Wednesday, September 4, 2024

Batman #152 Comic Review




  • Written by: Chip Zdarsky

  • Art by: Mike Hawthorne, Adriano Di Bendetto

  • Colors by: Romulo Fajardo Jr.

  • Letters by: Clayton Cowles

  • Cover art by: Salvador Larrocca, Matt Herms (cover A)

  • Cover price: $4.99

  • Release date: September 4, 2024


Batman #152, by DC Comics on 9/4/24, sends Batman and Catwoman on the most unusual game of tag while they try to recover Amanda Waller's Mother Box on Czarnia while chased by the Suicide Squad.



Is Batman #152 Good?

Chip Zdarsky's time on Batman may be drawing to a close, but he's doing his darndest to make the remaining issues as wild and full of crazy action as possible. Batman #152 may not be the most meaningful Absolute Power tie-in or the smartest, but what it lacks in sense, it makes up for in over-the-top action.


When last we left the Caped Crusader in Batman #151, Batman and Catwoman infiltrated a U.S. military base to find and steal the Mother Box Amanda Waller is hiding. Their plan mostly works, but what they didn't expect is that the Mother Box's portal tech opens a gateway to Czarnia, where the graves of Waller's deceased family are resting inside a protective dome. Further, members of the Suicide Squad guard the plots with orders to kill anyone who arrives who doesn't have the last name of Waller.


In Batman #152, the Absolute Power tie-in arc continues. Batman and Catwoman begin a deadly game of Tag to escape the Suicide Squad, composed of Gunsmith, Black Alice, Deadeye, and a partially cybernetically reconstructed Bizarro, within a small space.


Batman uses every tool in his utility belt to evade getting shot or worse, while Catwoman races to disarm the time on the encased Mother Box. Unfortunately, Catwoman isn't fast enough, and the timer goes off. Strangely, the timer doesn't explode but instead removes the mausoleum over the Mother Box.


If it wasn't clear by now, Chip Zdarsky attacks this issue with frantic action and a high pace. You have to suspend an unreasonable amount of disbelief to accept that Batman escaped capture or death by the likes of Bizarro and Black Alice in a space the size of a typical suburban backyard, but here we are. To be fair, Zdarsky compensates that disbelief with the fast-paced action reasonably well.


Batman holds his own against the Suicide Squad long enough until everyone realizes the true threat of the Mother Box's timer. Removing the force field allowed several lethal swarms of Czarnian insects to get in, and exposure of the Mother Box allowed its presence to be detected by the last person Batman wants to see... Darkseid.


That's right. Chip Zdarsky goes from unreasonable suspension of disbelief to "Aww, come on! Really!? You're pulling the Darkseid card now?!?" this issue quickly becomes the comic equivalent of "everything and the kitchen sink" to distract away from the super-thin plot.


The issue ends with one Squad member dying, but not by Suicide, Deadeye finding out just how heartless his aunt, Amanda Waller, really is, and Batman taking a moment to get his act together.


What's great about Batman #152? Readers who are fans of mindless, kinetic action will probably get a kick out of this issue. Chip Zdarsky crams every zig, zag, and attempt at a wow moment that can be squeezed into this issue to make it as entertaining as possible. Does this tie-in matter to the Absolute Power event? Not much beyond the recovery of the Mother Box, but it's not the worst tie-in.


What's not great about Batman #152? As mentioned, you have to suspend enough disbelief to believe in Santa Claus, the Easter Bunny, and the Tooth Fairy all at once. Fast-paced action is good when integrated into a solid story, never as a substitute. Zdarsky invokes more Bat-God nonsense to try and convince you that Batman can get out of any situation, and it just doesn't fly here.


How's the Art? Mike Hawthorne and Adriano Di Benedetto deliver perfectly decent visuals to sell Zdarsky's script as much as possible. The action is certainly engaging, and the more absurd moments are almost made believable by the choreography.



