Incredible story, wonderful art.

How can a writer relate to a character that is flawless? How can a normal person not hate Superman? Those are the questions Steven Seagle tries to answer. Everyone thinks he is nuts not to be excited, but he really doesn’t want the job. Career be damned, he hates Superman too much to write him.

The art is minimalistic but does an excellent job of detailing/emphasizing the parts of each panel that should be the focus. The character is well rounded, and none of his personality is taken for granted. Each resentment he has is explored as the overall story progresses. You find yourself agreeing with him and wanting to get to a rationalization for Superman as much as he does.

By the end, you will see Superman in a whole new light, and with a deeper appreciation. Anyone who loves superheroes (especially the big boy scout) should take this journey.

Awesome! Tim Seeley is back on his game and in full force. This has everything you could want in a Hack/Slash book. Wit, heart, gore, and fun. A subplot is put to rest, and a few more are started up.

Cassie is done with the angst for the moment. Her actions are again motivated by the complex interplay of a caring heart, guilt, and rage. Vlad continues to grow his personality. The art is pretty good, up to par with what it usually is. The coloring was a bit off with way too much purple and not enough red. But those are quibbles.

The pay off on the final page was enough to make the recent slump worth it. That last page was perfect.

I love this title, and this book continues that trend.

Torturing and killing a child should never be considered entertainment. The writing, the art, and the coloring are all incredible. Unfortunately, in this issue it only serves to highlight ugliness.

In writing, there is a fine line between morally ambivalent wit and sadism for the sake of ugliness. This series has tipped over the line and shows no plans of coming back.

There are some places you just don’t go.

Grimm Fairy Tales has always been a nihilistic book. It’s good at finding the worst in people and situations, and really screwing the good and bad a like. In most cases the writing is clever and witty, and well worth it.

The writing is great, and the art is fantastic. The colors are incredible. Easily a four star series. So what’s the problem – its clever writing, great art, and gorgeous colors?

The nihilism has spread to levels that are no longer entertaining. Recently, the only decent regular character in the comic was killed off. So the series got a bit darker. Issue #29 has the coup de grace. The writer tortures and murders a child. Then to really drive the point home, we are witness to 3 panels of blood running down the bound child’s hand.

This is clearly a book that has lost its way. In writing, there is a fine line between morally ambivalent wit and sadism for the sake of ugliness. This series has tipped over the line and shows no plans of coming back.

After reading this issue, I know how this arc will end. Gordon will come home and walk into study. He will notice that his notebook is missing. With a tired and resigned, “Barbara”, his daughter will walk into the room. With a head hanging low in shame, she will start to mumble she lost the notebook. Before she can get the words out, Bruce Wayne will walk into the study to the applause of the live audience. He will hand the notebook to Gordon making some excuse like he took it and forgot to return it. Gordon will say “OK” and walk out. Beaming Barbara will turn to Bruce to thank him, and Bruce will give her a playful knock to the chin with a witty and clever one-liner. The canned laughter and applause will rise as the screen fades to black.

For an industry that complains about the need for female readership, and specifically a company that launched its own female oriented line of graphic novels, DC does a good job reducing women to stereotypes. This issue opens up with the quintessential “Let the boys clean up your mess” moment. Batman swings in to get the lowdown and save the ladies from themselves. Batgirl and Catwoman are just girls and can’t handle things themselves. Thank goodness the Man showed up to set things straight.

Batman gets them back on track, and the story moves forward. Stereotype #1, the Femme Fatale, gets her package, and betrays the others by leaving. The second stereotype, the precocious teenage girl who should know better but can’t help herself, Batgril, runs off to chase the lost notebook. At this point, I think they should change her name to “Gidget”, or Gidget the Batgirl, and be honest.

The art is passable. The colors are a bit too bright and cartoony. The artist must have felt the sitcom vibe and has colored up the page to match the necessary levity.

Gidget runs off and gets herself in another quandary (of course!). Hopefully Batman will be around to save her again. Aww shucks, if Gig wasn’t so cute, she might actually get a stern talking to one day.

I expected a stronger opening issue.

I am a fan of the first Dark Horse Conan series. That series had reached a balance with its storytelling that made it successful. Unfortunately, that means this series suffers the older brother syndrome. I know what its predecessor was capable of, so I expected this series to have the same quality and promise. To be honest, that was one bias against it before I even picked up the book.

The story starts off with the clichéd Conan combat. He is ambushed, his attackers underestimate him (“He is only one man”), and he starts slaughtering them. Typical and expected, yes. Exciting or fresh, no. The story seems to lag from that point until almost the end. Conan is about adventure and running headlong into danger. Expositions should be short and to the point. The middle of this comic is all exposition with the narrator waxing poetic about Conan’s grandfather. It was enough to make me feel bored. This should not happen in a Conan comic.

Fortunately, the ending is strong enough to redeem it. The ending of the story brings in the Conan/Cimmerian conceit of superior skills. I find it pulls me away from the action more than it impresses me. Grandpa manages to defeat an entire camp of defenders without even one scratch. Several men fall to him before the camp of vastly superior numbers surrenders. Grandpa (a not-Conan Conan) leaves with the prize he fought for. The final pages bring 2 great twists in rapid succession which leaves the reader excited for the next issue.

The art is mediocre. There is nothing bad about the art, but there is nothing great about it either. Colors are subdued and bleed into each other. Detail is spared for the important panels, and the remainder of the panels are unimpressive.

The ending did leave me hungry for an answer to the mystery, so I will be picking up the next issue. But this series better catch up to its older brother soon, or it will get relegated to purchase as a trade (if at all).

First off, the comic summary is way off. All the individual Morrison threads are coming together now, and revelation of the main story arc is now at hand. This issue brings everyone and everything back together. Not much actually happens but all the dominoes are lined up. Although a bit abrupt but not unexpected, the camaraderie of the team comes out in full force. One of the great things about this series are the characters, and their individual quirks are not lost in the build up. Unfortunately, there are interesting side plots that have been pushed aside in order for the series to be brought to an abrupt end. The strong push to wrap up is evident in some of the dialog and art which makes things feel a bit rushed. The art is at the standard level that has been set for this book. All in all a good setup book for the whammy that #12 should be.

The curious plot of this book is complemented by art that revels in shadows. The story focuses on who of three possible candidates is the fabled Femme Noir. A blond detective with a dark sense of justice and a keen mind. She is the scourge of the Underworld. This book explores the question of Why. What makes a woman in the age of gangsters pick up a gun and do what needs to be done?

Each of three candidates highlights a different answer to that question and a different method to accomplish the same goal. Her femininity does not play a part in the bulk of each story so it doesn’t feel like a “female detective”, just a vigilante at work. This makes the few moments where her womanhood does come out are all the more poignant. The art creates an excellent contrast between color and darkness. Much of the world is dark and rainy. Most backdrops are shadowed walls and corners. The drawing is full and well featured, with an attention to detail.

The higher price tag gives you a gorgeous ad-free comic with a fresh spirit and an engaging character. This is the kind of comic that gives indie comics a reputation for innovation and unique stories.