Cultivating new fans is a great idea, and a needed idea.  However, doing it in a way that pushes existing fans away isn’t the right approach.  Done well, attracting new fans and maintaining the interest that is already there will be a win for the character from a business standpoint.  Simply trading out fans does nothing for the character or the business.  With the current approach on Power Girl, it seems clear that the plan isn’t working.  There just isn’t the outlet for the character to be seen by this younger audience.  Not enough of them are in stores to see or hear about the character.  Word of mouth on the internet is almost all negative as well.  Without a more extensive distribution model it’s tough to get new comic fans for any character.  But, that’s a whole different problem.

Why Williams’ Power Girl Isn’t Working

     The biggest obstacle for old fans with the current comic is the overall approach. Just like the “Ric” Grayson debacle, while Kara’s history is supposedly intact, none of the substance of those stories matters.  Furthermore, that history continues to be referenced.  The blog on the DC website insists that this is the original pre-Crisis Power Girl from the original Earth-Two and it’s not the New 52 Power Girl from the New 52 Earth-2. 

     The idea of Power Girl having an identity crisis with imposter syndrome could’ve worked.  However, the way it’s being executed doesn’t.  The character’s history has to be integrated as more than just a mention.  The substance of that has to be center to the character beats of her journey.  The basic idea for this has actually already been done back in JSA: Classified #1-4 and collected in both the 2006 TPB Power Girl and the more recent Power Trip.  What she’s going through now is superfluous.  For anyone whose ready any of those previous editions, this current situation doesn’t make sense- it neither follows logically as “what comes next,” nor as a new challenge, she did this already.  And here’s why-

1. This is the original Earth-Two Power Girl and none of the substance of her previous stories is coming through in this current run, she’s being treated as a brand new character with no experience living on Earth, which is patently incorrect as demonstrated with the references to past stories and the “Everything You Wanted to Know About Power Girl But Were Afraid to Ask” on the DC website.
2. Her characterization, personality, attitude are unrecognizable as the character.  This contributes to the confusion for longtime fans and for potential new readers it’s just sort of boring, there’s nothing interesting about it.  Strange in a strange land is not a new idea, and nothing about this series provides any sort of interesting twist on it.
3. There’s no alignment with her appearances in Justice Society of America which present the Power Girl that longtime fans know and love.

     So, how could this “fish out of water” idea work for Power Girl?  The story has to connect the dots.  It has to explain how the Power Girl that’s always been around is having a new “crisis.”  Power Girl returned to continuity with the Justice Society at the end of Doomsday Clock.  This means that her history should have been returned as well.  Just as the world “remembered” the JSA and their history, as part of the JSA people would’ve remembered Power Girl as well.  That means people would’ve remembered who Karen Starr was, that she had the Starrware computer software company.  Her history was not wiped out.  The current take claims that Karen Starr is a “dead” identity, why?  Why would Karen Starr not be remembered if the rest of the JSA is remembered?  Even the “lost children,” the lost sidekicks of the Golden Age introduced in Stargirl and the Lost Children are remembered by the world once they are returned.  Judy Garrick is remembered- why not Karen Starr and her company?  For old fans to understand what’s supposed to be happening, these issues have to be resolved IN STORY.  And that’s the story that needed to be told to reintroduce Power Girl, not simply ignore the substance that had come before.  Even thinking from a business perspective, if you get new fans that get older trades with the character, she’s not going to be recognizable- her personality, attitude and characterization are a complete 180 degree opposite of how she’s always been portrayed.

What Could’ve Worked…

     The story that should’ve been told should’ve looked something like this…

     Power Girl retuned with the JSA at the end of Doomsday Clock, but unlike the JSA, no one remembered Power Girl.  Maybe because she was a holdover from the original Earth-Two, her history was not remembered.  This would’ve provided the opportunity to do the “stranger in a strange land” type of story.  She really would’ve felt like an imposter because NO ONE would’ve known who she was.  Except maybe the Psycho-Pirate as the ONLY character who remembered the Multiverse before Crisis on Infinite Earths. (Although this is part of the story told in the aforementioned JSA: Classified).

      This doesn’t mean changing her personality would’ve worked, though she could be more vulnerable.  Nor would she have not known what it was like to live as a human on Earth.  However, it allows for a story to be told about a Power Girl that doesn’t have a viable identity, a Power Girl that doesn’t know how she fits in on this earth, despite having the memories that prove she already lived here.  Maybe she would’ve sought out the original Earth-Two.  Maybe she would’ve joined the JSA at this point…maybe Huntress would’ve sought her out and that would’ve connected to Power Girl’s memories of the original Earth-Two Huntress who was her best friend? 

Where Is Editorial?

     The real problem is that Leah Williams has admitted that she didn’t know much about the character and couldn’t possibly have developed this type of story because she didn’t know enough to know that something like what I’ve suggested matters.  Editorial clearly doesn’t care, otherwise Williams stories would not have appeared as they have.  As they are they are a complete non sequitur.  They don’t follow from what’s come before either narratively or as a logical step in character development. 

     For a great character like Power Girl, it’s a shame and disappointment to see such an utter failure both creatively and financially.  The existing Power Girl audience hasn’t been run off entirely, yet.  Can we course correct and get a great Power Girl comic on the stand, soon?

The post The Return of Power Girl…How Leah Williams’ Take Could’ve Made Sense appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writer: Leah Williams
Art: Eduardo Pansica and Julio Ferreira
Colors: Romulo Fajardo, Jr.
Letters: Becca Carey

Reviewed by: Matthew B. Lloyd

Summary

Power Girl and Crush team up with the Holliday Girls to fight some Czarnians.  There’s a surprise lurking in the shadows that should prove to be bigger trouble for PG as her past seems to literally be following her.

