Something happens this issue of Batgirl. The gimmick starts to get a little old. Barbara using Batgirl to be popular on social media, Barbara going after a reality TV bad boy, Barbara dating a cop who thinks Batgirl is a menace. All of a sudden–and having Dinah point out all Barbara’s inconsistent behaviors doesn’t help–all of a sudden, Stewart and Fletcher seem like they’ve gone too far.
They’ve lost Barbara Gordon. Their new Barbara isn’t so much a soft reboot as an entirely new character. One who isn’t very bright, who’s kind of shallow, who’s not a particularly good protagonist. The reader is supposed to be second guessing her throughout the entire issue. Why read a comic where you’re not supposed to worry about the protagonist but about her being dumb?
There’s still some charm thanks to Tarr’s artwork, but the story apparently is stuck on loop play.
Likeable; writers, Cameron Stewart and Brenden Fletcher; pencillers, Stewart and Babs Tarr; inker, Tarr; colorist, Maris Wicks; letterer, Jared K. Fletcher; editors, Dave Wielgosz and Chris Conroy; publisher, DC Comics.
Lovable. Star-Spangled War Stories and G.I. Zombie are lovable. I’m not sure if it’s what Gray and Palmiotti intend–I assume so, since they go out of their way to make the comic read like a familiar, pleasantly inventive amusement. It’s the genial procedural of comic books.
None of the details really matter–it doesn’t matter that G.I. Zombie works for the feds and isn’t a private eye–because Gray and Palmiotti just have to string together the little scenes. The great moments of the comic where the benefit of an undead hero comes in handy. There’s even time for him to catch up with an old–human–friend this issue.
It’s awesome, start to finish. Gray and Palmiotti have found something special with this approach, because it’s not a horror comic and it’s not an action comic, but it borrows from both.
And Hampton’s art looks absolutely fantastic.
Door-To-Door Delivery; writers, Jimmy Palmiotti and Justin Gray; artist and colorist, Scott Hampton; letterer, Rob Leigh; editors, David Piña and Joey Cavalieri; publisher, DC Comics.
For a good fifth of this issue, which Templesmith paces out well, it seems like the Spectre might show up. He does, but Templesmith doesn’t show him. But for a while, it seems like Templesmith is going to show the Spectre. It’s really cool.
And Fawkes and Templesmith know what they’re doing with it. Fawkes constructs a whole flashback not just around the origin story of the nun, but also of the villains–and the Spectre gets to show up. Sort of.
The rest of the issue just isn’t long enough. Fawkes has the nun and another cop with a couple possessed kids at home, then Corrigan and the bean counter (who, surprisingly, isn’t regular cast yet) fighting the big bad of the issue. The action gets the emphasis, but one wants to see Templesmith do it all.
Fawkes has his bumpy moments, but Gotham by Midnight’s really compelling.
We Will Not Rest; writer, Ray Fawkes; artist, Ben Templesmith; letterer, Dezi Sienty; editors, Dave Wielgosz and Rachel Gluckstern; publisher, DC Comics.
There’s a somewhat pointless plot twist at the end of this issue. It’s sensational, when the writers haven’t actually set up a point for it. They aren’t asking profound questions or making profound statements, they’re actually just making fun of their villain.
Which is, to some degree, a Batgirl thing to do.
Until that point, the issue is pretty good. There’s too little interaction between Barbara and Dinah though. Stewart and Fletcher use Dinah–to good effect–for comic relief, but they don’t have her functioning as a real character, which hurts this issue. Especially at the end when she pops in just because they need snark.
There’s some rather nice art from Stewart and Tarr during Batgirl’s action sequences too. Lots of foreground and background information important to the panel; they’re a good team.
It’s a rather well-executed comic, with lots of great moments… and a weak conclusion.
Double Exposure; writers, Cameron Stewart and Brenden Fletcher; pencillers, Stewart and Babs Tarr; inker, Tarr; colorist, Maris Wicks; letterer, Jared K. Fletcher; editors, Dave Wielgosz and Chris Conroy; publisher, DC Comics.
Okay, so G.I. Zombie is kind of lame when he’s on his own. Not the comic, but the character. When he’s running around this issue, talking to himself, it’s really lame. If Gray and Palmiotti want to have some reason he speaks to himself in expository dialogue, they should introduce it. His origin is still in question… if he’s a motormouth, so be it. But establish it.
Otherwise, not much happens in the issue. The army shows up and the zombie crisis gets contained to some degree. The better stuff is with G.I. Zombie’s partner, Carmen. She’s got the flashback at the beginning of the issue, she’s the one who gets to find the domestic terrorists’ amazing Bond villain base.
