resurrection: the insurgent edition

by Marc Guggenheim & Dave Dumeer

collects Resurrection # 1-6 & 2008 Annual

art shown is not actual cover

the premise:  Ten years ago big-like aliens conquered the world.  For the last ten years they've laid waste to the planet.  Today, without warning, they left.  This is the story of what happens next.

the lowdown:  This book sold me based on the high concept.  Years ago SNL did a sketch about what the next Presidential elections must have been like after the events of Independence Day.  That's pretty much the hook here.  The aliens are gone, civilization is in ruins, and everyone scrambles around trying to figure out what happens next.

What follows is similar in some ways to The Walking Dead, not least of all because Dumeer's art kind of looks like Charlie Adlard's.  This series, though, is more meta than TWD.  Kirkman never shows us any kind of big picture in TWD; the book is totally focused around a small cast of characters who pretty much stay in one area.  With this series, Guggenheim switches us all over the place, showing a variety of characters whose stories are only tangentially connected.  It's a different focus, and it feels more like long-form storytelling than TWD does.

The dialogue here is crisp.  The characters are mostly interesting if not particularly likeable.  A few of their motivations seem a little weak, but there are no WTF moments.  Dumeer's art works well with the script.  I first encountered Dumeer's work on Armageddon & Son, which was much more light-hearted than this story, but he seems versatile enough to pull off more than one mood.

I'd be remiss if I didn't mention this book is only $6 for 7 issues of material.  I don't get into price concerns a lot here, but seriously - with my online discount it was about $3-4.  Why *not* take a chance on a new series at that price?

the verdict:  I understand this is returning soon with a second volume, and will be in color hereafter.  I'll be back, I think.  This has the makings of a pretty cool post-apocalyptic thriller.

essential spider-man vol. 9

by Marv Wolfman, Keith Pollard & more

collects Amazing Spider-Man # 186-210, ASM Annual # 13-14 & PP:SSM Annual # 1

the premise:  Spidey squares off with the Black Cat, the Fly, and the burglar who killed Uncle Ben in these late 70's/ early 80's tales.  Plus: J. Jonah Jameson's mental breakdown!

the lowdown:  Another meaty collection of Bronze Age Spidey, this time mostly put together by Wolfman and Pollard.  This is an entertaining read though it lacks a classic storyline.  The two main arcs feature JJJ's nervous breakdown and Aunt May's "death"/ abduction.  (Just how many times has Aunt May been presumed dead, anyway?)  Neither storyline is brilliant, though both are pretty good for cheap, disposable entertainment.

Wolfman's Spidey is heavy with the quips, though he's occasionally a bit too boneheaded to be all that believable.  (See: the ongoing storyline where married-but-separated Betty Brant is throwing herself at him but he's trying to make her go away.)  The last few tales here, including the introduction of Madame Web, are penned by Denny O'Neil, who was somewhat underrated as a humorist.  He had a good handle on the character even if none of his issues are really "classic".

Pollard handles most of the art, and it's in that workmanlike late 70's/ early 80's Marvel style - nothing spectacular but never distracting.  If he is the one who designed the Black Cat, he gets props for that, as he gave her a look that's managed to last thirty years while her inspiration (Catwoman - duh) has changed costumes a half-dozen times.  There is a Dr. Strange teamup story written by O'Neil with art by Frank Miller that looks quite good, and a single issue by Alan Weiss that shines.

the verdict:  It's not wonderful - this isn't really a classic Spidey era.  It's not bad, though - if you're a fan of the character and just want a dense collection of Spidey stories for a rainy day, this may fit the bill.  (Or you could get volume 7 or volume 8, both of which are better.)

manhunter vol. 5: forgotten

by Marc Andreyko, Michael Gaydos & more

collects Manhunter # 31-38

the premise:  Manhunter heads to El Paso to investigate the disappearances of many young women, only to stumble into a horrible plot headed by a new version of an old foe.

the lowdown:  Saved from cancellation not once but twice, Manhunter returns for the final issues of her ongoing series.  The first six issues comprise a "topical" plot, as Kate searches for the aforementioned missing women and ends up at odds with the Suicide Squad, among others.

