Ninjas, chimps, and rock people! What do they all have in common? Nobody knows what they think they know! And it's okay, because they're drawn pretty darn well.
Dark Knights Rising: The Wild Hunt #1
Writers: Scott Snyder, Grant Morrison, James Tynion IV, Joshua Williamson / Artists: Howard Porter, Jorge Jimenez, Doug Mahnke with Jamie Mendoz / Colors: Hi-Fi, Alejandro Sanchez, Wil Quintana / Letters: Clawton Cowls
If Grant Morrison's name weren't on the cover, nor anywhere in the book until the very end, you would've known that he was all over this, anyway. Not only was his major fixation on Detective Chimp within the story as the book-ends, but there was a whole lot of multiversal mumbo-jumbo that really makes very little sense if you've ignored The Mulviversity or didn't catch the "Multiplicity" arc of Superman from last year. This was a mostly enjoyable comic...like a 60/40 enjoyable/kinda boring relationship.
That 60% mostly comes from the stuff with Detective Chimp and the gaggle of scientists that are usually hanging out together since the days of 52, which their scenes heavily reminded me of. However, that enjoyment also came as a bit of a detriment to this comic, as I realized how much I'd rather be reading 52. And then when another facet of 52 arrived, I was basically read to pick the weekly series back up and start reading.
The disappointing parts of this comic come at the expense of trying to weave dislogic into an already illogical idea. I really enjoy the opening few pages of Detective Chimp trying to figure out the mannerisms of the multiverse by playing keys on a piano, or by estimaing its frequency based on the frequency of music. But when you introduce "Anti-Music" and bring in the Dark Knights to mess things up, it gets all messed up. Because, we already have a threat challenging the fate of the multiverse, and it's one that Grant Morrison already introduced.
The problem at the heart of this story, as it has been for most of this story, is scale. We see the Dark Knights threatening the multiverse, but we don't see the other Earths being afflicted in any meaningful way. Besides one villain turning good, there's very little in the way of actual impact being felt. And, again, it's all downplayed when the Batman Who Laughs claims this was all part of his plan. Dude, how big is your plan? I get that Batman is supposed to be the one who always thinks fifteen steps ahead, but this is ridiculous. There are an incredible amount of coincidences that had to happen for anything to happen, this could not going specifically as planned. He'd be more interesting if he came into more direct contact with our Batman, but as it is, he just sort of walks around with his weird spiky helmet.
The art was engaging this week. It couldn't have been an easy task for our artists and colorists, and their hard work really pays off here. All of the powers of the villains are displayed well here, and the art goes a long way in helping them seem more competent than normal. Hell, what Raven does in this comic is cool already, but the art makes it way better.
It's no fault of the artists if this part of "Metal" falls to the wayside. It was just an interesting chase into the heart of the Multiverse; one we don't see any of. It'd have been better, I think, if we'd been given full reign to explore the crazier Earths we saw in The Multiversity. That way we could see how the Dark Knights fare against other, weirder versions of our heroes.
Detective Comics #974
Writer: James Tynion IV / Artist: Philipe Briones / Colors: Allen Passalqua / Letters: Sal Cipriano
The art in this book is often fluctuating, but Philipe Briones really brings it this week. He draws the expressions on character's faces incredibly well and it really gives emotion and weight to the characters. This issue needed that, as it deals with the fallout of Batwoman shooting Clayface in Cassandra's hands. It was a fairly shocking moment and this issue certainly doesn't shy away from that.
There's not much in the way of action this week, instead just a lot of still shots with characters standing in various poses to talk. Most of the time, they're done well, and their emotions are clearly conveyed without the need for a word balloon. In a few panels, it's obvious what the characters are going to say without the need for dialogue, so I gotta give major props to Briones for that.
The only odd area in the art department, for me, is the coloring. Most of the time it's done very well, with Passalqua doing great jobs with Batwoman, Cassandra, and Stephanie's costumes, but Batman's costume is too much of a bright grey. That could just personal preference, but it's way too much of the Dark Knight Returns outfit. Still, both work well together for things going on in the background. Normally, characters in the background are drawn to a lesser extent, but these two do a great job of keeping their faces straight and unblurred.
The story here is pretty good and helps set up tension within the Gotham Knights moving forward. It does feel like we're back to Square One with Stephanie and Tim's relationship, given where they were at the start of the arc, but it's interesting to see Tim deal with his seeming inability to change his fate. It creates an interesting dynamic between himself and Batman moving forward, as Batman never says that he doesn't want Tim to take up the mantle next, but Tim clearly doesn't want it. This is a solid in-between-arcs story.
Marvel 2-in-1 #3
Writer: Chip Zdarsky / Artist: Valerio Schiti / Colors: Frank Martin / Letters: VC's Joe Caramagna
The art has changed and it's clearly showing. While not bad, there's just something that Jim Cheung is able to bring to the table. He really made those last two issues memorable, made them stand out among the rest of Marvel's catalog. Now? It's good art, particularly for the stuff with Doom and Mad Thinker and the action sequences. But when it comes to the characters just standing and talking, it gets a bit boring and lacks a dynamic that the previous two issues had.
