Fascination Place

• Countdown to Final Crisis #12 of 52 (backwards), by Paul Dini, Justin Gray, Jimmy Palmiotti, Keith Giffen, Jesus Saiz & Tom Derenick (DC)
• Fables #69, by Bill Willingham, Mark Buckingham & Steve Leialoha (DC/Vertigo)
• Justice Society of America #12, by Geoff Johns, Alex Ross, Dale Eaglesham & Ruy José (DC)
• Metal Men #6 of 8, by Duncan Rouleau (DC)
• Annihilation Conquest #4 of 6, by Dan Abnett, Andy Lanning, Tom Raney & Scott Hanna (Marvel)
• Clandestine #1 of 5, by Alan Davis & Mark Farmer (Marvel)
• The Twelve #2 of 12, by J. Michael Straczynski, Chris Weston & Garry Leach (Marvel)
• The Boys #15, by Garth Ennis & Darick Robertson (Dynamite)
• Dynamo 5: Post-Nuclear Family vol 1 TPB, by Jay Faerber & Mahmud A. Asrar (Image)

	This month’s Fables concludes the latest lengthy story in the series, “The Good Prince”. In it, Flycatcher, the erstwhile janitor of Fabletown in New York (and for that matter the frog prince), dons some magical armor and, guided by Sir Launcelot, helps guide a group of Fables out of the lands of the dead, and sets up the kingdom of Haven and invites refugees from the Empire to find shelter with him. At the end of last issue, the Emperor sent a huge army of his forces to destroy Haven, and the prince goes out to meet them, expecting to defeat them to save his kingdom, but die in the process. “The Good Prince” isn’t the best story in the series, but I genuinely enjoyed watching Flycatcher’s turnaround from guilt-ridden janitor to earnest leader (who reminds me a little of the Lama from Doctor Strange #66, but that’s neither here nor there). Writer Bill Willingham continues to artfully shift the status quo of the series, and the balance of power between Fabletown and the Empire. I’m not sure I’d go so far as to say that Fables is the best comic being published todayl, but it’s in my top ten. By the way, the book’s secret - well, really unheralded - weapon is penciller Mark Buckingham, who’s quietly become one of the most inventive and versatile artists working on a major comic: He can handle a wide range of emotions and faces, as well as all the fantastic elements Willingham can throw at him, while having fundamentally good storytelling skills and some smooth, skillful linework. Good stuff.
	Alan Davis’ Clandestine first came out in the mid-90s. At first it was about a family of colorful characters - not quite superheroes - and the mystery regarding who they were and how they came to be. It wasn’t a huge mystery: The Destine family (the “clan Destine”, geddit?) are all children of Adam Destine, an immortal, indestructible man born centuries ago, and whose children are similarly long-lived and each have their own amazing powers. The series was a lot of fun, but didn’t last long, only 12 issues plus a crossover with the X-Men. (The whole thing will soon be reprinted in hardcover, and has previously been issued in paperback.) Ten years later, Davis’ family is back in a new 5-issue limited series. This first issue is a pretty good summary of the family, their background and powers, and their various problems and conflicts. In particular, some of them have a strong sense of family ties, while others do not, but they all feel bound together in various ways. Adam is not much of a patriarch, being so long-lived that he feels and acts a little inhuman, and the family often views him with suspicion since he once killed one of his children, even though the child was apparently a huge threat. Like the first series, this one looks like it’s going to involve the family going up against another secret organization which has their sights set on them. So I do worry that it’s going to be a bit repetitious. But Davis’ art is always terrific - dynamic and colorful - so I expect it will be entertaining in any event. I do recommend checking out the first series and then trying this one if you like it.
	I’d been reading good things about Dynamo 5, Jay Faerber’s latest project. But I hadn’t been moved to buy the monthly comic because I’d been reading his other comic, Noble Causes, since the beginning, and a few mini-series and the first 12 or so issues of the monthly in, I’d realized that it was a comic about a bunch of thoroughly unlikeable characters, with haphazard and often-nonsensical story developments, and artwork of extremely varying quality. So I’d bailed on it. But Dynamo 5 had been getting such good reviews, that I decided to give the first paperback collection a try this week. It’s way better than Noble Causes. The premise is that a major superhero, Captain Dynamo, had died a few years ago, and his widow, Maddie Warner, learned that he’d been sleeping around a lot over the last few decades. Worried about the welfare of the city he’d protected, she tracked down five children his liaisons had produced and activated their latent powers. It turns out that each of them had one of the Captain’s powers: Strength, flight, vision powers, telepathy, and shapeshifting. This collection contains the first 7 issues. The first issue gives us the set-up, and ends with Maddie revealing a secret to the readers (although not to her proteges). The remaining issues are a loosely-related set of stories in which the heroes adjust to one another and to their new roles. But Faerber does a great job of setting up conflicts and tensions among the characters, most of whom are in their late teens or early 20s, and from very different backgrounds. Artist Mahmud Asrar is a good find, handling the superhero scenes quite well, and doing well enough at the civilian/talking heads scenes (although he’s not quite as comfortable with those, it seems). The collection ends with a big two-part story, and a surprise on the last page. Faerber seems much more adept at pacing Dynamo 5 than Noble Causes, and I’m not sure why that is. Noble Causes did have a big challenge built into it, since so many of the characters were such scumbags, and maybe getting the reader to identify with them was just more than he was able to accomplish. (Well, getting this reader to identify with them; NC’s regular series is still running so obviously some people enjoy it.) The characters here are likable even though they’re flawed, and the high concept feels easier to plug in to. The book has a bit of the feel of Robert Kirkman’s Invincible to it, although it’s not so iconoclastic. So I’m definitely interested in coming back for the second volume. I’m not sure I’ll latch onto the monthly series, though.