It's well-written for the most part, and though Gaydos' art isn't as slick here as it's been elsewhere, it's still solid work.  Something about this series - well, *everything* about this series - has become increasingly generic.  I've always felt this series was far less radical than its avid proponents seem to think, but one would have to concede that it at least felt a little different than your standard DC superhero book.  Now - it's still well-done, but much of what set it apart is gone.  Kate Spencer has gone from being a chain-smoking negligent mother with a violent streak to being yet another do-gooder.  She's quit smoking.  She's reconciled with her son.  She's got lots of friends, in and out of the hero community.  The violent streak is mostly gone.  In a way I guess that's growth, but she grew out of a lot of the things that made her different.  Now this is just another superhero book, complete with guest stars out the wazoo.  It's still good compared to most of DC's current line, still has as good a supporting cast as any book out there - but it feels like its soul is gone.

The final two issues are set in the "future", specifically Ramsey's graduation from graduate school.  They're mostly a sentimental look at where all the cast might end up, but there doesn't seem to be much point to the story other than sentiment.  I guess that sort of thing does have its place, and it's a nice goodbye to the book's loyal fans - it's just not something I was dying to read.

the verdict:  I wish I could be more positive on this, because it's really not a bad book.  It's just no longer a really good book either.  Whether concessions were made to make the book more mainstream, I don't know, but the book has lost a lot of what made it work for the first year or so.

powers vol. 12: the 25 coolest dead superheroes of all time

by Brian Michael Bendis & Michael Avon Oeming

collects Powers v.2 # 25-30 & 2008 Annual

the premise:  As a powers virus spreads through the city, Walker hunts the lead suspect in the killings - Deena Pilgrim!

the lowdown:  Most of the plot threads from the second run of Powers come to a head in this collection, as Walker and Pilgrim finally come face to face (again), and the ongoing plotline of the powers virus is resolved.  Bendis ties the storyline together with more drama than real action, as Pilgrim's character arc finally comes to a head.  As resolutions go, it's not a bad one, though it relies pretty heavily on a big ol' deus ex machina.  Still, the ending feels true to both Walker and Pilgrim, and it's not as neat and tidy as it appears at first blush.

The narrative does get sidetracked by the annual, which is a mid-story return to the monkey people.  Seriously, Bendis - enough with the monkeys.  Once it was tolerable.  More than that and it's just annoying.

Oeming's art looks excellent as always.  I've seen criticism of his panel layouts elsewhere, though, and I have to agree.  Often it's very hard to tell whether the layouts are two-page spreads meant to be read horizontally, or two separate pages.  If Oeming picked one format and stuck to it, it'd be okay, but he changes up frequently.  If I've got to stop and spend thirty seconds figuring out how to read the page, scanning for clues as to context, before proceeding, the layout is needlessly confusing.  I'm not sure if it's an Oeming thing or a Bendis thing, as I've had the same issue with Ultimate Spider-Man - but it is annoying.  Not as annoying as stories about monkeys, but still....

the verdict:  Despite some flaws this is a pretty good wrapup of this run.  I understand the series is on hiatus, to return with a third go-round later in 2009.  That'd be swell - I'd love to see Bendis & Oeming get back on this series full-time.

invincible: ultimate collection vol. 4

by Robert Kirkman & Ryan Ottley

collects Invincible # 36-47

the premise:  Invincible tries to balance college life with his growing responsibilities as a superhero, struggles to get his laundry done, saves the world several times, and reaches turning points in his relationships with Amber and Eve.

the lowdown:  This volume of the ongoing Invincible series provides a hefty dose of pretty much the same things as the first three volumes.  That's a compliment - almost fifty issues in the can, and this book hasn't lost a step.  If anything it's getting better and better, and I think it's surpassed Walking Dead as Kirkman's best book.

Much of that improvement is down to Ottley, who just gets better by leaps and bounds.  When he first took over art chores, Ottley was a competent artist who could meet a deadline and get the book back on schedule.  He has grown into a star - his work has become much more detailed, without sacrificing the clean linework that makes this book so easy to read.  He's become kind of a mix of Todd McFarlane and Kevin Maguire, but without McFarlane's over-rendering.  This book really looks good, whether it's the smaller, personal moments or the big honkin' action scenes.  The oversized format of these hardcovers really brings that home.

