Quick reviews: Children's Crusade, Detective Comics, Xombi

Avengers: The Children's Crusade #6 (of 9)
Written by Allan Heinberg; pencils by Jim Cheung; Inks by Mark Morales, John Livesay, Dave Meikis; colours by Justin Ponsor; Marvel.

So for several issues now the Avengers have been in pursuit of the Young Avengers, who disobeyed their orders and set off on a quest to find and rescue Wanda Maximoff, aka the Scarlet Witch. Halfway through this issue, there's a scene where all the big guns, including Iron Man, Captain America, Wolverine and a bunch of other very important and powerful and angry characters, are shown rushing toward the scene where Wanda and the Young Avengers are. Tony tells Hawkeye, who's there with the Witch and the kids, to "Make sure they stay there, you hear me? No one leaves the compound. Do whatever you have to do." You'd think this was all leading to some big confrontation, right? But no. Two pages later, we're in a completely different location, an unspecified amount of time has passed, and we have no idea how any of the characters got there, why Hawkey let them leave, or what happened when the Avengers showed up and realized they'd rushed there for no reason. Absolutely zero pay off for all that build-up.

Why am I reading this book? It's an incredibly convoluted story that relies heavily on the reader's knowledge of Marvel continuity over the past decade or so, referencing stories like Avengers Disassembled, House of M, and God knows what else, none of which I've read. I seem to have picked the worst possible series for a total Marvel noob to pick up. As a result, this barely makes any sense to me and it's very difficult for me to care about what happens. The art is very pretty, so that helps a little, but I'm having a very hard time justifying why I've stuck with it for six issues (over 12 months). It almost seems silly for me to drop it after having gotten that far, but whatever. This is obviously not written for me.

DROP

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Detective Comics #878
Written by Scott Snyder; art by Jock; Colours by David Baron; DC.

I couldn't help but think of the old Adam West TV series as I was reading the opening scene of this comic. Batman is hanging upside down over a very angry killer whale, while the villains soliloquy about why they do what they do and what's going to happen to Batman now that he's tried to interfere with their plans. Classic (and a little ridiculous) superhero tropes, but thanks to Synder and Jock's perfect pacing and tone, it feels fresh and exciting. After the action-packed opener, which occupies the first 11 pages of the comic, we get a brief and quiet scene with James Gordon, then a visit to Sonia Branch (aka Zucco), and finally a two-page shocker that will send chills down your spine. I have to give a shout-out to colourist David Baron, who really captures the changing light as the day progresses - from the bright white backgrounds of the opening scene, to the warm sunset tones during Dick's meeting with James, to the purple night skies for the rooftop scene with Sonia - it really helps to show the passage of time, as well as to give each scene a distinct look and feel.

VERY GOOD

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Xombi #4
Written by John Rozum; art by Frazer Irving; DC.

This whole issue, up until the last few pages, is one big exposition dump. Maybe this is the comic Dan DiDio and company had in mind when they said that starting in September DC Comics would not feature any talking heads going on for page after page. (And John Irving literally draws them as floating disembodied talking heads!) I certainly hope not, because this is still a damn good comic. We've just had three issues of pretty crazy action, and this slower paced issue where the characters actually all sit together and have bagels and talk about what just happened and what they're going to do next feels exactly right. Rozum keeps the dialogue interesting with his weird sense of humour and throwaway high concepts that make you stop and think about all the stories that could be written about them ("pearls of wisdom collected from oysters grown in the Sea of Tears"), while Irving  pretty much blows your mind on every page with his expressive faces and unconventional use of colours. This is the best comic book that DC is publishing right now and I'm incredibly sad that it's apparently getting cancelled after only six issues to make way for DC's relaunch. Xombi hasn't been solicited as one of the 52 books coming out in September. When I asked Frazer Irving if there was a chance of the book coming back at a later date, he said he couldn't comment, which I took as a hopeful maybe. Fingers crossed.

AWESOME

One-paragraph reviews

Amazing Spider-Man #658
Written by Dan Slott; art by Javier Pulido; Marvel.

This issue’s mostly about Spidey joining the Fantastic Four, who are now called the Future Foundation and have stylish new black-and-white uniforms. I’m really enjoying Dan Slott’s writing on this series. He finds the perfect balance between Spider-Man’s adventures and Peter Parker’s personal life. He also keeps the tone light and fun. I don’t even mind that they keep changing artist after a few issues, because that seems inevitable on a book that comes out twice a month. I’d much rather have rotating but strong art teams than rushed fill-ins from mediocre hacks brought in at the last minute to meet deadlines. I could do without the back-up stories, but whatever.

GOOD

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Batgirl #20
Written by Bryan Q. Miller; art by Ramon Bachs; DC.

