Final Thoughts on the "DC Universe Rebirth"

Chapter 4 and epilogue of "Rebirth" see writer Geoff Johns add less new characters into the mix, but rather develop the stories he has already established in the first three chapters. Artists Phil Jimenez and Gary Frank do an absolutely superb job of grasping the nuanced emotions of the two Flashes' reunion, and Johns just masterfully paces Batman's discovery of Rebirth's final (and somewhat expected/heavily hinted at) revelation.

After all, "Rebirth" knows how to prepare its readers for the DC Universe's imminent overhaul, finding the right balance between explanation/exposition and creating some intriguing new mysteries.

8/10

More Thoughts on the "DC Universe Rebirth"

Geoff Johns' methodical approach continues in chapter 3, which again focuses more on Wally West's journey through the Speed Force. Ivan Reis' art is quite uninspiring here, especially since it's so similar to that of Gary Frank's in the first two chapters. Why go with a different penciller at all then!?

It succeeds, however, in creating some much needed story lines that can actually work in their own right (with an end that is absolutely captivating), even if its kitschy tone lets the comic down more than once. 

Some More Thoughts on the "DC Universe Rebirth"

It's good to see that the arrangement into chapters in "Rebirth" actually follows a logical division. While chapter 1 gave us an overview of its central lore, chapter 2 completely focuses on the vast amount of DC characters that are involved. 

From Johnny Thunder, The Atom, Blue Beetle to Aqualad and Doctor Fate, it's refreshing to see some second-tier characters taking central stage here, even though some of them would have needed further evaluation to fit into the bigger picture properly. But even this very methodical approach is able to create some memorable scenes and encounters, as readers will be excited to see what happens in chapter 3.

Further Links:

First Impressions of the "DC Universe Rebirth"

First Impressions of the "DC Universe Rebirth"

If there's one thing you'd have to give the "DC Universe Rebirth" credit for, it would certainly be its relentless pursuit of something grand. Writer Geoff Johns is aiming high and he knows it, but he's also aware that there's something at stake here, with much more to lose for him and DC Comics than to win. A successful rebirth event might result in a creatively compelling future for a lot of DC's trademark series. If it goes wrong, though, it might take a long time for DC to recover from it.

However, after reading the first chapter, focusing on the Wally West incarnation of The Flash and his struggle to escape the Speed Force, it all looks very promising. Probably its greatest achievement is that "Rebirth" makes complex and complicated matters look easy. If you don't know know what "Flashpoint" is or what happened during "The New 52" era, it all doesn't really matter. Johns impressively manages to pack a lot of coherently presented information in these first few pages. New readers will instantly feel familiarized with something bigger, while seasoned readers might be happy about the little update.

Sure, there is a sense of self-importance that permeates the story, Batman pales beside the strong writing Wally receives, and Gary Frank's and Ethan van Sciver's polished art plays it too safe at times, but all in all this is a more than satisfying first part of DC's ambitious rebirth event. 

Keepin' It 360: "Star Wars: Darth Vader" #2

Remember when "Darth Vader" used to be good? It was, especially in its first issues, as writer Kieron Gillen offers a thoroughly complex and intriguing take not just on Vader, but also on Tagge. Some unforeseen twists and genuine kickass moments add to the mix, while Larroca's art is unfortunately still too confusing at times, especially in bigger panels.

7/10

Further links:

Darth Vader #20

Star Wars #18

Poe Dameron #1

Keepin' It 360: "Batman/Teenage Mutant Ninja Turtles" #6

Is this really over!? Yes, "for now" it is. The Batman/TMNT was a success throughout, as writer James Tynion IV creates a tireless dynamic between the protagonists that's boosted by Freddie E. Williams' sketchy and washed-out art. This issue in particular though is too rushed and generic at times, wishing for a more epic finale to one of 2016's best comics.

7/10

Further links:

Batman/Teenage Mutant Ninja Turtles #5
Batman #52
Detective Comics #52
DKIII: The Master Race #4

Keepin' It 360: "Silver Surfer" #4

Silver Surfer #4 is easily one of the best "Avengers" comics of the year. From Ant-Man to Vision, the large cast makes for a diversified experience throughout. Soaked in amazing retro-esque art and colors, it's loads of innocent fun and action, where only the conclusion does not manage to convince entirely. Oh, and then there's that breathtaking final panel.