As for the writing, Kirkman continues to juggle a large cast successfully.  Invincible obviously owes much to Spider-Man, but Kirkman's added enough of the cosmic stuff here to give the book a whole different feel.  The teen soap aspect remains the book's best characteristic, but the ongoing superhero action is quite well-done too.  The book still has that feel of really old school Marvel comics, but because Kirkman owns this property and can change it, it doesn't run in place the way many of those Marvels do.  The book has changed quite a bit since its inception, and continues to do so, in a way that feels organic, compelling, but never forced.

the verdict:  Because the hardcovers only come out every so often, it's easy for me to lose track of how good this book is.  Every time I get a new volume I remember why.  There are very few superhero books being published today that are better than this one, and this volume is another excellent addition to the series.

pistolwhip: yellow menace

by Jason Hall & Matt Kindt

original graphic novel

the premise:  Following the bombing and murder of the actor who plays radio superhero Jonny Peril, the real (?) Peril stalks the streets, on the trail of the diabolical Yellow Menace.

the lowdown:  The eager private investigator called Pistolwhip returns in this sequel to the original graphic novel, this time embroiled in the saga of Jonny Peril, who is a fictional character but seems to be alive and active for some reason.  Stylistically this is very similar to the first Pistolwhip GN, an over-the-top period piece.  The narrative this time around takes on a surreal, dreamlike quality as Peril appears to show up, in the flesh, despite the fact that he is imaginary.  Hall & Kindt make the reader question the reality they present, kind of like one might do if suddenly confronted with, say, Daredevil walking down the street.  It's quite effective - but don't worry, all is eventually made clear.

Kindt provides the art and does his usual excellent job.  His work is deceptive in its simplicity, but the storytelling is always impeccable, even when the story is screwing around with the reader's perception.  Clearly Kindt doesn't do a "mainstream" style, so fans of the traditional DC or Marvel house styles may not warm to it, but it really is worth making the effort.  He's quickly become a must-read for me.

the verdict:  A winning crime story.  This will be an hour well-spent, if you're looking for a nice period piece with an indie bent to it.  Recommended.

hulk vol. 2: red & green

by Jeph Loeb, Frank Cho & Art Adams

collects Hulk # 7-9 & King-Size Hulk # 1

the premise:  The Lady Liberators try to track down the Red Hulk, while the Green Hulk (among others) fights a whole slew of Wendigos in Las Vegas.

the lowdown:  If anything, the second collection of Jeph Loeb's Hulk run makes even less sense than the first.  This time around we get two parallel story arcs, with the Red and Green Hulks smashing separately.  The green version, in an arc drawn by Art Adams, teams up with Ms. Marvel and Moon Knight to fight Wendigos.  Why is half of Las Vegas suddenly infected with a Wendigo virus?  Who knows - does it really matter?  Smashing ensues.

Meanwhile She-Hulk assembles all the female heroes she can find to fight the Red Hulk.  Why all women?  Who knows - Frank Cho is drawing the arc and he likes to draw womens' asses.  So She-Hulk, having been overwhelmed and overpowered by the Red Hulk the first time, figures this time she'll hit him with more as--uh-- people - because there's no WAY that can fail.  Poor, stupid She-Hulk - it's hard to come off as dumb in a book where the most recognizable character refers to himself in the third person, but she pulls it off.

But like volume one, this is big stupid fun.  It looks great - both Adams and Cho do excellent work.  It's colorful, it's loud, it's got lots of smashing.  Seriously - I'd rather read this than another story where superheroes cry and get raped any day of the week.  This is really goofy but it's cool goofy.

the verdict:  Don't strain yourself looking for all the layered subtext - there's not any.  This is a Beer Comic, and a pretty good one.

comment moderation

We've had a particularly persistent spammer over the last few days - I had to go in and delete a bunch of spam comments. So I've turned on comment moderation for awhile. Sorry for any inconvenience, and hopefully no one takes it as commentary on the comments. I hope it will be a temporary measure until the spamming stops.

new binding projects 6 july 09

My latest bound TPBs from the incomparable David Banks.  Check him out at http://www.singleboundstudios.com/.

brave & the bold vol. 3: demons & dragons

by Mark Waid, Scott Kolins & more

collects Brave & The Bold # 13-16 & extras

the premise:  A series of eclectic one-shot team-ups.  Batman plus Jay Garrick.  Nightwing plus Hawkman.  Superman plus Catwoman.  Plus: several classic team-up tales.

the lowdown:  Mark Waid's run on this title comes to an end with this volume, which mostly abandons the arc format for a series of one-offs (though two of them still have some connection).  This time around Waid gives us a nice little set of self-contained team-ups between characters who normally would not appear together - i.e. he does exactly what this book ought to do.  They're not all winners - the Green Arrow/ Deadman story is kind of a dud - but three out of four ain't bad.  

