Weekly Review Power Rankings 6/11/08

[Ye Olde Iowa]

Welcome to another installment of the Weekly Review Power Rankings. For this unfamiliar with the format, I pre-Rank all of the week’s books that I plan to pick up based upon Diamond’s weekly shipping list, taking into consideration the creative team, previous issues, preview pages, and solicitations. Once I’ve read all of the books, I create the final Rankings based upon how they actually turned out.

Below are this week’s Power Rankings. The numbers in parentheses represent where the book was pre-ranked. Let me know what you all think and feel free to post your own list. I attempt to keep everything as spoiler free as possible, but keep in mind that there may be the occasional minor spoiler that I overlook.

If you have any questions about the Rankings or just want to drop me a line, you can email me at ryanreviews@gmail.com or you can always PM me through the message boards. I have been asked recently if I accept review copies; I most certainly will. Any book sent to me will be reviewed. Just drop me a line if you want me to check out your book. I’d be glad to give it a look.

-Ryan “the Iowan”
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Alexander Violette was kind enough to send me a copy of Mysterious Visions: After Hours #2 from Spa Comics a few weeks back. As with all comics I’m sent, I promised to give the issue a whirl:

Mysterious Visions: After Hours #2
“The Devil’s Break”
Written by Alexander Violette with Art by Michael Sumislaski
“Too Good to be True”
Written by Mike Jasorka with Art by Mike Jasorka
“Remember Me”
Written by Kenneth Olson with Art by Chris McJunkin
“The Beast”
Written by Wendell Fowler with Art by Andrew Dawe-Collins
“Southern Hospitality”
Written by Bart A. Thompson with Art by Paul Schultz and Letters by Brant W. Fowler
“The Myth of the Chupacabra”
Written by Crisman Strunk with Art by Ozzy Longoria and Letters by Marco Antonio Najera
Cover by Rob Hassan
Mysterious Visions: After Hours #2 is a horror anthology from Spa Comics and, as with many small publishing ventures, it runs the gamut from incredibly promising to incredibly disappointing. Alexander Violette and Michael Sumislaski’s “The Devil’s Break” leads the anthology off with a very strong “deal with the devil” story that was a lot of fun and had a strong ironic twist. It follows the classic formula for this type of story, but does so in interesting ways and is probably the strongest story in the book. Sumislaski’s art is a little rough at times, but has a very strong sense of storytelling and great anatomy. Violette does a good job of “hinting” at characterization, which is exactly what he needs to do in the brief format. Its clear that there is more that could be said, but he leaves it open rather than bogging down the short selection with unnecessary details. It’s a smart move and it pays off. “Too Good to Be True” plays with sci-fi/horror conventions, but ultimately tries to hard to inject humor into the story and fails to hold its own. The plotting and art are too stiff to carry the story, unfortunately. “Remember Me” is the books most disturbing story, but is an interesting twist on zombie survival horror. There isn’t much there for content, but its not attempting to be any more than it is. “The Beast” was twist after twist after twist, with Wendall Fowler’s script being very engaging and Andrew Dawe-Collins’s art being strong enough to capture your attention just long enough for the twists to work. It’s just strong storytelling overall. “Southern Hospitality” is an interesting take on the “Hills Have Eyes”/”Texas Chainsaw Massacre” realm of horror, but does so with a twang of Southern pride that had me chuckling. “Chupacabra” chased its tail before it finished, unable to really push a story out before it was finished, but did so on top of decent enough art. Overall, the hefty price tag will probably turn casual readers away, especially given how uneven the issue is, but if you dig your horror with fun twists, some of the stories are definitely worth checking out.

Whether it’s the next Watchmen or fit for gerbil bedding, I will read and review any book that I’m sent. If you are interested in having me check out your book, send me a PM or email me at ryanreviews@gmail.com.
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We are just a few weeks away from Wizard World Chicago and I honestly could not be more excited. There are a ton of great guests this year, so it looks like it will be one awesome weekend. I’ll be there all three days, plus premiere night, and I look forward to seeing any readers of the Rankings who’ll be in attendance.
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Although it’s not covered in the reviews, I did pick up this week’s Tiny Titans #5. I really can’t stress enough how great this series is and I highly recommend it. Don’t let the “kiddie-centric” look fool you, this book is clearly for longtime Teen Titans fans and should not be missed. You won’t regret it. Now, on to the Rankings!