• Countdown #38 of 52 (backwards), by Paul Dini, Jimmy Palmiotti, Justin Gray & Jesus Saiz (DC)
• Fables #64, by Bill Willingham & Aaron Alexovich (DC/Vertigo)
• Annihilation Conquest: Wraith #2 of 4, by Javier Grillo-Marxuach & Kyle Holz (Marvel)
• The Incredible Hulk #109, by Greg Pak, Carlo Pagulayan & Jeffrey Huet (Marvel)
• Nova #5, by Dan Abnett, Andy Lanning, Sean Chen, Scott Hanna & Brian Denham (Marvel)
• The Clockwork Girl #0, by Sean O’Reilly, Kevin Hanna & Grant Bond (Arcana)
• B.P.R.D.: Killing Ground #1 of 5, by Mike Mignola, John Arcudi & Guy Davis (Dark Horse)
• Invincible: Ultimate Collection HC vol 3, by Robert Kirkman, Ryan Ottley & Cliff Rathburn (Image)

Aaron Alexovich’s art on the latest Fables is interesting: it’s reminiscent of Sam Keith’s: Very expressive, somewhat cartoony. I like it in many ways, but I don’t think it works very well for Fables, which even when it’s being lighthearted is pretty weighty. Otherwise this is a pretty fun issue, focusing on Snow and Bigby and the cubs’ fifth birthday. (Wow, 5 years old already?) Alexovich’s strength is drawing the rather dynamic children, which surely is why he was picked for this issue.

Both Annihiliation Conquest issues this week (Wraith and Nova) ratchet up the tension pretty nicely. This is a fun crossover series. Would that all corners of the Marvel universe tried to be fun.

The Clockwork Girl looks promising: #0 is a preview issue costing 25¢. It looks like this will be a series about two inventors, one who creates biological wonders, and one who creates mechanical ones. There isn’t enough story in this preview to judge how it’s going to work, but it’s a good start. Grant Bond’s artwork is quite strong: Very expressive faces, solid layouts, inventive designs. The production values are quite high for a small press, too. I’m looking forward to the regular series.

But don’t take my word for it: you can read this issue on-line (PDF).

I’m debating whether I want to start buying Invincible monthly. It’s handy to be able to read 12 issues at a pop whenever the hardcover collections come out (and on a cost basis they’re about as expensive as the paperbacks, only more durable and with larger pages). I’m very impressed with how Ryan Ottley is developing as an artist: He’s incorporating some Frank Cho-like form and detail, but he’s much better at action sequences and emotions than Cho (not to mention that his women don’t all look alike). His web page is cool, too.

It might not be “the best superhero comic book in the universe”, but it is fun stuff.

• Countdown #42 of 52 (backwards), by Paul Dini, Sean McKeever, Tony Bedard, Carlos Magno, Mark McKenna & Jay Leisten (DC)
• Fables #63, by Bill Willingham, Mark Buckingham and Steve Leialoha (DC/Vertigo)
• Justice Society of America #7, by Geoff Johns, Dale Eaglesham, Ruy José and Rodney Ramos (DC)
• Nova #4, by Dan Abnett, Andy Lanning, Sean Chen, Scott Hanna, & Brian Denham (Marvel)
• B.P.R.D.: Garden of Souls #5 of 5, by Mike Mignola, John Arcudi & Guy Davis (Dark Horse)

Chris Sims thinks the current Fables storyline might be its best yet, and I think he’s on to something: “The Good Prince” is turning out to be quite excellent, and you can just tell that it’s not going to end well (Willingham isn’t exactly Mr. Happy when it comes to his storylines). The book went through a bit of a lull when Bigby Wolf and Snow White were off-panel, since they’re the heart of the series, but this storyline combines a large scope with small character bits, and you can’t ask for more than that. Fables has been one of the best comics published for years now, and though it’s not everyone’s cup of tea, it’s definitely a must-check-out.