Scott Kolins draws all the issues except for the Batman/ Garrick story, which is illustrated by Jerry Ordway.  Kolins' art seems a little more restrained here than usual, which is a slight disappointment.  I really like it when he cuts loose and gets all abstract, but even without that he does solid work.

The collection is rounded out by several older stories, including the Alan Brennert/ Jim Aparo story from the original series (featuring Hawk & Dove).  That one's a treat.  There are also two Waid-penned 90's stories, a Flash issue that's ruined by terrible art, and an Impulse/ Zatanna issue that is cute but disposable.

the verdict:  Not without its flaws, but this was for the most part an entertaining read.  I really really dig this format, and this is a fun series for folks who don't want to dive into DC's labyrinthine continuity.

spider-man: crime & punisher

by Joe Kelly, Chris Bachalo, Barry Kitson & more

collects Amazing Spider-Man # 574-577 + extras

the premise:  Hammerhead is back and deadlier than ever.  Plus: the story of Flash Thompson's tour overseas, and the Punisher!

the lowdown:  The most recent Spidey collection focuses primarily but not exclusively on the Kelly/ Bachalo Hammerhead revival.  Hammerhead is rethought as a badass living weapon, minus some of the over-the-top gangster trappings that were characteristic of him in the past.  What follows is a pretty brutal slugfest where Spidey gets beaten up pretty badly but has to soldier on.  Stories like that are pretty cool for Spidey, and this one is pretty well-executed.  It's nothing that will blow your socks off, but Kelly "gets" Spidey's voice pretty well, and does a good job with this arc.

The collection leads with a one-off story catching us up with Flash Thompson.  It's set in the aftermath of Flash being in a tough military situation and juxtaposes Spidey morality with real-world morality.  I'm not quite sure how I feel about that, exactly, because I'm not sure how well such things really blend together.  For what it is, though, it's well-done.

Finally, there's a Punisher story by Zeb Wells and Paolo Rivera that's cute but mostly inconsequential.

the verdict:  Nothing particularly noteworthy here, but this is a pretty good diversion.  Don't knock over any old ladies racing to your LCS to pick this one up, but if you're looking for a pretty good light read, this may fit the bill.

spaghetti bros. vol. 3

by Carlos Trillo & Domingo Mandrafina

the premise:  The lives of five siblings continue to evolve - one welcomes a son whose paternity may be in doubt, one deals with the loss of her fame, one struggles with a loss of faith, and more.

the lowdown:  By now, the third volume of this series, the tone is pretty well-established - interpersonal drama with dark humor mixed in.  So there are no real surprises for the returning reader.  This is, simply put, the continuation of the story begun in the first two volumes.

This time around the characters are a little older, though not yet middle-aged, and they're grappling with some of the life choices they've made and the consequences thereof.  The breakout character this time around is Gypsy Boone, the movie star.  As Trillo reaches the point in history where sound was added to films, the former starlet finds her career has dried up because she doesn't have a telegenic voice.  So she's left to try to salvage her career through any means necessary, and what follows is an interesting examination of dignity, values and the price of maintaining fame.  

At the same time, her siblings have their own identity struggles, from a loss of faith to difficulty readjusting to life as something other than a contract killer.  Trillo does a nice job of showing these conflicts but rarely spelling them out, and presents them from many "angles" without ever really offering easy solutions.  Each of the siblings has something likeable and something really unlikeable about them, and that keeps the reader engaged with their plights.