8/10

Further Links:

Silver Surfer #3

Review: "Deadpool: Last Days of Magic" #1

Deadpool: Last Days of Magic, a one-shot that ties in with the current story arc in the Doctor Strange comics, does a hell of a lot of things right. First and foremost, it's not mandatory at all to have read any of the previous chapters to get right into the action. And frankly, if you're a Deadpal that is solely interested in the "Merc with a Mouth", you don't even have to read any of the upcoming Doctor Strange comics that conclude the "Last Days of Magic" story line. This one works pretty well on its own. Saying this, writer Gerry Duggan does a solid job of providing enough exposition to never make new readers feel lost, giving constant updates on what has been going on in previous chapters.

While Deadpool himself was a bit of a hit-and-miss in recent issues of the main series, he is absolutely outstanding in this one. Duggan manages to capture him at his wisecracking best while also delving into his more emotional side as he explores the friendship with Michael Hawthorne, all resulting in a in a story that is tremendously fast-paced without ever losing its edge and can effortlessly switch between hilarious absurdity and some emotionally deeper themes. 

Artist Scott Koblish shines with his playful approach to all characters, while managing to stay within the narrow range of constantly being over-the-top, but never too absurd. His larger, crowded panels make quite an impression as well, as they are able to tell a lot without unnecessarily confusing. Guru-eFX's accentuated colors have become a trademark in Deadpool comics and perfectly enhance story and pencils here, too.

Deadpool: Last Days of Magic is a superbly entertaining affair from start to finish that not just relies on one single strength to make it stand out, but masters a whole array of different topics.

9/10

Further Links:

Deadpool & The Mercs For Money #4
Deadpool #11
Deadpool: Masacre #1

Review: "Deadpool & The Mercs For Money" #4

You have to give the creative team behind Deadpool & The Mercs For Money a lot of credit for the work they've been doing over these four issues so far. A big part of it is their ability to make the comic flow smoothly and effortlessly on the surface when it's really their attention to small details that lays the groundwork here.

Writer Cullen Bunn's dialogues are spot-on, with humor that hardly ever feels forced or artificial, while artist Salva Espin's inks and Guru-eFX's colors are tremendously meticulous while never giving up their bright playfulness. The series' abundantly large cast of (sometimes too) similar characters has grown even more in this one, but we're at a point now where it's the abundance itself that forms a big part of the joke.

Deadpool & The Mercs For Money continues to play to its strengths while offering a lot more if you just look hard enough. And yes, some Spanish would definitely help as well.

8/10

Further Links:

Deadpool & The Mercs For Money #3
Deadpool #11

8 Things We Now Know About "Civil War II" (No Major Plot Spoilers)

With "Civil War II" #0 by Brian Michael Bendis, Olivier Coipel and Justin Ponsor out today, here's the 8 things we now know about Marvel's big 2016 comics event.

1. The conflict that looms on the horizon is not going to be as essential as that in the original "Civil War", but should still make for an entertaining summer.
2. She-Hulk looks and moves like she's in some weird shampoo commercial.
3. There's a lot of exposition going on. You hardly need any previous knowledge to get right into it.
4. Hill is so damn nice. A reason to trust her even less.
5. Captain Marvel is a convincingly conflicted and complex character. A great choice for protagonist.
6. Doc Samson is definitely up to something. 
7. Olivier Coipel's "less is more" approach makes for some great art.
8. Even Brian Michael Bendis can't write an even remotely fresh court scene any more.

Review: "Batman" #52

Who would have thought that seeing Bruce Wayne as Batman chasing an eccentric criminal through Gotham could be so refreshing? But after a year of Commissioner Gordon as the Caped Crusader and Scott Snyder's final issue last month, which was more of a love letter to Batman and his fans than a classic Batman story, this just feels so good. Writer James Tynion IV has already proven that he can pen some excellent Batman stories in the past, and this one is no exception.