Positives

The best part of this issue, like many others in this series is the cover.  The cover artists, this time Yanik Paquett, don’t seem to understand the changes wrought on Power Girl and continue to produce covers that capture the personality of the character that readers know instead of what Williams has reduced her to since she began writing PG in Lazarus Planet and Action Comics in 2022. 

This issue somehow sidesteps lots of the elements that plague Williams poorly conceived take on Power Girl.  While some aspects are inescapable like the “S” shield on her costume, Power Girl is not demeaned overly.  Though there is some, it seems to take a backseat in this issue.  This allows the plot to move forward and not be weighed down by the mischaracterization that hinders this series.

The action in Power Girl #9 is darn good when we get it.  Pansica and Ferreira do a good job of delivering the visuals on the fights.  There are even a couple iconic shots of PG in action.  Bringing in the Holliday Girls is a solid idea.  Michael W. Conrad and Becky Cloonan reintroduced them into current continuity in Wonder Woman #780 about two and a half years ago.  Williams makes the connection to Etta Candy in this issue so readers have a chance of knowing where to look for more about them.

The issue also teases the return of what appears to be the symbioship that featured as the villain in the first four issues of this series.  It’s a little unclear what’s going on, but it’s a nice connection to what’s already transpired in this series.  It’s a logical callback and a good use of the plot point for a greater impact as an overarching storyline.

Negatives

While Williams doesn’t focus on Power Girl’s characterization in Power Girl #9, it’s can be seen lurking in the corners.  You’d like to see PG take charge of the situation more strongly.  It would make more sense if Power Girl had a stronger reaction to the situations.  When one of the Holliday Girls tells her she has a dumb name, Power Girl wouldn’t let that slide without a strong comeback.  She wouldn’t throttle the non-powered Holliday Girl, but she’d put her in her place.  Additionally, as an experienced, former Tech executive, when Power Girl asks how they can stop all the Czarnians technology at the same time, it would make sense that PG would be able to come up with the answer on her own.  

As a tie in to House of Brainiac, Power Girl’s involvement feels very small and insulated.  While smaller moments are useful and needed to balance stories out, the focus seems off for this tie-in to such a massive attack in Metropolis.  This should’ve been the opportunity to showcase Power Girl’s Superman level ability in saving Metropolis instead of relegating her to a fight with essentially a biker gang.  Along the same lines, some of the action tries to be more funny than exciting.  It demonstrates how Williams’ doesn’t understand the humor associated with Power Girl.  These “funny” moments come off as childish and pointless.  Also, Williams’ dialogue is often too cutesy and it also misses the point that Power Girl is a Superman power level character, who SHOULD be (along with Helena Wayne, the Huntress) the preeminent hero of her Earth, not an insecure novice.   

Unfortunately, Pansica’s depiction of Power Girl varies in this issue.  When she’s in action she usually looks good and begins to feel like the depictions that are seen on the covers.  However, Pansica tends to draw PG with a smaller physique, not just her chest but also her arms and shoulders.  The ferocity he captures in the action sequences is gone when she’s static, looking meek and unsure of herself.  Unfortunately, it’s a reminder of the damage Williams has done to PG’s character.  For whatever reason it’s more noticeable in this issue than some others. 

Verdict

Overall, Power Girl #9 is much more enjoyable than previous issues of this series.  With elements that hurt the series downplayed there are not as many distractions.  There’s just enough with the action and the surprise at the end that make it readable.  It’s by no means good, it’s just not quite as bad as most of the issues have been.

The post Review: Power Girl #9 appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writer: Tim Sheridan
Art: Cian Tormey with Jordi Tarragona
Colors: Matt Herms 
Letters: Lucas Gattoni

Reviewed by: Matthew B. Lloyd

Summary

With the help of the Justice Society of America, Alan Scott, the Green Lantern defeats his lover and nemesis, the Red Lantern.  But, does he really believe Red Lantern is the villain?

Positives

 There’s a theme that Sheridan develops in this series that he brings around for this conclusion in Alan Scott: The Green Lantern #6.  The importance of Alan being gay is a believable through line for the series.  From a storytelling perspective it’s solid.  It works in the sense that the purpose of the series was to tell Alan Scott’s story since being retconned to being a member of the LGBTQ community.  Sheridan effectively demonstrates this in the conclusion as the plot points strewn about in the first five issues do in fact come together.

Cian Tormey’ art is effective and does its job.  There are some nice moments as he has a wide array of emotions to communicate throughout the ups and downs of this final issue.  Also, we finally get an appearance of Obsidian which confirms he and his sister, Jade are still part of continuity.

Negatives

The single biggest negative about this series and its culmination in Alan Scott: The Green Lantern #6, is how it devalues Alan Scott as the first Green Lantern.  Alan faces off with Johnny Ladd/ Vladimir Sokov/ Red Lantern who turns out to be more experienced, more effective and more knowledgeable about how to use will power to manipulate the Lantern flame.  He understands the Green and Red flames are related and he teaches Alan how to use will power to make the power in Alan’s ring do what he wants it to do.  For a series that should be all about how important Alan is, this aspect of the story does the exact opposite.  Alan may be the first Green Lantern, but the story that Sheridan gives us makes Alan second fiddle to Johnny/ Vlad.  It certainly comes across that Alan couldn’t have become a powerful, effective and iconic hero without Johnny/ Vlad’s instruction.  This actually lessens Alan’s importance of being the first, because now he really isn’t the first.  It also calls into question Alan’s willpower. 

