Review: Superman #12
Superman has been one of the most consistent DC Rebirth books. Peter J. Tomasi and Patrick Gleason have done an excellent job so far, and while Superman #12 had some good action scenes and a fun visit from Frankenstein, I didn’t feel that this was one of the stronger issues. Now that isn’t to say it wasn’t enjoyable because it was.
We start in rural Hamilton County where Clark now lives with Lois and his son Jon aka Superboy. They moved here to live a more quiet and private life until Frankenstein shows up looking for someone, and he doesn’t come in peace. That person is Candice, the seemingly kind lady who wants to hire Lois for the Hamilton Horn. After he trashes the office and tries to apprehend Candice, Lois saves her and the two flee on his vehicle. A fun chase ensues, and sure enough The Man of Steel shows up to even the odds. There’s a nice twist at the end, and it creates an interesting premise for the next issue.
Doug Mahnke does a solid job on art, and Frankenstein looks awesome. I loved the fight scenes more than the other panels, but the art throughout the book is still good. There’s a sequence in particular I really liked where Frankenstein is hanging off his flying vehicle that Lois stole, and Superman shows up and sends him flying. The action continues with a farmer blasting Frankenstein with a shotgun, which causes him no harm, but he is then thrown by Superman once again like he was a rag doll. It was fun, funny, and it was drawn really well. The inks by Jaime Mendoza and Christian Alamy as well as the colors by Wil Quantana are sharp, vibrant, and really bring Hamilton County to life. By the colors of the leaves, we can see it is autumn, and I really enjoy when artists can add to the story without needing any extra written words.
If you’re already reading Superman, then this issue shouldn’t make you want to stop. It’s a fun small arc that will run only two issues, so we will see it come to an end in two weeks. If you aren’t reading Superman, this is a good issue to jump onto, as you don’t need much backstory to understand what is happening. There are a few small things that were in past issues or Action Comics, but they’re not that important to the overall plot of the issue.
Story: Peter J. Tomasi/Patrick Gleason Art: Doug Mahnke
Ink: Jaime Mendoza/Christian Alamy Color: Wil Quintana
Story: 7.5 Art: 8.5 Overall: 8.0 Recommendation: Buy
DC provided Graphic Policy with a FREE copy for review
Even though Andy Mangels’ plot is needlessly convoluted at times introducing supporting characters from the TV shows slapdash without giving new fans a feel for them, and Judit Tondora’s art lacks heft during scenes that should be iconic like Wonder Woman transforming, their love for these classic 70s TV shows shines through in Wonder Woman ’77 Meets the Bionic Woman #1. They should also be commended for making Diana and Jaime almost instant friends and allies instead fo wasting the first issue on pointless squabbles as they smile after catching a giant boulder together while protecting ordinary citizens from an explosion. After a fun cold open, the first issue goes all out Cold War with various alphabet soup espionage organizations, including Bionic Woman‘s OSI, trying to catch saboteurs and get to the bottom of a deeply rooted conspiracy.
Woman, but what could be a strong superhero/spy period piece gets lost in the shuffle. Hopefully, later issues of the miniseries either streamline the plot or spend time showing Diana and Jaime’s connections to their supporting players. The latter could be very rewarding.
++Ninjak is on the hunt for the woman who took everything from him — the sadistic assassin known as Roku! When Roku’s trail leads to a heavily guarded citadel in the Nevada desert, silence is of the essence as Ninjak undertakes a dangerous stealth mission where even the faintest noise could mean execution! But even if Valiant’s top super-spy can reach the woman once known as Angelina Alcott undetected, will he truly be able to face the former love of his life?
Right from the opening pages of the first issue of Violent Love, it’s made quite apparent that this tale of eventual bank robbers and lovers Daisy Jane and Rock Bradley is greatly influenced by stories and films in the same genre; Dylan Todd’s striking designs connect with the cinematic aesthetic by having the creative team page look like it came right from the bottom of a movie poster. Though the influences aren’t even hidden all that well (Daisy seeing Butch Cassidy and the Sundance Kid), Frank J. Barbiere and Victor Santos are definitely crafting something different and unique both in its method of storytelling and flow of visuals.