Initially, the frequent flashbacks to the time right after the murder of Bruce's parents up until his return to Gotham seem like the same old story told all over again, but Tynion focuses on the parts of the story that are less well documented, offering an intriguing (even though sometimes a bit too sentimental) take on Bruce's trauma. He also takes the opportunity to introduce Crypsis, a brand-new Batman villain. What stands out most about this small-time thief with the ability of short-range teleportation is the surrealism and eeriness artist Riley Rossmo composes him with.

In general, Rossmo manages to bestow everything in Gotham, from Batman himself to its architecture, with an aura of unrest and uneasiness. The new Batsuit and the comeback of the Batmobile continue to impress, while Rossmo adds some additional grit and drama to their presentation. Hopefully Tynion will continue his great take on the Dark Knight with his run at the "Detective Comics" series after the DC rebirth.


9/10

Further links:

DKIII: The Master Race #4

Batman #51

Review: "Star Wars: Darth Vader" #20

It's good to see Darth Vader being back in good shape again. After the bland and mediocre "The Shu-Torun War" story line, which both writer Kieron Gillen and artist Salvador Larroca didn't know how to handle or conclude properly, the start of a new adventure for the Dark Lord of the Sith is an opportunity the whole creative team has taken advantage of.

Dealing with the aftermaths of the Shu-Torun War, Cylo's betrayal and Emperor Palpatine's overall scheme, Darth Vader #20 ties up some loose ends from earlier issues while offering a rare glimpse into the Emperor's mind. Gillen does a particularly good job of building tension between Palpatine and Vader, convincingly pointing out how Vader, despite being the Empire's enforcer, is only just a pawn in his master's game. And Vader's later encounter with Thanoth shines with a deep and complex characterization of Vader's old antagonist and a surprising conclusion. 

Larroca's art unfortunately still falters when drawing larger, more swarming panels, but is outstanding on a smaller scale, where his reserved approach is able to deliver drama and excitement like few other can. And the Emperor hasn't looked that good in comics for a long time.

Triple-Zero and Beetee, however, are still some of the worst and most annoying sidekicks in the galaxy, thus making the "Misadventures of Triple-Zero and Beetee" bonus short-comic by Gillen and Mike Norton nothing to fuss about. Going forward, this is a great basis for what will be the last Darth Vader story line before the comic will be end (for now) in August. I'm looking forward.

8/10

Further Links:

Star Wars: Darth Vader #19
Star Wars #18

Comic of the Day 15/5: "Deadpool" #11

When the Deadpool/Sabretooth dynamic started to wear off in #10 last month, the fear started to creep in that writer Gerry Duggan might just not manage to drag this story across the finish line. And even though he does, the ride turns out to be a lot harder and uglier than anyone could have wished for.

The more serious and thoughtful tone here neither suits the narration nor Gerry Duggan's or artist Matteo Lolli's strengths, diminishing the otherwise prevalent satire and and in-your-face humor that usually make Deadpool comics such an enjoyable affair. The fact that Duggan has hardly any idea of how to conclude this somewhat cohesively makes for a more than fragmented narrative experience. Only when Sabretooth exits does the comic find its groove back, with a convincing Doctor Strange appearance and a finale that will make you laugh out loud (finally).

"The End, Thank Odin."

5/10

Further links:

Deadpool/Masacre #1
Deadpool & The Mercs For Money #3
Deadpool #10

Comic of the Day 14/5: "Star Wars: Poe Dameron" #1

To take on a character like Poe Dameron, who instantly became a fan favorite after his first appearance in The Force Awakens, but is still a relatively dark horse in the larger Star Wars universe at the same time, is no easy task. And how writer Charles Soule handles him is solid, although he doesn't always manage to work around the intricacies that are posed by the context of The Force Awakens.

The story, Poe and his Black Squadron trying to locate an explorer in the Outer Rim who could provide important information on the whereabouts of Luke Skywalker, is something Soule has proven to do more than well in his current Obi-Wan & Anakin series. Poe's relationship to BB-8 is warm, playful and always focuses on the strong bond between the two. It's definitely something the series should build upon in the future. Phil Noto's art is largely true to the movies and does a good job of capturing the character's emotions and illustrating a galaxy that feels pretty much alive, although he doesn't quite manage to capture the faster-paced action scenes here.