Sheridan also adds aspects to Alan’s past that detract from what should be a heroic characterization.  In issue #3 we see Alan visit prostitutes.  In issue #1 we learn he had to be blackmailed into joining the Justice Society of America.  He’s also blackmailed into sex acts with J. Edgar Hoover.  While these may fit the narrative of a gay man in the 1940’s, they don’t fit the idea of an iconic DC Comics hero or a character known for willpower.  In this sense, Sheridan is more interested in writing a gay character as opposed to Alan Scott who’s existed for over 80 years and who’s never demonstrated these character traits.

Negatives Cont’d

Additionally, his love for Johnny/ Vlad seems to blind Alan to Vlad’s crimes, he even tells Vlad this as he suggests to Vlad how he can escape from the American authorities.  This is a very strange and troubling turn.  It also calls into his willpower.  Is he really unable to use that willpower to overcome his emotions and see Vlad/ Johnny for who he really is and that he’s held for his crimes?

Sheridan presents the idea that Alan’s willpower comes from his strength of being a gay man.  It seems that only by having to face the struggles of being a gay man in the ‘40’s was he able to develop his willpower.  As stated above, however, the importance of this willpower comes from Johnny/ Vlad.  This also indicates that without Johnny/ Vlad he wouldn’t have had the willpower to be able to get up every day and live his life.  He calls out Hoover who he knows hides the same secret:

“As if you Mr. Hoover, don’t know what it takes to live a secret life.  The exhausting amount of energy, of willpower to wake up every day, put on the suit, and quietly go to work for a world, that if they knew who you woke up next to would turn its back or worse- wait till you turn yours and pull the trigger.” 

He tells off Hoover and is able to free himself from the threat of blackmail.  The story demonstrates that it’s all due to Johnny/ Vlad instead of anything intrinsic in his own character.  We see that he doesn’t even know that willpower controls the power in the ring.

Negatives Cont’d

In the first five issues, Tim Sheridan goes to great lengths to show the reader what life for a gay man in the 1940’s is like.  A lot of these moments are sobering and effective.  Along the way, it’s not hard to see Alan as a different iteration of the Golden Age Green Lantern.  It’s easy to imagine that this Alan wouldn’t marry Rose Canton and have kids with her.  It’s easy to imagine that he wouldn’t marry Molly Mayne in their twilight years.  Alan isn’t questioning.  We’ve seen, in no uncertain terms, this series has shown not only is Alan gay, but he KNOWS he gay.  He’s accepted himself, it’s not an easy life but he knows what it takes to live this secret life.  Unfortunately, at the end of Alan Scott: The Green Lantern #6,  Sheridan pivots and drops the ball by trying to fit in Alan’s relationships with women.  It comes off as editorial interference and something that wasn’t part of Sheridan’s plan for the character.  This series would’ve been much stronger had Sheridan not connected the dots and Alan’s past no longer included Rose, Molly and his children.   It would’ve served the story AND character MUCH better.

This is potentially the most compelling aspect of Alan’s new history, especially considering the strength with which Sheridan has developed the importance of Alan being gay.  Sheridan throws Rose and Molly in almost as an afterthought.  It appears to only be there because it has to be.  Ultimately, it isn’t explained satisfactorily and it actually calls into more questions about Alan’s character. 

Despite all we’ve seen in the first five issues and parts of #6 that all that reinforcement of Alan sexuality…he still likes women?  Despite reinforcement of the importance of Alan’s willpower he still has relationships with women…KNOWING he’s gay?  Wasn’t the point of this series to show Alan’s recontextualized history as a gay man?

This means that Alan has misrepresented himself and lied to these women.  This is a huge problem for his characterization.  It doesn’t fit the actions of a hero, nor does it reflect the abilities of someone who relies on willpower to accomplish his super-heroing.  It leaves him a mess.

Finally, there’s a bizarre time travel bit in which Alan leaves a letter for himself to read that he’s written in the future.  It adds nothing to the issue or the series and comes off as a reminder for Sheridan himself that he’s loved.  The content of the letter does something truly strange as it reinforces the importance of the love of his biological children, something completely incongruous with a man living a gay lifestyle.  It’s not clear what should be taken from this.  It further muddles the waters…is he saying, even though you know you’re gay you’ve got to trick a woman into having your children?  The more I think about it the worse it gets.

Verdict

Alan Scott: The Green Lantern #6, like the entire series, is uneven.  There are moments that really work and are quite compelling, but it all seems to be in service to retconning Alan’s sexuality as opposed to be in service of Alan as a heroic character.  Sheridan tries to get the reader there, but the end is just unsatisfying in almost every way.  If he’s supposed to be bi-sexual that’s a different story….  If he’s a gay man with a strong will power to live his life as he is then why would he lie and misrepresent himself to women?  It’s not heroic, it’s not…nice….  It highlights how forced changing Alan’s sexuality is.  It feels like DC wants to have its cake and eat it too.  The character ends up being weaker for it.

The post Review: Alan Scott: The Green Lantern #6 appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writer: Tom Taylor
Art: Bruno Redondo
Colors: Adriano Lucas
Letters: Wes Abbott

Reviewed by: Matthew B. Lloyd

Summary

There’s more to last issue’s celebration of Dick Grayson…and none of the Bat-family sees it coming.  Heartless enacts his plan to take down Dick Grayson!

