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Detective Comics (2016-) #1000 by Geoff Johns

My rating: 3 of 5 stars


I almost skipped this one. You know how I feel about standalones that don't stand up. Heck, for that matter, it is almost hard to tell if this "96 Page Issue" is all new material or a host of reprints.

Still, it's a pretty stellar cast for Batman, who with all of his versatility, might be America's greatest hero. There's some of the recent Batman names of all stripes (Snyder, King, Dini, Tomasi, Tynion, Johns, Kevin Smith), the legend (Denny O'Neil), the "hot" name (Bendis) and a few wild cards (Warren Ellis, Christopher Priest). The exclusion (for whatever reason, I don't know) of Grant Morrison particularly sticks out.

I figured I should try it, even if I was not particularly impressed with DC's similar 1000 issue of Superman. I also am not a big fan of annuals, but this felt like it could be a decent enough stand-alone, and for that, it does actually work.

Let's talk about the stories.

Given the impact Scott Snyder and Tom King have had with this character in recent years, they get book-end stories. Both make their effort worthwhile.

Snyder has a likeable "Don't think about it too hard" story that is generally memorable and enjoyable. King's story is less memorable, but he essentially has 6 pages to work with, so he uses it to capture a really good Batman feel and show off his strengths.

Unlikely as it might seem, but Kevin Smith has the best story and it's pretty straight forward. At 8 pages, it goes quickly. Not only is it a good payoff, but the build up really grabs the reader, captures the right mood and is complimented by Jim Lee's art.

Paul Dini does what Dini does, and it is a fairly memorable and likely story. At six pages, it is maybe overlong. It's a great story, but he telegraphs the ending, so the mystery is solved fairly easily and before Dini gets to it.

Brian Michael Bendis tells a future Penguin/Batman story that seems like a logical fit for a book like this, though it probably falls under an Elseworlds story or something similar. It is pretty good, maybe only let down by an ending that doesn't feel all that original. The real hero is Alex Maleev who's art and colors give it particular staying power. I was happy with both Bendis and Dini putting their particular marks on here, though the ending of both stories strike me as plots I've known before.

Warren Ellis is given 8 pages, though his part is unexpectedly forgettable. Seeing Ellis's name, I expected either a new plot that no one had thought of, or some deep characterization that would resound. Neither is there. This is a light piece, almost poetry, whose best feature is Becky Cloonan's art and Jordie Bellaire's colors by a mile.

From there, it tends to be a lot of filler. This is like the golden age of Compact Discs when you might buy an album for 3 or 4 songs. Like CD's, the $10 price tag is pretty steep, and undoubtedly, the company wanted to make sure they were providing enough content for the money. Also like those albums of the past, this comic is heavily front loaded with all of the good stuff near the start. It ends with Peter Tomasi's intro into the next Detective Comics art, which was not nearly enough to get me to want to pick #1001 up,

The art is pretty good through without (Capullo, Joelle Jones and Tony Daniel and the ones I mentioned and didn't mention). DC does a weird job of sequencing in that is hard to tell when the story has ended and the next (and very different) story has started. It also does a bad job of advertising the creators inside. Overall, I keep going back to the CD analogy. I was satisfied enough that I bought this, and it will likely only appreciate with age, but it wouldn't be a complete review, without acknowledging there's plenty of filler, too.



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Incursion #1 by Andy Diggle

My rating: 2 of 5 stars


Having read Diggle’s last Valiant work (Shadowman) and being a bit less than impressed, I am going to give this book a shot.

Diggle teams up with new writer Alex Paknadel for some big epic fantasy sci-fi fare.

This one is certainly an epic scale, and I am told is a good jumping on spot for the Valiant-verse. I think it does seem to be that. There is a lot of big ideas and big characters here. The team does a pretty good job of a quick crash course on what are some complicated plots and back stories. (For Valiant readers, this spins from Eternal Warrior)

A strength of Diggle and Paknadel’s here is that they do a good job of writing characterization of the Big Bass here. Marvel and DC have these all powerful characters and it can be hard to flesh them out. Great dialogue here too.

Braithwaite makes sense too. I know he does a lot of Valiant stuff. This is pretty much in line with the way Valiant has designed this universe, but Braithwaite's work is slightly superior to many artists with a similar style.

My biggest issue is that this is a miniseries and by definition, it’s a quarter over. Not a lot got accomplished in issue #1 and at this pace, I can’t imagine much will. Of course, this will lead to the next series (and the "small batches" approach isn't a bad decision) but it puts me in a spot of deciding whether it is something I want to continue or not.




