previewsworld creating stylized characters

Previewsworld creating stylized characters series#

The real weakness in the issue really lies with the secondary aspect of the plot: the Hugo Strange of it all. The issue sees Harley and Catwoman team up, which is always a bit of fun to see given how very different the two characters are and it's something that Stephanie Phillips writes very well. Harley Quinn #6 sees an artist change, with Laura Braga taking over for Riley Rossmo and while I wasn't exactly a big fan of Rossmo's art and I do enjoy Braga's work, it's a hard shift that feels a little unsteady with this next chapter of Harley's story. Honestly, this is probably the weakest Detective Comics in recent months. The Task Force Z backup story is only slightly better, with a whole lot of meandering towards a goal without revealing what that goal actually is.

Things end on a mostly clean note, with a rather trite explanation that comes straight out of the 'Batman with enough prep time can beat anyone' department. As Batman struggles to deal with the parasite's effects, he still has to contend with both the Penguin and Roland Worth's continued quest of vengeance. At the end of last issue, Batman was seemingly taken over by the Vile parasite that has plagued him for several weeks. The 'Vile' storyline reaches its conclusion in a very fitting Batman-esque manner. Rating: 3 out of 5 DETECTIVE COMICS #1042 Maleev still does great work as usual even if he's forced to mostly draw heroes standing in lines and having conversations, at least when he does it he has the grace to make them look cool and the mood feel just right.

Previewsworld creating stylized characters series#

Bendis' work plotting and planting seeds to follow gets enough of a payoff here for the series to not be a total wash but frankly the intrigue has mostly evaporated. Jenna AndersonĪfter its awful second issue Checkmate finds a balance between servicing its narrative that made the first so strong and also the confusing time jumps that made its second so weak. There is a nugget of a compelling, complex Batman tale in the center of this story, but it feels way too bogged down by both its brutality and its utter banality. Liam Sharp's art is dynamic in individual moments, but reading it with such an understated, but also heavy-handed, script bogs everything down, and certain sequences flow in genuinely odd ways. Instead, we get page after page of Batman being cold, calculating and mean to everyone around him, mixed with increasingly gruesome visuals or stoic exchanges with authorities. This installment only barely begins to peel back the curtain on its central mystery, but does not make the effort to make that experience necessarily worthwhile. Matthew Aguilarīatman: Reptilian is proving to be endlessly and unnecessarily frustrating. This really was a world of fun, and while I'm sad to see the series ending, at least it went out on top. Ivan Reis and Sabine Rich's artwork captures that tone perfectly but also knows when to let loose with darker set pieces that take advantage of Etrigan's villainous design. Did you ever see El Diablo becoming one of the book's biggest highlights? No, you didn't, and you probably didn't expect vintage versions of Superman, Batman, and Robin stealing the show either, with a classic feel to their dialogue and mannerisms without sacrificing more introspective moments, like Batman and Superman's conversations about their creation and God. Batman/Superman has been an oddball journey through the multiverse with a vintage cinematic flair, and while the saga will continue in the Batman/Superman annual, this is quite the fun and satisfying finale we were hoping for. Gene Luen Yang's run on Batman/Superman has been not at all what I expected, but in the absolute best way.

What does work, however, is Lois' response to the attack at the Fortress and while I don't love that Thao-La is being used as a pawn in the 'please don't make me do this' sense of things because for someone who knows that Superman is the hero that he is, the idea of not having faith in him to the point they'd be used against him seems like an odd choice, the fight that opens the issue is fantastic, especially paired with the art.

More than that, though, the issue sees Superman act in a way that is a bit rash and superior that feels almost out of character for the hero.

It's something that can be attributed less to the issue itself and more to the idea that much of the story in Action right now feels kind of irrelevant given that Jonathan Kent has another title, Supergirl has another title, there's Superman and The Authority, and everything seems to be fully divorced from this story. While Phillip Kennedy Johnson generally demonstrates a sound understanding of Superman and the characters in the hero's general orbit, this issue feels a bit off. When it comes to Action Comics #1034, I'm torn.