Wednesday, April 26, 2017

POBB April 19, 2017

Pick of the Brown Bag
April 19, 2017
Ray Tate

This week The Deep kicks off a new adventure with the Nekton Family.  Aquaman and Mera swim into another chapter of “H2.0.”   The Green Lanterns conclude their battle against Dr. Polaris.  The first part in the Batman/Flash crossover hits the racks as well as the second issue of Superman's "Black Dawn.”  Superwoman enters a new phase.  Angel ends its first time travel mishap and Kulan Gath battles Red Sonja.  First, Marvel releases two old titles with a new flavor: Monsters Unleashed and Nick Fury.

Nick Fury is the hardest book to review this week because it relies so much on the artwork.  Art is subjective.  It has an objective component, but it’s mainly opinion-based.

The Nick Fury story by James Robinson is simple.  At a casino situated on the French Riviera, Fury attempts to steal a thumb drive full of HYDRA information.

The thumb drive however is merely the McGuffin that allows artists Aco, Hugo Petrus and Rachelle Rosenberg to strut their Steranko influences.

I like this fine.  The original Nick Fury debuted in 1963 in the war themed comic book Sgt. Fury and His Howling Commandos.  The wikipedia entry is worth a look.  Stan Lee divulges the hilarious origin of the series. 

Lee and Kirby quickly disposed of the Combat! styled themes and grasped the golden ring of the secret agent carousel conducted by James Bond.  Thus born “Nick Fury, Agent of SHIELD.” 

As Nick Fury progresses, Robinson adds some SHIELD specific motifs.  A new femme fatale Hydra Agent is just the tip of the iceberg.

These nuances make Nick Fury easily the most frivolous and fun project Robinson had a hand inSo, my advice is to do a flip-through at the store.  If you like Nick Fury’s artwork, and consider yourself a classic SHIELD fan, you’ll like the book.

Monsters Unleashed is kind of a mess, yet it works.  Kei Kawade known as the Kaiju Kid possesses the ability to call or create monsters that he draws.

Kei already made his team of creatures and defenders.  Aegis and Mekara are giant robots.  Mekara is feminized, intelligent and thoughtful; perhaps a reflection of Kei's mother.  

Aegis is rougher.  Think of Optimus Prime without the heavy burden of wisdom.  Although this scene alludes to Rodimus Prime.

The next notable beast is Scragg who looks like a giant grasshoper and talks like an SNL skit.

A non-vocal dragon and other behemoths fill out the remaining slots.  So far, so forgettable, right?  

I mean.  No bones to the setup or David Baldeon’s and Marcio Menyz’s stellar artwork, but it's not exactly riveting storytelling.  You've got a kid imagining in 1970s Japan-O-Vision, and the products of those dreams protecting the earth.  If it were a live action television series I'd watch it, but I probably wouldn’t read a comic book on it.  

The question lies in production.  A comic book has an unlimited budget with a theoretical ease of presentation.  A television series has limits, and a challenge that’s interesting to watch be overcome.

Perhaps sensing the hard sell, writer Cullen Bunn adds Damage Control and SHIELD to the stew.

With their inclusion, Bunn firmly roots the otherwise could have been independent forget-me-not in the Marvel Universe.

Now, just to attract my attention, Bunn calls in Elsa Bloodstone.

Yup.  Sold.  

Monsters Unleashed’s plot kicks in after the introductions are made, and while yes, the threat involves a giant monster, the motivation of that leviathan is pure Marvel goodness.

The cliffhanger behind that substantial facade offers the reader even more interest.  A surprise all the way around.

The Nektons recently dealt with a giant monster in The Deep, and in conjunction with that exploration, they gained a Merlin like visitor named Nereus.

Nereus interacts with each of the Nektons in a different way and provides half of the entertainment.

A new mystery completes the other half.  I have no idea what’s going on, but The Deep certainly triggers curiosity and in an all-ages fashion.

Writer Dan Abnett creates a satisfying answer to the enigma of Deep Water, the monster that swims in and out of any drop of moisture.

Aquaman and Mera delve in a sinkhole of H2.0, a strange liquid that seems to be linked to the creature.  This issue, the duo learn much, including how the beast travels and how it surfaced into being.

Aquaman could not have carried out this journey alone.  Abnett once more emphasizes Mera’s importance in Aquaman’s life.  As his love.  As his partner.