There are some decent moments with G.I. Zombie, but the writers put too much emphasis on his lame dialogue and not enough on his experiences in the issue.
Exit Strategy; writers, Jimmy Palmiotti and Justin Gray; artist and colorist, Scott Hampton; letterer, Rob Leigh; editors, David Piña and Joey Cavalieri; publisher, DC Comics.
I still don’t know why I like Star Spangled War Stories so much. Maybe it’s because of Gray and Palmiotti’s pace. This comic–featuring the cast of “Duck Dynasty” unleashing a zombie plague on the United States (the rural United States)–moves at a breakneck pace. About the only time it calms down for a moment is when G.I. Zombie’s partner, whose name I don’t remember, stops at a diner and there’s character development between her and a domestic terrorist whose organization she’s infiltrated.
Otherwise, it’s all action. Only it’s G.I. Zombie running through this small town, trying to help people–Gray and Palmiotti establish the characters and settings quickly (sometimes during action sequences) but they still stick.
It’s kind of like a monster movie from the fifties, only with a lot of action and some very modern sensibilities.
Plus, the strangeness of Hampton doing big action still works wonders.
Small Town Welcome; writers, Jimmy Palmiotti and Justin Gray; artist and colorist, Scott Hampton; letterer, Rob Leigh; editors, David Piña and Joey Cavalieri; publisher, DC Comics.
Thanks to Ben Templesmith’s art, Gotham by Midnight works a lot better than it should. A lot of Ray Fawkes’s dialogue is generic cop show stuff, but Templesmith has a way of visually rushing some of the conversations through how he positions the characters. In other words, he makes the problem spots shorter than they’d otherwise be… and it helps immensely.
Some of this first issue plays like Templesmith’s famous, mysterious (and unfinished) cop comic Fell. It does not seem unintentional. The story beats for the first few pages read like a remake.
Fawkes introduces a bunch of characters and a lot of story. The final investigation sequence is a little rushed–in the script, not the art–because Fawkes has an idea for an effective cliffhanger. It’s a little forced, but once the comic switches into full procedural mode, a lot of the seams start showing anyway.
We Do Not Sleep; writer, Ray Fawkes; artist, Ben Templesmith; letterer, Dezi Sienty; editors, Dave Wielgosz and Rachel Gluckstern; publisher, DC Comics.
It’s another solid issue, with Babs stumbling onto a crime on campus. Stewart and Fletcher also introduce a few more supporting cast members–the issue ends with a sitcom-like tag with all of them, sans Dinah, who’s clearly a guest star. It gives Batgirl a nice feel, though the more impressive stuff comes just before.
Babs’s investigation leads her to a showdown with the bad guys, which is the second action scene in the comic. Between two action scenes and a lot of character stuff for Babs–not to mention Batgirl investigating–it’s a full comic book. The plotting is fantastic.
And, slowly, it’s starting to come together. Stewart, Fletcher and artist Tarr are trying really hard to establish Batgirl as a hip, yet incredibly competent comic book. Unfortunately, Babs is the single aspect of the book without a lot of character yet. She’s indistinct; getting better, but indistinct.
Tomorrow Cries Danger; writers, Cameron Stewart and Brenden Fletcher; pencillers, Stewart and Babs Tarr; inker, Tarr; colorist, Maris Wicks; letterer, Jared K. Fletcher; editors, Dave Wielgosz and Chris Conroy; publisher, DC Comics.
Either the reader is going to buy into Gaiman’s setup for this issue or the reader is going to reject it. Even before Gaiman gets into the “meat” of the issue, which is basically a lengthy monologue from Dream about the importance of Death. Both as a natural event and as Dream’s sister.
The issue opens with them seeing each other for the first time after Dream’s escape from captivity and his quest. Gaiman goes really far on the self-aware dialogue, using Death to expound on the comic book and on its protagonist.
He also goes with an inanely cheap ending; many of Sandman’s worst moments are just ones cribbed from Alan Moore’s Swamp Thing (without any of the context).
Once again, Gaiman does a montage of regular people who he doesn’t care about. It’s slightly less tedious than the overdone immortal sibling dialogue.
Dringenberg’s art annoys too.
The Sound of Her Wings; writer, Neil Gaiman; penciller, Mike Dringenberg; inker, Malcolm Jones III; colorist, Robbie Busch; letterer, Todd Klein; editors, Art Young and Karen Berger; publisher, DC Comics.
Ah, the big fight issue. Doctor Destiny versus Dream for control of the Dreamworld. Or whatever it’s called. After the two stand-off in the diner, after some glimpses of the world going mad, Doctor Destiny has a trippy dream he’s Caesar and then the big fight. It’s the two of them against a white background. Not the most visceral setting for a comic book fight scene.
