Detective Comics 934 (August 2016)

Detective Comics #934

What a nice pilot for a new Detective Comics. Batman and Batwoman are partners–their mission is to train the vigilantes of Gotham to fight some new threat. This threat follows them around with little bat-drones, but Batman can’t figure out they’re still being followed. It’s a team book, but with familiar Bat-family members and a decidedly modern approach. Heavy on the one-liners, heavy on implied action, light on actual content.

Is the problem the art or the story? Well, Eddy Barrows’s art isn’t there but it might be with a better inker. Eber Ferreira doesn’t have a feel for the art. He rounds it, reduces it, instead of emboldening it. Would better art make a significant difference? No. Would great art make a significant difference? Sure. But it’s a monthly superhero book and Barrows delivers it.

So is it the writing? Yeah, sure? Sorry to be so noncommittal but Detective Comics feels pretty noncommittal. Writer James Tynion IV mostly gives everyone sound bites instead of dialogue. Spoiler and Robin have a conversation, Batman and Batwoman, Batman and Clayface, but these are quippy, fast conversations. It’s meant to entertain not tell a story, because Tynion doesn’t have a story to tell.

I suppose Detective Comics is better than I was expecting (though nowhere near what I was hoping for). But it’s just a mediocre superhero book (in desperate need of better editing).

CREDITS

Rise of the Batmen, Part One: The Young and the Brave; writer, James Tynion IV; penciller, Eddy Barrows; inker, Eber Ferreira; colorist, Adriano Honorato Lucas; letterer, Marilyn Patrizio; editors, Dave Wielgosz and Chris Conroy; publisher, DC Comics.

A Train Called Love 9 (June 2016)

A Train Called Love #9

There’s so much action, so much ultra-violence–Ennis looses his Nazi contractor (who’s working for the black guy villain, because–come on–it’s Ennis) in a shopping mall. It’s blood, guts and severed heads everywhere. And it’s glorious. Dos Santos goes crazy with it. There’s so much action, so much physical comedy. Oh, yeah. The four dumb guys are all running around naked. Because Ennis.

And it turns out Train Called Love is only ten issues. So it’s all over soon, which is tragic. Ennis has created such a fantastic cast of characters, with Dos Santos able to make them downright loveable through their absurdity. I wanted three more issues. Alas, poor me, just one more.

It does make sense, however. The way Ennis paces this issue, I should’ve guessed it wasn’t going to twelve. There’s a bit of character stuff in the background–none with the four doofuses because they’re doofuses–but Marv’s girlfriend (Penny?) gets to build towards something and then there’s the romance between the spy and Penny’s sister.

The comic’s hectic but never too hectic. It’s never jumbled. It’s Dos Santos’s best art in the book, just because there’s so much for him to keep in motion.

I just wish it wasn’t ending so soon.

CREDITS

Never Mind the Bollocks; writer, Garth Ennis; artist, Marc Dos Santos; colorist, Salvatore Aiala Studios; letterer, Rob Steen; editors, Kevin Ketner, Anthony Marques, Rachel Pinnelas and Matt Idelson; publisher, Dynamite Entertainment.

A Train Called Love 8 (May 2016)

A Train Called Love #8

Train Called Love is approaching the finish, which might be why Ennis takes something of a breather here. Following the transportation analogy, this issue is mostly talking heads. Characters are summing up, thinking through their decisions, having introspective moments. The comic–I almost called it “the film,” following through on my suspicions it’s Ennis’s attempt at writing outside comics returned to comics–the comic is gearing up, but also winding down. It’s a bridging issue in a series where bridging means character work. Ennis loves this character work.

There’s a lot of humor, of course. Ennis also loves the absurdist humor. Maybe even moreso than usual because Train takes place in the “real” world. Dos Santos’s cartoon-influenced style just highlights the desperate reality of it all.

I do wish I better remembered the characters’ names. Maybe in a single sitting, they’ll stick through. But regardless of them having memorable names, there are some great moments for these characters. Marv’s suffering lady friend, for example. Ennis gives her so much quiet sadness, punctuated by so much ugliness in the world around her. Ennis is daring the reader to hope for the characters. It’s always a dare in this kind of comic.

It’s a mellow issue. There’s no flash, just deliberate writing, deliberate art.

CREDITS

All the Burning Bridges That Have Fallen After Me; writer, Garth Ennis; artist, Marc Dos Santos; colorist, Salvatore Aiala Studios; letterer, Rob Steen; editors, Anthony Marques, Rachel Pinnelas and Matt Idelson; publisher, Dynamite Entertainment.

Kaijumax: Season Two 2 (June 2016)

Kaijumax: Season Two #2

Kaijumax. For when life isn’t depressing enough, you need to have your favorite Saturday afternoon kaiju make you want to cry. This issue has multiple tragedies, both for good kaiju and bad, good humans and bad. Though it’s hard to have a good human. Even when they seem like they’re all right, they really aren’t. It’s endlessly pessimistic.

Maybe it would help if Electrogor didn’t look like he was always about to cry.

In addition to being depressing, this issue of Kaijumax is also pretty good. Cannon goes down the rabbit hole into some of his “world” details, like the rap battle. The rap battle, while well written, has zero narrative effect. It’s like Cannon wants Kaijumax to be one thing but knows he has to give the reader kaiju action.

The kaiju action here is quite good, with the giant robot good kaiju trying to talk down a mutated bad kaiju. There’s great visual pacing, there’s wide scale destruction, there’s a King Kong ’33 reference. Cannon can do it all.

Kaijumax is a relentless book. It requires steeling oneself before reading–there’s magic and the world is still crap.

CREDITS

Nuclear Hearts; writer, artist and letterer, Zander Cannon; editor, Charlie Chu; publisher, Oni Press.

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