The strength of their relationship makes me wonder why Watchman Mr. Oz left them alone.  Sure.  Thanks to the Crones of Atlantis, Mera believes marrying Aquaman will herald a dire prophecy, but they’re still monogamously in bed together.  So, marriage is an afterthought.  As is the whole Mera not being the true queen of Atlantis.  She’s queen.  Every Atlantean knows it.  Keep in mind.  Aquaman is fiction.  Real life is messier.

Did Mr. Oz underestimate Aquaman, or did the Superman editorship actually just make use of a soon to be continuity chip to restore a lot of what people liked in previous incarnations of Superman?  I suspect it’s a little of both.

Superman starts off in high gear with the Man of Steel, Robin and Superman’s son John searching for the missing Dark Knight, who was waylaid last issue while investigating a mystery in Hamilton County.

That mystery deepens with a remarkable homogenous reaction from the denizens of the Mayberry like location.

The hyperbole associated with Superboy is as intriguing as his strange protectors.  In addition, and seemingly unrelated, a visitor from space introduces himself.

The weirdness of the whole situation is the signature of writer Peter Tomasi who likes his science fiction pulpy and organic.  Artist Patrick Gleason with his biology themed wonderment is the perfect accompaniment.   

Superwoman is also part of the Superman Family.  The original Bronze Age Superwoman was Kristen Wells the time traveling descendent of Jimmy Olsen.  

The second was the new 52 version of Lois Lane.  Followed by Lana Lang.  “A thing happened,” and Lana  doesn’t have powers any longer.  She’s still heroic in her own right as a human.  End of story.

A more fascinating foray can be found in Batman, still being written by regular and phenomenal Batman writer Tom King.

The Watchmen button spat out of the Speed Force in Rebirth and lodged in the Batcave walls.  Since that moment, Batman and the Flash began working together to unravel the button’s mystery.  This is appropriate since Batman and the Flash of the new 52 are both scientists and the first two familiar heroes we see after the reality-bending Flashpoint.

Batman starts with a reminder of the time-lost Saturn Girl’s status in Arkham Asylum.

Dire warnings and a definite contrast to the calm measure she exhibited in Rebirth where she foretold Superman’s return.  King’s tale begins to simmer when the button reacts with Psycho-Pirate’s Medusa Mask.

In this way, King subtly links the Psycho-Pirate, a witness to the Crisis on Infinite Earths, to the next world-shaking event.  On a personal level, King implies that all his stories including this one, the oddball in the bunch, still connect.  

Here’s King’s interlocking story so-far.  Hugo Strange used the Psycho-Pirate in his bid to destroy Gotham City and Batman.  Two heroes saved by Batman as children emerged to help stop the carnage.  Gotham and Gotham Girl became Batman’s proteges.  Those heroes fell partly through the machinations of Amanda Waller and Taskforce X.  Batman used Waller’s resources to form his own team and hunt down the Psycho-Pirate in order to save Gotham Girl’s sanity.  Strange sold the Psycho-Pirate to Bane.  Bane sought revenge against Batman.  Batman won, naturally.  The mask is too powerful to be released.  So Batman has another trophy.  The Psycho-Pirate’s mask reacts with the button.

The explosion of energy creates some peculiar occurrences.  These stirrings will be eerily familiar to anybody that’s been following multiverse shakeups.  No doubt.  This manifestation catalyzes numerous questions but what’s even more startling is the return of a classic super-villain that’s intimately familiar with Flashpoint and isn’t impressed by this version of Batman.  It’s rare when any villain doesn’t feel a chill at the base of his or her spine upon facing Batman, but this one is the exception proving the rule.

Given a very meta-type of history, there’s a certain fittingness to this character’s reaction to Batman as well as his being more cognizant of what’s really going on.  Batman however teaches the mad fiend the error of his ways.  

The scene demonstrates Batman’s intrinsic status as the World’s Greatest Detective.  I’ve never met you before.  You don’t seem all that frightened of me.  You think I should be scared of you, but I’m Batman.  I’m not like anybody you ever met before.  I've been watching you while you struck.  I've deduced a weakness.  My turn.  En garde.

