Let’s start this off right: in my opinion, Justice League Dark is – right alongside I, Vampire – one of the most consistently beautiful books at DC. To my memory, neither series has had a lapse in artist and yet has remained pristine issue after issue. Mikel Janin delivers yet again in JLD #11, perhaps even topping himself with stunning layouts and pristine lines that formulate one of the trippiest – yet cleanest – looking issues yet. There is seriously so much detail packed into his characters that it’s astonishing to see this book arrive on time month in and month out. The editorial team at DC should take a bow for assigning Janin to this book, and issue #11 is precisely the reason.
Writer Jeff Lemire is certainly no slouch either, constructing what structurally amounts to “that issue where the good guys and the bad guys fight each other,” but is able to give it significant weight by keeping everything character centric. Only Black Orchid really gets the shaft here while Lemire carefully balances the rest of the team and their ulterior motives (in particular Constantine) for joining up with this squad in the first place. The only place the book trips up a bit is in the building Madam Xanadu plot thread, which forces Lemire to cut away from the action and create a new mystery that is left hanging for a future installment. In the end though, this issue leaves the reader with plenty of other things to ponder – namely just what kind of mess the JLD just got themselves into, and what the betrayal of one of their own means for their future.
Justice League Dark is the full-out exploration of the DCU’s magical side that I hoped it would be when it was announced, and I couldn’t be happier. All it needs now is some Ragman action.
Source : feeds.ign.com
Thursday, July 26, 2012
Wednesday, July 25, 2012
Before Watchmen: Comedian #2 Review
Before Watchmen: Comedian deserves some credit for being the only one of the Before Watchmen books so far to not attempt a standard origin story. The series skips over Eddie Blake's formative years and instead follows his misadventures in the '60s as a government agent. Unfortunately, despite the less formulaic approach, Comedian still falters quite a bit in its execution.
This issue jumps forward a bit in time, with Robert Kennedy planning his senatorial campaign and the war in Vietnam heating up. One thing that can be said for issue #2 is that the celebrity cameos are used a bit more effectively in how they highlight Blake's personal journey. However, the chief flaw of this book is that Azzarello keeps Blake at too much of a distance from the reader. The idea is that we're supposed to be witnessing a Comedian before his morals had become completely tarnished -- before he had accepted the cruel joke of life. However, the original series made it pretty clear that Blake was a bad egg from the start, so a lot of this evenhanded characterization rings false. This is one book where an internal monologue would probably have benefited the script.
The other drawback is that, once the issue shifts into Vietnam mode, it becomes a pretty standard war tale. Writers like Garth Ennis have found a wealth of dramatic meat in this conflict, but with Blake so emotionally distant in the story, there's just not enough of a hook here.
J.G. Jones' art is generally solid in this book. His real-life celebrities are instantly recognizable. His panels are cinematic and detailed. And unlike some Before Watchmen artists, Jones doesn't make an overt attempt to replicate the page construction of the original series, which in the context of this story is for the best. Unfortunately, much like in Final Crisis, Jones' line-work and level of detail aren't always consistent. There's a noticeable gulf in quality between issues #1 and 2, and it's doubtful the problem will improve as the book continues.
Before Watchmen: Comedian #2 wins points for trying to be a little different. But it loses far more for its uninteresting handling of the title character.
Source : feeds.ign.com
This issue jumps forward a bit in time, with Robert Kennedy planning his senatorial campaign and the war in Vietnam heating up. One thing that can be said for issue #2 is that the celebrity cameos are used a bit more effectively in how they highlight Blake's personal journey. However, the chief flaw of this book is that Azzarello keeps Blake at too much of a distance from the reader. The idea is that we're supposed to be witnessing a Comedian before his morals had become completely tarnished -- before he had accepted the cruel joke of life. However, the original series made it pretty clear that Blake was a bad egg from the start, so a lot of this evenhanded characterization rings false. This is one book where an internal monologue would probably have benefited the script.
The other drawback is that, once the issue shifts into Vietnam mode, it becomes a pretty standard war tale. Writers like Garth Ennis have found a wealth of dramatic meat in this conflict, but with Blake so emotionally distant in the story, there's just not enough of a hook here.
J.G. Jones' art is generally solid in this book. His real-life celebrities are instantly recognizable. His panels are cinematic and detailed. And unlike some Before Watchmen artists, Jones doesn't make an overt attempt to replicate the page construction of the original series, which in the context of this story is for the best. Unfortunately, much like in Final Crisis, Jones' line-work and level of detail aren't always consistent. There's a noticeable gulf in quality between issues #1 and 2, and it's doubtful the problem will improve as the book continues.
Before Watchmen: Comedian #2 wins points for trying to be a little different. But it loses far more for its uninteresting handling of the title character.
Source : feeds.ign.com
Captain America #15 Review
You could definitely make the argument that Ed Brubaker's run on Captain America has been one of the best superhero runs in recent memory. He gave a whole new spin on the character -- a darker, espionage-heavy tale that fans loved. Now, Brubaker is slowly leaving the title. He's joined by co-writer Cullen Bunn in this issue and the results are less than stellar. It's probably the weakest Captain America book in years. The idea of a post-Brubaker Captain America is starting to worry me.
