Review Roundup - April 5th, 2023
Pictures Over Words
Welcome to this week’s review roundup!
Every week I tackle a stack of books and post small and large reviews all over the web. But you can always find each and every one right here. You can even subscribe if you want them delivered!
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Planet of the Apes #1
Walker sets aside the ape uprising and military doomsday ideas from the first Planet of the Apes series as well as the very quick near extinction of humanity of the second in favor of a new antagonist and a different status quo involving simians.
The story structure employs both a forward time jump and a flashback. The comic opens in 2011 with an inciting incident writ large for the world before jumping to 2015 which we assume is present day. Walker spends time in 2015 and introduces us to (presumably) the main character. I say presumably because Walker never names her–or any other character. It’s unclear whether this is a deliberate choice to give the story an everyman, larger humanity feel (which doesn’t really work) or a significant oversight.
Walker then jumps backwards: 2014, 2013, and 2012. The jump forward to 2015 lets us get settled into that moment and the main character for several pages before jumping back to provide exposition that, if delivered in order, would have slowed the issue down considerably.
This may be an obvious thing to say given the title of the book, but Wachter draws very good simians of all kinds. He also humanizes the characters visually in a way that Walker’s more generic depiction does.
Amazing Spider-Man #23
This entire issue comes across as the plot advancing by little more than the writer’s hand. It’s difficult to explain without spoilers. But essentially the entire issue spins out of Peter making a horrible decision after landing back in his own dimension–one that is brushed aside as “I was a wounded animal. Not thinking.”
That excuse on its own isn’t necessarily a problem. But Wells at no point has Peter take even a moment to impress upon his allies who are standing in his way why he is in such a rush–why it’s necessary that he waste no time doing an “I’m okay, you’re okay” with authorities in Pennsylvania (over something that, when stated by Cap, makes no sense in the context of this issue or last).
Romita Jr’s art is a mixed bag here. His characters’ appearance and expressiveness continues to be an improvement over earlier issues in this run. But once more, Peter’s bruised face is depicted as swollen to a degree that makes it look deformed.
Ultimately the issue is designed for it to reach the final page and little else. There’s nothing wrong with the story going full tilt toward that; Peter has to get from A to B, and the urgency is key for how it happens. One or two panels’ worth of dialogue would have made all the difference, though.
Poison Ivy #11
Extending also from those inciting moments in Poison Ivy #1 is Ivy’s new philosophy. In Poison Ivy #11, she puts voice to it. When confronting a truck transporting oil to a refinery, Ivy is told by the driver that her “climate freaks” aren’t actually accomplishing anything by standing out on the road in the middle of the night. Ivy’s response: “We are. We’re slowing it down.”
Adventures of Superman: Jon Kent #2
Henry’s art continues to layer in emotion for Jon that’s appropriate for his age and experience. He’s a very humanized character here as he was in the previous issue. This plays well into Taylor’s story. This is the most unsure Jon has appeared–possibly ever–and it fits the very personal stakes involved.
The character interaction is quite effective, both with Lois and Jay. A measure of fear hangs over both of them. That sense comes across heavier with Lois as is appropriate given the nature of a parent/child relationship versus a relatively short romantic relationship. Taylor’s dialogue works very well, and once again Henry’s ability to handle characters’ emotions elevates this moment.
The series’ direction changes in the final pages. It’s difficult to know how that will play out, especially given the emotion immediately on display. It’s unfortunate that the cover steps all over the ending, though that is almost certainly an effort to enhance sales and that is simply the nature of the beast.
Through two issues this series is offering an effective look at Jon as a young man and not just a hero.
Wolverine #32
The series continues to lean heavily into Beast’s story, and this issue is much more about him than Wolverine. Beast continues his nefarious plans, making use of his Wolverine clones to handle whatever he considers a threat to Krakoa.
Percy somewhat runs against the grain here–at least far as his own writing is concerned when it comes to character development. This issue spends a lot of time in Beast’s head. There’s little other option; Beast is effectively alone in his walking fortress, so Percy can’t use dialogue to imply character intentions as is often the case with his writing. There are times when Beast’s ruminations almost come across as him speaking directly to the reader. But so much of what Beast is thinking is him justifying his actions–presumably to himself but perhaps to posterity–that it never reaches the point of Percy telling us what to think about Beast via Beast himself.