Batman dishes out more pain than this character felt in his entire life, and it’s an insult to boot.  Their fateful encounter is brutally brought to life by frequent Batman artist Justin Fabok and given a swathe of lightning strikes by colorist Brad Anderson.  Batman despite being part of a crossover should not to be missed by any Batman fan.  The nature of the duel alone warrants purchase.

Previously, Dr. Polaris removed his brother from the hospital with the hope of using his power over magnetism and scientific acumen to cure his brother of the tumors ravaging his brain.  This led to the new/old Suicide Squad demanding that the Green Lanterns bring Dr. Polaris in for assignment.  The Lanterns intended to stop Polaris but not for the benefit of the Suicide Squad.  They’re heroes.  They’ll bring Polaris to justice.  As they learned why Polaris acted the way he did, they began to sympathize along with the reader with the villain.

Dr. Polaris isn’t like Magneto.  He’s a victim of schizophrenia.  He hears the voice of his alter-ego in his head pushing him to put on the costume and wreak havoc with his powers.  Last issue, Jessica Cruz saved she and her partner’s life.  This issue Simon Baz steps up in an attempt to do the heroic impossible.

Seth is too far gone, and Dr. Polaris doesn’t take the news well.  He demonstrates just how dangerous he is, and it takes both Lanterns to stop him in a scene just crying for triumphant music.  Sam Humphries is the best thing to happen to the Green Lantern concept.

Angel and Illyria traveled back in time ostensibly to discover the meaning behind Angel’s dreams or visions.  Instead, they wound up in a period that Illyria regrets.  When fighting another demon of her ilk, she devoured her followers for strength before inciting a volcanic eruption to kill the rest of them.  And the demon.  Can't make an omelet without killing your followers.

It’s all in the timing.  Illyria mellowed considerably partly due to being infused in Fred’s body and experiencing the remnants of her soul much like any other demon in the Joss Whedon Universe.  Fred though was pure, and Illyria never truly evil.  

The comic book thus represents a natural evolution of the character.
Illyria attempts to reason with herself and save her followers.  In essence change history.  Fortunately, this is magic, and changing history is much easier with magic.

If Corinna Bechko’s story doesn’t float your boat, Geraldo Borges’ cinematic panel layouts and his overall excellent illustration will.  I love this page.

I’ve never seen anything like that before in a comic book, and it’s just such a perfectly comic book moment that mimics what you would see on film in an entirely unique way.  I mean.  If I were to get all artsy, I’d talk about how this page exemplifies comic book scholar Scott McCloud’s opinion that there are images that only can be accomplished through a comic book.  I don’t like to do that.  I’d rather just say.  Wow.

Last but not least, Amy Chu concludes her first Red Sonja story with the revelation of secrets behind Officer Max.  These divulgences occur as Sonja and Max battle an acclimated Kulan Gath.

Carlos Gomez once again provides an action packed issue with old as dirt sorcerers and strange beasties doing his dirty work against a bodacious Red Sonja.  

You can almost be so swept away by the art that you miss how clever this story really is.  That’s all right.  I’m here for you.

Chu changes Kulan Gath’s character.  The complexity of the modern world clothes Gath in a way that he’s never experienced before, and as a result he can grow as a character.  Gath now has a sense of humor.  He’s still evil, but he can be witty.

In conjunction with Gath’s growth, the time travel element that Chu introduced actually works on a theoretical level.  She’s dealing with magic.  She could have thrown out the rule book of Relativity, but she doesn’t.  She uses it to her advantage.

In addition the plotting is a good example of stage magic.  Sleight of hand.  Chu’s finale draws on something the reader probably didn’t pay all that much attention to since it just seemed to be an introduction.  Instead, it’s the first step in a loop.  This new run of Red Sonja is easily the most intelligently written and expands on the simplicity of typical sword and sorcery.

Wednesday, April 19, 2017

POBB April 12, 2017

Pick of the Brown Bag
April 12, 2017
Ray Tate

Welcome to the Pick of the Brown Bag, I’m Ray Tate, your host and critic.  This week I review Amazing Spider-Man Renew Your Vows, Heathen, Hellboy BPRD 1954, The Mummy, Micronauts, Red Hood and the Outlaws, Supergirl, The Titans, The Unbeatable Squirrel Girl and The Unstoppable Wasp.  First, I look at new books Black Panther and the Crew and X-Men Blue. "Sink me."  I'm a poet.