Mandrafina's pencils get a little looser in places here than in the first two volumes, but the familiar visual style of the series is maintained.  It still looks good, even if the two female siblings look too much alike in places.

the verdict:  Another enjoyable volume.  This is a fun little soap opera filled with melodrama but also some insight into the human condition.

superman: brainiac

by Geoff Johns & Gary Frank

collects Action Comics # 866-870

the premise:  Superman fights Brainiac - but this time it's the real Brainiac (all the other Brainiacs were just drones).  As the fight progresses Superman learns he has a very personal stake in the outcome.

the lowdown:  This story features Geoff Johns doing a soft reboot of the Brainiac concept, and returning him more to his Silver Age personality (I know.. shocking), but with a modern twist.  It's the sort of thing Johns specializes in, of course, and he does it pretty well here, neatly handwaving away all the other, contradictory Brainiacs and giving us the One True Version here.  Brainiac is recast as a truly destructive force, one that steals and collects entire cultures in order to assimilate their knowledge.  

This central conflict is played out amidst a reshuffling of the Daily Planet staff, with both Cat Grant and Steve Lombard returned to the cast.  Supergirl plays a role significantly expanded from the prior Johns arcs, and the Kents have a big role as well.  With this story and the Legion story from the prior volume, Johns seems intent on expanding (or re-expanding) the Superman mythos.  That's okay by me, as I think the vastness of the mythos was one of the things that made it so compelling in the first place.  There are some times where it feels like this particular story takes a backseat to whatever other restoration project is afoot, and the big shocker at the end of the arc feels tacked on.  Overall, though, it's a pretty good action story with suitably high stakes and a fearsome antagonist.

Frank's art continues to channel Christopher Reeve, appropos given the reverence with which Johns seems to approach the movie canon.  Frank really was born to portray Superman, probably moreso than any of the other mainstream characters he's worked on.  He does a really good job with Supergirl, too, even if he's saddled with the Britney version.

the verdict:  Seemingly a setup for the next big arc, this story works pretty well on its own regardless.  A solid action-adventure story, and one that most Superman fans will enjoy.

op/ed: guilty until proven wrong

If I may diverge from the usual subject matter of this blog for a moment:

In my secret identity I pose as a lawyer.  I do not practice criminal law, nor have I ever.  I do not hold myself out as an expert in that field.  I did, however, attend three years of law school, and I actually paid attention to the first two.  Occasionally my practice intersects with the criminal arena, and I have friends in both the DA's and PD's office.  So while I'm not an expert, I do have a basic understanding of how criminal law works.  And it annoys the hell out of me when people go on and on about legalities without taking the time to understand what they're discussing.

There's much discussion afoot about what peccadilloes some folks may have engaged in during their lifetimes.  Some are offended and/or put out by the continued raising of those issues, since the individual in question was never convicted in a court of law of the alleged crimes.  The phrase "innocent until proven guilty" is tossed around pretty frequently.  Many of the people tossing it around are mis-using it.

The notion that someone is "innocent until proven guilty" (hereinafter "IUPG") is a legal presumption.  It is founded in our notions of due process - the notion that before someone can be punished by the state for a crime, the state must produce evidence sufficient to prove that they actually committed the crime.  Our criminal justice system does not deal in terms of innocence; it does not labor under the delusion that it can reach the truth in every case, and it does not place paramount importance on the truth.  Rather, it balances the search for truth in a particular case against the rights of the individual, and attempts to serve both as much as possible.  It is set up to err on the side of protecting individual rights, even if it means allowing someone who committed a crime to escape punishment.  Trials do not end with results of "innocence" - the defendant is either "guilty" or "not guilty".  Sometimes people who are not guilty get convicted.  Sometimes people who are guilty go free.  The result of the trial does not change their status.  If the defendant committed the crime, the defendant is guilty even if a trial results in a verdict of "not guilty" - and vice-versa.  There's the truth, and there's the legal result, and they're not always the same thing.

The court of public opinion operates differently.  It has its flaws, to be sure.  It does, however, value the truth far more than it values the rights of the individual.  That may be a good or a bad thing, depending on your perspective.  The court of public opinion sometimes presumes guilt, and that's often a bad thing.  Ideally people would give others the benefit of the doubt, and wait until the facts are in before rendering a decision.  We all know it doesn't happen that way.  ut despite that, sometimes the court of public opinion gets it right and the legal system gets it wrong.  O.J. Simpson killed Nichole Brown.  He did.  There's a mountain of evidence that he did.  Pete Rose bet on baseball.  Barry Bonds used steroids.  So did Roger Clemens.  All of those people are or were entitled to due process with respect to any criminal charges brought against them.  But regardless of what happens (or doesn't) in criminal court, we can use our eyes, our ears, and our common sense, and form our own opinions.  We are not forced to be willfully ignorant to whatever reams of evidence suggest, just because a person has not convicted of a crime by a court of law.