Princess Leia shines particularly here, as her wise, authoritarian tone perfectly rounds out the (unfortunately few) impressions we had of her in The Force Awakens. A chance has been missed though to give Poe more of an independent voice, as too much continues to remind of a young Han Solo. Although we can only guess how much freedom the creative team really has, with the Lucasfilm story group having such a firm grip on the overall lore of the Star Wars universe.

Some of the narrative holes that we encountered in The Force Awakens unfortunately persist here as well. Why is the Resistance called the Resistance, when it is part of the New Republic and should act out of a position of power? And why does the First Order act like they have any real political mandate, when they are really just operating from the underground? The comic does little to provide some context, only emphasizing the notion that the real reason is simply to be as close to A New Hope as possible. But again, it can only be speculation as to how much influence the creative team really has to tell their story.

Despite all the above issues, Poe Dameron #1 is still an extremely joyful and enjoyable affair that puts the series on firm ground going forward.

7/10

Further links:

Obi-Wan & Anakin #4
Obi-Wan & Anakin #3

Comic of the Day 12/5: "Daredevil/The Punisher" #1

Charles Soule and Daredevil is one of the great comic symbioses at the moment, and so it was only logical to see him also taking on this crossover with "The Punisher". And the stakes are even a bit higher this time, as the Daredevil/Punisher dynamic was one of the sole highlight of a more than mediocre second season of Netflix' Daredevil.

But what we get here is an almost flawless experience. Soule shines again with his ability to write dialogues that are both witty and nuanced, and his depiction of the Daredevil/Punisher relationship finds the perfect balance between adverseness and mutual respect. It's only the Punisher's reliance on a vast array of gadgets that feels slightly out of place in the overall context.

Artist Szymon Kudranski really knows how to stage a super hero, as it's particularly the transformation from Murdock to Daredevil that strikes with its sheer visual power and dynamic. His execution of the car chase sequence is simply breathtaking, while Jim Charalampidis' impressive grey color schemes lend the comic a sombre and threatening atmosphere. 

Daredevil/The Punisher #1 is an amazing achievement throughout, made possible by great contributions by the whole team behind it. 

9/10

Further links:

The Punisher #1
Daredevil #6

Comic of the Day 11/5: "Deadpool: Masacre" #1

It didn't take too long for Marvel to re-release an English translation of their Masacre one-shot for all of us who are not exactly fluent in Spanish. And good thing they did, as the "Mexican Deadpool" is as enjoyable as his gringo counterpart. 

Rather than taking the original English script for Masacre #1, Shannon Andrews translated the Spanish version back into English, while largely maintaining the rhythm and grammar of Spanish. The result is a hilariously unique feel to the comic, as Andrews manages to walk the thin line of making it sound bad but never unintelligible. 

Seasoned Deadpool writer Gerry Duggan, this time teaming up with Brian Posehn, makes sure all of the proven Deadpool ingredients are here: over-the-top humor with brilliant one-liners, relentless bloodshed, pop culture and comic references (the Commissioner Gordon one is just hilarious), eccentric villains and Scott Adsit (Wait! Adsit is not in this one?! Heresy!). 

While most comic series would feel worn-out by this point, Deadpool continues to feel fresh with every issue. And that's because they a) have found a niche that they master and b) they never aim too high, offering pure unadulterated fun that's never too daring or complex.

Go, Deadpool (Masacre), go!

7/10

10 Things We Learned from "Captain America: Civil War"

Now that the movie is out for a couple of days, here's a no-major-spoilers run-down of 10 important things we learned from Captain America: Civil War:

1. Chris Evans' Captain America is as good a comic book movie super hero as you'll ever see. 
2. Nobody misses Thor and Hulk
3. The whole "choose your side" thing is complete nonsense. The movie is directed so that you sympathize with Captain America.
4. Tom Holland as Spider-Man is not cool. Do we need another High School Peter Parker?
5. Black Panther is an absolute success.
6. Although Chadwick Boseman doesn't know though how to do an African accent.
7. Too many scenes play on generic German airports or grey Soviet ruins.
8. Black Widow still kicks ass.
9. Ant-Man is better than Giant-Man
10. Helmut Zemo makes for a compelling villain, although he might not be what you'd expect.