Black Panther and The Crew establishes a new Black supergroup in 1957 known by the title sobriquet.  The interesting looking team appear to be mercenaries for hire, but as we learn in the story, there’s more to them than that.

The idea of a hero pretending to be a villain in order to clean up the streets is a tried, true and honorable one. 

Uh, oh.  You hoods forgot to give the Green Hornet a piece of the acton.

That’s a mark in this book’s favor.  I also like how writer Ta-Nehisi Coates takes advantage of a largely superhero free era of Marvel Comics to grant Black Panther and the Crew a sense of clean history.  That history will grow richer with the choice of more familiar characters lining up in the roll call of the present.  

You can suggest that Coates is taking a liberal stance against law enforcement, and this may be off-putting to certain readers, but to deny the facts is futile.  For whatever reason, racism is alive and well in the twenty-first century.  More’s the pity.  Corruption if not the outright recruitment of Nazis in police ranks combined with broken laws feed the monster.  It doesn't help that there’s an Executive Branch and Congressional majority favorable to sheets and swastikas.  However, Coates isn’t really out to relate a one-sided discussion nor make a general statement about the law.  This is not a knee-jerk response.  Our reality is a backdrop to a superhero-centered catalyst.  Black Panther and the Crew is definitely a Marvel book, and Coates found the perfect Marvel voice to represent overall skepticism.

Misty Knight is one of the first Black female superheroes in comic books.  She may not have worn a costume, but her bionic arm makes her count.  She historically predates Storm by a few months.  The difference between the two is that the blaxploitation movement in cinema and The Six-Million Dollar Man influenced Misty’s creation.  These notes echo in Jackson Guice's photorealism.  So, Misty has a more urban background including the NYPD and a successful career as a private investigator, partnering with Colleen Wing under the aegis of Nightwing Restorations.  

With this past, Misty can see everybody’s point of view and look at the practicalities associated with the police.  Haze and Malik, a Crew member’s family, asks Misty to investigate what could be the suspicious death of a superhero.  Misty’s not so sure.  

Nor is she against the progress that Malik sees as a threat.  Indeed, it’s progress that allowed Misty to receive the gift of a bionic arm.  Misty's open mind shaped by mostly linear continuity doubles her worth as a point of view character.  This is smart writing.  

As Misty continues her investigation, we see her experience draw out well hidden clues even as the city begins to take steps to quell racial tensions.  The solution is once again pure Marvel.

Because the Americops are a product of Stark Technology, they aren’t quite the chilling symbol they could be, but that’s a good thing.  If Coates had simply made them a Brave New World or 1984 symptom of Dystopia, then the twist would have immediately forced readers to question the altruism and history of Tony Stark.  You don’t want that.  Tony Stark’s tech isn’t perfect but to suggest he would build it that way is horrible.  You can even imagine his reasoning to create such things.  If he didn’t do it, a less positronic engineer would, and that would be a nightmare.  Besides, Misty’s arm is one of the original Stark productions, hinted at way back in the seventies in Iron Fist #1.

Despite this being their first meeting, Iron Man knows Misty Knight by sight.

Perhaps that’s the best part about Black Panther and the Crew.  It’s a book with a sense of fair-play.  The skeptical themes driven by Misty Knight make the story a credible detective story.  The realism of racial prejudice is checked by the fantasy of the Marvel Universe.  Coates accounts for everything, and for that reason Black Panther and the Crew is a perfect premiere. 

X-Men Blue on the other hand is not.  It’s in places fun, and it’s certainly less confusing than other X-Men titles.  Better than mediocre X-Men Gold, but there’s still a lot of “so what” associated with X-Men Blue.

If you haven’t heard, the original Uncanny X-Men in their younger forms traveled to the present day of Marvel proper.  They’ve been interacting with Marvel proper, for a few years now.  Not everybody though.

Black Tom Cassidy is a classic X-Men foe.  He's so classic, that I know who he is.  Tom's hilarious dialogue is a plus.  In fact, most of the character interaction is an asset, but I don’t particularly understand why the original X-Men are doing what they’re doing in the first place.

The Avengers protect the earth.  The Defenders take care of business in magical realms.  The X-Men traditionally want to show that mutants can do good.  The Fantastic Four explore and combat the unknown.  The Crew, just created, protect the streets of the 1950s to probably the 1960s.  I don’t know what these old/new X-Men are about, and I don't think writer Cullen Bunn knows either.