This two-part mini-arc within the larger “Lesson” arc wasn’t that interesting to me, but this remains a solid title. Miller’s scripts are always punchy and often laugh-out-loud funny. The solicits for the last issue, this one and the next all list Dustin Nguyen as the penciller, but he wasn’t on the last two issues and I’m assuming won’t be on the next. Ramon Bachs is all right, but because he’s filling in for Nguyen, it’s hard not to feel disappointed. Creative teams listed in DC’s solicits seem to be completely unreliable these days. Really makes you wonder what the hell the editors are up to that they can’t get any commitment from their artists or writers.

OKAY

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Birds of Prey #11
Written by Gail Simone; art by Pere Perez; DC.

Speaking of inconsistent art, Birds of Prey is the ultimate example of how to fuck this up completely. If DC had tried to sabotage this book and ensure that it fails, they couldn’t have done a better job. In this issue, we get a long overdue break from the terrible art that has plagued the title for the past few months, and it’s like a breath of fresh air. It’s just astonishing how much better Gail Simone’s scripts flow when they are serviced by a competent artist, which Pere Perez definitely is. (And, by the way, he seems to be moving to Batgirl in a few issues. But then again, why even bother checking the solicits?) This is a done-in-one story focusing on Huntress and guest starring Catman (from Secret Six).

GOOD

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Hellboy: Buster Oakley Gets His Wish (one-shot)
Written by Mike Mignola; art by Kevin Nowlan; Dark Horse.

There’s no colourist mentioned in the credits, so I’m guessing that means Nowlan is doing his own colours, and that, more than the art style itself, is what gives this book a different feel from most of the other Hellboy stories I’ve read, which usually featured Dave Stewart’s colours. Stewart is amazing, but this is nice, too. More vibrant, and very appropriate for the semi-sci-fi feel of this one-shot. I kind of wish I hadn’t read the solicits for this story (and if you haven’t, maybe you should skip the rest of this paragraph to avoid spoilers), because it starts out misleadingly as a Satanist thing but turns into an alien abduction thing, which is a nice twist.

GOOD

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Superboy #6
Written by Jeff Lemire; art by Marco Rudy; DC.

This fucking sucks. It should be a rule that new series have to reach issue #12 (one full year) before they get involved in any editorially mandated crossover. Aside from the nice art by guest artist Marco Rudy, this issue has absolutely zero redeeming value. If you’re following the story that Jeff Lemire is carefully crafting since issue #1, this is nothing but an interruption. If you’re following the “Reign of Doomsday” crossover, then all you’re getting here is the exact same thing you already saw in the Steel one-shot that launched this idiotic mini-event, except this time it’s Superboy getting beat up and noticing that Doomsday seems to have new powers. This is the very definition of pointless.

SKIP

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The Flash #10
Written by Geoff Johns; art by Francis Manapul; DC.

And here’s another book by DC that couldn’t go a year before getting disrupted by a crossover event. In this case, at least, it’s clear that it was planned this way from the start. But I can’t help but feel that this book went in exactly the opposite direction that I was hoping it would go. Wouldn’t it have been nice to get a good two years of straightforward Flash adventures set in Keystone City, with beautiful art by Francis Manapul, focussing on establishing characters, balancing Barry Allen’s private and professional life with his super-hero stories (similar to what we’re getting in Amazing Spider-Man) and featuring occasional guest appearance by the other speedsters in the DCU? The police procedural feel that was established in the first arc seemed ripe with potential for storytelling. This could have been something unique. But instead, it quickly turned into an extended prologue for the next big event, Flashpoint, until this current story arc, which is basically all set-up and no story. And I intend to read some of Flashpoint, so this is interesting and I’m still onboard. But a year ago when I bought the first issue, I was really hoping for a different kind of book. A kind of book that, perhaps, is no longer even possible, because of the way DC (and Marvel) market their books.

OKAY

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Journey into Mystery #622
Written by Kieron Gillen; art by Dougie Braithwaite; Marvel.

I was kind of annoyed with Matt Fraction’s decompressed arc on Thor. The art was amazing, but the story turned out to be pretty empty and basically just killing time before Fear Itself. So when the series changed its title to Journey into Mystery and Kieron Gillen took over, I was ready to drop it. However, I think young Loki is cute, so when I realized he’d be starring in this book, I decided to give it a shot. Turns out it’s much better than I expected it to be. Loki’s conversation with his older, former self at the end of the issue is a bit confusing to me, in part because I’m not very familiar with everything that happened in Siege. But I like the idea that this reincarnation is all somehow part of Loki’s plan to fuck things up by being unpredictable, and it makes the new, younger Loki a really fascinating and complicated character. I’m sold. (Nice art, too.)