JSA #7 is getting more attention in the blogosphere due to Crotchgate than anything else. The series otherwise continues to be solidly middle-of-the-road: Enjoyable but uninspiring stories, solid but unexceptional artwork, not much in the way of direction. It feels overall more like the 1980s series All-Star Squadron more than anything else, only not quite as good on any front.

Nova is taking a few months out to cross over with Annihilation: Conquest. While the art is excellent (Brian Denham does a great Sean Chen impression on the pages he fills in on), I worry that it’s going to lose the great character bits that made the first three issues so good. On the other hand, the issue ends on a cliffhanger that suggests Abnett and Lanning are taking an intriguing way to take a time out from the regular series. So it might all work out.

I still can’t get over just how good Chen’s artwork is, though. How has Marvel not put in the effort to turn this guy into their biggest star?

On the one hand, the B.P.R.D. chain of mini-series is taking forever to develop its ongoing storyline. On the other hand, some of the detours are pretty entertaining, and this is one of them: An ancient cadre of scientists with a plan to change the world, and a connection to Abe Sapien’s past life. I often think of giving up on B.P.R.D., but it’s still entertaining and pretty consistent, so I keep reading.

Once again, it’s last week’s haul this week. And once again, it’s a small one:

• Countdown #47 of 52 (backwards), by Paul Dini, Sean McKeever, & Tom Derenick (DC)
• Jack of Fables #11, by Bill Willingham, Matthew Sturges & Steve Leialoha (DC/Vertigo)
• Welcome to Tranquility #7 by Gail Simone, Neil Googe & Stephen Molnar (DC/Wildstorm)
• Ms. Marvel #16, by Brian Reed, Aaron Lopresti & Matt Ryan (Marvel)

The blogosphere has been abuzz about Countdown, and the trend doesn’t seem to be good. The Invincible Super-Blog hates it (my preciousssss…), while Living Between Wednesdays thinks it’s okay. Meanwhile, Comics Should Be Good quotes Jerry Ordway on the darkening of Mary Marvel; Ordway was the architect of SHAZAM!’s most recent successful revival, and he isn’t wild about what they’re doing (and I can certainly see his point). Lastly, Comix Experience observes that orders at their store for Countdown are plummeting quickly.

I’m pretty much with Rachelle at LBW: It’s entertaining, it’s not as good as 52. But then, we’re only 5 weeks in, and I don’t reall the first 5 weeks of 52 being any great shakes, either. (BTW, I’ve heard rumors that Countdown will lead into something called Final Crisis, which is alluded to in the current JLA/JSA team-up. But if you think I believe the word “Final” will actually play true, then I’ve got an abandoned satellite headquarters to sell you…)

This issue of Jack of Fables is my last. It hasn’t fund the balance of characters and storylines that Fables did, and this issue shows just how thoroughly unlikeable Jack is as a character, and why he therefore can’t really carry the series. Which is unfortunate, since it’s his series. I gave it a good try, but it doesn’t work for me.

It’s slowly sinking in that Welcome to Tranquility reminds me of nothing so much as Alan Moore’s enjoyable run on Supreme from a decade or so back: The old super-heroes in the present day, the new generation, the occasional old-style flashbacks to previous adventures, and the hint of kitsch in the characters’ catch-phrases. A deliberate homage? Hard to say, since Moore’s approach to superheroes and their legacies is pervasive in modern comics, between Watchmen, Supreme and Tom Strong. Tranquility is a little weird since its characters are so mostly pretty far afield of the archetypes we’re used to (well, that I’m used to), so there’s no real sense of nostalgia but there’s a strong sense that there should be.

I’m not really sure what to make of the total package: There are things I like, and things I don’t, and the whole is strange and off-beat, but doesn’t feel fresh or entirely satisfying. Is Simone just nutty in a different way from your typical comics writer (and since your typical comics writer is a man, the answer is probably “yes, and that’s a good thing”), or is Tranquility just an experiment that doesn’t quite gel? Maybe both.