Positives

For a while, comic writers have been accused of writing for the trade.  Single issues when collected in these trades are called graphic novels sometimes, despite not being conceived as such.  However, with Nightwing #114 it’s clear that Tom Taylor has constructed his run on Nightwing like a novel.  The theme of Heartless has run throughout while Taylor developed his cast of characters with their own stories along the way.  Heartless is still around and Dick Grayson’s journey under Taylor is inextricably linked with Heartless.  He’s not just an adversary or danger from which Bludhaven must be saved, Heartless is in some ways the opposite of Dick Grayson.  As long as this idea isn’t overused it can be very effective, perhaps one remembers Mike W. Barr and Michael Golden’s Batman Special #1 from 1984 with the story “The Player on the Other Side.”  Nightwing 2022 Annual recounted much of Heartless’ backstory that explores the similarities between Dick and Heartless.  This adds a cohesiveness to the run as well a through line.

Even though most of the recent issues of Nightwing have been illustrated by some fine comic book artists, it’s great to have Bruno Redondo back on art chores for the entire issue.  It’s not just his look, or ability to communicate with characters’ expressions, but his layouts and dramatic choices.  An early two-page spread is a great demonstration of this.  It’s great storytelling!

There are lots of character moments peppered throughout Nightwing #114 that range from Dick’s good heart, the lovely and infectious dynamic between Dick and Babs, and the way Bruce Wayne views his family.  This was on display in the emotionally moving Nightwing #100, and it’s echoed here.  It’s one of the consistent aspects of the series that have made it a fan favorite.  

Negatives

It’s hard to find a negative with this issue.  It is slightly surprising for the meat of this issue that Taylor takes us back to Dick’s celebration from last issue, whilst only teasing what comes next on the opening pages.  It remains to be seen how well this storytelling technique works for “Fallen Grayson.”

Verdict

Nightwing #114 is a solid start to Taylor and Redondo’s final story arc.  It includes many of the elements that have made their run successful over the past three years.  Redondo is in fine form as he returns to the title and the story points towards a big wrap up for what comes across as a longform graphic novel.

The post Review: Nightwing #114 appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writer: Jeremy Adams
Art: Xermanico & Amancay Nahuelpan and Kevin Maguire
Colors: Romulo Fajardo, Jr. and Rosemary Cheetham
Letters: Dave Sharpe

Reviewed by: Matthew B. Lloyd

Summary

Hal and company go to the United Planets to inform them about Thaaros…and it doesn’t go exactly as they plan.  On Earth, Carol Ferris makes a big decision!

Positives

While the conflict between the “renegade” Green Lanterns and Thaaros ramps up, perhaps the most interesting development in the issue is the final page cliffhanger with Carol Ferris.  Jeremy Adams wisely uses Carol’s history as a way of getting her involved in the proceedings on Oa.  Adams has been toying with the Hal/ Carol relationship since this series began.  It seemed Carol was completely happy with her current boyfriend and Hal was going to have to accept that Carol had moved on and their new status quo was going to be friendship.

With Green Lantern #11, Adams puts the focus on Carol’s desires as she forces the issue with her boyfriend convincing him to drive to Las Vegas to elope.  It’s a nuanced approach to Carol as it’s clear that while Carol is saying one thing, she is also having misgivings.  This leads to the final page surprise as Carol is confronted with another aspect of her past, an aspect that should prove to put her and Hal on equal footing.  This should force Carol to confront the truth of her feelings.  This was an unexpected though appropriate plot turn and a thoughtful examination of Carol’s character.

Positives Cont’d

It’s no secret that Thaaros isn’t automatically indicted by the U.P. Council.  Though expected, it does provide the continued tension between Hal and the renegades against the U.P. One wonders if this will lead to some sort of dismantling of the United Planets.  It would be a clever in-story way of resetting things for the U.P. to show up again in the future as part of a more traditional take on the legislative body as part of the world of the future Legion of Super-Heroes.  The United Planets as a contemporary entity has been an awkward take since Brian Michael Bendis introduced the idea during his ill conceived and executed runs on Superman and the Legion.

Like it or not, Adams also nails the Guy Gardner back up.  The art by Kevin Maguire is right on target, especially the facial expressions on Guy.  This is also seen when Carol gets her surprise on the last page.  Xermanico (I think) does a great job of communicating Carol’s misgivings throughout Green Lantern #11.  There’s a degree of subtlety here that is achieved at a high level.

Negatives

The flashback sequence with Hal and Carol as middle schoolers plays upon the long history the characters have.  Reflecting upon the childhood interest in bad boy Hal works against the more complex aspects of their relationship as adults.  The final page cliffhanger injects what is needed to bring it back around to the adult relationship between Hal and Carol.

Verdict

Green Lantern #11 takes a turn into the interior of Carol’s struggle.  The creative team does an exceptional job adding this layer to the storytelling by developing this subplot further setting it up for the next big part of this story.  Jeremy Adams continues to be the best writer at DC Comics these days understanding the balance of action-adventure and character.  

The post Review: Green Lantern #11 appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writer: Kelly Thompson
Art: Jonathan Case and Gavin Guidry
Colors: Jordie Bellaire
Letters: Clayton Cowles

Reviewed by: Matthew B. Lloyd

Summary 

Part 1 “Worlds Without End” begins in Birds of Prey #9- just where did Dinah, Barda, Sin, Cass and Mari go when they followed Barbara into that portal?

Positives

The fourth art team debuts on this series and Jonathan Case and Gavin Guidry have another style to strut on the pages of Birds of Prey #9.  It’s adjacent to Leonardo Romero’s, but remains distinct.  Jordie Bellaire’s colors go along way in maintaining a consistency.  The atmosphere in this story is communicated quite well through the art as we explore this strange world.