16. Skaar: Son of Hulk #1 (--)
Written by Greg Pak
Art by Ron Garney (pencils) and Paul Mounts (colors)
Letters by Joe Caramagna
Covers by Ron Garney, Carolo Pagulayan, and Julie Bell
I wasn’t originally intending to pick up Skaar, but it seemed to be this week’s “buzz book,” so I gave it a shot. I really liked Planet Hulk and this issue promised to pick up on a lot of the motifs and beats that I dug on that storyline. While it is hard to gage a series on the first issue, there is a major lack of substance in Skaar that really killed any momentum the book had coming out of Planet Hulk and World War Hulk (then again, the months and months that have passed since that storyline ended doesn’t help either). The basic plot, which finds Skaar being a savoir of sorts to the remaining natives on Sakaar as they are oppressed by a violent warlord, completely rehashes Planet Hulk’s storyline, only with a bit more Conan the Barbarian than Gladiator. I’m sure there will be twists, but its never a good idea to lead with the exact same plot. There’s little else to take into consideration, as we barely meet any of the characters or learn much about the post-PH Sakaar. Ron Garney’s art, which was a major motivation for me to pick up this book, is a far cry from the excellence he brought in his recent stint on Wolverine. While he captures the impact and violence of the book well, there is little consistency in terms of how much detail is offered throughout the book and his designs are incredibly drab. Paul Mounts tends to color everything in the same murky tones, which doesn’t help much. I’ve always believed that comics should lead with their best foot forward, but with Skaar, I’ve already seen this foot and I liked it a lot better the first time.

15. Amazing Spider-Man #562 (11)
Written by Bob Gale
Art by Mike McKone (pencils), Andy Lanning (inks), and Jeromy Cox (colors)
Letters by Cory Petit
Cover by Mike McKone
It is really great to see Mike McKone doing art on Amazing Spider-Man. His art in this issue is very clean, incredibly consistent, and features a very strong sense of storytelling that, much like his designs, has a very classic feel. It’s another big win for ASM in terms of art. Unfortunately, the writing of this week’s issue just doesn’t stand up to the quality that McKone brings. I’ve tried to give Bob Gale a chance, but I just don’t like what he has to offer. This issue, which expands upon the role of the Bookie (yet another lame new villain for Spidey), is filled to the brim with uninteresting characterization, incredibly clichéd characters (seriously, the “New Jersey” scene was almost insulting it was so filled with overused stereotypes), and a ridiculously telegraphed plot. There were a few “twists,” but they were all hinted at well before they happened (in fact, some where plainly stated just a few pages before they happened). Gale needs to realize that he doesn’t need to overwrite this book. There is no reason to have characters explain what they are doing while they do it or to beat us over the head with every single piece of plot that is happening or will happen a few panels ahead. In the end, the only reason to pick this one up (outside of McKone’s art) is because ASM is so tightly plotted that you have to suffer through every bad issue to understand what is going on in the good issues that are up ahead with the next creative shift.

14. Trinity #2 (12)
Lead Story Written by Kurt Busiek
Lead Story Art by Mark Bagley (pencils), Art Thibert (inks), and Pete Pantazis (colors)
Lead Story Letters by Pat Brosseau
Backup Story Written by Kurt Busiek and Fabian Nicieza
Backup Story Art by Tom Derenick (pencils), Wayne Faucher (inks), and Allen Passalaqua (colors)
Backup Story Letters by Pat Brosseau
Cover by Carlos Pacheco
I know we are only two issues into Trinity, so I’m not ready to drop the book yet, but I’m just not that thrilled thus far with this title. This issue picks up a few of the vague plot threads from last week’s debut, adds in a few more vague details, and then introduces us to Konvikt, one of the new characters that will be a major player in the series. Kurt Busiek and Mark Bagley’s lead story has very little to offer, as its mostly comprised of Superman saving things, Wonder Woman hitting things, and Batman solving things. We’ve seen it all before and, outside of a push for cleverness that doesn’t work, there is very little here that feels unique at all. The backup introduces Konvikt, who is eerily similar to Doomsday and has a friend that is eerily similar to that little rat that hung out with Jabba the Hutt in Return of the Jedi, but does little else. We get a little background, but mostly its just a lot of nonsensical punching. Mark Bagley and Tom Derenick (with their respective inkers and colorists) do a solid job on the art and their styles gel really well, but with the scripts offering so little, there isn’t much for them to wow me with here. In fact, the artists have really similar styles and the stories run parallel to one another, so I’m really not even sure that we needed to have them separated as a backup and a lead. Its still early for this series, but I’m just not feeling impressed thus far. If this were a monthly title, I’d probably be more forgiving, but things will need to ramp up in a big way to justify a weekly investment in this title.