About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Follow @ComicalOpinions on YouTube, Facebook, Instagram, and Twitter


Final Thoughts

Batman #152 is a thrill ride of nearly silly proportions. Chip Zdarsky throws everything and the kitchen sink at Batman to get the Caped Crusader out of the painted corner Zdarsky put him in. At least the art team does their level best to sell the action and cover for the paper-thin plot.

6/10



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Justice Society of America #11 Comic Review




  • Written by: Geoff Johns

  • Art by: Marco Santucci

  • Colors by: Ivan Plascencia

  • Letters by: Rob Leigh

  • Cover art by: Mikel Janin (cover A)

  • Cover price: $3.99

  • Release date: September 4, 2024


Justice Society of America #11, by DC Comics on 9/4/24, concludes Young Mordru's bid to forge a path from the villain he will one day be, but a whole lot of heroes have to fight each other first.


Is Justice Society of America #11 Good?

Despite all the delays and sporadic meanderings, Geoff Johns still knows how to deliver one heck of a fun action comic. Justice Society of America is a non-stop action fest from page one, which is hard to come by these days, but the outcomes aren't as satisfying as they could be.


When last we left the JSA in Justice Society of America #10, the expanding roster of heroes, under Huntress's direction, was struggling to act as a team without taking reckless risks. The issue ended with the Legion arriving from the future to demand Young Mordru be taken into custody for crimes he hasn't committed yet.


In Justice Society of America #11, the battle begins. Instead of posturing or trying to get the opposition to see reason through thoughtful discussion, the Legion's arrival immediately launches an all-out battle.

Geoff Johns wasted no time kicking the issue off with a stream of level-setting exposition as the fight kicked off in earnest. Honestly, the exposition, from Helena Wayne's point of view, gets wordy in spots, but Marco Santucci's fantastic art helps even out the words and pictures.


As the battle progresses, there's a growing suspicion that the fight over Young Mordru is the result of some manipulation. That suspicion grows into reality when Yelena, aka Wildcat, suddenly collapses, and her body is ripped open from the inside by the arrival of... Eclipso.


The battle and arrival of Eclipso sort of works and sort of doesn't. Eclipso works because Geoff Johns pulls out heavy hitters to make the battle as high-stakes as possible. Eclipso's emergence makes sense as a malevolent force that manipulated the typical allies into fighting each other. On the other hand, Eclipso's arrival doesn't work because the narration spins into overdrive, narrating a litany of off-panel developments to explain how all this came to pass. You get the feeling Geoff Johns needed a big bang, so he had to invent several shortcuts to make it happen.


Once everyone sees Eclipso at the heart of their fight, everyone turns their attention to the villain, but Eclipso's power quickly takes over the souls of everyone within reach. As a last-ditch attack, Young Mordru tells Huntress to shoot an arrow at Eclipso's diamond. She complies, and as the arrow flies, Young Mordru enchants the arrow with Solaris's Tyrant Sun energy. The arrow breaks the diamond and traps Eclipso for transport back to Gemworld.


The issue ends with the Legion of Substitute Heroes arriving with Khalid, aka Dr. Fate, with a proposal that helps out everyone struggling to fit in the Present. Say hello to the JSA of the 31st Century.


What's great about Justice Society of America #11? Geoff Johns pulls out all the action and plot surprises to make this issue as fun and exciting as possible. You get lots of wow moments, surprise appearances, and a satisfying resolution to the fight and some lingering interpersonal conflicts.


What's not great about Justice Society of America #11? To get to those wow moments and satisfying conclusions, Geoff Johns had to handwave a lot of off-panel explanations to make it make sense. The story feels fun while you're reading it, but the fun is soured by the knowledge that Geoff Johns had to fudge and "cheat" to get there.


How's the Art? Marco Santucci's artwork is the star of the show. In large part, the issue is fun because Santucci gives you raucous battle and superhero action with dramatic entrances on almost every page. 