Gaiman has a lot of problems trying to make this issue work as a comic. He’s so wrapped up in traditions, he doesn’t just not do anything new, he doesn’t do anything worthwhile. The glimpses to the world gone mad don’t create concern, they create distance.
Dringenberg’s pencils don’t help things. The awkwardly proportioned figures change throughout, without rhyme or reason. Sandman gives the pretense of thoughtfulness and depth, but it’s generic.
There’s no sense of scale or character. Gaiman avoids writing Dream.
Sound and Fury; writer, Neil Gaiman; penciller, Mike Dringenberg; inker, Malcolm Jones III; colorist, Robbie Busch; letterer, Todd Klein; editors, Art Young and Karen Berger; publisher, DC Comics.
The issue takes place over a day at a diner. Doctor Destiny is trying to bring about the end of the world and he traps a bunch of people in the diner and slowly drives them mad. Or not slowly.
Gaiman makes the characters distinct, horrific, pitiable. He doesn’t have time to establish them as sympathetic so he doesn’t even try. Some of them he plays for laughs, others for shock value. Dringenberg takes over the pencils; he doesn’t do a particularly good job. There’s no personality to the art, especially not in the horrific scenes. Some of the talking heads stuff is decent.
The issue feels so derivative, so manipulative, it starts to get boring before the halfway point. Gaiman’s using sensational human suffering. Even when he writes a good scene, it’s still just a cheap trick in a bridging issue.
All to avoid giving Doctor Destiny a personality.
24 Hours Diner; writer, Neil Gaiman; penciller, Mike Dringenberg; inker, Malcolm Jones III; colorist, Robbie Busch; letterer, Todd Klein; editors, Art Young and Karen Berger; publisher, DC Comics.
Gaiman’s strings show a little too much this issue. The Justice League guest stars–well, just Martian Manhunter and Mister Miracle. Turns out while Dream was away, someone became a supervillain with one of his gadgets. It ties things into the DC universe a little too much. There’s a great bit where Mister Miracle is dreaming of Apokolips and Kieth and Malcolm Jones III do a fantastic Kirby homage.
But most of the issue is this supervillain kidnapping a housewife and having her drive him to the location of this gadget. It’s in Justice League storage, which is just a storage unit somewhere. No security. It’s idiotic, but fits the issue, where Gaiman goes the predictable route every time.
He does have a handle on the humor. And, oddly enough, Dream barely narrates. It’s like Gaiman doesn’t want him to distract from the winks back to previous comics.
Passengers; writer, Neil Gaiman; penciller, Sam Kieth; inker, Malcolm Jones III; colorist, Robbie Busch; letterer, Todd Klein; editors, Art Young and Karen Berger; publisher, DC Comics.
Dream goes to Hell, which requires the Demon as a guest star. Gaiman doesn’t have anything for him to do, past rhyme a little for the protagonist and cause some mischief. It’s a pointless cameo, though Kieth and Dringenberg do fine on the Demon. They don’t do so well later, when they have to draw every demon in Hell. Actually, they do fine on the demons… they lose their hold on Dream at that point. He feels too out of place.
The issue has maybe the most narration from Dream so far and it gets tedious. He needs to outwit the demons of Hell with riddles and so on. Intentionally or not, Gaiman’s so sincere he doesn’t have any wit. It’s all very heavy and very boring.
Just when things should pick up in the second half, the comic slows, getting more tedious. So far, Dream’s boring as a lead.
A Hope in Hell; writer, Neil Gaiman; pencillers, Sam Kieth and Mike Dringenberg; inker, Dringenberg; colorist, Robbie Busch; letterer, Todd Klein; editors, Art Young and Karen Berger; publisher, DC Comics.
Dream’s quest brings him into a John Constantine story–and with Constantine comes a return of Kieth’s improbably proportions for people’s legs–but it’s the strongest issue so far. Gaiman writes Constantine really well, with enough nods to his adventures and the DC universe but never to the point he’s just filling in.
And having Constantine and Dream team-up gives the reader a somewhat human perspective on the fantastical things in the issue–especially since Constantine doesn’t know about Dream. He’s experiencing these things for the first time too.
It’s also nice how Gaiman doesn’t go too far outside the issue’s narrative. He doesn’t work on subplots, just the particular quest experience for Dream and Constantine’s strange encounter. It feels more cohesive, but it also feels a lot more organic. Gaiman’s not trying too hard.
Other than the stumpy legs, Kieth and Dringenberg do really well on the art.
Dream a Little Dream of Me; writer, Neil Gaiman; pencillers, Sam Kieth and Mike Dringenberg; inker, Dringenberg; colorist, Robbie Busch; letterer, Todd Klein; editors, Art Young and Karen Berger; publisher, DC Comics.