And people know this.  They just don't want to admit it.  They throw out IUPG as a smokescreen, as if they are honor-bound not to see what is right in front of them.  There are lots of reasons why a celebrity's crimes might not tarnish one's opinion of him.  Maybe you don't care what he did in his personal life.  Maybe you care but are able to separate the man's work from him personally.  Maybe you'd just rather not talk about the bad stuff out of respect for the dead.  Those are all perfectly valid opinions - why not just fess up to them?  Why plug your fingers in your ears and pretend the personal stuff doesn't exist?  If it's not important to you, just say so.  Lawyers hide behind phrases like "innocent until proven guilty" and "beyond a reasonable doubt" because that's their job.  It's what they're supposed to do.  There's no reason for anyone else to do that.  We're not preparing for a trial.  We're only, in our awkward and flawed way, trying to figure out the truth.  And we won't find the truth by lawyering up.

Apropos nothing - over the weekend I've been listening to "Smooth Criminal" and "Jam" over and over, in my opinion two of Michael Jackson's most underrated works.  The first is not offered as any kind of ironic commentary; I genuinely do like the song a lot.  Regular service resumes tomorrow.

daredevil: lady bullseye

by Ed Brubaker & Michael Lark

collects Daredevil # 111-115

the premise:  The Hand strikes at Daredevil and his friends, led by a deadly woman known as Lady Bullseye.  Plus: Milla's parents try to get her away from Matt.

the lowdown:  The latest volume of the Brubaker/ Lark Daredevil run repeats some themes from earlier stories - once again we have bad guys striking at Daredevil through those around him, Matt's personal life a shambles, people hurt just because they know him.  In the hands of lesser creators it'd be awfully repetitive.  This arc seems to be aware of its redundancy, though, which leads me to believe that Brubaker has a plan.

The new female version of Bullseye is less a derivative than an homage, someone who's inspired by Bullseye but doesn't really mimic his skill set.  In other words she's not just Bullseye with breasts.  Brubaker sets her up as a pretty crafty adversary, and having her arrive just as things are going south for Matt personally works well.  Murdock's love life is, as always, a thinly veiled Greek tragedy, made more complicated by developments in this volume - but rather than the unbridled misery of some of the earlier volumes, this time it feels like it's going somewhere.

Lark does his usual good job on the art.  The first issue in the collection is drawn by Clay Mann, whose work I'd not encountered before.  I quite liked his stuff here - similar to Lark's work but subtly different.  

the verdict:  More excellent work from Brubaker and Lark.  This is an entertaining, well-crafted arc with lots of cool characters.  Recommended for DD or crime fans.  Oh, and there's lots of Iron Fist, too - more Fist by Bru is a good thing.

sandman mystery theatre vol. 7: the mist & the phantom of the fair

by Matt Wagner, Steven Seagle & Guy Davis

collects Sandman Mystery Theatre # 37-44

the premise:  The tenth and eleventh arcs of this title see Wesley Dodds reunited with Dian Belmont, as they encounter the man who will become the Mist, team with the Golden Age Starman, and track a serial killer who targets homosexuals.

the lowdown:  Though volume six ends on something of a cliffhanger, volume seven picks up with that thread neatly resolved.  It's a little anticlimactic - I was kind of interested in seeing Wes track down Dian abroad - but the creators chose to pick the story back up with their return to the US, just in time for two more pulpy adventures.

This time around the Wes/ Dian relationship is stronger than ever, and for the first time they're really functioning as partners.  Though their relationship still gets a lot of screen time, the focus shifts to two densely plotted crime stories dealing with the themes of scientific advancement, utopianism and bigotry.  The first arc ties in nicely to the Jack Knight story contained in the most recent Starman Omnibus, and serves as a nice if somewhat contrived prequel.  The second story features another serial killer on the loose, this one stalking homosexuals amidst the 1939 World's Fair.  Both stories feel very much like period pieces, and make nice use of real historical events as their backdrops.