Negatives

The latest issue of Doom Patrol puts the team in a routinely bizarre situation…oh, er… uh…this isn’t Doom Patrol?  Tone has been an issue with this series since issue #1.  In that issue, Harley was rightly feared to distract from the tone of the series, and Kelly Thompson has managed to do that to an even greater degree with Birds of Prey #9 without Harley even being mentioned in the issue.  Thompson has Dinah mention Danny the Street and that makes it clear that this series has veered into Doom Patrol territory.  That’s exactly how this issue feels.  There’s almost nothing in this issue that feels like a Birds of Prey comic.  Despite Dinah and Barbara being a part of the story…it’s gone off in such a strange direction that it reads like a Doom Patrol comic.  As a Doom Patrol comic it has some potential.

That tone is reinforced by some of the awkward humor in the opening sequence.  This was apparent in parts of Birds of Prey #8 as well.  It doesn’t land the way Thompson thinks it does and just comes off as a juvenile.  Thompson also brings back the picking between Mari and Dinah over Dinah’s costume choices.    Would they really pick like that when thrust into an unknown, confusing and dangerous situation?  Thompson also is having trouble with Dinah’s voice, she’s more and more detached as “too cool to care,” despite what we get of substance with the character indicates the opposite.  There’s no secret to be revealed that Dinah genuinely cares for Barbara.  The decision to include it is misplaced, unnecessary and superficial.  It’s just an odd thing to bring up.

Negatives Cont’d

There’s a strange moment when Meridian comes to- she was knocked out and left behind.  She goes to Star City and goes to the home of … Oliver Queen?  There’s an additional attempt at awkward humor before Zealot steps out from another room.  It’s not clear, but this must be Grifter, right?  He and Zealot were together in issue #1, but a blond man with facial hair in Star City is going to be taken as Ollie.  

There are unanswered questions as Dinah, Sin, Barda, Cass and Mari find a way out of this world and it seems rushed.  It comes off as a contrived moment to make the reader think, “oh wasn’t that fun!”  However, it really just makes the story feel like it’s going nowhere.  Almost nothing of real significance happens.  Everything is to cutesy.  Is this Thompson’s style or just a poorly conceived approach to this series?  

Verdict

Birds of Prey #9 strays further from the what makes the Birds of Prey the Birds of Prey.  Ill suited humor and a tone and milieu that resembles the Doom Patrol are the biggest culprits.  Coupled with the fact that the story barely moves forward, the issue is relies on the out of place elements to carry it.  There’s little substance to what transpires and it seems to set up a meandering arc that will end in a “surprise.”  There are some elements that have potential, but not in within the pages of Birds of Prey.

The post Review: Birds of Prey # 9 appeared first on DC Comics News.

Writer: James Tynion IV
Artists: Lisandro Estherren, Patricio Delpeche
Color Artist: Patricio Delpeche
Letterer: Simon Bowland
Text Page Designer (Thessaly Special): AndWorld Design

Reviewed by Steve J. Ray

Summary

The second volume of James Tynion IV’s take on The Sandman Universe, Nightmare Country: The Glass House is finally here!

This gorgeous hardcover edition includes all six chapters of The Glass House and the one-shot Thessaly special. The dust jacket art, featuring the Corinthian, and the main cover, with the King of Pain, are both by Reiko Murakami. Also collected are all the main and variant covers.

New York artist, Madison Flynn, has been murdered by the re-animated corpse of her best friend, Kelly (AKA “Kells”). Now, the reborn Corinthian, along with Madison’s spirit, are both on the trail of the deadly duo behind Kelly’s murder, Mr. Agony and Mr. Ecstasy.

The two rogue nightmares killed Madison, and others because they could see a new nightmare, The Smiling Man, during waking hours. More troubling still, this nightmare was seemingly not a creation of Dream. To add even more fuel to the fire, it seems that Agony and Ecstasy had been commissioned to commit these murders by Desire, Dream’s younger sibling and frequent adversary.

Madison has been granted new flesh by Death of The Endless, at her brother Dream’s behest. Neither one seems to know of Desire’s involvement at this moment in time.

Positives

Nightmare Country‘s back! Thankfully Lisandro Estherren, Patricio Delpeche, and Simon Bowland have returned, alongside James Tynion. This issue cleverly picks up exactly where volume one left off, adding new characters to the tale and, by the end of the book, bringing back yet another huge presence from Neil Gaiman’s original Sandman run. We also meet another old “friend” from the classic “The Doll’s House” saga, again.

There are still people out there who have also seen The Smiling Man, and we can only wonder how long it will be before Agony and Ecstasy will be on their trail. Add a whole ton of supernatural intrigue, clubs that no one should want to be a member of, and the return of Kells, and this is one super-loaded graphic novel!

It may be hard to believe, but the art and colors by Lisandro and Patricio have actually improved since volume one. This book looks amazing, and Madison’s new form made me very happy indeed. The nods to the first arc are wonderful, and the love for the entire Sandman Universe, as created by Neil Gaiman, is palpable.

Simon Bowland also continues to impress with his letters, particularly when they clearly differentiate humans from angels, demons, and Endless.

James Tynion is sick, twisted, and terrifying. Great work, sir… keep it up. The saga of Kels and Max is as dark a love story as I could ever dream of and features a set of circumstances beyond my wildest imaginings. How does he even think this stuff up? Kelly’s just the sweetest… entity/ghost/spirit and I’m sure the undead deserve love too, right? Of course, when her beau, Max, discovers who she was and what she did; cats, pigeons, cans, and worms will be all over the place.