GOOD

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Avengers: The Children’s Crusade #5
Written by Allan Heinberg; art by Jim Cheung, Mark Morales and others; Marvel.

I’ll be honest. I don’t have the slightest clue what the hell is going on in this book. No idea whatsoever. None of it really makes any sense to me and the only reason I keep buying it is that I’m hoping at some point we’ll see Billy and Teddy making out. Seriously, they better fucking kiss on panel in the last issue, or I will be pissed.

I DON’T KNOW

Comic Book Carnage #002

Yes, boys and girls, it's time for another edition of Comic Book Carnage, in which Mike and I talk nonchalantly about a few comics we've read recently. There may be spoilers involved.

AVENGERS: THE CHILDREN'S CRUSADE #2 (Marvel)
Written by Allan Heinberg; art by Jim Cheung and Mark Morales.

Yan: Let's start with Children's Crusade. What's your general impression of the series so far?

Mike: I think it's an interesting plot but the execution is just not for me. I think it has a lot to do with Wiccan being the main character. Heinberg doesn't make him the most appealing character. There's little things he does, like how he's always making these "cute" comments to himself, that make him annoying to me.

Yan: Yeah, I think for me it's not really a problem with the characterization but more the dialogue. A lot of the humour that's thrown in falls flat for me. Like those "cute" asides you mention.

Mike: Also I don't really get a good feel for the other characters. They're just kind of hanging out playing the role of a Greek chorus.

Yan: I can't say I get a good feel for them either, but I'm always wondering if that's just because I'm such a Marvel noob. I do like the story, though. I started reading this because Quicksilver's quest to find Scarlet Witch was mentioned briefly in Avengers Academy. So I'm interested in where this is going. I'm definitely willing to give it a few more issues. I also have to confess an interest in the gay romance thing. There's not a lot of that in comics, so I want to know if they're going to take it any further. Like that interrupted kiss in issue #1 kinda pissed me off. I want to see them make out on panel.

Mike: I'm glad you brought that up. I think that Hulkling and Wiccan make a terrible couple. Maybe it's because one of them is a big green monster with who can grow veiny bat wings but I just don't feel any chemistry.

Yan: Really? I think they make an all right couple. I mean, this is the first time I read about any of these characters, so I don't really know where they're coming from or anything.

Mike: I don't know, maybe Heinberg did a great job of establishing a relationship with these two characters that he sees no need to flesh it out anymore in this series.

Yan: So you haven't read anything featuring these character before either, then?

Mike: Nope, this was all new to me.

Yan: I just assumed there was some history that I wasn't familiar with. But I do want it to get developed. So far it's been little more than a tease. And I also kind of wonder what's up with all the other couples forming in the team. In the space of a few pages it seemed like everyone was going to be involved in some romance with another member of the team.

Mike: Yeah, what's up with that? I guess that's just how it is with team books.

Yan: Especially teen ones, maybe. The art's pretty nice, though, I think.

Mike: Yes, I can agree with that. Jim Cheung is yet another example of Marvel's strong pool of artists.

Yan: I would even say it's the art that makes the relationship between Wiccan and Hulkling work for me. Somehow the fact that one is a big green monster doesn't seem that big of a deal. Although, I keep wanting to see Wiccan make out with his twin brother. But I guess that's 'cause I'm a perv.

Mike: Haha. Oh, who hasn't toyed with a twincest fantasy?

Yan: Maybe you can tell me a bit about what's up with Magneto. He always seemed like an interesting villain to me, because there are shades of gray to his morality. Do you think he's going to turn out to have evil motives in this story, or is he genuinely trying to find Scarlet Witch 'cause he cares about his daughter?

Mike: I have no idea, I almost wonder if he showed up just so there could be some wacky, over the top fight between him and Dr. Doom (since Doom shows up at the very end of #2).

Yan: Yeah, I don't know. I like how charismatic Magneto is (and again, I think this is mostly due to Jim Cheung's art). But once again I feel like my understanding of the character suffers from the fact that I haven't been following the Marvel universe at all.

Mike: You haven't missed much. It's just the DC universe with different costumes, that's the industry's big secret.

Yan: Ha!

Mike: This comic read like a bad TV teen drama but was drawn well enough to make me not wish death upon it.

Yan: Does that mean you're not going to keep reading?

Mike: Probably not.

MORNING GLORIES #1 (Image)
Written by Nick Spencer; art by Joe Eisma and Rodin Esquejo.

Yan: Let's move on to Morning Glories. I'm going to take a guess that you hated this even more.

Mike: Haha, you know me so well. Let's start this one off a little less negatively and have you talk first.