Guy Davis draws both arcs this time around, and as usual provides this series' definitive look - stylish yet pulpy.  You never lose track of the fact that Davis is depicting real people rather than posed models, and he shows a wide range between the beautiful and the macabre.

the verdict:  Another excellent volume of this terrific series.  I really feel like I could keep reading about Wes and Dian's adventures forever and never get tired of them.

queen & country definitive edition vol. 4

by Greg Rucka, Antony Johnston, Brian Hurtt, Rick Burchett & Christopher Mitten

collects the three Q&C: Declassified miniseries

the premise:  Three tales flesh out the Q&C cast, with solo stories spotlighting Crocker, Wallace & Poole.

the lowdown:  The wrapup for these collections of the first go-round of Q&C material (there's a relaunch planned at some point) features three miniseries that would be dismissed by many at first glance as ancillary.  None of them are really *required* reading to understand the rest of this series, but they're a nice tool with which to flesh out some of Tara Chase's supporting cast.  And they are, for the most part, quite good.

The first series, by Rucka and Hurtt, features Crocker, and acts as a prelude to some of the events in the Operation: Storm Front arc of the main title.  That was IMO the strongest of the Q&C arcs, and this prequel was quite welcome, especially drawn by the excellent Brian Hurtt.

The second series spotlights Wallace, by Rucka and Rick Burchett, and is the best-drawn of the three.  I'm a Burchett mark, so that's not exactly controversial coming from me.  Wallace is IMO at his best in the first Q&C novel, but this is a cute bit of backstory.

The third series, the Poole spotlight, is the only Q&C material written by someone other than Rucka, as Johnston and Mitten take their turn.  The difference is immediately noticeable, as Johnston has a far more esoteric style.  It's quite good too, just different from the Q&C norm.  Mitten's art is an acquired taste, but he uses the B&W format perhaps better than either of his counterparts.

There's also some extraneous material designed to fill out the volume, some okay interviews, nothing all that exciting but it's neat background material.

the verdict:  If you liked the first three definitive editions, you'll like this one too.  And even if you didn't, you mind find these off-to-the-side tales easier to get into.

squadron supreme: power to the people

by Howard Chaykin & Marco Turini

collects Squadron Supreme (2008) # 1-6

the premise:  Five years after the disappearance of the Squadron Supreme, Earth struggles to move on as Ultimate Nick Fury investigates mysterious incidents involving what appear to be new superpowered characters.

the lowdown:  The latest take on the Squadron Supreme brings the original concept full circle.  Where the Squadron started off as analogues of DC characters who were created by Roy Thomas to fight the Avengers, this installment sees the Squadron's world bereft of heroes, as new heroes show up - heroes who bear striking resemblance to the classic Marvel heroes.  So we've got the parody JLA replaced by the parody Avengers?

Chaykin uses the opportunity to construct what I think are the beginnings of some meta-commentary on the superhero, setting up what looks like it will be a clash of styles between the "golden" and the "silver".  I say "looks like" because even after six issues the point of the story isn't all that clear; it's an extremely slow burn.  The POV character is Ultimate Nick Fury, who got left behind in the Squadronverse after whatever crossover Marvel did with the Ultimate and Squadron verses.  The problem is that he really doesn't "sound" or act all that much like he did in the Ultimate books, so the utility of having him here is questionable.  Turini's art doesn't really make him look all that much like himself, either.  So we've got a guy called "Fury" but no other real entry point.  The Squadron itself isn't even in the book.  Chaykin struggles to pull together the cast he does have, and it doesn't all fit.  

I'm left somewhat skeptical as to the value of the high concept as well.  The Gruenwald Squadron was brilliant because it deconstructed the superhero genre much like Watchmen did.  It spoke to superheroes and their natural effect on the world.  This one, if it's doing what I think it's doing, might be... commenting on how superheroes change over time?  It just doesn't seem like a concept with as much teeth.

the verdict:  It's still very possible that Chaykin will pull this together in the next (and final) volume.  I won't be around for it, though - the first arc just didn't engage me enough to make me want to finish the story.

punisher war journal vol. 4: jigsaw

by Matt Fraction, Rick Remender & Howard Chaykin

collects Punisher War Journal # 18-23

the premise:  Jigsaw: Rebirth!  Jigsaw returns with an anti-Punisher costume and a vendetta against everyone's favorite bloodthirsty vigilante.

the lowdown:  The fourth volume of this series reveals a pretty clear pattern.  For the third time in four volumes, a book that starts off pretty mediocre eventually turns into a pretty good read.  I'm really not sure why that is - it's not like the arcs are all structured the same way or anything.  It just is - you can't judge an arc in this title by the first issue or two.  The last half is where the money's at.

