora and maintains an unique bond with Drax, while she is further motivated by a desire to do good and to gain closure over the death of her lover Moondragon. The aforementioned Gamora has her own moments of brilliance and has a tendency to hog the spotlight once she opens her mouth (or swings a blade). There’s one particular scene in which she displays incredible selflessness and courage that serves as an endearing reminder of how well she can be written. Unfortunately, fan-favourites like Groot and Rocket Raccoon don’t fare as well. They’re fixed in roles as supporting characters and show up mostly for comedic relief.

While character development is clearly at the forefront of the series, it’s worth mentioning that the narrative flow of Guardians of the Galaxy is done seamlessly from arc to arc. While the title lacks any clearly defined conflicts that skews on a more epic scale (though the Universal Church of Truth come pretty damn close as far as antagonists are concerned), it’s a really enjoyable read. My only complaint is that it’s not as accessible as it can be due to its dependence on existing plot points from previous series – which is to be expected since this book was spun out of a miniseries. Nevertheless, it helps to have a working knowledge of past events and you may have to Google a few things here or there to fully understand the context of what’s going on.

Guardians of the Galaxy: The Complete Collection Volume 1 is a riotously good read with plenty of action and a pinpointed focus on character development. For those who loved the movie, this trade is sure to impress. It’s pricier than your average trade (I got it used for under $10), but will be worth it for fans of these characters. The writing is on point and the art, particularly by Paul Pelletier, is stunning. Consider me excited to read volume two.

RATING: A-

Review: The Movement Volume 1 - Class Warfare

After a pair of dirty cops are caught harassing an underage girl, an underground group known as the Movement kidnap them in order to hold them responsible for their actions. Simultaneously, a deranged murderer has been preying on the homeless of Coral City and is threatening the very people the Movement has sworn to protect. To curb corruption and stop the serial killer, the Movement must team up with one of the only good cops in the city and a powerful weather witch.

The Movement Volume 1: Class Warfare collects The Movement #1-6, written by Gail Simone and illustrated by Freddie Williams II.

As one of the more original concepts introduced in DC Comics’ New 52, The Movement promised to be a book that focused on the lives of those on the fringes of society. Much like the X-Men or even Doom Patrol, this ragtag group of heroes is diverse and quite unique in their overall formation. As I’ve previously commented, Gail Simone frequently does a bang-up job of creating new characters and utilizing obscure ones. The cast here is no exception. Our protagonists are memorable and easy to relate to, which works great considering none of them have the benefit of having built-in fanbases. Virtue, Tremor and former Batgirl antagonist Katharsis are standouts. They’re layered and incredibly flawed, which makes them seem that much more realistic. Katharsis in particular steals the show due to her compelling backstory and aggressive stance on the punishment of the guilty.

The Movement is very modern. At a time when Millennials are finding it hard to land full-time employment and where social media has changed the landscape of how we interact with one another, this title speaks to the world we live in today. We have authorities that take advantage of younger generations, disenfranchised youths looking for an outlet to express themselves, and a distinct imbalance in the power structure between the haves and have nots. Simone grabs onto all of these narratives and themes, weaving them together to pose a lot of important questions regarding today’s society. It’s smart and it’s funny, but also poignant and relatable. The Movement also knows how to deftly handle these themes without being too heavy-handed, which is great. The book never preaches or talks down to its readers.

Simone’s partner-in-crime, Freddie Williams II, provides some pretty colourful art for this collection. Generally speaking, it’s expressive and suits the tone of the book. There’s something very youthful about his work, which matches the characters perfectly. Unfortunately, Williams II’s art is also rough and has a tendency to look unfinished. This gives The Movement an inconsistent quality that is less than impressive. This is made all the more obvious due to its gorgeous covers by Amanda Conner.

Despite being compared to the Teen Titans and the X-Men, The Movement seems more like DC’s answer to Runaways. It’s young, fresh and speaks to what is going on in the world today. Tonally, it skews younger. This means it’s likely to be appreciated most by Millennials. Older audiences will surely find it difficult to relate to and invest in the main cast, which could account for some of The Movement’s mixed reviews or its abbreviated run. Nevertheless, Class Warfare is a great jumping off point and further solidifies my opinion of Gail Simone as a stellar character creator.