Yan: Well, I have pretty mixed feelings about it. It's pretty stereotype-heavy. So blatantly so that I kind of wonder if maybe it's intentional. But it's hard to care about any of these characters, 'cause they're all stereotypes of annoying little brats we've seen in a thousand TV shows and movies.

Mike: Yes, exactly. Worst of all is how blatant Nick Spencer is about showing who the hero is. I mean showing the last character introduced playing with his little brother and promising to give him Grant Morrison comics was quite the eye rolling experience for me.

Yan: Yeah.

Mike: Morning Glories is one of the comics that takes a great premise and ruins it in execution.

Yan: Yeah, well, you kinda said the same thing about Children's Crusade. Which I guess says something about how common this is.

Mike: Okay, then add the word "another" to that previous statement. But this book is worse because even the art didn't try!

Yan: The art pisssed me off. I find it insulting to have the same panel copy-and-paste 8 times in two pages.

Mike: Like that dinner scene with the frigid upper class family?

Yan: Yeah, that's what I'm talking about. That's bullshit.

Mike: The same thing is done a couple of pages later with that limo scene. Oh, well, on the bright side if you have a copy of #1 you can sell it on ebay for $20 these days. Oh, god, I would feel like a horrible person if I tricked someone into spending $20 on this comic.

Yan: Maybe I'm a masochist, but I kinda want to give this series another issue before taking it off my pull list. I think I'm curious enough about where it's going to give it a chance. It's really the art that makes me hesitate though.

Mike: Suit yourself.

Yan: I guess I just want to see if Nick Spencer is going to attempt to make these characters feel more human, or if he's just satisfied with relying on stereotypes. I'm giving it another issue to convince me, but that's it.

Mike: As for me, if this comic were a person I would be writing mean spirited things about it on the walls of some bar.

Yan: Instead, you can just write mean-spirited things about it on my blog.

SWEET TOOTH #13 (Vertigo)
Written and drawn by Jeff Lemire.

Yan: We saved the best for last. At least in my opinion. Sweet Tooth #13. Please tell me you didn't hate this.

Mike: Oh, thank God, an opportunity to prove I don't hate everything.

Yan: Good.

Mike: I know you felt differently, but I was not a fan of #12's format, which came off to me as a little too light on plot. #13 is the exact opposite and further develops a good deal of the cast.

Yan: Well, about #12, I just don't think it's necessary for every issue to drive the plot forward. I don't have a problem with taking a break if the issue is still going to do something interesting and provide nice art and good storytelling. And we did get a lot of history about Singh that we didn't previously have, so there was that too. But otherwise, I agree, now we're back into the action, and you can see shit's about to go down in a big way. And that's exciting!

Mike: One thing I feel never gets mentioned is that Jose Villarrubia's coloring really brings this book to life.

Yan: Good point. I was noticing it a lot in this issue. That dream sequence in particular. And that cover! Another thing that's amazing, actually, speaking of the copy-and-pasting in Morning Glories. How many times have we seen the almost exact same panel of that close up of Gus's eyes in this series? But Jeff Lemire actually draws it every time and puts some thought into how it's used. It becomes a visual motif.

Mike: Yeah, and I think it's Lemire's firm grasp of imagery that helps this book.

Yan: And sense of pacing, too. He uses these visual motifs to create interesting transitions and parallels between characters. And that page with the helicopter blade. It might seem crazy to devote a whole page to that when you only have 22 pages to tell a chapter of the story. But it seems so essential to his storytelling style. Those panels look like they were probably copy-and-pasted, too, but there are variations in the colouring, which makes it work.

Mike: It's one of those pages that could only exist in this book. Sweet Tooth is one of the last mainstream books willing to take risks.

Yan: I don't really know how mainstream it is. It's kind of an oddity even for Vertigo. It kind of blows my mind that Lemire is now writing DCU stories. As an aside, have you seen his preview of Superboy in Action Comics?

Mike: Yeah, it's what I was hoping for from him. Stuff like those weird Parasite looking frogs, the pig men hiding in the earth. It somehow got me excited about a book starring Superboy.

Yan: I'm really looking forward to it. After his shaky debut on the Atom Special, I was a little afraid that he just wasn't the kind of writer who can crossover into mainstream DCU from indie comics. But this restored my faith in his abilities. I think Superboy's going to be a great book. And personally, I like the character anyway, so...

Mike: All right, now that we've finished gushing about Jeff Lemire, any final thoughts?

Yan: Just that this was another great issue of my favourite book and this new story arc promises to get really intense over the next few months. Anybody who's not reading this is missing out big time. I guess that was still kind of gushy.

Mike: Jeff Lemire, I am proud of you and I always leave a space for you at my dinner table in case you want some ramen to eat or whatever.

Yan: Aw, that's nice. I hope he's reading this.