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Posts Tagged ‘DC Comics’

Harley Quinn #12 is DDelightful, puddin’

November 19, 2014 Leave a comment

Harley Quinn #12 with Power Girl

The casually murderous Harley Quinn and the still-clueless yet good-to-the-core Power Girl are a match made in heaven/hell in Harley Quinn #12, from writers Jimmy Palmiotti and Amanda Conner, and artists John Timms and Chad Hardin. Power Girl is the perfect straight character to play alongside Harley Quinn, and the Kryptonian bombshell provides a much-needed anchor point for a wild ride to another dimension populated by giant dogs, four-breasted aliens and Thanos knock-offs.
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Comic Review: Batman Eternal #21: Meet the men behind the curtain

August 27, 2014 Leave a comment

Batman Eternal #21 Jason Fabok
Everything seemed to be falling into place for Batman and crew, meaning it was about time someone pulled the rug out from under them.

That someone is James Tynion IV, who scripts an exciting Batman #21 with artwork from Jason Fabok.

Tynion and Fabok fill a pivotal point in the Batman Eternal saga, tearing apart what resolution we thought we were about to get, and opening up a whole new avenue of excitement ahead. That comes thanks to two revelations, one that’s kind of expected, and another that may truly gobsmack you.
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Comic Review: Multiversity is Grant Morrison’s trippiest ride yet

August 20, 2014 Leave a comment

Multiversity Grant Morrison Ivan Reis
Don’t let Captain Carrot on the cover scare you off: Multiversity #1 is many things, and goofy/wacky/weird are just a few of those things. Grant Morrison’s latest dimension-hopping, 52 universe-encompassing epic is all kinds of wild, and will leave you all kinds of lost, but the man knows where he’s going, and there’s no denying the mad genius behind it all.
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Batman: Assault on Arkham is a poor man’s Suicide Squad

August 7, 2014 Leave a comment

Batman Assault on Arkham
The new Arkham universe-set Batman: Assault on Arkham DC animated film feels like a high-performance sports car driving at the speed limit. GThe new standard DC animation is sexy and good to look at, but the other movie elements are full of squandered potential and lazy progression.

If you know the Suicide Squad, you know how this works: government hardass Amanda Waller attaches bombs to a handful of villains and forces them to go on suicide missions for her. If they don’t obey, they get their heads blown off.

Mainstays Harley Quinn and Deadshot are the anchors of the team, while obscure villains King Shark, Captain Boomerang, Killer Frost and Black Spider round out the rest of the group for this particular caper. In Assault or Arkham, the Suicide Squad has to retrieve the Riddler from Arkham Asylum, and they’ll have to avoid Batman while doing it.
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Comic Review: Batman #33 gives the Dark Knight a glorious birthday present

Batman #33 Gordon Bat Signal
Batman #33 is so much more than a Riddler romp.

The purple-and-green puzzler may be the final baddie of Scott Snyder and Greg Capullo’s brilliant Zero Year arc, but he’s really just the spark that lets the true stars – Bruce, Alfred, and most importantly, Gotham City – shine through.

And so it’s fitting that Snyder gives us the ultimate Batman-Riddler showdown right off the top, delivering on the disco ball death trap we left off with at the end of Batman #32. Snyder writes some strong riddles (and/or borrows them), but he and Capullo take the scene beyond a simple Q&A. You can feel Batman’s impatience as he tries to beat Riddler and get the city on line before military jets destroy it. Above ground, Jim Gordon and Lucius Fox confront the jet problem more directly, doing their best to divert the incoming fighters by creating a certain “signal” to keep them at bay.

But back to Bats. He wins, of course – this is comics – but Snyder’s got more to say than “Batman wins.” Batman has to shock himself to restart a heart monitor attached to the city power grid, and that fixes everything. But Snyder and Capullo slip some odd hospital scenes in between that shock sequence, and those seemingly insignificant flashes become what the story is really all about.

That does it for the traditional Bat-tale. The bad guy has been defeated, order is restored, and we can all go home, right?

Not quite, and that’s why this comic is great. Snyder saves a good chunk of the comic to reflect and bring all his character storylines to a close in a series of deft, heartrending scenes that could only work with Greg Capullo working the pencil.

First, Bruce buys Jim Gordon a new coat, delivering on one of the subtle symbols Snyder established just a few issues into Zero Year.

Then, Snyder pulls the rug out from under us, revealing that Bruce tried to use electroshock therapy to “reboot” his personality and become someone else. We see flashes of the scene all through the Riddler fight, but they don’t make sense until the end, when Bruce reveals it to Alfred.

But that deft turn doesn’t just mean something for Bruce, because Alfred – clinging to his paternal feelings for Bruce – has one of Bruce’s old girlfriends waiting in the wings. It’d almost be adorable if it wasn’t so sad, and Capullo makes it all the sadder. He draws a happy yet heartbreaking montage of Bruce’s life from this point forward – candlelight dinners, marriage, kids, a happy visit to the movies – only to yank it away. Because Bruce is set on his path now, and the last few pages of this comic are about Alfred coming to terms with that. He’s kissing that happy life for his pseudo-son goodbye, and learning to accept what must be.

“I’m so sorry, miss,” he tells the girl. “But I’m afraid he’s been spoken for.”

And Capullo ends it with a full-page shot of Batman swinging out into the city.

9.5 out of 10