13. Secret Invasion: Who Do You Trust? (--)
“Captain Marvel: Farewell”
Written by Brian Reed
Art by Lee Weeks (art) and Matt Milla (colors)
Letters by Cory Petit
“Agent Brand: In Plain Site”
Written by Mike Carey
Art by Timothy Green III (art) and Various (colors)
Letters by Cory Petit
“Wonder Man and Beast: Seems Like Old Times”
Written by Christos N. Gage
Art by Mike Perkins (art) and Raul Trevino (colors)
Letters by Cory Petit
“Marvel Boy: Master of the Cube”
Written by Zeb Wells
Art by Steve Kurth (pencils), Drew Hennessey (inks), and Guru eFX (colors)
Letters by Cory Petit
“Agents of Atlas: The Resistance”
Written by Jeff Parker
Art by Leonard Kirk (pencils), Karl Kesel (inks), and Michelle Madsen (colors)
Letters by Nate Peikos
Cover by Phil Jimenez, Andy Lanning, and Christina Strain
I picked up this week’s Secret Invasion: Who Do You Trust? special on the promise of a Christos Gage/Mike Perkins team-up and an Agents of Atlas story. I didn’t expect a ton else from this issue, so I can’t say that I was very disappointed when the issue didn’t offer much else. For the most part, this issue is simply a $4 trailer for subplots in the main Secret Invasion book, as we get snippets of five stories that intersect the main invasion storyline. I say snippets because there is little established and nothing resolved in this special. Too often here (especially with the Captain Marvel and Marvel Boy stories), the stories are too steeped in the continuity of other stories to be successful. I found myself scratching my head too often and rushing through much of this issue more than I should have. Gage and Perkins’s tale of Wonder Man reuniting with a classic Beast was the highlight of the issue, with Gage pointing out exactly how much Beast has changed since his days as an Avenger, though I think he inadvertently makes a case that the more serious version of the character is far more interesting. The remaining stories don’t offer much else, with Jeff Parker not having enough space to fully explore the Agents of Atlas here, Zeb Wells not making Marvel Boy anymore interesting to me, and Mike Carey doing his best to add some depth to Agent Brand, but again, not having enough room to be successful. Perkins, Steve Kurth, and Leonard Kirk were the only artists that managed to impress me here, but that’s nothing new for Perkins and Kirk (I’m not very familiar with Kurth). In the end, it was nice to see more of the Agents of Atlas and I’ll never argue with a Gage/Perkins story, but the rest of this issue doesn’t hold up well enough to justify the $3.99 price tag, especially when this one-shot doesn’t really add anything to the greater Secret Invasion story.

[Ye Olde Iowa]

12. Booster Gold #10 (06)
Written by Geoff Johns and Jeff Katz
Art by Dan Jurgens (pencils), Norm Rapmund (inks), and Hi-Fi (colors)
Letters by Nick J. Napolitano
Cover by Dan Jurgens and Norm Rapmund
It pains me to see Booster Gold this far down on the Rankings, but this is definitely the weakest issue of this otherwise stellar series thus far. With only one more issue left in their run, Geoff Johns and Jeff Katz throw out idea after idea after idea here, setting up a lot of potential storylines, but then resolve nearly all of them too quickly. We see the return of Mr. Mind, the fate of Ted Kord, and the identity of Black Beetle (anyone else thinking that it’s a twisted Paco?) all comes and goes within this issue and does so within the midst of the Justice League taking on Max Lord. There is almost no time to breath and no time at all to absorb what is going on. I’m sure this will read better in the context of the larger story, but this should have been spread out more to hammer home how effective some of the story beats are. The rush to conclude the story takes away from how great the ideas are. Additionally, while this a very serious issue, Johns and Katz take a few stabs at humor (which has normally worked well for the series), but they don’t come at the right time and aren’t as funny as I’d expect from this series. That too detracts from the effectiveness of the issue. The art by Dan Jurgens and Norm Rapmund is still strong and doesn’t disappoint, but it lacks the polish and attention to detail that has had me hooked on this series. Overall, this isn’t a bad issue per se, but it doesn’t live up to the high standards of this series and contain almost too much story to fit between its covers. It’s still worth checking out, but fans of the series may be disappointed with the result.