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Young Justice (2019-) #1 by Brian Michael Bendis

My rating: 3 of 5 stars


I am not really a Bendis completest, but ah what the hey, why not check out Young Justice.

Young Justice is one of the new Wonder Comics YA titles. For obvious reasons, Young Justice makes sense as a YA title. In ironic ways (since Bendis made his name on noir style comics), Bendis is perfect for the title, and the title is perfect for him. In retrospect, it's hard to think of another artist to place on this title but Patrick Gleason.

This has a bit of Teen Titan-ish vibe that I think would appeal to non-comic readers, but enough for the Wednesday regulars. The title isn't exactly Teen Titans, though it close enough that I don't think adding Jenni Hex (Jonah's descendant) or Teen Lantern would throw anyone off.

It is kind of a fun, lightweight team story whose loseness makes it work well- snappy one likers, big splashes and the like. Pricey at $5, it does ensure that you feel you get a good deal of content, while allowing Gleason to play with big scenes.

It will be inevitable to compare this to Ultimate Spiderman. It's ambitions are nowhere that grand, though some of the stuff that worked there works here. It's hard not to like this if you are looking for something that promises lightweight and quick, but deceptively, there is a lot more to the story and characters than one might figure for something called a YA title. I likely will look forward to this ride.




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Criminal (2019-) #1 by Ed Brubaker

My rating: 5 of 5 stars


(And still no capes yet in 2019...)

I suspect everyone who knows Ed Brubaker knows. Still, I doubt people on the street know him. I doubt people on the street know Bendis, so Brubaker is even more obscure. But, all the cliches are true- "it reads like a movie", "this why adult should read comics" etc.

I have not followed "Criminals" and I feel I have missed about as much recent Brubaker as I have read. In any case, I guess I haven't quite followed "Criminals" releases which have been collected as trades (Maybe they weren't single issues in the first place); but it's being launched as a monthly, so I am not going to miss out.

Sean Phillips is a perfect artist to match Brubaker. It's of the highest caliber (and the colors are equally fantastic). So what can I say? There's a lot of twists and turns. When you think you know where the story is headed, things change (in a good way). The characters and scenes feel like a movie. They're likely to stay with the reader for awhile. The plot is a solid hook.

Heck, let's even get at the size of the books for $4. The fantastic cover. How about an appreciation for the Coens "Blood Simple".?
Not that I don't love them, but it's not exaggerated like Frank Miller, or played for jokes like Bendis. It feels real, and yet, it's as gritty as what you might expect from a Dennis Lehane or a James Ellroy. In any case, if you are not into comics (or rarely buy comics), let this serve as notice to check out Brubaker, if you like any of the above.



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Conan The Barbarian (2019-) #1 by Jason Aaron

My rating: 4 of 5 stars


Of all employees for the Big Two, Jason Aaron is probably the best writer that I have never read.

So, because of that I thought I would get in on the ground floor for the return of Conan to Marvel, and the new relaunch.

A few things first, I am not necessarily a big fantasy or a sword-and-sorcery guy, in general; when it comes to the written word. That said, it's because I find those themes very visual, so I am drawn to comics and movies that handle these themes if they are done well. Ironically, I couldn't get into Kurt Busiek's Conan run, but I have picked up S&S titles in the past, and Conan was one of the first characters that I was introduced to as a reader. Those things bind me to the character.

Still, that means this has challenges, so I am glad that Jason Aaron was the right choice for the title. Aaron has proven his fandom via social media. He gets the character. His Conan checks off all the expectations that one might have. His Conan is nuanced (as nuanced as Conan can be), there's action, plot. humor, back story, and world-building. Granted, Conan is a tough character to steer post-#metoo (Heck, even before, then), so I think Aaron does a good job of navigating these waters (also throwing in the fact, he's competing against modern action heroes), hitting a nice chord between a charismatic tough guy who has a code of honor and the one who crushes his enemies and hears the lamentations of their women. Even, those issues that don't translate well to a modern sensibility are handled with nuance.

While I am not crazy about a $5 price range, it is the correct decision. This allows for a larger issue that allows for big action scene and still gets in plenty of story. It's a tough blend. Take an action-heavy comic (say Brisson's Iron Fist, for example) and if you are more interested in story than art, then you are done with the issue in about five minutes. The size of this book allows both.

I think everyone will be fine with artist Mahmud Ashar, who gives it a classic Conan feel. Respected Conan writer John Hocking contributes a novella story which takes up three pages. I skimmed over it (and given the extra pages, don't feel ripped off), but I also think it's probably a decent Conan story, so it's there if you want it.