Comic of the Day 10/5: "Detective Comics" #52

With the DC rebirth less than a month away and Scott Snyder and Greg Capullo ending their impressive run at Batman, we're all a bit tired of the James Gordon Bunny-Ear-Batbot by now. And judging by "Detective Comics" #52, the writers are as well. While the first part of "Our Gordon at War" had its moments, the wheels have completely come off on this one. Quite possible DC didn't want to waste any good stories before the Rebirth any more.

To put it bluntly, everything about this comic stinks. James Gordon is weirdly out of character throughout the story and writer Peter J. Tomasi and penciller Fernando Pasarin do the Commissioner a huge disservice when showing him in some of the comic's larger hand-to-hand battles. The Gordon of the Marines and that of the GCPD seem two completely different characters, denying any coherence with earlier titles. 

Clearly a central issue for Tomasi is to emphasize the loyalty and unity among Gordon and the Marines, but he does so by only using a succession of pathetic and clichéd phrases. Branded for some reason as a horror story ("Horrors from the Crypt!"), the only thing that really scares is the quality of Tomasi's writing. The action is lame and predictable; and Amun-Set and hic cult is the same cheap Mola Ram copy that we have seen in so many movies over the last 3 decades.

Detective Comics #52 is a disappointment on every level with a story that seems pure filler material so close to DC Universe's Rebirth.

2/10

Further links:

Detective Comics #51

Comic of the Day 9/5: "The Punisher" #1

The Punisher, so it seems, is omnipresent right now. Jon Bernthal made him the outstanding character in Netflix' second season of Daredevil and an upcoming standalone series is in production. So it's no surprise that Marvel is going for a "Punisher" comic reboot right now.

And for fans of hard-boiled urban police thrillers with all the classic ingredients (drugs, weapons, brutes, dirty jokes, a sadistically creepy henchman, the mysterious boss), this may be right up their street. Unfortunately, though, Becky Cloonan's solid and highly entertaining story is somewhat diminished by Steve Dillon's largely disappointing art. Faces are unnaturally waxy and motionless, Frank Castle looks like a complete moron, action scenes feel sterile and static and the blood and gore elements have a worrying B movie splatter aesthetic.

There is not much hope Steve Dillon drastically changes his approach in ensuing issues, but as long as Becky Cloonan pens a story that cleverly ticks so many boxes, it should remain a worthwhile read.

7/10

Comic of the Day 8/5: "Star Wars: Droids" #1

Celebrating "Star Wars Day" 2016, Marvel has reprinted this 1986 inaugural issue of the relatively short-lived "Droids", based on the relatively short-lived TV show of the same name. Although not overly convincing, as it proves that writers and artists often confuse "for children" with "less effort needed", it certainly does its job as a children's comic or a 1980's nostalgia trip it.

Written by Dave Manak and somewhat surprisingly drawn by industry legend John Romita, many things about it look and feel like a generic 80's cartoon, bearing only occasionally resemblance to the Star Wars universe with your odd blaster or spaceship. Its innocent slapstick humor is largely based on C-3PO and R2-D2 constantly falling over each other; but at least both sound true to their movie counterparts.

But it was "Star Wars Day", and I don't want to go too hard on a comic that might not have a lot of pure quality, but definitely some charm and joy going for it. For younger readers, it can still serve as an ideal entry into the larger Star Wars universe.

5/10

Further links:

"Star Wars: C-3PO" #1

Comic of the Day 7/5: "Black Widow" #3

It's terrific to see "Black Widow" returning to dense storytelling through art alone; a formula that made #1 so exceptional earlier this year. Especially when dialogues are not Chris Samnee's and Mark Waid 's forte here, with the very few verbal interactions feeling stiff and artificial. 

Whereas the first two issues mainly centered around sequences of relentless action, the focus shifted noticeably here. Samnee proves that his art is equally able to tell Natasha's more emotional and haunting backstory. He understands how to make her stand out on every single panel, with her lines drawn always a nuance sharper than those of her environment. Matthew Wilson's bright colors enhance this notion, while is overall choice of a brownish color palette adds some valuable grit. 