About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Follow @ComicalOpinions on YouTube, Facebook, Instagram, and Twitter


Final Thoughts

Justice Society of America #11 marks the end of Young Mordru's bid to avoid his villainous future with a knockdown, drag-out fight against multiple adversaries. Geoff Johns takes multiple shortcuts and off-panel liberties to make this battle work, but Marco Santucci's spectacular art almost makes you forget how much Johns cheats the script to get you there.

7/10



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Wednesday, August 28, 2024

Absolute Power: Task Force VII #5 Comic Review

 



  • Written by: Alex Paknadel

  • Art by: Pete Woods

  • Colors by: Pete Woods

  • Letters by: Dave Sharpe

  • Cover art by: Pete Woods

  • Cover price: $3.99

  • Release date: August 28, 2024


Absolute Power: Task Force VII #5, by DC Comics on 8/28/24, focuses on the next Amazo robot of the team, Velocity, as he races to understand what makes Barry Allen tick.



Is Absolute Power: Task Force VII #5 Good?

In the grand scheme of things, Absolute Power: Task Force VII #5 isn't important at all to the Absolute Power event, but it is a pretty good issue if you're a Flash fan and would be interested in an Amazo robot's perspective on learning what makes Barry Allen tick. In short, it's good-ish but important. Absolute Power: Task Force VII #5 begins with new reports coming in of a superspeed force racing across the globe, turning deserts to glass and puncturing the stony caps of magma fields. What's happening? The Amazo robot known as Velocity relentlessly chases the last speedster whose power it hasn't absorbed - Barry Allen, aka The Flash. Writer Alex Paknadel wastes no time jumping straight into the action by following the speedsters on their chase. So many heroes are moving around, sometimes inconsistently, so it's hard to know if Barry truly is or isn't the last speedster left, but it suits the story here. Barry makes it to the Flash Museum to reach an artifact he thinks will help, but Velocity destroys the "feather" before Barry can reach it. Velocity taps into Jai West's superstrength to get a hold of Barry, but Barry escapes by phasing through the grip and the floor, which puzzles Velocity since it has no memory of "how" to phase through objects. Here, we get to the crux of the issue. Phasing is more about feeling and wanting than a simple mechanical act, so Velocity's task of capturing Barry takes on a second objective when it tries to learn what Barry instinctively knows, which is a cool concept. Barry is out of options, so he runs fast enough to enter the Speed Force. Velocity manages to follow without realizing that leaving the Speed Force is just as complex as phasing. To solve the problem, Velocity visits echoes of Barry's memories where he learned phasing and taught phasing to a young Wally West. Eventually, Velocity "wants' his way out of the Speed Force and continues to chase Barry, but he lets up on the gas just enough to see what else he can learn from Barry. Overall, the issue will be interesting for Flash fans as a novelty issue that delves into the methods and mechanics of phasing. That said, readers who picked up this issue for its relevance to the Absolute Power event won't find anything of note. However, the issue continues with a tacked-on continuation of Steve Trevor's adventure at Gamorra Island prison with a big reveal. We catch up with Steve as he sneaks around the prison in a stolen stormtrooper uniform. At last check, he witnessed captured villains building a large Stragate-ish portal for Amanda Waller. Now, we see Waller turning on the device. Who should come through the portal? Why, it's exactly who you might expect when you consider Amanda Waller was stuck on Earth-3 very recently. (*hint, hint*) How's the Art? Excellent. Pete Woods pretty much handles all aspects except lettering, but this issue looks like it was produced by a top-tier team. The speedster action looks great, the character designs and quiet moments are all on point, and the net quality of the visuals in this issue is high. Woods did a fantastic job in this issue.



About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Follow @ComicalOpinions on YouTube, Facebook, Instagram, and Twitter


Final Thoughts

Absolute Power: Task Force VII #5 is a fun, Flash-centered issue that teaches Velocity a thing or two about what it really means to be a Speedster. Flash fans will get a kick out of the story, but its contribution to Absolute Power is negligible. That said, the tacked-on scenes starring Steve Trevor on Gamorra Island finally lead to a big reveal about Amanda Waller's allies in this event, which makes this issue a big deal.

8/10



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