11. Titans #3 (14)
Written by Judd Winick
Art by Joe Benitez (pencils), Victor Llamas (inks), Sandra Hope (inks), Derek Fridolfs (inks), Joe Weems (inks), and Edgar Delgado (colors)
Letters by Comiccraft
Cover by Joe Benitez, Victor Llamas, and Edgar Delgado
I told myself going into this issue that I would only give Titans one more shot and if it didn’t improve, I was going to drop it. It’s managed to obtain a reprieve for at least one more issue. Judd Winick takes a big step forward with this week’s issue, offering an explanation to the “out of character” moments that have plagued the series and doing so in an interesting enough way to show underlying feelings amongst the team that fits fairly well with the characters, even if they are a bit extreme. Moving forward, I believe that Winick will fall back on more classic interpretations of the characters that should be more appealing to longtime fans. The plot itself is starting to take shape and actually works, as it would only make sense that Trigon would have sired other children with the intent of causing all sorts of nastiness. In a lot of ways, this story reminds me a lot of the classic New Teen Titans series, with Winick taking a very similar approach to story structure that Wolfman did. While this issue was a huge step forward for the writing, the art continues to disappoint me. While Joe Benitez does offer up some very cool layouts here (layering his panels, using jagged border lines, etc), his designs are all over the place. The anatomy and basic structure of the characters shifts too often, and there is a major issue with Benitez relying on cheesecake shots whenever Starfire and Donna Troy come into play. The only character that looks consistently good is Raven. Between his storytelling and his take on Raven, I know that Benitez has more to offer than what we are seeing here. While I’m not 100% sold on the writing, the art is really what held this issue back. I think that Winick is on the right track, but to really elevate this series, he is going to need a more consistent artist.

10. Green Lantern Corps #25 (12)
Written by Peter Tomasi
Art by Patrick Gleason (pencils), Drew Geraci (inks), and Guy Major (colors)
Letters by Steve Wands
Cover by Patrick Gleason, Prentis Rollins, and Guy Major
After picking up a lot of momentum after the Sinestro Corps War, Green Lantern Corps has been floundering a bit, having yet to really find its footing. This issue looks to remedy that by being one of the strongest issues since Peter Tomasi took over as writer. In this issue, we learn the secret history of the Black Mercy flower, with its relationship to “Mother Mercy” (the sentient plant that spawned it) acting as an interesting parallel to the relationship between the Yellow and Green Lanterns. Tomasi also kicks up his character writing here, with some great interaction between the various Lanterns. There isn’t a ton of dialogue, but he uses what little is there effectively to build relationships and showcase personalities. The story does spin its wheels a bit though, with a lot of repeated actions from the last few issues filling out the issue. I would much rather have seen the story condense by an issue than to have so much filler. As always with this title, the art is the highlight. This is Drew Geraci’s first full issue on the title and he makes the best of it. Penciller Pat Gleason has been a notoriously over-inked artist on this series, but Geraci’s inks act more as an accent here than we’ve seen from other inkers. His work really enhances Gleason’s pencils and makes me very excited to see what they have in store from this point forward. In the end, I’m glad to see things looking up for this series with this issue. Tomasi seems to be the most comfortable he has been with the characters and his plotting is getting much tighter (though it still needs some work). If this is a sign of what’s to come, things are looking good for this series.

09. Wonder Woman #21 (08)
Written by Gail Simone
Art by Aaron Lopresti (pencils), Matt Ryan (inks), and Brad Anderson (colors)
Letters by Steve Wands
Cover by Aaron Lopresti
As a word of warning, if you haven’t read Wonder Woman #21, be prepared to take your time with it. This issue is not meant to be read quickly. Gail Simone packs a lot into this issue and moves from subject to subject rather quickly, so if you don’t take your time, you are going to get lost. This issue continues the surprising Beowulf/Wonder Woman team-up and Gail writes them with a ton of chemistry. The characters play off of and interact with one another well, which should be no surprise to any fan of the writer (few writers can write character interaction like Gail Simone). Unfortunately, while the team-up works well, their aims and actions are a bit more vague. As I mentioned above, there is a lot going on in this issue, but not all of it is given enough time to be fully explained. You really have to pick up the various bits of story from each line of dialogue and construct an idea of where the narrative is heading. While I’ve got no problem with comics making me think (just look at this week’s #1 book) or to work to understand everything, I think that Simone needs to take a step back and refocus this story for it to be really successful. Without greater focus, Wonder Woman’s shifting faith, the introduction of new characters, and the “quest” of the plot is going to feel more like a random series of events than a coherent story with great character writing. Then again, no matter what Simone is writing, this book is going to look good thanks to the insanely talented Aaron Lopresti. He is just insanely awesome on this issue. There is absolutely no wasted space, with every panel overflowing with detail and most pages being filled to the edges with art. His take on Wonder Woman is nearly flawless, as he presents are as both noble and beautiful without every shortchanging how powerful she is. It’s the type of art that a story this ambitious demands and the type of art that a character of this caliber deserves. With great art and strong writing, this is another great issue of Wonder Woman, though I think with some clarification on plot elements, it could easily have been a Top 5 issue.