I sat on this review for issue #1 for too long, and now issue #2 is out. The good news is Issue #2 only confirms my thoughts on Issue #1. Undoubtedly, Conan won't be for everyone, but I am looking forward to this.



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Hellboy and the B.P.R.D.: 1956 #1 by Chris Roberson

My rating: 3 of 5 stars


I wasn't going to review this. I was thinking I probably stick up enough stuff here as it is. However, as I saw a bunch of Mignolaverse stuff in my feed, I might as well. Anyway, you already bought the ticket, so you get the ride.

For starters, I love the idea of this- carrying Hellboy into the 50s, Cold War and the Soviets, seems like a perfect continuation for this series. This volume throws in the BPRD and a few concurrent stories. That could be a tangled mess, but at the same time, sometimes Hellboy doesn't have enough story, so I am intrigued.

I have seen some comments on Roberson this week, and this is co-credited to Mignola and Roberson, though I suspect it's more the latter. The dialogue is probably the weakest part. it just feels "loose". I can't put it in better words than that. It just feels a bit casual than what I usually expect from a Hellboy comic.

Interestingly, they split up the art three ways, which seems like a bad idea on paper, but is more than fine. All three provide great Hellboy style illustrations. Dave Johnson's covers have been fantastic, really providing a fine balance of the past and the uniqueness of the future of the series. Mike Norton is spot on, Yishan Li really adds some suspense to the proceedings, and yes, Michael Avon Oeming really fits the Hellboy universe well. His art adds a degree of exaggeration that might not be everyone's cup of tea, but some people might prefer. In any case, it fits like a puzzle piece, and does not distract.

It's an interesting start, and there's enough here that I will keep checking out, though the comments I have read all week on my feed about the 195x-verse seem to be all true.



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Batman Damned: Book One by Brian Azzarello

My rating: 2 of 5 stars


I’m never been an Azzarello fan but have to admit this looked cool and my comic shop guy thought it might be down my alley.

How do the Big Two get adults to read comics? Well point of fact, they already do, though probably in spite of themselves since graphic novels and online reading does well. Marvel has been laughably bad at it for as long as I remember. DC has a storied history but it is almost inconceivable now that they would take a chance on something new. So Vertigo exists, yes, but it is all Wildstorm:Deep Space Nine, the Great Lakes Watchmen, and Sandman’s Bogus Journey. No surprise then that DC Black Label is Batman heavy.

DC s fancy new product is wider and shorter than a typical American comic. It probably won’t fit in your log box and yet like Kyle Baker would likely say, if you are taking the train, it still looks like a comic book.

Anyway, that was how I was going to start the review, but instead “OMG! Batschlong! Full frontal nude Dark Knight!” DC coyishly acting like no one is going to notice when they release this and then advising that it will not be republished with the offending panels, thus creating an instant secondary market.

That scene probably isn’t necessary but helps sell the R-rated Black Label.

The book clearly owes a debt to the trinity of great Batman books - The Killing Joke, the Dark Knight Returns and Arkham Asylum. It is to Lee Bermejo’s credit that it instantly feels like those books but doesn’t really feel derivative. The art is top notch.

It’s actually a pretty attention-grabbing plot. The Joker is dead, and did Batman kill him? It features some of the coolest characters in the DC Universe in cameos as well. I am sold

So how was it? To me, as in the past, I am still not sold on Azarello. His overly gritty sub- Frank Miller style makes it a tedious read. Yes, it’s supposed to be dark, but Miller (at his best) knew that less can be more.

Even at that, I might be able to tolerate this, but the whole thing is that it is bound together with a John Constantine narrative that recalls all of the worst Grant Morrisonisms and none of the best.

I know, I know, I have seen the reviews and know I am in the minority (and the art is almost enough alone to pick this up) but I will probably pass.

DC also screws this up by doing one of the things that they have gotten right lately (less wait-time between issues) and goes the other way, making this a bimonthly. Probably will help cool the momentum quite a bit for the non-graphic novel types.



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Dick Tracy: Dead or Alive #1 by Lee Allred

My rating: 3 of 5 stars


Dick Tracy is probably still best defined to my generation by the Warren Beatty movie (which wasn’t good, though memory fades and I think we have been nostalgic for it).

Is there a market for this character? IDW hopes so.

In a post-The Dark Knight world, the pre-WW2 newspaper script seems even less relevant. That said if any modern comics writer was meant to write Dick Tracy it’s probably Michael Allred.