• 52 #48 of 52 (DC)
• Jack of Fables #9 (DC)
• Welcome to Tranquility #s 4 and 5 (DC/Wildstorm)
• The Incredible Hulk #105 (Marvel)
• Ms. Marvel #14 (Marvel)
• Invincible: Ultimate Collection vol. 1 HC (Image)

This week’s 52 may be the most muddled issue of the series. I couldn’t figure out what was going on, or why I should care. Didn’t they finish up the Intergang stuff months ago? Bleah.

My Dad I think summed up my feelings about Jack of Fables best in an e-mail: “When it was dealing with the group that captured him, it was pretty good, but when it’s just about his jerky self, not too hot.” Jack really is a jerk, and actually no one in the series is really someone you can root for. And the art is pretty so-so. I don’t think I’ll be buying it much longer.

“Planet Hulk” ends this month, and it’s just interesting enough that maybe I will pick up World War Hulk this summer.

I’ve been curious about Invincible for a long time now. The premise is that the hero is the son of a Superman-type figure who got married and had a kid, and Invincible inherits Omni-Man’s powers. (I’ve been spoiled and know that there’s more to it than that, but that’s the crux of the premise.) I did the math and it turns out that buying the Ultimate Collection hardcovers is about the same price as buying the trade paperbacks, and the hardcovers are, well, hardcover, not to mention using larger pages. Hence I went for the hardcover.

I’m about 4 issues into the volume so far, and it’s quite good. Robert Kirkman’s wry sense of humor brings a welcome levity (and reality) to what in many ways is a silver age comic series updated for the modern day. On the downside, the characters are pretty thin: The heroes are defined almost entirely by their powers, and the supporting cast have basically no personality. There’s no depth. Maybe that will change over time (I think the series has run more than 30 issues so far). Considering the series so far feels like a father/son series mixed with a coming-of-age story (and fortunately without the wacky hijinks that often accompany the “teenager discovers he has super powers” yarns these days, such as those which plagued Spyboy), it could benefit greatly from deeper characterization (but then, what story couldn’t?). Artist Cory Walker has a great sense of form and dynamism, but he could use an inker who could lend some complexity and (there’s that word again) depth to his layouts, as the art is often too spare for my tastes.

But overall, this one looks like a winner. The second collection is already out, and the third is due out this summer, so they ought to keep me busy for a while. Hopefully it gets better as it goes along.

Once again, really last week’s haul, but I haven’t had time to update ’til now:

• Fables #59 (DC/Vertigo)
• 52 #47 of 52 (DC)
• Wonder Woman #6 (DC)
• Half Dead PB (Marvel/Dabel Brothers)
• Unique #1 of 3 (Platinum Studios)

Fables this month answers 11 questions from readers about little details from the series so far. It’s basically an excuse for Bill Willingham to be (by turns) snarky, funny, or cute. One of the series’ fluffier issues, but entertaining.

Novelist Jodi Picoult starts writing Wonder Woman with #6. (I’m not sure what’s going to happen to the conclusion originally slated for #5, which instead was a ill-in issue.) Although much-anticipated (perhaps because of the long delays that dogged her predecessor Allan Heinberg’s run), this issue is in its way just as heavy-handed as the fill-in. I appreciate that Picoult is bringing the focus back to Diana trying to learn what it’s like to live as a more-or-less normal person in America, but her complete ignorance of how things such as pumping gas work is just painful to read, and not at all fun. Plus it undercuts the growth she’s seen as a character since she was rebooted in the 80s under George Perez. The characterization of Nemesis is also pretty annoying: He’s crass and rather buffoonish. All of which makes me wonder whether the Department of Metahuman Affairs actually screens their employees at all.

Drew Johnson’s art is a little too cartoonish for my tastes, and unfortunately just lends more weight (as it were) to the heavy-handed elements of the story. This is the first issue of (I think) a 5-part story, so it ends on a cliffhanger involving Circe (again??). Unfortunately what I really wish is that they’d take the spy elements and make them the center of the story. An updating of the “Diana Rigg” Wonder Woman of the 1970s could be genuinely different compared to what she’s been recently. Instead this new series has been a muddle so far, and Picoult’s debut issue doesn’t indicate that it’s going to get any better. But at least it ought to be on time.

The Dabel Brothers are the publishers bringing us the adaptations of Laurell K. Hamilton’s Anita Blake series, and the prequel to Stephen King’s Dark Tower. This doesn’t, to me, spell “artistically adventurous”, but something about Half Dead cause me to order this collection of the 5-issue series. Written by Barb Lien-Cooper and Park Cooper, it takes place in a world where vampires are real, and where they signed a detente with the world governments, and had their ability to create new vampires chemically neutralized. Of course, technology being what it is, they’ve figured out a way around this, and some groups are now creating the “half dead”, who are partly vampires. Our herone is Romany, a dancer who is turned into a half dead, and who is employed by the British government to hunt down and kill her own kind.