08. Green Arrow/Black Canary #9 (10)
Written by Judd Winick
Art by Mike Norton (pencils), Wayne Faucher (inks), and David Baron (colors)
Letters by Sal Cipriano
Cover by Cliff Chiang
Mike Norton is, hands down, the star of this title. Over the course of the past year, he has gone from “Hey, that Mike Norton guys is pretty good” to “Hey, I am not going to miss anything that Mike Norton draws” and this issue is a prime example of why. His large panels are filled with great, iconic designs and incredibly consistency. It’s fluid, expressive, and features incredibly strong storytelling. Wayne Faucher inks tightly over Norton, emphasizing how strong the designs are, while putting focus on the line work above all else. No matter what goes on with the writing, Norton’s on such a roll that if every issue looks this good, I’m sticking with this title for the long haul. Thankfully, Winick is so comfortable with characters and knows them so well, that I don’t think that this title is risking moving into the “Buying For Art Only” column. This issue features strong interplay between the characters, with the carefree nature of guest star Plastic Man acting as a nice foil for the obsessive Green Arrow and allowing Black Canary to take charge of both men to get them focused back on the task at hand. The dialogue is exceptionally well handled with these three, though the subplot’s interaction is handled nicely as well (Speedy and Dodger make a good team). That’s not to say that the writing is without problems. The “new” League Assassins make their debut here, but they are too bland to really capture my attention (I’d rather they just be crazy ninjas than cookie-cutter metahumans). Furthermore, outside of making for some snappy dialogue, there doesn’t seem to be much of a point to Plastic Man’s appearance and there is still relatively little focus on the actual plot. Since Conner was shot and kidnapped early on in the series, the title characters have danced around the idea of actually hunting down those responsible, instead stopping to interact with a slew of guest stars. Somewhere, deep inside of this book, the underlying story is still there, but it doesn’t seem to be that important anymore. It’s almost as if Winick doesn’t know where is going with this story and is instead falling back on the strength of his character work. That can only carry the book so far. In the end, I’m tempted to label this book as “Can’t Miss” because Norton’s artwork is so damn pretty, but Winick really needs to get things back on track to help this title climb up the Rankings.

07. Action Comics #866 (09)
Written by Geoff Johns
Art by Gary Frank (pencils), Jon Sibal 9inks), and Brad Anderson (colors)
Letters by Rob Leigh
Cover by Gary Frank and Brad Anderson
This week’s Action Comics kicks off Geoff Johns and Gary Franks reexamination of Brainiac and does so an incredibly haunting way. Much of the issue is set up, with Johns introducing the newest members of the Daily Planet, exploring some Kryptonian history, and getting a glimpse at the very dark portrayal of Brainiac that will be central to this storyline. Johns fills the issue with strong dialogue, with the fun, very natural interaction between Clark and Lois being a major highlight of the issue. The lighthearted tone of their relationship makes for a fine contrast with the darkness that sits on the horizon of the story. A few members of the new Daily Planet staff are a bit too cliché for my taste, though I like the potential that the gossip writer has. Still, its unlike Johns to have such rigid stereotypes filling out his cast, so I look for things to improve. As it stands though, they did hold this one back a bit. The art by Gary Frank is phenomenal. Brad Anderson does a much better job of enhancing Frank’s style than Dave McCaig did. McCaig made everything look too flat, while Anderson rounds things out and provides a good sense of depth that takes away from any stiffness in the line work. I also absolutely love how much of an homage to the Donner films Frank’s designs are. His Clark and Lois borrow heavily from Christopher Reeve and Margot Kidder, but do so with a modern flair that keeps the designs from looking dated. In the end, this looks to be a much more haunting and sinister story than I expected (apparently the bottling of Kandor is just the beginning), but I like the direction and the execution was impressive. This issue gets a very strong recommendation on all fronts.