Allred is joined on script by brother Lee. If that wasn’t enough to sell me then it bears mention Rich Tomasso’s art is wonderful (with colors and inks by Mike and Laura Allred)

This is a fun comic that realizes it has to compete with more modern characters. The Allreds give a lot of quips that give it that 90s indie comic feel (of which Allred is royalty). Tomasso’s work is nostalgic and modern, reverent to the character's history, but striking and accessible to current comic fans.

This very much feels like Dick Tracy and many of those books in the 90s indie comics boom that were influenced by Chester Gould’s creation. Because of that, if you are not a fan of that kind of storytelling, it might not be your cup of tea. My only knock is that the plot feels a bit rushed than maybe what feels natural. I enjoyed it enough though and recommend it to those who might like such things.



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For a few years now, I have gathered my comic pull list each Fall and posted it for all to see. Here are a few thoughts - 1) This is the first year in awhile that my DC titles outnumber my Marvel ones. I am generally a Marvel guy. DC has grabbed some of the premier Marvel writers like Bendis, Robinson and Whedon, and has done a number of things to constantly shoot themselves in the foot. 2) Until last year, Image was generally a sizeable portion of my list. My comic shop guy doesn't seem to stock Image like he used to (or something). As I think Image hasn't been very reliable with the monthlies, it's hard to blame him. 3) This exercise used to be a fun one and let me share my faves with a larger group. These are all fairly recent titles. In 2018, can you imagine Marvel letting a comic get to 25 titles without relaunching it? No, that is less believable than the stories of mutated aliens within. DC isn't much better. In any case, here you go (with absolute no reliability for accuracy guaranteed).



DC
Action Comics (Bendis)
Batman (King)
Catwoman (Jones)
Flash (Williamson)
Pearl (Bendis)
Superman (Bendis)
Wild Storm (Ellis)

Marvel
Amazing Spider-Man (Spencer)

Image
Kicka-- (Millar)
The Magic Order (Millar)

Titan
The Prisoner (Milligan)

Valiant
Shadowman (Diggle)

Cover (2018-) #1 by Brian Bendis

My rating: 5 of 5 stars


The Bendis to Dc move has been a bit underwhelming (and seems to be the only new books I am picking up. Shame on me), but I don't want to be unclear. I have been a Bendis fan for twenty-plus years. I was there from pretty close to the beginning with Jinx and AKA Goldfish. With someone as prolific as Bendis, highs and lows are to be expected. He ended his Marvel run with some titles that weren't his best (and yet, he had spread some gems even in those last transitional issues).

We are getting a bunch of mixture of Jinxworld titles now- some brand new and some continuation- and its a lot to take in.

Cover comes with a fairly nondescript title (After you read the comic, it actually is perfect) and a pretty nondescript cover.

I took to this with not really any idea of what the title was even about.

In any case, I will cut to the quick. This is fantastic.

I knew having David Mack as artist would mean good things. Mack's art for cover is very interesting. It's very nontraditional for comics (which you probably already know), but it works really, really well in bringing this story to life.

I am sure some will hate it, but others like me will love it. For the cliche, it gives it a dreamlike quality, but with the minimal characters, it's never confusing, and well focused when it needs to be. It is also (as it always was) a perfect compliment to Bendis since the action is really dialogue not movement.

All of the reasons you loved Bendis in the first place are here. It seems like a simple plot, but there are a lot of layers here. They are easy to follow and they stay with you after you put the book down. There's mystery building. The dialogue moves the mystery along in a classic Bendis vein- which means a lot of reading- but it is snappy like the cliche Mamet or Tarantino film comparison that inevitably comes up with Bendis.

I was beginning to wonder when we would get the next Jinxworld hit and figured it might take time for it to settle in, but this definitely is it. This is very much what I used to expect in the heyday of Jinxworld.

I will end my review there if you want to be like me and come in with no expectations - or if you want the mildest of Spoilers-keep reading.

So, this is in the blurbs, so it's no secret, but if you didn't know- the plot is about intelligence work (like much of Bendis's other work) but how logical it might be for comic book writers who go from this Fest to that Comic Convention to be spys. It's Confessions of a Dangerous Mind with Bendis instead of Chuck Barris.

That sounds horrible in theory, but it works well in execution. I think it will also give Bendis to throw in a bunch of insider jokes and references as well, which will make it very readable. Bendis has hinted at this in the past and did Fortune and Glory, but it is a well of content we haven't seen him dip into for awhile.

I am really excited about this, as I think it will be very much in Bendis's wheelhouse and dually feels familiar and feels brand new.




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