Sorrow #3 (0f 4) — Writers: Rick Remender and Seth Peck; Art: Francesco Francavilla
The End League #1 — Writer: Rick Remender; Pencils: Mat Broome; Inks: Sean Parsons
Of these two books written by Remender, the first is the better — it continues to be a clever horror-in-a-“deserted”-town tale, with a determined heroine, an expanding backstory, and at least two good shocks; readers who like this sort of thing should like it, too. The latter book is a superhero story, involving a JLA-type group whose Superman avatar screws up, and the aftermath (it almost reads like it started life as an Elseworlds plot for DC). It’s competent enough, and written in a literary way that suggests that Remender was reading Alan Moore’s Swamp Thing back in the day, but it’s ultimately just another long-underwear universe, no different than dozens of others, and it’s not clear that we need any more of those right now.
Anita Blake, Vampire Hunter: Guilty Pleasures #7 — Writer: Laurell K. Hamilton; Adaptation: Jess Ruffner-Booth; Artwork: Brett Booth
I can see why people like this series — the spunky heroine, the well-thought-out alternate Earth where magic works, and all the pretty, posing Anne Riceian vampires — but for me it’s also reminiscent of Rice in the way that it all just drags on, with lots of characters, not much actually happening and a languid decadence that threatens to overwhelm the book. Hamilton’s antidote to that, of course, is her working-class, put-upon main character, and in the novels, where we’re inside her head, that can be enough — but in the comics, where we’re viewing the action from outside, and she’s just a pretty face with big hair who frowns a lot, there’s just not enough to retain the reader’s interest.
Vinyl Underground #4 — Writer: Si Spencer; Penciller: Simon Gane; Inker: Cameron Stewart
The end of the first arc, and while the characters have come together well enough, this all still owes a lot to early-’90s Vertigo — it would dearly love to be a new Invisibles, but instead of blazing a trail it’s following what is by now a well-traveled path, and its derivativeness keeps it from being particularly memorable or original.
Countdown to Final Crisis #17 — Writers: Paul Dini, Justin Gray and Jimmy Palmiotti; Story Consultant: Keith Giffen; Pencils: Ron Lim; Inks: Jimmy Palmiotti
One of the better issues, mostly because the focus is on the Ray Palmer/Monitors story (with Mary Marvel vs. Eclipso as the undercard), and we get nothing but blissful silence on the who-cares subplots involving Jimmy Olsen, Karate Kid, or even the Rogues. As the story enters its final third (four months to go until Final Crisis), events are finally heating up — check out the last-page splash — so if you’re a big DC buff it might be time to start actually buying this series (although, given its track record so far, it’s probably prudent to wait another week or three just to be sure…).
Teen Titans: Year One #1(of 6) — Writer: Amy Wolfram; Art: Karl Kerschl, Serge Lapointe and Steph Peru
Mostly for fans of the TV cartoon, although it’s a careful compromise of that style with the more “realistic” take of the regular DC Universe. If you don’t worry about the massive continuity holes — and, really, it’s pitched at younger readers who wouldn’t know or care about such things yet — it’s decent enough, although the Aqualad-as-drawn-by-Charles-Addams reboot is just creepy, and I’m assuming (hoping) that the out-of-character Batman is actually part of some Clever Plan.
Supergirl #25 — Writer: Kelley Puckett; Pencillers: Drew Johnson and Lee Ferguson; Inker: Ray Snyder
Puckett gives us a more kick-butt and competent (and less whiny and continuity-impaired) Kara than we’ve had in a while, which is all to the good; this issue’s plot basically introduces the new villain, shows off his massive power level, and ends on a cliffhanger — fairly standard stuff, but well enough done, and it continues to build an encouraging foundation for later issues.
Metal Men #5 ( of 8 ) — Writer/Artist: Duncan Rouleau
Rouleau’s an intriguing talent, but this is much too complicated a story to step into at issue five — between the multiple Magnuses (Magni?), the murky art (which isn’t helped by the coloring), and the back-and-forth in time, even a reader accustomed to juggling such elements can easily forget what’s going on. It’s the kind of story that’s probably not worth its retail price (especially when the eight issues of the comic add up to $24), but if you see it as a trade paperback at half-price a year or two from now, remember this review and pick it up.
Phil Mateer