Yeah.  That was scintillating.  It's like Bunn leapt at the opportunity to write the X-Men without really thinking his goals all the way through.  To be fair, this is only the debut issue, and maybe Bunn will iron out the whats and whys as time progresses.  Mind, you.  This book doesn't actually have much of a hook other than look kids the band's back together.

I'm not saying that it's wrong to bring back the original X-Men as a team.  Nope.  Indeed, X-Men Blue with a mostly streamlined continuity is light years ahead of X-Factor, which naturally hurt my head.  There should however be a reason for the reunification.

In the above scene, Cyclops blows a gasket, and I don't actually know why he immediately assumes the worst.  It's like somebody hit a big red button and reverted Cyclops to humorless stick in the mud.  Like he never experienced the friendliness and sense of family in The All-New X-Men.  In an issue of Dennis Hopeless' and Tom Grummett's mostly wonderful series, Cyclops sets up Wolverine and Angel on supposedly independent missions just to orchestrate the repair of their relationship.  That's the kind of story I wanted to read.  Fisticuffs yes, but also something that possesses interpersonal depth.

All-New X-Men #12

Cyclops is not pulling the strings of X-Men Blue.  By the end, the kids' benefactor and sponsor stands revealed.  It should be a big deal, yet the X-Men’s history undermines the impact.  I also question his depiction.  Artist Jorge Molina's art is appealing throughout, but why is our mystery man snarling while giving a good-job-well-done speech?  In contrast, Dr. Doom would have been ebullient, smiling despite the metal mask and prepared a catered repast to celebrate a victory.  To buffet, my X-Men! This guy stands snarly, says his piece and doesn't so much as provide them with wine and cheesecake.

Ultimately, I would have felt better if one, the X-Men explained why they decided to reunite.  Two, they had learned about Black Tom’s piracy through other avenues and not be connected to the "spoiler man" at all.  Three, they had more substance.

Aaaaarrrrrrr!  There be X-Men in this week's Amazing Spider-Man Renew Your Vows.   Charles Xavier first approaches Peter Parker at a surprise birthday party.

This isn't however where the latest Marvel alternate universe chapter started.

Why even keep Magneto in the shadows when you've got him spouting "Master of Magnetism" boasts and sporting a recognizable bucket on his head?  Already, there's just too much X-Men and not enough Spider-Man Family.  It looks to me like a world-building exercise.  Here's the fresh opportunity to flesh out new versions of familiar X-Men.  Can we do this without creating a continuity induced brain freeze?

So, the answer's no then.  Wolverine and Jean Grey married with a tyke is kind of mind-blowing.  It's like Marvel saying.  Yep, we went there.  How do you like it?  Strange.  Maybe a little too strange for me.  It gets stranger when Cyclops steps onto stage.

Cyclops' infodump is already boring and you can visualize the choke of juxtaposed history feeding it.  How on earth can a new X-Men continuity be overwhelming when it just started?  Somehow these X-Men manage it.

Then there's the idea of taking too great an advantage of the Renew Your Vows earth.

Damn, Beast.  Were you sleepy? Are you somehow the lesser of the multiverse Beasts? I've seen Hank dodge way more complex attacks.

The free reign elements and the dum-dum-dum, surprise at the conclusion turn what could have been a fun extrapolation into a stupid exercise.

One of the best issues of The Unbeatable Squirrel Girl and certainly the strongest chapter of the story.  Though normally a done-in-one comic book, Occasionally writer Ryan North gets a notion that requires expansion, and it's always a surprise.  This apparent quickie soon turned into a two parter, then three, and bang, Squirrel Girl now has an archenemy.  Melissa Morbeck.

She doesn't seem like an impressive figure, does she? Although artist Erica Henderson puts a certain visual spin on her that sort of advertises her as something special.  In any case, Morbeck is a genius, and this issue explains how she came by that honestly, superbly melding reality with fiction.