RATING: B+

Review: Captain Marvel Volume 1 - Higher, Further, Faster, More

When a young alien crash lands on Earth, Captain Marvel volunteers to take her back home. She soon discovers that the girl comes from a planet whose people are dying of an unknown sickness. Never one to turn away from those in need, Captain Marvel sets about uncovering a political conspiracy that is at the root of the planet’s diseased population.

Captain Marvel Volume 1: Higher, Further, Faster, More collects issues #1-6 of Kelly Sue DeConnick’s second Captain Marvel series, with art by David Lopez.

Much like the preceding DeConnick-penned Captain Marvel series, this trade proves itself to be an enjoyable and accessible read that showcases its titular heroine as capable, funny and multidimensional. As far as Avengers go, Captain Marvel is one of the more likeable in large part due to DeConnick’s efforts here. She continues to explore Carol’s desire for independence and her need to find an identity through adventuring.

Higher, Further, Faster, More is funny. Really funny. This is perhaps the book’s greatest strength, since the storyline itself is fairly straightforward and lacks gravitas. These light-hearted moments punctuate the otherwise paint-by-numbers storyline of ‘hero helps a doomed planet,’ creating many standout scenes. A particularly zany exchange occurs when special guest star Rocket Raccoon insists on killing Captain Marvel’s cat due to mistaking it for an insidious alien species.

Besides the humour, DeConnick is able to craft relationships between her characters that help readers to invest in the narrative and ups the stakes. Her dialogue continues to impress, particularly due to her level of wit and cleverness, but also because she’s not afraid to point out the hypocrisies of her characters either.

David Lopez’s art is also to be praised. Generally speaking, I’m not the biggest fan of his work. I find his characters often all look the same and his women tend to seem very stocky. Here, however, it seems like he’s put more effort into distinguishing his characters and the colours help to add more dimension as well. Beyond that, I’m most impressed by the expressiveness of his art in this collection. The way the characters react, particularly Captain Marvel herself, has an anime-like quality that really works with the overall tone of the book.

Higher, Further, Faster, More is cute and it’s fun. It’s a breezy kind of read that showcases DeConnick’s punchy dialogue and impeccable character work, as well as Lopez’s ability to illustrate within a campier style. This collection doesn’t have the same kind of sense of importance or as high of stakes as DeConnick’s previous series, but it’s free of the baggage Captain Marvel has carried with her and serves as a prime example of just how cool and funny she is.

RATING: B+

Review: Secret Six Volume 1 - Villains United

When Earth’s villains band together to form a coalition against superheroes, six rebels are recruited by the mysterious Mockingbird to bring down this Secret Society. With their families and everything they care about on the line, this ragtag group of anti-heroes will do whatever it takes to get the job done. One thing is clear though – all six won’t be making it to the finish line.

Secret Six Volume 1: Villains United collects Villains United #1-6, Villains United: Infinite Crisis Special #1 and the Secret Six mini-series, written by Gail Simone and with art by Dale Eaglesham and Bradley Walker.

When I’d reviewed the Villains United mini-series back in 2013, I found it to be an enjoyable read that excelled at character interaction and development. The cast was spectacular, despite being comprised with D-listers and new creations. Writer Gail Simone’s reinvention of Catman was nothing short of brilliant and her portrayal of Cheshire was consistently conniving throughout. Additionally, the art was quite beautiful as well and can be appreciated for some of its drool-worthy beefcake moments. After another read, my opinions still stand regarding this mini.

On top of Villains United, this trade notably collects the mini-series that preceded Gail Simone’s critically-acclaimed ongoing series Secret Six. In this six-part story, Catman and his allies are left dealing with the fallout of their crusade against the Secret Society. The devious Doctor Psycho continues to plot Catman’s downfall, Ragdoll mourns the loss of his friend Parademon in unusual ways, and Scandal must deal with her tyrannical father inching his way back into her life. This mini is a far more engaging read that focuses more on its characters than Villains United, which is helped largely due to its smaller cast of characters and the elaboration on the relationships between the main “protagonists.”

The cast itself is distinct and loveable in every conceivable way. Each character comes across as fully-formed and fills a role needed within the group. Scandal is the stoic leader, Deadshot is the chain-smoking merc, Ragdoll is the quirky lunatic, Knockout is the aggressive tank and Catman, of all people, is the steadfast backbone of the Six. The dark humour Simone employs with Ragdoll is notable and makes him one of the standouts. Similarly, the mix of Knockout’s tenderness towards Scandal and her love of carnage elevates her above the others in terms of memorability.