All this, paired with a first class cliffhanger and a full page panel that captures Widow's symbioses of ballet and assassin skill like nothing before, makes "Black Widow" #3 another outstanding read.

8/10

Further links:

"Black Widow" #2 Review

Comic of the Day 6/5: "Hawkeye" #2

"Hawkeye" #1 was no fluke. Not that this was ever seriously a possibility, but Matt Fraction and David Aja prove with #2 that they are not just having a very good run with "Hawkeye", but are essentially creating one of the defining comics of the 2010's.

Its dialogues are sharp and funny and its art is stylish and sophisticated without ever being pretentious. The action is fast, thrilling, violent and able while building up a relentless flow. But "Hawkeye" #2 doesn't just stand out in what it does right, but also in what it does differently. From the title page disguised as a newspaper article to the design and pace of its panels, every page feels fresh and full of ideas. Clint's relationship to Kate is deep and complex, but never confusing, as Fraction is able to show Clint's deep and emphatic admiration for her, without crossing the line from sincerity to kitsch.

It's an absolute success. 

9/10

Comic of the Day 5/5: "Thunderbolts" #104

With its "Civil War" story line coming to a close, "Thunderbolts" seems to finally have found its footing. It ties in smoothly into the main "Civil War" comic, providing readers with valuable background information of "Operation: Justice Like Lightning". But is it fair to credit writer Fabian Nicieza, or is the "Civil War" story line just too strong and full of potential? 

It's probably a mix between both, as he still does an impressive job in the dialogue and characterization department. Helmut Zemo is thoroughly well written, while Hank Pym and Reed Richards make for some exciting scenes as antagonists. Tom Grummett's art, however, still doesn't manage to convince. His insistence on big, crowded panels for fights remains confusing and highly antiquated, especially when he shows here that he has far more talent drawing tighter, more reduced scenes.

All in all a good issue that is far away now from the disaster that was the first two.

6/10

Comic of the Day 4/5: "Hawkeye" #1

2012's "Hawkeye" #1 by Matt Fraction, David Aja and Matt Hollingsworth is probably one of the best comics you'll ever read. So, without further ado, I'll just run down the 10 reasons why "Hawkeye" #1 completely kills it.

1. Clint's ironic badass take on himself.
2. David Aja really knows how to use inks.
3. Matt Hollingsworth really knows how to color a summer day.
4. It perfectly captures the feeling of living in a metropolis.
5. Matt fraction tells a story that is both full of action and empathic. 
6. Clint rescues a dog.
7. Pets, loads of pets.
8. It's witty and funny, without ever forcing it.
9. Clint doesn't even use his bow here. He does it all with pennies and playing cards. Pennies. And. Playing. Cards.
10. The hilarious "Arrow" reference at the end.

Surprisingly, it scores a perfect 10/10.

Comic of the Day 3/5: "Thunderbolts" #103

Most surprisingly, Thunderbolts #103 is actually a half-decent comic. After the disaster that was the first two issues, Fabian Nicieza is finally able to appropriately integrate the Thunderbolts cause into the larger "Civil War" story arc, including some enjoyable references to Spider-Man's unmasking.

The dialogue between Helmut Zemo and Iron Man stands out especially here, as Nicieza shows an understanding of how to build up these tense and well-paced verbal skirmishes between the two. Unfortunately, Tom Grummett's  generic tag team fight scenes still can't convince, as he relies too heavily on large, confusing panels. Nicieza's jokes also more often than not miss their target, while Songbird's naive and dull depiction feels painfully sexist at times.

Thunderbolts #103 is mostly entertaining, which is mainly due to it finally embracing the "Civil War" story arc. But it's still too flawed to make it an entirely enjoyable affair.


6/10

Comic of the Day 2/5: "DK III: The Master Race" #4

Frank Miller and Brian Azzarello have decided to go all out on this issue, with results that don't always convince. 

Everything in DK III: The Master Race #4 is supposed to be meaningful, important and grand. From the amazingly composed first panel that harks back to the shrinking of The Atom to the confrontation between Superman, Lara and the Kryptonians to a surprise appearance of The Flash, everything is extremely fast paced, first class entertainment. But it was their ability to squeeze every ounce of drama of a selected amount of scenes that have made the first three issues so special.