Fraction is joined by co-writer Remender for the reimagining of Jigsaw, last seen (or at least, last seen by me) during the Bendis/ Maleev run on Daredevil.  They've managed to kink Jigsaw up a bit, though they really run up against the fundamental problem of why the Punisher would ever have a recurring rogue's gallery.  He kills everyone, thus second encounters are rare.  Fraction and Remender pull in some psychological plothammers to make that work, and ultimately the arc becomes a big action/ chase story involving SHIELD, Silver Sable and more.

Note: I say "more" because several of the characters are never identified, and I do not know who they are.  Didn't recognize Sable at first either.  I don't suppose that's entirely necessary - all one really needs to know is that they are badasses - but y'know.. kind of sloppy.

Chaykin's art is solid but not terribly inspired this time around.  He's usually pretty good at drawing the absurd, so the more over-the-top the action, the more he excels.  This arc's a little short on that kind of action - there's plenty of running around and shooting but not so much of the crazy.  Book needs more crazy.

the verdict:  A nice effort at reinventing an old villain that meets with mixed results.  You won't hate yourself later if you skip this one.

batman r.i.p.

by Grant Morrison & Tony Daniel

collects Batman # 676-683

the premise:  The Black Glove strikes, dealing a devastating blow to Batman's psyche.  Batman struggles to regain his sanity while the Black Glove sets up a macabre showdown.

the lowdown:  The premise doesn't do this one justice.  I'm not sure there is a description that could do this one justice.

This book is made of pure awesome!

Morrison's Batman run pays off in a big way in this arc, with a multi-layered story full of twists, turns and suspense.  Plot elements from as far back as 52 come to fruition as Batman's biggest vulnerability stands revealed.  Morrison adds something to the Batman mythos that many writers have tried before, but he does it better than any of them.  Horror.  This book is genuinely scary, and not the kind of faux-scary they've tried before where Batman fights the Spectre or the Scarecrow or something.  From minute one - the well-done scene between Batman and the Joker in Arkham, this one is just filled with a sense of dread and foreboding.  You keep waiting for Morrison to drop the other shoe, to let you know how and when the Glove will strike.  And then when he does, it's totally worth the wait.

The arc doesn't stop there.  The aftermath of Batman's fall is spellbinding.  The final confrontations with the Black Glove, although a little long, are fantastic, laced with drama and pathos.  The big reveals are delivered with maximum effect.  It's a triumph all the way around.

Criticism I've seen online have focused on two things - one is the ambiguous ending.  I'm not spoiling anything by saying the ending *is* ambiguous.  And?  Most great endings are ambiguous.  This one wraps up the story completely but leaves you wanting more.  Isn't that what all stories should do?

The other criticism is that there's no clean reveal of the Black Glove's ID.  Apparently Morrison said in an interview there would be this big reveal, and then there's not.  I wouldn't know, because who reads interviews for books they're already going to read?  Anyway - it doesn't matter who the BG is.  That's really not the point.

Tony Daniel takes some grief for his art, and at times deservedly so, but he does nice work here.  He's no J.H. Williams III, but there's only one of those.  This is not an easy script to draw, and Daniel pulls it off pretty well.

My only real complaint is the two-issue "Last Rites" epilogue, drawn by Lee Garbett.  It's cute but not really necessary, and really isn't much more than continuity pr0n.  Minor complaint, though - by that time the book was already a smashing success.

the verdict:  This is one of the very best Batman stories I've ever read, and I've read a LOT of Batman stories.  This is easily top 10, maybe top 5, maybe top 2 - I'll need a little distance before really making that comparison.  This is a fantastic psychodrama that rewards multiple readings and demonstrates the very best of Batman.  Best comic I've read so far this year!  Highly, highly recommended!