If there is one chink in the armour of the Secret Six mini-series, it is that Simone walks on familiar territory with Scandal Savage’s character. The narrative of her father seeking an heir and manipulating his daughter in order to find her a mate feels like a rehash of the relationship dynamic between Ra’s al Ghul and his daughter Talia. For this reason, the series feels like it’s meant to be a story about Talia without ever actually including her (beyond a rear shot in one panel). While Simone acknowledged Scandal and Talia’s similarities when they faced off during Villains United, she does very little to actually define Scandal past being “the lesbian Talia.” Her personality, physical appearance, heritage and overall skillset are simply far too analogous. Sadly, her relationship with Knockout seems to be the one defining trait that seems to separate them. (Don’t get me wrong, I love the relationship, but characters can’t and should not be defined by their significant others – gay or straight)

Secret Six Volume 1: Villains United is a delicious sampling of the stories that ultimately led to the ongoing series that followed the adventures of Gail Simone’s fan-favourite Secret Six. While much of this collection functions as a tie-in to the events surrounding the event series Infinite Crisis, it stands on its own as an example of fantastic storytelling and impeccable character work. As always, Simone mixes dramatic action with clever humour. While there are areas that could have been improved upon, it’s a satisfying read from start to finish.

RATING: B

Review: Harley Quinn Volume 1 - Hot in the City

Having inherited a building on Coney Island from a fellow Arkham Asylum inmate, Harley Quinn and her pet beaver soon discover that life isn’t so easy out in the real world. With taxes and bills to pay, Harley attempts to stay on the straight and narrow by taking on two jobs to keep herself afloat. All appears to be going well for her until assassins start showing up at her doorstep after a pricy hit is placed on her red and blue head. With the help of her girlfriend Poison Ivy and her new tenants, Harley hopes to uncover the identity of her anonymous foe.

Harley Quinn Volume 1: Hot in the City collects Harley Quinn #0-8, written by Amanda Conner and Jimmy Palmiotti with art by Chad Hardin and Stephane Roux.

Harley Quinn is one of the funniest, quirkiest, cutest and most creative books to come out in a long time. Its goofy tone and its overall absurdity makes it an incredibly fun read. After seeing a darker and more earnest take on the character in Suicide Squad, Conner and Palmiotti take the character back to her roots by injected some much-needed tongue-in-cheek humour into Harley’s life. They take a similar approach as they had done alongside writer Justin Gray when they launched the beloved Power Girl book way back in 2009. Both titular heroines took a stab at leading a normal life, nabbing a 9-to-5 job, only to find that no hero (or villain in this case) can ever escape their past. Where Power Girl explored a brighter side of the DC Universe with its comedy, Harley Quinn takes a decidedly zanier and more macabre approach to its humour. And it works – extremely well.

Part of what makes Harley Quinn such an enjoyable read is that its creative team understands the lead character and her audience. Absolutely nothing is ever taken seriously and the narrative is consistently pushed to as silly a place as it can be without seeming too ridiculous. From Harley’s “talking” pet stuffed beaver to the heavy-handed homoerotic innuendo between Harley and Ivy, the humour that Conner and Palmiotti exert is nothing short of brilliant. It’s clever and witty, but also immature when it needs to be. Just like Harley. This is further amplified by the beautifully animated art by Hardin and Roux. Hardin, who pencils the majority of the issues collected here, plays up the often outlandish situations Harley finds herself in (and the outrageous things she does) by utilizing over-the-top expressions and compositions. Of course, it certainly helps that the colours are so punchy and the characters themselves look so gorgeous.

Harley gets up to a lot of hijinks in these eight initial issues. In one story, she and Ivy team up to rescue shelter animals before they can be euthanized. In another, she kidnaps a suburban family with the purpose of lecturing them on never going to see their (grand)mother in the retirement facility she’s working in. Harley naturally goes to extremes to accomplish her goals, but what is so fascinating is that there’s nobility in a lot of what she does. She’s a highly reactionary individual, but is typically set off by an injustice of some kind. We see that there’s a heart beneath her wacky exterior. She cares for the people in her life and she has a sincere love for animals. This adds layering to a character who is alternately depicted as eye candy or comic relief.