06. Batman Confidential #18 (07)
Written by Fabian Nicieza
Art by Kevin Maguire (art) and ILL (colors)
Letters by Sal Cipriano
Cover by Kevin Maguire
Having met a number of creators over the last few years, its pretty clear to me that working in comics is pretty enjoyable profession and that most writers and artists love what they do. Even with that, its not always clear exactly how much fun creators have with a title. Batman Confidential, on the other hand, is the type of book that you know the creators had fun with, which makes it all the more enjoyable from a reader’s perspective. This issue picks up where last issue left off, with Batgirl chasing Catwoman in hopes of recovering her father’s coded notebook and finding herself in a very precarious position at a nudie-house for Gotham hedonists. The chemistry between Fabian Nicieza’s Batgirl and Catwoman is undeniable; their mutual admiration and jealousies keep the relationship fresh, as does their boldness and unconventional methods. Batgirl, in particular, is fantastic in this issue, as she continually breaks new ground in attempting to prove herself as worthy of being hero, which is perfectly in line with classic versions of the character. There isn’t much dialogue, but Nicieza nails the characterization through well-executed narration that keeps the plot moving without stepping on artist Kevin Maguire’s toes and provides strong insight into the motivation and personalities of the characters. Maguire’s art is the perfect compliment to the script. It’s energetic and consistent, with a ton of vibrancy and expressiveness. Though Maguire handles the emotions and expressions well, he keeps things light and action-y (yes, I said “action-y”) to keep things moving. By the time you reach the twist ending (which adds considerable depth to this cat-and-mouse plot), you’ll be clamoring for more of this great story. With as heavy-handed as comics seems these days, this issue is a great break that reminds you of how much fun comics are supposed to be. Don’t miss this one, especially if you are a fan of Batgirl.

[Ye Olde Iowa]

05. Gotham Underground #9 (05)
Written by Frank Tieri
Art by J. Calafiore (pencils), Jack Purcell (inks), and Brian Reber (colors)
Letters by Jared K. Fletcher
Cover by J. Calafiore
I’ve been loving Gotham Underground from the very beginning, but I will admit that I was prepared to hate this final chapter from the moment that I found out it was titled “The Day The Penguin Died.” I’m glad to say that I didn’t hate it and that it did not end how I expected it at all. While, in a way, the “Penguin” did die, its more the death of his traditional role. He’ll probably be back to his old ways eventually, but Frank Tieri presents us with a very strange new look at how the Penguin will operate from this point forward and I think it will work (in fact, once the “Batman RIP” train-wreck is over, I look forward to seeing where Paul Dini takes this). As with the rest of this miniseries, Tieri keeps things character-focused and excels with his interaction. A “goodbye” scene between the Penguin and the Riddler steals the issue, simultaneously being insanely over-the-top and quite heartfelt. From there, things pick up fast as Tieri pulls together the various plot threads he’d built into a concrete, but still open ended conclusion. The end result is that the series managed to further every single character that appeared in it, leaving them in a more interesting place than they were when the story started. J. Calafiore absolutely nails every moment of this issue, with a great handle on the large cast, strong storytelling, and very sharp consistency. Before this series, I considered him to be a pretty good artist that I’d like to see more of; now, I think he is one of the best talents that isn’t tackling a monthly title. Honestly, the way things came together here, I would absolutely love to see this creative team take this book monthly. It’s been one of the best miniseries of the year and should not be missed under any circumstances (obviously, the same goes for this stellar final issue).

04. Elephantmen #12 (02)
Written by Richard Starkings
Art by Rob Steen
Letters by John Roshell
Cover by Ladronn
Readers of Elephantmen should know by this point to always “expect the unexpected.” That being said, this week’s issue is still a very surprising turn of events for the series. Writer Richard Starkings and guest artist Rob Steen channel a classic EC Comics vibe with this issue, presenting a very disturbing tale of one man’s descent into madness that centers on two workers faced with the task of cleaning up the Mappo facilities (and by cleaning up, I mean dealing with corpses). Starkings very tight script wastes no lines as he quickly establishes the characters and the setting before quickly, but effectively mapping out one of the character’s unraveling psyche. Starkings has shown a very wide range with his writing throughout the history of this title, but this is definitely new ground that he’s treading on, but he handles it well. The story itself is set on the edge of the Elephantmen universe, but even as a “marginal note,” it adds a lot of depth to the stories that have come before. Its not your usual issue, but don’t let that turn you away. This is pure quality from start to finish. Guest artist Rob Steen fills in for regular series artist Moritat and does so tremendously. His art is very detail oriented, allowing him to capture the tone of the issue in very subtle ways (though he is no slouch when it comes to drawing zombies, animated skeletons, etc). Overall, this issue is a a mindf*ck (to put it bluntly), but its an enjoyable one with a great script and fantastic art. Fans of EC and Elephantmen readers alike should definitely not miss this well-crafted book.