The story revolves around Cap and Falcon fighting off some new super-terrorist types. These bad guys are not exactly the most interesting bunch of villains ever created. One of the guys has the power to make tiny missiles appear out of nowhere. Literally. Missiles. He doesn't have a name yet, but if it's not Missile Magician then I am dropping this book. There is also a moment when Captain America seems like he is going to give up being a superhero because cable news says he should. It's bizarre.
Scot Eaton takes over on art duties here, and the book has a lighter, more classic look as a result. The action in the beginning of the book looks great (aside from Missile Magician, because he sucks), but it's the quieter, more character driven moments that fall flat. Many of the characters, especially the women, never have a clear expression on their face. They almost look like mannequins.
Source : feeds.ign.com
The story revolves around Cap and Falcon fighting off some new super-terrorist types. These bad guys are not exactly the most interesting bunch of villains ever created. One of the guys has the power to make tiny missiles appear out of nowhere. Literally. Missiles. He doesn't have a name yet, but if it's not Missile Magician then I am dropping this book. There is also a moment when Captain America seems like he is going to give up being a superhero because cable news says he should. It's bizarre.
Scot Eaton takes over on art duties here, and the book has a lighter, more classic look as a result. The action in the beginning of the book looks great (aside from Missile Magician, because he sucks), but it's the quieter, more character driven moments that fall flat. Many of the characters, especially the women, never have a clear expression on their face. They almost look like mannequins.
Source : feeds.ign.com
Left 4 Dead/PayDay: The Heist Crossover Now Available
Mercy Hospital, the collaboration between Valve and Overkill, is now available as a free update to PayDay: The Heist on Steam. Set in Left 4 Dead’s Mercy Hospital, the update offers a new heist and a new theme inspired by the zombies of Left 4 Dead.
Players who have Left 4 Dead or Left 4 Dead 2 in their Steam library and have the game installed will receive new zombie masks to use during the heist, and Overkill notes that “some extra candy” is hidden in the new heist “for those who just can't help ending up in the hospital.” Mercy Hospital can be played using the new Overkill +145 difficulty, which Overkill promises “will leave you gasping for air.”
Valve and Overkill first announced a collaboration back in May, which was described as “a very cool blend of PayDay and Left 4 Dead.” The project was also described as “an in-depth collaboration.”
A teaser trailer for Mercy Hospital (referred to under the name “No Mercy”) surfaced on YouTube last month, giving us our first look at the collaboration. At the time, Overkill confirmed that a Left 4 Dead character makes a cameo in Mercy Hospital, but the content “is not meant to be a substantial extension of the Left 4 Dead fiction.”
Overkill handled all development of Mercy Hospital, which involves a heist searching for a particular patient’s blood.
Source : feeds.ign.com
Players who have Left 4 Dead or Left 4 Dead 2 in their Steam library and have the game installed will receive new zombie masks to use during the heist, and Overkill notes that “some extra candy” is hidden in the new heist “for those who just can't help ending up in the hospital.” Mercy Hospital can be played using the new Overkill +145 difficulty, which Overkill promises “will leave you gasping for air.”
A teaser trailer for Mercy Hospital (referred to under the name “No Mercy”) surfaced on YouTube last month, giving us our first look at the collaboration. At the time, Overkill confirmed that a Left 4 Dead character makes a cameo in Mercy Hospital, but the content “is not meant to be a substantial extension of the Left 4 Dead fiction.”
Overkill handled all development of Mercy Hospital, which involves a heist searching for a particular patient’s blood.
Source : feeds.ign.com
Uncanny X-Force #28 Review
SPOILERS.
The previous issue of X-Force ended with the full reveal of the Brotherhood of Evil Mutant and the deaths of Fantomex and Gateway, with the rest of the team apparently following as Cavern X exploded. How does one follow up such a grim chapter? By heading to the future, of course. Rick Remender continues the venerable tradition of placing the X-Men in dark, futuristic landscapes. The premise isn't terribly unique, but it sheds a great deal of light on where Final Execution is heading. As much as X-Force and the Brotherhood are motivated by personal rivalries in this fight, Remender adds a greater sense of context to the conflict by showcasing its rippling effects decades into the future.
Naturally, this setting allows Remender to contrast the surviving X-Force members with their future selves. That proves entertaining, particularly with multiple Deadpools spewing their shtick. Remender also works in several members of past X-Force incarnations and even an aging Frank Castle. But the character interaction isn't all light and entertaining. Remender does some really great, serious character building with Deadpool as he explores the ramifications of Wade's power loss. Meanwhile, Betsy's reaction to her recent batch of trauma is a key emotional factor in the script. As much as Remender has noted his desire to make Wolverine the star of Final Execution, Psylocke still remains the most fascinating and heartbreaking character in the series.
Julian Totino Tedesco steps in as guest artist this month. As has always been the case on this series, Dean White's signature color palette ensures that the transition is a smooth one. Totino Tedesco's style is a bit more loose than we've seen from Phil Noto in previous issues, but not to the point of unnecessary abstraction as with Greg Tocchini's issues. There's a palpable sense of energy and strong design work that helps define this latest alternate X-Men future world. One minor quibble is that Totino Tedesco doesn't seem to reflect Wade's newly healed appearance when his mask comes off.
This issue makes for an unexpected but very enjoyable detour from the Brotherhood conflict. And as bloody as issue #27 was, this issue's ending manages to shock and unnerve even more. The wait for the next issue now seems more difficult than ever.
Source : feeds.ign.com
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