Some of the best moments in this collection occur when Harley and Ivy are teamed up together. Conner and Palmiotti nail the dynamic between them, with the chemistry and dialogue being consistently on point. The affection both characters have for one another is touching and the mutual understanding of who they are gives them a bond that is incomparable in the realm of comic book villainy. The lesbian jokes are plenty, but are done playfully and only serve to emphasize the surprisingly healthy relationship that exists between these two strong females. My only issue is that Ivy isn’t in every issue!

For anyone who grew up watching Batman: The Animated Series, Harley Quinn is the book for you. It matches the tone of the character as she was originally conceived, but is adjusted to reflect the age the series’ original audience is today. It’s fresh, modern and thoroughly amusing. The art is consistently stunning and is incredibly expressive, which matches the extremely high quality of the writing by Conner and Palmiotti. This collection really illustrates why it’s no surprise as to why Harley Quinn has been such a hit for DC Comics thus far. 

Rating: A

Review: X-Men Volume 4 - Exogenous

When the villainous Deathbird appears unconscious outside the satellite headquarters of S.W.O.R.D., Special Agent Abigail Brand calls on the X-Men to investigate the incident. After telepathic and medical examinations, they discover a mysterious symbol in the recesses of her mind and a growing child in her womb. Meanwhile, Rachel must cope with new revelations regarding those who were responsible for the massacre of her family several years back.

X-Men Volume 4: Exogenous collects X-Men #18-21, written by Marc Guggenheim with art by Harvey Tolibao and Dexter Soy.

After a shaky start, X-Men hits its stride under Guggenheim’s direction. The Arrow writer smartly pulls the team away from its Earth setting, strips away much of its larger cast and relies far less on recent events to propel his story forward. One of the issues that plagued Brian Wood’s tenure on X-Men was its inaccessibility due to its reliance on past storylines. While it could be argued that Guggenheim does the same, here he’s illustrating his depth of knowledge of these characters and their lives. For instance, much of the emotional core of Exogenous is built around the gut-wrenching massacre of the Grey family which occurred in Uncanny X-Men #466-468. He provides further references to past events involving Deathbird and Cyclops’ brother Vulcan. Guggenheim effectively builds on the past and does so in a way that really pays tribute to the X-Men’s vast history.

The narrative itself is great. It’s a straightforward mystery in space that snowballs into the reveal of a rather creepy villainous organization. While the plot itself may be simple, the stakes are high nonetheless. Whether considered spoilers or not, at one point two X-Men are near death and Rachel must decide the fate of the individual responsible for her family’s murder.

The area where Guggenheim excels most is with dialogue and character development. For the most part, each of the characters feel distinct. Monet in particular stands out due to her sass and attitude, which contrasts against her more dour teammates. Guggenheim also plays with the rivalry that existed between Jubilee and Monet way back when both were part of Generation X, which is a nice nod to fans of that book. Similarly, Abigail Brand’s dialogue is punchy and Storm is as fierce as ever. The biggest surprise, however, may be in just how badass Cecilia Reyes was. As arguably one of the most obscure X-Men, Guggenheim utilizes her flawlessly here and depicts her as a relentlessly heroic doctor who will do whatever it takes to ensure the survival of her patience. The usage of her powers in this storyline is creative and shows off how criminally underrated she is, with some action panels highlighting how powerful she truly is. Above all else, Guggenheim is to be praised for his work on Rachel Grey. As the most irritating character of the past three storylines, we see a much more different side to her. She’s smart, assertive and is shown to be the powerhouse that she truly is. More importantly, we see a more emotional side to her. Her mourning for the family she never got to know is both tragic and poignant, helping to define her past being a stand-in for Jean Grey. Also, major props for using Deathbird.

It’s truly a shame that Guggenheim only got to spend four issues writing the lovely ladies of the X-Men. He has a firmer grasp on the characters than his predecessor did and provided the kind of story that these women deserved right out of the gate. Exogenous has everything a good X-Men story needs – drama, clever dialogue (most of it delivered by Monet), intense action, a sense of family between the X-Men, and an emotional center that keeps the reader invested. While the art is inconsistent, especially since art chores are shared by Tolibao and Soy, but the writing more than makes up for it. It’s debatable, but Exogenous is possibly one of the most enjoyable X-Men trades that has been released during the Marvel NOW! era.

Rating: B+