03. Huntress: Year One #3 (04)
Written by Ivory Madison
Art by Cliff Richards (pencils), Art Thibert (inks), and Jason Wright (colors)
Letters by Sal Cipriano
Cover by Matthew Clark
It’s very clear to me now that Ivory Madison and Cliff Richards will not be content with Huntress: Year One being simply considered a great story, they want this to be a modern classic. Three issues in and its certainly on its way. Building off of the considerable depth established in the first two issues, things kick into high-gear as Helena finds her calling as the Huntress in this issue. Madison’s take on the character continues to be brilliant. Her interaction with other characters holds true to her core throughout the book, with every line being filled with personality and motivation. This adds so much depth to this original story, much of which is only hinted at. The underlying themes of redemption, feminism, and religion continue to take center stage as Helena faces some tough choices on her quest for revenge. The only problem with the writing is that, thus far, Helena has been too capable of what she has set out to do. She’s so driven that she runs over all obstacles without much trouble. While that fits with her personality and her abilities, I’d like to see more of an outward struggle to match the very subtle internal struggles. Cliff Richards is fried gold on this series and continues to be amazing on this issue. His art accentuates the tone of the script perfectly, capturing the nuances of the dialogue with well-crafted expressions, while still being able to bring the goods in terms of action. Art Thibert and Jason Wright do a great job of rounding out the art, adding a great sense of depth and, in this issue in particular, playing with shadows extremely well. Overall, this is another top-notch issue for this miniseries, which is making a strong case for being 2008’s best miniseries (and we still have three more issues to go!).

02. Drafted #8 (03)
Written by Mark Powers
Art by Rebekah Isaacs (art) and Joseph Baker (colors)
Letters by Crank!
Cover by Tim Seeley
This week’s Drafted is the most action-packed issue thus far in the series, as the alien invaders have made their way to Earth, forcing those who’ve been training for the last seven issues to finally take on the duty they’ve been chosen for. Despite the tremendous amount of action in this issue, the book remains very character focused, with some very strong “character moments” that add to the strong personalities built up over the previous issues. Mark Powers does a great job of juggling these moments with the action, using his dialogue very effectively to convey what needs to be conveyed. In the midst of this, he continues to push the revolutionary factions, which cast a considerable amount of doubt upon the benevolence of the alien benefactors that have established Earth’s protectorate army. This opens many new doors for the series…at the same time Powers shuts one by apparently killing one of the series regulars (my personal favorite character, in fact). This is an incredibly shocking move, but by killing just one major character, Powers has established the threat the invading force poses and ups the ante for the entire series. It’s a very bold move, but it pays off in a big way by furthering the story. Rebekah Isaacs really impresses me with her work in this issue. There is a great sense of fluidity and vibrancy throughout the art that keeps things fresh and she is incredibly consistent with her designs. The sense of realism isn’t lost on the art, even with giant killer aliens and spaceships being found throughout the book. It takes a talented artist to do that and Isaacs is up to the challenge. I’ve been praising this book from the beginning and it just keeps getting better, with this being one of the best issues thus far in the series. This issue marks a major turning point for this amazing series and should not be missed!