Kelly’s one of the residents of “The King Of Pain”, a nightclub that links our plane to Hell itself. This is the place where the richest, and those in their employ, can cater to all their most twisted needs and desires… or should that be Desires? Of course, we now know that Agony and Ecstasy, the evil duo who killed Kelly and forced her to kill Madison, were working for Desire of The Endless, one of the younger siblings of Destiny, Death, and Dream.

The addition of Thessaly as a main character opens up a world of storytelling possibilities that this exceptional creative team is grasping with both hands and running with.

Never in my wildest imaginings could I ever have believed that love between an undead girl and a mortal man could feel beautiful and real, but Max and Kells are so brilliantly written and drawn that I can’t help but root for them. Thessaly has always been infuriating, and now that she knows who’s been pulling the strings, even hers (from waaay back in the original Sandman series) I know that sparks are going to fly. Will she and Daniel’Dream cross paths?

Seeing Azazel, The King Of Pain, Dream, and his siblings in this book always makes me happy, so this book ticked a lot of boxes.

The creeping horror continues to unnerve and disturb, in the most delicious and entertaining ways. Is the Corinthian going to revert to type? Is he really working with Madison and Dream, or with the demon Azazel? Knowing the mind of James Tynion, I think we’ll get an answer somewhere between those two extremes that will both surprise and delight us.

All the breadcrumbs James Tynion’s been dropping since Nightmare Country volume one are starting to bear fruit, including the huge bombshell that closed the story. Dream has become embroiled in the events occurring in this series, so I can’t wait to witness the fireworks when he discovers that, once again, one of his younger siblings is neck-deep in the whole mess. In fact, it looks like they’re the one who’s behind the whole scenario.

I’ve been following Dream and his siblings since day one, so seeing them honored and homaged in great new comics makes me very happy indeed.

The secret of the Smiling Man has haunted readers for close to two years now and the story of Madison Flynn has been a source of terror and delight the entire time. Seeing her, The Corinthian, Max, and Kells get swept upon by a wave of demons, serial killers and the whims of The Endless has made this series feel closer to Gaiman’s classic than any other spin-off/follow-up that’s come before.

The power that Dream displays in this collection is nothing short of awesome. The way he handles both his creations and his various enemies is unbelievable. Tynion’s take on Daniel is perfect; he’s got the will and determination of Morpheus, but an edge and confidence that the original Dream never possessed.

First, let me say straight off the bat, that Thessaly is a horrible person. However, she’s a fascinating, deep, and extremely complex character. I’ve followed her story since her first appearance in issue #32 of Neil Gaiman’s Sandman (1991). She’s gone from being a terrifying, bigoted, and ultra-powerful witch in “A Game Of You“, to Dream’s lover, magical avenger, and force of nature in her more recent appearances.

James Tynion has a real grasp on the character and is finally showing us her past in Nightmare Country: The Glass House. By doing so, he lets us see some of the moments that made and forged her. The brilliant part is that all of this fits in with what we’ve already seen of her over the decades, honoring what her creator has already told us about her while adding more flesh to the bones of her history. I must also laud the way James creates new side characters that I immediately fall in love with. They’re all so flawed, human, and real!

Maria Lovet is a wonderful artist who gives readers a Thessaly as great as the one drawn by her co-creator, the inimitable Colleen Doran. The art in the chapter starring Thessaly is gorgeous; simple, clean, atmospheric, and, dare I say it, magical. This great story works both as a follow-up to The Sandman Universe: Nightmare Country #6 and as a chapter in the ongoing saga of Madison Flynn.

Yes, the writing, art, and Simon Bowland’s lettering in this book are (as always) first-rate, but I think I need to name guest creators AndWorld Design (AKA Deron Bennett) as the MVP of Thessaly’s tale.

I love experimental comics, and DC has been spoiling us recently with issues that tell a story as one continuous 20-page image, an entire story seen from one character’s POV, and the incomparable DC Black Label horror series, The Nice House On The Lake (also written by James Tynion). This chapter contains entire pages dedicated to text and art that are so seamlessly intertwined, that the reader’s left wondering whether the artist, colorist, or letterer was responsible for the final result. With this story, I finally have my answer.

The tale features several text pages, but they’re so lovely to look at that you’d be completely justified in calling them works of art. Some look like ancient scrolls, others like pages from a storybook, and yet others like a movie script (the scroll pages are featured below).

AndWorld didn’t just letter these pages. No. Just like the way they did in TNHOTL they imagined and executed the designs, created the textures, and provided the color. As usual, I’ve been left in awe. I cannot understand people who don’t see comics as true literature or art, because, for me, they’re the perfect marriage of both.

Negatives

How long until the final volume? Aaaaarrrrgggghhhh!

Verdict

The Sandman Universe: Nightmare Country: The Glass House closes with style and power. James Tynion’s foray into Neil Gaiman’s world of dreams and nightmares has never disappointed, and with the final act of this incredible dark fantasy/horror coming in 2024, a clash between Dream and Desire (and possibly Despair too, if the cover for the final chapter’s anything to go by) is edging ever closer.

A war is coming, and I can’t wait. The final chapters of this tale are tantalizingly close, but still just beyond our reach. I will wait, however impatiently, as I know what’s coming will deliver a story for the ages. This book gives readers the perfect close to this arc while leaving us all begging for more. Like the winter season itself, the wait will be a long, cold one… but one I believe will ultimately be worth it.

I’ll see you all again in dreams.

Review Copy Courtesy of Penguin Random House. Images Courtesy of DC Entertainment.

