May 14 Reviews

The Walking Dead #49
Image
Writing: Robert Kirkman
Pencils, Inks, Cover: Charlie Adlard
Ink Tones: Cliff Rathburn
4.5/5

It’s ridiculous that this series hasn’t been getting more attention the last few months. Very rarely has the phrase ‘things will never be the same’ been even as close to as true as it’s been here. Very rarely has there been a title that can achieve the emotionally devastatingly impact that last month’s issue did. Very rarely has a book with the expressive maturity and level of development as this one had the courage, guts, and just flat out balls to do what Kirkman has done over the last few installments.

And it’s not even over yet. The characters still left standing don’t get much time to stop and reflect on recent events and neither do readers. This is a title that inhabits a world refusing to allow such luxuries. You’d assume the worst was over with for a while, yet in this issue we see that it’s likely the hits will keep on coming. It may be a long time before anyone in this book sees a glimmer of hope, and the longer it takes the more affecting this book becomes. The issue does offer a degree of a breather in that the usually wordy Kirkman says very little this time around, letting the events of last issue loom overhead as the remaining characters flee in shocked silence with no plans in particular aside from getting out alive and surviving the next few minutes. It’s a loaded, claustrophobic and nearly overwhelming quiet that effectively drives home both the desperation and horror these individuals are irreparably saddled with. They’re functioning on instinct alone, their hearts unable to keep pace – and Charlie Adlard, the real star of this issue, delivers these truths brilliantly.

The Walking Dead may have grown too violent and upsetting for some, but if you’ve managed to stick around thus far then you’ll find the ride is still pounding forward with very few signs of slowing down. This is a top-notch book that next month will realize its fiftieth issue. And what an important issue it’s suggesting it may be.

DMZ #31
Vertigo
Writing, Cover: Brian Wood
Pencils, Inks: Riccardo Burchielli
Colors: Jeremy Cox
Editing: Casey Seijas, Will Dennis
4/5

DMZ continues to flourish in its recent return to form. Wood has managed to once again put this series in a position where several conversations are going on at once, all interesting, and all relevant to the times.

Matty’s emotions surrounding the sudden unexplained arrival of his mother keep the series’ character elements moving forward. The Delgado Nation threads raise discussions about who controls elections and what factors influence who can attain positions of legitimately recognized power in this country, conversations very topical in our own lives and political climate. Most interesting though, and the biggest focus of the issue, is the analysis of the confrontational dynamic that exists between journalists as individuals and journalism as a corporate establishment; an idea frequently explored in DMZ but more directly investigated now than for quite some time.

If there’s anything keeping the series from perhaps being as exciting or ‘can’t-miss’ as some may like it’s the relative lack of action or suspense currently on display. These last two issues have been primarily conversation pieces that are big on ideas but small on big screen theatrics. Any who raise such complaints however will most likely be satiated next month as the events closing the issue imply that things are about to kick into high gear. DMZ continues to be one of the most intelligent and worth reading titles available.

Amazing Spider-Man #559
Marvel
Writing: Dan Slott
Pencils, Inks: Marcos Martin
Colors: Javier Rodriguez
Cover: Ed McGuinness
Editing: Tom Brennan, Steve Wacker, Tom Brevoort
2.5/5

While Dan Slott’s return to Amazing is a relief from Bob Gale’s recent atrocity, it doesn’t necessarily mean it’s any good and without its own discomforts. Most of the issue revolves around Peter’s professional life out-of-costume in what is quickly becoming a shady career as a paparazzi photographer for the newly tabloid-esqued ‘DB’. New villains Screwball and Paperdoll make their first appearances as well though don’t get enough page time to leave any type of lasting impression.

The whole experience is very bittersweet. For every line that’s fun and works well there’s at least one that doesn’t. The re-embracing of thought bubbles continues to frustrate. While their use may be meant to hearken back to a more fondly remembered period in Spidey’s publishing career they more often than not just lead to the same annoyingly clunky exposition that caused writers to turn away from them in the first place. It’s not that thought bubbles can’t work; it’s that most writers apparently don’t have a handle on how to effectively and cleanly use them. Slott also makes some choices for Peter’s direction as a character that are questionable and contradictory to much of what makes Spidey such a lovable personality. Recent events have made it quite clear that everyone brings their own baggage and opinion to the table when considering what makes this character who he is, but it’s hard to imagine there are readers finding the person in this issue all that admirable and fun to identify with. Zeb Wells raised the bar of what to expect the title to aim for, and this just simply isn’t meeting it. Dan Slott has shown multiple times in the past his ability to write a damn fine Spidey story yet for some reason we’re not getting it from him here.