Andy Kubert's pencils and Brad Anderson's colors only add to the spectacle. Images of blood on snow and a Bruce Wayne that looks even more battered than in the last issue make for a relentless and violent atmosphere that penetrates the whole comic. The Batgirl tie-in comic complements the main story perfectly, as it knows to impress with great gestures and even adds Aquaman to the mix. 

But featuring Batman, Superman, Supergirl, Wonder Woman, Batgirl, Robin, The Atom, The Flash and Aquaman, DKIII: The Master Race is too crowded and has too much to tell to actually make a valid point. As a one-off spectacle it's great, but I hope Miller and Azzarello return to the moderate and more ponderous atmosphere that so magnificently defined the series .

7/10

Comic of the Day 1/5: "Batman" #51

Batman #51 is as much the start into something new as it is "goodbye" from Scott Snyder, Greg Capullo, Danny Miki and FCO Plascencia after years as the creative force of DC's most important comic series. So it's not surprising that Batman #51 is only superficially narrated as a Gotham newspaper column asking its readers what Gotham means to them. Really, it's a farewell from Snyder to the fans and Batman himself ("It's the first line...of the last story...you'll ever write").

But what elevates Batman #51 more than anything else is the fact that Snyder's just wants have fun with the series one last time. And as essential as the "Mr. Bloom" story line was, it's good to see Bruce Wayne being back as the Caped Crusader. And so the comic becomes an unusually life-affirming and positive celebration of everything Batman: the Batmobile is an absolute blast, his new costume is an instant classic and almost all of the classic villains appear. Snyder even drops an Adam West homage when Batman tells a former member of the Whisper Gang to "stay in school". And the last page panel is probably one of the finest pieces of art of the whole "New 52" Batman era.

Snyder, Capullo, Miki and Plascencia had a great run at Batman, and their last collective effort (for now) does all the right things without being too sentimental or ambitious. Thanks, guys.

9/10

Comic of the Day 30/4: "Daredevil" #6

Charles Soule's, Matteo Buffagni's and Matt Milla's run at Daredevil did not leave a lot to ask for up until now, and with the start of a new story line ("Electric Connection"), they are proving that they can handle Elektra as well as anything else. 

The comic comes straight out of the gate with the fight between Daredevil, Elektra and Blindspot, and is only interrupted by flashbacks dealing with Elektra's reappearance in Matt Murdock's life (remember, she doesn't know any more it's one and the same person). Although Soule isn't able to keep the tension between the two on a constantly high level (telling a romantic story is not one of his fortes), he manages to pull off some truly thrilling scenes, exploring the Elektra/Matt dynamic in its full potential. And the final twist here is surprisingly unpretentious and unpredictable.

But it's the action scenes that shine brightest here. Fast, relentless, superbly choreographed and with a highly aesthetic interplay between light and shadow and a great interpretation of Blindspot, Buffagni and Milla deliver a true high point of the series so far. 

8/10

Comic of the Day 29/4: "Star Wars" #18

I could have just taken last month's Star Wars #17 review, changed some names, and you probably wouldn't even have noticed the difference. That's how far down the creative cul de sac the Star Wars comics have come. Of course, it's not as devastating as recent Darth Vader outings (what is!?), but it simply has no idea where it's going from a narrative standpoint, making it an overall sluggish affair.

Leia, Sana and Aphra are still hunting down some mysterious bad guy (who is kick-ass though, I have to admit) while Jason Aaron still tries to built a chemistry between the three (and with "building chemistry" I mean being constantly at each other's throats). These characters have more to offer than that, but no one's trying to actually explore it. 

The relationship between and story around Han and Luke is more fluent and natural on the other hand; what a shame though that the two merely serve as a deus ex machina for Leia's story. A shout-out though to Yu, Alanguilan and Gho for doing a really good job on the comic's art. The lighting and shadows are superb, and the close-up shot of the Millennium Falcon is simply awesome.

I really hope Marvel hands the Star Wars comic to a more invested writer in the future. That would go a long way.