The Sandman Universe: Nightmare Country: The Glass House Collected Edition is available now from all good book and comic retailers: ISBN 9781779520722

The post Book Review: Sandman Universe: Nightmare Country: The Glass House – Collected Edition appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writer: Travis Moore
Art: Travis Moore
Colors: Alex Guimares and Ivan Plascencia
Letters: Wes Abbott

Reviewed by: Matthew B. Lloyd

Summary

We already learned there was more to Bea Bennett.  Now learn her full secret history and what she shares with Dick Grayson! An espionage rollercoaster!

Positives

Fleshing out Bea Bennet is a great idea after revealing her pirate past in Nightwing #106.  Travis Moore puts a lot of hard work developing the script as well as the art.  He utilizes a lot of elements from Dick Grayson’s past to create the story.  As a longform espionage story there are lots of twists and turns and they utilize this aspect of the genre well.

The strongest part of Bea’s past is her time with the Quartermaster, something we’ve know for a while.  Nightwing 2024 Annual provides some context.  Showing that Bea and Dick were both taken in as orphans and adopted by someone to care for them is an enjoying parallel.  While this story doesn’t give full closure for Bea, it does demonstrate that she’s got a separate life beyond her relationship with Dick when he was “Ric” Grayson.

Negatives

Bea Bennet’s story in Nightwing 2024 Annual doesn’t have enough space to be effective.  It’s understandable that this wasn’t going to play out over a five year period in an ongoing series, but it has that sort of scope.  Because of this, a lot of the twists and turns feel forced.  It also doesn’t provide enough space to connect readers with Bea outside of being “Ric’s” girlfriend.  The pieces of that puzzle are there, but this story has so much that it is told too quickly to be effective.

This leads to the connected places in Bea and Dick’s lives being a bit contrived.  Moore works in a lot of intersections and parallels that would be more effective in a story that had more space and/ or was a different set of characters.  One of the things that’s lost by giving Bea such a circuitous backstory is that is eliminates the sweeter moments of her romance with “Ric.”  Bea is no longer “just a girl” that he meets, she’s someone there specifically to watch him.  It’s contrived.

The speed at which the twists come down the stretch of the narrative make it difficult to focus on what’s happening.  There’s not enough time for the impact to be meaningful.  This makes the ending feel rushed.  The first half of the story is paced a bit better.

Verdict

While Nightwing 2024 Annual has some interesting ideas, the pacing of the story and amount of twists make it difficult to create the right connection with Bea.  The idea of giving her her own story is solid, but it would’ve been stronger if the tale had been centered around her and the Quartermaster instead of turning her into a near super-spy.  The story is unbalanced with too much plot and not enough of Bea herself. The art is strong and Moore’s effort on the project is clear.

The post Review: Nightwing 2024 Annual #1 appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writer: Leah Williams
Art: Eduardo Pansica and Julio Ferreira
Colors: Romulo Fajardo, Jr.
Letters: Becca Carey

Reviewed by: Matthew B. Lloyd

Summary

Power Girl and Omen get drawn into the Brainiac/ Czarnian affair currently taking place in Action Comics.  Why isn’t Power Girl taken with the rest of the super-beings in Metropolis?

Positives

With Eduardo Pansica and Julio Ferreira returning to the art chores on Power Girl #8 after the past two issues by Marguerite Sauvage, it’s clear that the Pansica/ Ferreira team (and Farjardo Jr.’s colors!) are a pretty darn good combination for Power Girl.  They handle the action well and give Power Girl a much more recognizable personality visually.  She gets that angry face that one expects. (And, they even do a good job communicating the emotions that are out of character for her!)  They draw her more confident than she’s written at times, and even manage to get a bit of attitude across as well.  Overall, their stuff looks good and despite the poor characterization of the lead character, the art invites the reader to like the book.  They are doing their damnedest to combat what Williams is doing with the character in the script.  It makes one wish the concept wasn’t so poorly conceived and executed from a writing standpoint.

There’s even a single moment, maybe three panels where Power Girl seems to almost be at odds with what’s going on with her characterization, the look on her face, something in her eye and the emotions passing beneath the surface may in fact betray something  larger at play…that somehow…the real Power Girl will emerge.  Perhaps, Williams is playing some long game (and playing it poorly) and Power Girl IS being directed…controlled…it appears it’s possible in the sequence on the bottom of page 9.  In the middle of that page, PG expresses that attitude…not of the co-dependent, insecure character Williams writes earlier in the same issue, but the attitude longtime fans EXPECT from the character, the attitude that talked back to the stalwarts of the JSA in her earliest appearances in order to be taken seriously.  It’s noticeable that when Power Girl is in combat or in action mode in this issue, she is more recognizable and enjoyable because of it.  Even if it’s just a glimpse it gives hope as does the fact that there’s another aspect that could be interpreted as a clue Power Girl is being manipulated.

The fact that we also get a “Psychic Jerk Jar” revealed in the apartment that PG shares with Omen leads credence to the idea someone may be controlling her…and it may be Omen, who’s been right under the readers’ nose from the very beginning of this new (and wretched) iteration of Power Girl.  Strangely, this version of Power Girl is beginning to feel more familiar as this off brand characterization is what’s expected and feels familiar.  

Negatives

It’s very difficult to read a Power Girl who is insecure, lacks confidence in her abilities and is generally shy and dependent.  Williams gives us that as we learn she can’t roller skate…(when she loses balance wouldn’t she just levitate herself unconsciously since she can fly?).  She’s afraid to run into Lois who also happens to be at the park where she and Omen are skating because she has a column due.  

The dynamic between Power Girl and Superman in Power Girl #8 is still awkward…both in story and through Williams characterization of Power Girl.  Williams subtly shows us that PG’s feeling are hurt because SHE wasn’t also abducted with the rest of the super-beings of Metropolis.  She seems to need Superman’s reassurance when he finds her…(um…why wasn’t he abducted?)  And, it will never makes sense that she’s identifying with the main Earth’s Superman as family….  It’s these moments that take away from the positive steps noted above. 