01. Sky-Doll #2 (01)
Written by Barbara Canepa and Alessandro Barbucci
Adapted by CB Cebulski
Translated by Stephanie Logan and Mateo Casali
Art by Alessandro Barbucci and Barbara Canepa
Letters by Joe Caramagna
Cover by Barbara Canepa and Alessandro Barbucci
It’s almost unfair to compare Sky-Doll #2 to any of this week’s other releases. It’s so good that everything else pales in comparison. This issue, perhaps even more so than the first, is the type of book that proves that comics can and should be considered an art form. This immensely thought-provoking issue picks up where the previous left off, with the title character and her less-than-willing compatriots embarking on a missionary mission on behalf of their religious leader, who faces a number of troubles from her “congregation.” From there, it’s a thought-provoking critical look at consumerism, religion, mob mentality, hedonism, and politics in the form of an engaging, character-driven fairy tale that is finely scripted by CB Cebulski from a translation by Stephanie Logan and Mateo Casali. There is no shortage of surprises as the plot thickens and the title-character finds out she may be far more important to the story than she previously thought. As the plot thickens and the characters are developed further, it becomes increasingly clear that Sky-Doll is not a book meant for casual reading. Yes, the linear plot is easy enough to follow on a visceral level, but its only through a slow and thoughtful read that the depth of the story comes to light (I’d also recommend reading it several times, as well as buying copies for all of your friends so that they can read it several times). The storytelling is incredibly careful and methodic, but also ridiculously imaginative. Then, of course, there is the art. Wow. This is one of the most beautiful comics I have ever seen. The first issue was gorgeous, Alessandro Barbucci and Barbara Canepa (the original creators) outdid themselves here. The vast scope of the series (both in terms of concept and theme) is accentuated in every highly-detailed and incredibly expressive panel. You can lose yourself in the art—I’d recommend doing so—as there is so much to see and everything is meaningful and says something about the tone of the story. I could go on and on and on about how amazing this book is, but my words can’t do it justice. You really must hunt down a copy for yourself. You will not regret it. Without a doubt, even though this week had so many great moments and so many wonderful books, this is my pick for Book of the Week.

[bookwriter]

Great reviews! It is good to read your stuff, again, on the 'Bloc!

[Ye Olde Iowa]

Great reviews! It is good to read your stuff, again, on the 'Bloc!

bookwriter

Thanks book! Keep checking them out and post your thoughts as well!

[superfriend]

I read 7. Action, 10. GLC, 12. Booster Gold, 13. Who Do You Trust, 14. Trinity, and 16. Skaar

I'd probably swap Booster for GLC but other than that a fair ranking imo.

[clarkent1982*]

Wonder Woman #21- I am going to drop this series at the end of this arc. After the crappy re-start, mixed with a cross-over and fill-ins, I was hoping that Gail can get my interest in the character.

Young Liars #4- I call this series, my sexy series. Lapham's women are very solid

Action Comics #866- This series is a huge, HUGE improvement in the last seven months now that it is shipping monthly. There might times that I wish Geoff with pick up the pace of the story, but other than, having a lot of fun on the book. Frank's art is always a home run with me. Great move by DC to have him on the book.

100 Bullets #92- A masterpiece that is coming to an end with characters ending themselves. Lil' Pippen, you ****ed up and you paid the price. As for Loop, look before you leap...? Can't wait to see how Azz and Risso have in store for the readers.

[Ye Olde Iowa]

Wonder Woman #21- I am going to drop this series at the end of this arc. After the crappy re-start, mixed with a cross-over and fill-ins, I was hoping that Gail can get my interest in the character. Young Liars #4- I call this series, my sexy series. Lapham's women are very solid Action Comics #866- This series is a huge, HUGE improvement in the last seven months now that it is shipping monthly. There might times that I wish Geoff with pick up the pace of the story, but other than, having a lot of fun on the book. Frank's art is always a home run with me. Great move by DC to have him on the book. 100 Bullets #92- A masterpiece that is coming to an end with characters ending themselves. Lil' Pippen, you ****ed up and you paid the price. As for Loop, look before you leap...? Can't wait to see how Azz and Risso have in store for the readers.

clarkent1982

Roberto, is that you?

[clarkent1982*]

Yes, that is me.

nightwing1982-the main user name every where else.

I only use clarkent1982 on the bloc because someone took "nightwing1982" before I signed on here.

Granted, I have never seen "nightwing1982" post here.

[Ye Olde Iowa]

For those interested, here are this week's preRankings:

09. Trinity #3
08. Amazing Spider-man #563
07. Grendel: Behold the Devil #8
06. Justice League of America #22
05. Star Wars: Legacy #25
04. Birds of Prey #119
03. Incredible Hercules #118
02. Guardians of the Galaxy #2
01. Teen Titans: Year One #5

It's a short week, but with Wizard World Chicago next week, that's not exactly a bad thing. I might also pick up Wolverine #66 and Batman & the Outsiders #8, depending on how they look in the store. Be sure to check out the full reviews and Rankings on Thursday!

[ConnorFan]

I wanted to thank Ryan, for reviewing the anthology I took part in. I really appreciated the feedback! I'm extremely happy you enjoyed my story. Your weekly reviews are great reading, and it is very generous of you to let people send in stuff to be reviewed.