It's not just about Morbeck though.  North truly must be commended for the brilliant sleight-of-hand.  Ostensibly, Squirrel Girl is a funny book.  Something not to be taken too seriously but definitely part of the Marvel Universe unlike say Harley Quinn which listens to the beat of its own drummer.  North though explains things that most readers probably just ignored.  Turning jokes into an insidious ploy.  Inconsistencies in the villain's plan become incorporated in a genuinely dramatic whacko personality.  Squirrel Girl is still funny, the animosity of a sun bear for example, but there's a definite unexpected edge to this one.

This issue of The Unstoppable Wasp represents a departure from the usual frivolity of Nadia Pym.  It also demonstrates how far writer Jeremy Whitley is willing to stretch the mood.

There's always been this under current beneath The Wasp.  Nadia is an escapee from the Red Room.  The place that produced the Black Widow.  Now, in the interest of honesty, even though it was created by one of my favorite Black Widow authors, I never liked the Red Room concept.  I preferred the Black Widow being a superb athlete that became an astounding spy for the KGB.  She just got better and better as she learned more fighting techniques.  However,  The Red Room has stuck, and I understand the gravity of being trained in the Red Room.  So for four pages, we watch Nadia deliver what she learned in the Red Room.  All of it foreshadowed.

Notice how Nadia's science lessons continue but turn into something a lot more serious.  The tone in the narration defines Nadia's distaste for violence.  The juxtaposition is clever and thrilling thanks to Elsa Charretier's amazing fight choreography and given extra emotional thrust by colorist Megan M. Wilson.

After the fights, we get back to the fun.  Oh.  Sorry.  Spoiler alert.  Nadia wins.  It's not the last issue of The Wasp.  That fun consists of a hilarious mispronunciation of Matt Murdock's name.  A visit to Matt's office, as Nadia promised and a great Jarvis moment that reinforces the uplift of the themes.  

Incidentally, some people might think this development ties into the success of Netflix's Daredevil.  I doubt it.  Matt Murdock and She-Hulk are always the attorneys of choice in the Marvel Universe.  Practically no other lawyers represent superheroes.  Upholding the tradition, no matter what Jen and Matt are in their own little corners, it doesn't matter.  They are stand-up officers of the court whenever guest-starring.

This issue of Supergirl does not quite begin the Batgirl team-up suggested by the cover.  Although one can argue that Batgirl is on the periphery, and that is true.  

Every breath you take.  Every move you make.

Emerald Empress on the other hand does fight the Kryptonian Cousins, but she’s aiming more to put the hurt on the Girl of Steel.

Their fraught filled first meeting lasts about four pages.  Actually, it’s a pretty good bout, acting like a short story with a beginning, middle and end that’s jazzily illustrated by Matias Bergara.  He’s got an enchanting cartoony style that’s enhanced by Michael Atiyeh’s bright colors.  Supergirl furthermore conceives a way to defeat the Empress all by her lonesome, and that’s a winning little moment.

The main slice of Supergirl focuses on Supergirl’s and the restored Superman’s first encounter.

I commented about Supergirl’s bizarre turn in a previous reviewWhat I didn’t predict was that some of the alterations were in service to Superman’s restoration and resurrection.  It just took time for Superman’s personal history to catch up with the adjusted history.

Supergirl’s new 52 history is likely intact.  With Superman’s past preserved, I now see no conflict in terms of plotting and the fall of events in Supergirl's debut volume.  The stories probably took place with this version of Supergirl’s naïveté and clunky earth-speak.  Supergirl only spoke Kryptonian when she arrived.  So, it's not a far stretch.  The youthfulness of the character though is a change from the more mature Kara Zor-El that beat the Worldkillers, befriended the Silver Banshee and staked a nutso Kryptonian at the near cost of her own life.

That said, Supergirl and Superman weren’t really close until much later in the new 52.  In the literal end Superman entrusted Supergirl with the Fortress of Solitude and believed the earth would be protected under her shield.  That’s a potent vote of confidence.  Superman and Supergirl did not connect in the post-Crisis.  In fact he spent more time with substitute Supergirls like Matrix rather than the original.

With this rewrite, Supergirl and Superman are and were far closer.  Bronze Age closer.  She knows about Lois and Jon, and writer Steve Orlando adds some more history between Lois and Cat Grant that's reflective of the television series.

Although Kara still finds the earth strange and primitive, she nevertheless doesn't let anything bring her down.  She exhibits a wonderful sense of humor and optimism.  For these lion's share reasons, the book is a must for any fan of Superman or Supergirl.  