He also uses color, or the lack thereof, to emphasize the importance of certain objects or actions. For example, when Daisy sits in the hotel room where she and Charlie just engaged in a hot and heavy game of extracurricular activities, her entire body is black as the eye is drawn to the muddled orange/red hat in her hands. The previous frame reminds the reader of its importance to her, also using the color red to deviate from the use of green to shift in time. This in effect not only deepens the impact of these kinds of moments and objects but also elevates and accentuates Santos’s ability as a visual storyteller.
When I first finished Batman #12, I was left wanting more. After the twist at the end of the last issue involving Catwoman, I couldn’t wait to see what would happen with the Bat, the Cat, and Bane. Instead, we are given an issue where Batman fights his way through hundreds of men again to get to Bane and Psyco Pirate, who is now joined by Catwoman. I did enjoy the issue when I finished it, but I enjoyed it so much more after I had thought about it. That’s what Tom King does. He is giving us a layered version of Batman, and I am really enjoying that.
The one thing we’ve seen over and over again from Batman, is his parents, and how he deals with it. It’s at the core of who he is. But Tom King finds an angle I haven’t seen before. Bruce reflects on his parent’s laughter, and how he wishes he could laugh. It is such a simple thing people take for granted and it was very interesting to see him hoping for the day where he can find joy in something, and simply laugh. Bruce and Selina have always had a very interesting relationship, and he sums up why in this issue. They are the same thing. They are both dead. When they are together, and they kiss, they see each other’s deaths. Now, of course, they are not truly dead, but this shows that it isn’t Bruce being Batman, it is Batman being Bruce. He and Selina open up for only each other. That is very powerful coming from he hero of few words, and with her seemingly betraying him, you really feel for Bruce (or Batman) by the end. As much as he says he’s dead to the world, it is obvious Selina matters to him, because she makes him feel.
Midnighter and Apollo #3 is a bloody feast for the mind, senses, and emotions too as Neron and Apollo play the worst board game ever in Hell, and Midnighter continues his antiheroic quest to find the fabled Ace of Winchesters rifle and save his love from damnation. Steve Orlando’s writing is sharp and structured as he focuses on Midnighter and Apollo’s plot thread while providing insight into their characters along with a lot of punching. And speaking of punching, Fernando Blanco crafts one of the hands down coolest fight scenes featuring Midnighter as he just strolls into Hell like he owns the place. And continuing his consistent work on Midnighter’s comics, Romulo Fajardo Jr brings versatility to his colors from the angelic gold of Apollo to the disgusting green of the highly underrated mythical being that Midnighter knocks out and even depressing greys for the dive bar that Midnighter has his (possibly) last mortal drink and the abode of the Lords of the Gun.
The whole murder thing is a little more complicated because most traditional superheroes don’t kill (unless they’re directed by Zack Snyder) and make a big deal about it. Apollo admits that it is a moral failing, but he can take the guilt so ordinary people can stay safe from aliens, genetically modified anomalies, and whatever craziness Bendix and other bad people release into the world. In a powerful scene where his fading golden body is broken up by gutters, Apollo says that is okay if he is in Hell to protect innocent people. Even in complete torment and subjugation, Apollo is still the epitome of hero. We can definitely see why Midnighter loves him, would imbue himself with dangerous spells so he can damage demons, punches Slavic water demons, and even brings fists to a gun fight just to be back with him.
With the lives of everyone in Los Angeles hanging in the balance, S.H.I.E.L.D. and Ghost Rider find themselves working together.
Barry heads for Earth-3 to get advice from Jay Garrick on how to stop Savitar; Wally tells Barry he’s been training with H.R.; old wounds are reopened as Cisco faces Christmas without Dante.