Ryp and D’Armata continue to excel at horror adjacent imagery. Last issue this was exemplified by Beast’s walking skeletal fortress (which we see again here). In this issue the focus is the Weapons of X and the brutality and gore they deliver. It’s never over the top, but it’s visceral and establishes how dangerous Beast with an army of Wolverines can be.
Joe Fixit #4
Joe Fixit versus Kingpin…round two!
With only one issue left, this one surges the plot forward, smashing the various forces vying for control in Vegas into each other. But David doesn’t lose track of the humor that’s made this series work. When has setting off fire sprinklers been more fun? And who’d have thought that a face painting session would be a critical plot point?
This issue (and this has been the case for this series) does not rely on pop culture humor that sometimes heavily dates David’s work. And by now there’s been more than enough setup that the need for exposition is long gone. The best part of the issue is the continued push back against Kingpin. There are so few opportunities in main continuity series to offer moments of humility for the character. And David accomplishes that here without ever making light of or embarrassing him.
Çinar’s art is high energy. This issue is heavy on action, and at no point does it drag. The character closeups keep the focus on the different participants in the action so it never just feels like aimless action.
By the end of this issue, a great deal of anticipation has been laid for the series’ end.
Batman #134
The Tim Drake backup story steals the show in this issue. After an uneven multiversal jaunt in the previous issue, Zdarsky grounds Tim’s story back in the personal. There is a scene in particular that very effectively tugs at the heart strings; its emotional content outshines anything Zdarsky is delivering in the primary Batman story which is primarily a plot oriented affair. Mendoça’s art contributes a great deal to this emotion. Tim is utterly and incredibly human in this moment, and the fact that he’s a superhero drops away.
In the main story The Red Mask’s motives are revealed here. They are novel and create a fresh story that is an improvement over the more derivative Failsafe arc. It suffers from a similar problem, though, in that there is very little character depth as it relates to Batman. It’s unclear how this is a Batman specific story rather than merely one of many multiverse stories.
This is an oddity of Zdarsky’s Batman run to this point. Tim’s appearances are rooted in his emotional connection to Bruce and his actions driven by those basic character imperatives as compared to Batman who is moved along by plot.
Star Trek Deep Space Nine: The Dog of War #1
Cute dogs and Borg technology. It’s a combination that most people would never think of. And it’s especially a combination that seems out of place during the Dominion War. But it’s precisely the basis for Star Trek Deep Space Nine: The Dog of War #1. It’s also a surprisingly compelling one.
Immoral X-Men #3
The 100 year to 1000 year time jump is a major handicap to this issue. Gillen wants us to care about Sinister and Rasputin–and to his credit we do to an extent. But because of the time jump we haven’t seen the journey that brings the characters to a breaking point within the issue. Gillen needs this one moment in this one issue to fundamentally change the relationship between two characters.
This is a textbook example of skipping the journey to reach a pre-planned destination. Sins of Sinister requires this plot point to happen, so therefore the issue must be about it. Unfortunately we don’t see any build-up to get us here. Even just a few hops in time between +100 and +1000 to show moments of transition between the very effective end of the last issue and the critical incidents of this one would give the issue significantly more weight.
This is emblematic of the entire Sins of Sinister event: none of it feels organic. The writers are depositing the audience at so few points in the overall storyline that every issue is little more than the writer’s hand delivering a plot point simply because the story demands it.
Unfortunately I am giving short shrift to Vitti and Beredo, but they carry the issue, delivering an appropriately rough feel to what we’re told is a horrific future.
I Am Iron Man #2
This book will almost certainly not be what most readers expect. There is a linear story here, though there is no plot as such. Boiled down to its simplest metaphor, the issue speaks to standing up one more time when you think you can’t. And then again. And then again. Ayodele and Akande include a more literal dedication at the end.
Ayodele’s script creates an issue that is a marvel of simplicity. The “dialogue” is effective but relatively minimal. There are no wordy caption boxes. And while there is the dedication on the issue’s final pages, the story itself doesn’t hold your hand. It’s not particularly difficult to divine its meaning, and by the end it has fully revealed itself. But it does offer the satisfaction of realizing for yourself what Ayodele is saying before he comes right out and says it.