It would be easier to take Power Girl’s struggles to make it in this version if she were attempting to do things on her own and for herself, but wedging her into the Super-family eliminates any sense of individuality which has been a hallmark of her character from her inception.  Williams has yet to show WHY Power Girl feels she needs to fit in with the Super-family, WHY she isn’t getting what she needs from her friends (AND surrogate family!) in the JSA, WHY she’s unable to make her way on her own.  There’s a story missing that needs to be told in order to make sense of all these “why’s.”

Verdict

The real question that must be answered with Power Girl #8 is whether or not this version of Power Girl can be enjoyed on its own terms or even in spite of itself.  Lord knows I WANT to like a Power Girl solo series.  Williams has stated that she wanted to show the differences between Power Girl and Supergirl… and she’s doing that.  She may not understand either character in terms of established histories and characterizations, but she IS making them different.  Can Paige Stetler be enjoyed as a bit of a mess trying to navigate her way through a world Williams assures us she doesn’t understand whilst consumed with feelings of insecurity and redundancy?  I don’t know that a reader who has a history with Power Girl, a reader who understands the substance of her character and identifies with/ enjoys her established characterization can make the leap…it’s too … different.  The art from Pansica and Ferreira want to make you like it.  It’s effective in that way, but unless an audience embraces this iteration it feels hopelessly at odds with what people have always liked about Power Girl, and this issue gives the reader very little of that.  As a Power Girl fan for nearly the entirety of her existence, this issue continues to disappoint.  The art is able to raise this issue a bit, surprisingly.

The post Review: Power Girl #8 appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writers: Tom Taylor, Marv Wolfman and Michael W. Conrad
Art: Daniele Di Nicuolo, Bruno Redondo and Howard Porter
Colors: Adriano Lucas and Hi-Fi
Letters: Wes Abbott

Reviewed by: Matthew B. Lloyd

Summary

It’s Dick Grayson’s birthday, and after a mission with Tim and Damian he faces a bigger threat…receiving the Key to the CIty of Bludhaven.

Positives

Some have criticized Tom Taylor’s run on Nightwing for not moving fast enough and settling into too many stories that are no more than “look how great Dick Grayson is” plots.  A couple issues ago I commented that it was clear that Taylor had settled in for the  long game with the Heartless storyline.  Taken together, this is a defining run for Nightwing.  Nightwing #113 not only continues to focus on Dick Grayson’s character and relationships, for my money the most significant part of any story, but also throws in some celebration (this SHOULD be issue #300) as well as a tease for what will be a definitive encounter with Heartless in the upcoming “Fallen Grayson” arc which will also be Taylor and Bruno Redondo’s swan song on the title.

Nightwing #113 opens with a fun action sequence with Dick, Tim Drake and Damian Wayne as they work a mission together.  Taylor peppers it with revealing and purposeful dialogue that not only propels the issue, but works the overall characterization of the three as well as supporting characters like Batman and Barbara Gordon.  This sections absolutely sings and is a “how to” balance story and character.

The majority of the issue is similar.  Dick receives the Key to the City from his sister, the mayor, and along the way Taylor makes the character bits stand out.  Not only does Bruce Wayne get a compliment on his parenting from Melinda’s mother, but Dick forces Barbara into the spotlight as he makes sure she is honored for her work as well.  These bits build these characters and the relationships between them.  It seems like a no brainer that Dick and Babs will at the very least be engaged to be married by the end of this run.  It’s a logical conclusion.

Positives Cont’d

Taylor turns over the scripting duties to comic book legend Marv Wolfman for a short sequence (illustrated by Bruno Redondo) that is as much from Marv’s own point of view as it is his in-story stand-in Marv (of Marv and George’s Pizza- George Perez that is).  It serves not only as a tribute to Nightwing/ Dick Grayson, but also to George Perez who passed nearly two years ago.  It’s a special moment that might get you a little misty.  The issue concludes with Heartless commencing the final stage of his plan to take out Dick Grayson.  

The second story by Michael W. Conrad and Howard Porter is a neat “silent” story in the tradition of “Silent Interlude” from G.I. Joe- A Real American Hero #21 and the opening sequence of Nick Fury, Agent of S.H.I.E.L.D. #1 (1968).  Conrad and Porter present a five minute incident as Nightwing has to get on a train and defuse a bomb.  Slow down with this one in order to experience the excitement and Porter’s art.  Conrad uses a ticking clock throughout to give the reader a sense of the passage of time that is very effective.  Porter, inking himself on this story, appears to be channeling the legendary Gene Colan.  Porter’s linework and use of shadows seems evident of Colan’s influence.  It also serves as an argument that Porter should ink himself.

Negatives

While Di Nicuolo turns in a fine job on most of the art on the main story, Redondo has been missed for a lot of recent issues.  He’s as much a part of the success of this series as writer, Taylor.  It’s a shame the legacy numbering will only appear as an acknowledgement on this issue and won’t be reflected on future issues as the only numbering.  Dick Grayson deserves that.

Verdict

Nightwing #113 is a wonderful set up for the final Taylor/ Redondo arc.  Taylor reinforces the focus on character and relationship (including some not mentioned above), but prepares the reader for what will surely be a massive encounter between Dick and Heartless.  To top it off the issue is rounded out by a well conceived and beautifully illustrated story by Conrad and Porter, respectively.

The post Review: Nightwing #113- Legacy #300 appeared first on DC Comics News.