I don't particularly want to disparage any of the writing in Supergirl, but when Orlando turned to D.E.O. matters, Phantom Drive technical espionage, I completely lost interest.  These are however tiniest sections of the whole.  The last page depicting a beautiful Batgirl to add to my collection gave me hope for the next issue.  Oh, and unlike the cover, Batgirl wears a scalloped cape which is what she she should be wearing.

Scott Lobdell expands Red Hood and his partners interaction and means of operation while relating a fascinating story.

That's Jack Ryder alias the Creeper reporting by the way.  His presence adds a feeling of consistency against the fake country of Qurac.  The handy stand-in for any territory on or in the ballpark of the Arabian Peninsula.

Lobdell portions his tale equally between the three Outlaws.  Bizarro's story shapes his characterization.  Lobdell for Jason pulls out an interesting psychological stunt, and Artemis has a surprise waiting for her.  All of it just well-written and illustrated by Dexter Soy and Veronica Gandini.

The Fearsome Five debuted at the cusp of the Bronze Age in The New Teen Titans.  Under the auspices of Marv Wolfman and George Perez, they became the Titan equivalent to the Doom Patrol’s Brotherhood of Evil.  Last issue, we learned that The Fearsome Five allegedly turned over a new leaf and opened a new business to help people deal with their superpowers.  So, is it true?

Nah.  They’re repellent individuals that reformed a repugnant group of monsters.  Their callousness is key to their villainy.  As written in the past, they’re not just willing to kill, they’re eager to kill.  Furthermore, they behave like a team, which balances the Titans main strength.

There is however something that the Fearsome Five didn’t expect, and that’s a second cavalry coming to the rescue in the form of Bumblebee.  

I’ve already spoken about Bumblebee in a recent Titans review.  Karen Harper used her scientific knowledge to psych up her boyfriend and mostly useless appendage Mal Duncan.  For the modern age of comic books, Bumblebee’s powers are internal, and she proves throughout the Titans that she knows how to use them to the fullest extent.  It’s really enjoyable to see Bumblebee turn these arrogant sphincters on their ears, and Brett Booth, Norm Rapmund and Andrew Dalhouse light them up for all their worth.

Natasha Alterici's Heathen goes in several directions that took me by surprise.  At first it seemed that the Norse Love Goddess Freya meant to harm our heroine Aydis or take her away from Brynhild to punish the former Valkyrie, but her reasoning is very different.  This leads to stories within stories and a good twist on the myth of Sigurd and Brynhild.

The Mummy concludes strong with Angel and Nebetah scaring the hell out of the so-called Pyramid Club heroes by accepting their mutual destiny.  The Sect of Anubis gets its just desserts, and the whole adventure concludes as an origin of a horror heroine that would have been right at home in a Monsters Unleashed from the 1970s.  Bloody, gruesome and cheerfully cynical--yes, I realize that's an oxymoron, thanks--it's the perfect hybrid of superhero and Hammer Movies.

Hellboy and the BPRD is a by-the-numbers spook show, but you know what?  It just works.  Mike Mignola's and Chris Roberson's latest foray reads like a good episode of a hypothetical Hellboy television show.  The 1954 setting aids the plot without blatancy.  Hellboy and new character Roland Childe split the Kolchak part.  Hellboy takes care of business in his usual blunt manner and Childe serves as the witness to the macabre.  BPRD Agent Sue adds knowledge and gains depth while Archie completes the double-act with Hellboy.  Hellboy however probably wouldn't read as well without Brian Chulla and Dave Stewart providing the visuals.  Remarkable compositions.

We conclude the reviews with The Micronauts.  The successful reimagining continues.  Oz leads his team of thieves to be heroes of the cosmos but never forgets the little picture.

Cullen Bunn and Jimmy Johnson drop a hostage situation filled with threat and maturity in a miniature sci-fi masterpiece.  

Max Dunbar's depiction of the scene captures everything: the rush of power in the captor; the strength of hostages Ro and Betty; the terrifying education of Ro's son Billy; the heroism of the Micronauts and the satisfying comeuppance.  What's more the incident occurs in a bright and fashionable room; kudos to colorist Ander Zarate.   There are no stylish shadows nor a disused madman's lair.  This scene could occur anywhere, and that infuses it with even more palpability.