Akande’s art is similarly minimal. The panel layouts are simple. There is almost nothing that would be considered action. But it is as communicative as Ayodele’s words. Much of this is the result of Akande's coloring. The last two pages in particular are a testament to the power of comic books as a visual medium.
The Flash #796
This review has borderline spoilers.
One Minute War gets a satisfying end here. There is a reset button, but that had already been factored into the story as the speedsters’ plan in the previous issue, so it went down reasonably well as a conclusion. Adams keeps character beats from the story intact which makes a difference. And a plot point in the issue leads to a logical (though somewhat abrupt) reason for the reset to work.
The issue features multiple art teams, but the division of work makes this mostly effective. The pages each artist handles are generally character specific (Barry’s pages drawn by one, Wally’s by another, etc.). The art styles themselves are varied and not overly complimentary. However, dividing the work in this way keeps the result from being jarring.
The next to last page is a treat.
The one place the issue stumbles is in its explanation of Planet Flash. It is heavily reliant on Flash backstory. It seems to be aimed at retconning past story points, which may prove satisfying to regular Flash readers. It is largely impenetrable without knowing that background, however.
Rogue & Gambit #2
Phillips goes against expectations following a cliffhanger: instead of opening with intense urgency she spends a third of the issue on something resembling a date for Rogue and Gambit. That’s not to say she abandons the main story. The book cuts to Manifold early, and Rogue and Gambit’s immediate goal is transportation.
Upon realizing their powers are gone, Gambit’s first impulse is to embrace and kiss Rogue–something she doesn’t mind. A few pages later the mutant couple comes upon what might be the most mutant friendly bar around. Gambit shares some beer with the locals and he and Rogue hit the dance floor. It’s a fun sequence and very in keeping with the couple’s previous series. Phillips reminds us that Rogue and Gambit are probably the most fun X couple out there.
Eventually the book returns to the matter of the main plot–at least tangentially–when an angry Avenger attacks the couple for abandoning Manifold. This is a very unexpected encounter, and Gambit’s method for escaping it is novel.
Gómez’s art imparts a great deal of joy to the titular couple. There is a visible emotional connection between them.
This is a fun comic with fun characters and easily the most uplifting X title on the shelf.
Captain America: Sentinel of Liberty #11
Roger’s death in the previous issue serves as a rallying cry for the remaining Invaders in this one. The issue is largely a battle sequence which is beautifully realized by Carnero and Woodard. M.O.D.O.K.’s appearance runs the gamut from gleefully homicidal to brutally angry. Every closeup on Steve is of an indomitable spirit. Every explosion is a panoply of color. The post battle scenes are heartfelt. This is an issue that is carried by its art–not because the story is deficient in any way, but because Kelly and Lanzing know what moments need dialogue and what moments don’t.
The first page is especially representative of this. Bucky is sitting alone, listening to audio from the fight. There are five horizontal panels on the page, and each one sees Bucky slightly adjust position. Each one sees Bucky’s expression change. It’s only in the final panel that Bucky says anything at all–even then it’s only two words. And thanks to the strength of Carnero’s art, it’s obvious what he’s thinking before we get to those two words.
Kelly and Lanzing write a very effective exchange between Steve and Power and the nature of the five pointed star as used in the Century Game versus Stave’s shield. The metaphorical contest of wills remains a very intriguing part of the overall story.
Batman & The Joker - The Deadly Duo #6
The issue maintains the horror aesthetic which is ultimately the series’ most important component. It’s dulled somewhat by the big picture goal Amanda has which is using Simtek’s genetic engineering technology to eliminate free will in the people of Gotham. Ultimately her motive is revenge against her father, though, and that keeps the whole thing rooted in the personal. Indeed, it leads to the most memorable visual moment in the issue.
The fight that the issue devolves into is somewhat less memorable than previous moments in the series when Batman was attacked by savage, Joker-like creatures.
The story’s high point is Joker finally getting to be Joker. After multiple issues of being metaphorically chained to Batman’s morality or literally chained in the batcave, he gets to return to form and it’s quite refreshing.
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