Brand New Day continues to flounder around between joyously great, grievously bad, and disposably middle road. It’s a mixed bag that hopefully works out some of the kinks very soon or it’s going to see even more readers stowing their optimism and turning their backs on the series.

Thunderbolts #120
Marvel
Writing: Warren Ellis
Pencils, Inks: Mike Deodato Jr.
Colors: Rain Bereto
Cover: Marko Djurdjevic
Editing: Molly Lazer, Tom Brevoort
5/5

Incredible, that’s what this is. Hardly anything is as purely fun to read. Several months of Christos Gage fill-ins and it’s easy to forget why this was such a highly regarded title. Alright maybe not, but the elation Ellis’ work on this series stirred up has certainly had time to cool off. But when he returns and drops an issue like this and we get to feel afresh the boggling excitement his work here provides there’s no doubt it was worth the wait.

Though it may not have the same visceral punch as some of the more graphic earlier issues, this was easily one of, if not the, most entertaining installments we’ve seen on Ellis’ run with the series. Hell, it may be the most brilliantly written display of dialogue we’ve seen from him in several months on any title. It’s hard to imagine there are many people out there advocating the Green Goblin’s return. Yet with the explosive humor and charisma demonstrated here there’s not likely to be many well conceived criticisms to be found.

There isn’t much to say other than that you must read this. Even if you weren’t taken in by earlier issues and dropped the series for whatever reason – you should still consider this required reading. Deodato Jr.’s art is a dream, and Ellis outdoes even himself despite it feeling like he’s just screwing around. It will truly be a loss when this creative team’s run comes to an end.

Batman #676
DC
Writing: Grant Morrison
Pencil, Ink: Tony Daniel
Colors: Guy Major
Cover: Tony Daniel, Alex Ross
Editing: Jeanne Schaefer, Mike Marts
3/5

Morrison typically isn’t a slow-build kind of guy but this issue is almost all introspective dialogue and walking/standing around. Even when there is action it’s in the backseat to the developmental conversations and internal musing taking place at the same time. This may be the first of the massive R.I.P. story arc, but it feels like a continuation of what Morrison has been putting together for a long while now. ‘Build’ is exactly what this is doing and as more pieces come into place and feelings & mental states are further explored there’s no denying there are big intentions slowly revealing themselves here. One hand is reaching out to new incoming readers while the other ignores them completely, perhaps frustrating to some but respectful to the story that’s been woven over quite some time.

The art is absolutely gorgeous and the production is fantastic. This may not be the most riveting thing you’ll read all week, but Morrison is Morrison so even issues like this one are worth checking out. If you’ve even the slightest interest in the Dark Knight there’s no reason to not be reading this.

Guardians of the Galaxy #1
Marvel
Writing: Dan Abnett & Andy Lanning
Pencils: Paul Pelletier
Inks: Rick Magyar
Colors: Nathan Fairbairn
Cover: Clint Langley
Editing: Lauren Snkovitch, Bill Rosemann
4.5/5

It’s very obvious from the get-go that this is going to be one of the most enjoyable titles on the shelves. This opening issue very smoothly introduces everyone’s personalities, the team’s formation & dynamics, as well as gives us a rollicking sci-fi story with humor and personality spilling out in excess. The issue jumps around chronologically; moving between blockbuster action, Real World type ‘confessionals,’ and the slower moments following Conquest that led to the present. Having a base of knowledge with the characters coming in amplifies the experience, but those who don’t are given enough to not feel lost.

The book is frequently hilarious. Dialogue is witty and quick and flies off the page. Each of these characters has their own defined tone that gives ample opportunities for jokes and pokes of many flavors. Some of the humor is obvious, silly, and right in your face while other bits are more subtle and buried within somewhat straight-faced demeanors. Abnett & Lanning have these characters’ voices well under control and demonstrate a masterful understanding of how to use them and give everyone an appropriate role.

Yet despite all the book’s charm and fun-filled nature it still feels heavy and has several foreboding hints at darkness to come. This is a comic that includes characters like Rocket Raccoon, Groot the sentient tree, and Cosmo the Russian cosmonaut golden retriever, but that still demands and earns the right to be taken seriously. The art crew fully and wholly delivers as well. A great debut and well worth your time whether you’re typically a fan of cosmic fare or not.