Schiti does draw the close-up expressions for Mad Thinker and Doom very well (I know Doom is wearing a mask, but it still looks cool). Both have a clear air to them that you don't need dialogue to understand. The very first panel all on its own tells you enough about Mad Thinker to know he's an obsessed scientist, and Doom's first full-body reveal is spectacular in all it's Dr. Doom glory. The coloring works so well here, too, bathing Doom in this great emerald lighting.
The coloring in general is solid, particularly for the battle that goes on. The clashing blues and oranges go a long way, really making the characters pop off the page and breathe life into their brawl.
The story this week feels like a step back from last week, but I think that was to give us a bit of comic relief from, surprisingly, Hercules, who apparently lost his powers sometime ago. I don't know, I don't keep up with the Avengers. Anyway, he takes them to a doctor that's supposed to heal Johnny's ailing powers.
And let me tell you, this doctor is awesome. She is a no-nonsense woman that Johnny and Ben desperately need in their lives to keep them straight. Sue Storm could be strict, but this woman will straight up drop them on their heads if they don't do as she asks, and it's fantastic to watch at play. She steals the show and singlehandedly elevates this from a pretty decent issue to a good one. That and Doom. Because Dr. Doom makes most things better.
I look forward to seeing more Rachina in this comic. Not so much with Hercules, because I think it'd be fun if Johnny and Ben meet a hero per issue as they go along their journey. It could be a way of highlighting their various character traits, outside of the great banter they already have. Once again, I'll say it: I would totally read a Chip Zdarsky-helmed Fantastic Four comic.
Ninja-K #4
Writer: Christos Gage / Artist: Juan Jose Ryp / Colors: Andrew Dalhouse & Ariel Olivetti / Letters: A Larger World Studios
When I first opened this book, I was initially despondent to the idea of going to various Ninjas from the past and seeing what their upbringing in the Ninja Programme and beyond was like. I didn't want it to be too much like how it was for the last two issues, even if their backstories were unique. Thankfully, though, Gage brings a fresh voice and a good amount of interlude between the flashbacks to Nina-G and the present to keep the pace solid.
Ninja-C's story remains my favorite of the bunch, but this one feels the most unique out of all of them. It definitely enforces the idea that women can often be underestimated to the detriment of not just men, but other women as well. I found myself getting more into the story as it went along, to the point where one of the twists near the middle of the book kind of caught me off-guard, and then I realized how much I'd love to see a one-shot about Ninja-G and her partner's antics in the 70s or 80s. That'd be a really fun adventure.
Not a lot happened in terms of plot other than what we already knew, so this issue did just feel like a way for Christos Gage to write a story that he had in his head regarding the Ninja Programme, but I'm still interested to see where all of this leads Colin King in the future, so I'm on board for waiting another issue if it means getting a fun look into another's life.
I should also note that Juan Jose Ryp probably takes the art for the week. He had just the right amount of blood and violence in this comic to fit the tone; it wasn't too much, but when the story needed it, it could be pretty intense and it worked very well. He also did the artwork for Brittania and its sequel series, and I prefer his artwork here. It's doesn't have as many lines and it allows for characters to be a bit more dynamic on the page.
The colors by Andrew Dalhouse were also good. Not the best of the week, but still bringing Ninjak's outfit to life while also boosting the creative designs for Ninja-G and the others in the flashback. Livewire's brief cameo was also benefited from good coloring, contrasting her brown, red, and yellow colors against a blue background to allow her to take center stage for panel.
The Flash #40
Writer: Joshua Williamson / Artist: Carmine di Giandomenico / Colors: Ivan Plasencia / Letters: Steve Wands
The "Perfect Storm" arc continues and it is continues to be exciting. While the cliffhanger at the end is certainly one that's been a long time coming, the means to getting there feel a bit rushed, as if this were crunched together at the last moment to make it all fit. It's hard to say what all could be taken out of this issue, though, as there is good character dynamic between Barry and Grodd.
I suppose the things that could be taken out are the two double-page spreads of Barry's backstory, since it mostly feels like information newer readers would need to gleam, but it also helps show that Grodd knows everything about the Flash and about Barry Allen, to the point where it's obvious he isn't messing around and that he is going for the throat on this one. Grodd really paints himself as one of Flash's premiere villains, possibly even more intimidating than the Reverse Flash. He stands as an incredible threat to Barry, as he has Meena and the "god of lightning" bowing to him, as well as several other villains, it's to be believed.
Still, the kinetic action, drawn by di Giandomenico, works well in this arc. There's a good balance between Grodd's immobile intensity and Barry's constant running, as if one has an unending stream of power while the other is just power incarnate. I'm not sure what else there is to say about the art that I didn't say last issue. If there's one thing to count on with Giandomenico, it's that it's always going to be good or great, never bad. This issue was great, giving us a bevy of characters to play with and some new designs to toy with, like his take on the villains and getting to see Avery from the New Superman comic.
One concept I hope lasts for the entire series it the idea that time is slowed in Central City, so this entire arc, in real time, happens in just a matter of minutes. I don't think we've ever had an entire story take place in such a short amount of time, and it definitely creates a unique feel and atmosphere reading the book. It also adds a ton of weight to the book, as if the Flashes have just this one tiny moment in time to fix all of this before it goes terribly wrong and Grodd is unleashed in full upon Central City.
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