The book has a frenetic pace and is loaded with interesting little ideas, but it doesn’t explore them in much depth and doesn’t feel very consistent, instead going for the sudden dramatic turns of events. So it doesn’t hold together that well as a story, but it’s still fairly entertaining. Jimmy Bott’s artwork reminds me a lot of that of the Luna Brothers in its simple linework and frequently-nondramatic layouts (neither of which I think are bad, truth to tell). It’s not a top-notch book, but it’s not bad. If the writing improved, I’d consider buying a sequel.

I appreciate Dean Motter’s existence in the industry: His graphic sensibility, his sparse approach to writing, he’s been both influential and novel. Unfortunately, Unique isn’t his best stuff: It’s a haphazard parallel-worlds story in which people who only exist in one world can sometimes move between worlds. But neither the concept nor the story seem to have much structure, and Dennis Calero’s art makes the book feel too dreamlike, with its sparse - often absent or at least generic - backgrounds. The first issue is pretty routine set-up material, so there’s not, as yet, any there there. I’m not sure I’ll stick around to see what’s there when we get there.

(For what it’s worth, I think Motter’s best work is Terminal City. It doesn’t hurt that I think Michael Lark is a terrific artist and did a better job of bringing Motter’s architectural vision to life than any of his collaborators on Mister X or Electropolis did.)

• 52 #43 of 52 (DC)
• Jack of Fables #8 (DC/Vertigo)
• Justice #10 (DC)
• Welcome to Tranquility #1-3 (DC/Wildstorm)
• Eternals #7 of 7 (Marvel)
• The Secret History #1 of 7 (ASP)

Despite a cover featuring Animal Man, 52 #43 mainly focuses on the Black Adam Family, which is my least-favorite storyline in the series. Bummer.

I’m starting to think that Jack of Fables just isn’t going to get very good. Jack is a one-note character, and not at all a likeable one, and the series has yet to cohere around an interesting plot or supporting cast. I wonder how it’s doing in sales?

Welcome to Tranquility has gotten some good word-of-mouth, so I gave it a try. It’s written by Gail Simone, who’s ended up in my consciousness as one of those “decent wordsmith, nothing in particular to attract me to her books” writers, similar to Geoff Johns and Greg Rucka (and ahead of Brian Michael Bendis and Mark Millar), but not as distinctive as Grant Morrison. That said, I’ve never actually read anything by her, so it’s just purely word-of-mouth.

Tranquility is a town which serves as a retirement home for old superheroes, but which also houses their children and grandchildren. The Sheriff, Thomasina, tries to hold things together, while a documentary filmmaker, Collette, shows up just in time to see things start to fall apart, as an old-time detective-hero, Mr. Articulate, is murdered. The town is also on edge because it houses the children and grandchildren of the old heroes, and the generations don’t see things the same way.

The book feels in some ways like Alan Moore’s take on Supreme with its nostalgia for these alternate heroes, while they’re still very much among us. But there’s more of a feeling of “days gone by and they’re not coming back” than in that book (which is more about successfully restoring the glories of yesteryear), and a lot of that feel that the characters are stuck in Tranquility and they’re not going to get out. The three issues so far are mainly setup, with some investigation into the basic mystery. There are some nifty characters, especially Maximum Man (a Captain Marvel type character who’s forgotten his magic word and spends all his time trying to remember it) and the Emoticon, who wears a mask which displays smileys.

Neil Googe’s art at its best is reminiscent of Chris Sprouse, but his figures occasionally go all cartoony, which wrecks the book’s atmosphere. It’s right on the edge of being a style I can really enjoy, but I wish he’d nudge it into a more realistic direction.

Overall, it’s not a bad start.

Eternals wraps up Neil Gaiman’s second series for Marvel. 1602 was a lot better. I’m not a big fan of John Romita’s artwork (and his depictions of San Francisco are atrocious), and the painted covers are also pretty bad. It ends up being one of those “character discovers he’s really a superhero and loses all of his personality” stories, so I’m not sure what the point was.

Archaia Studios Press continues to crank out good books, this time The Secret History, written by Jean-Pierre Pécau and drawn by Igor Kordley. It’s the story of four immortal siblings who each possess a runestone which gives them great powers and who basically don’t like each other. It’s not a real novel premise, but if it successfully reveals the characters over its seven issues, it ought to be pretty entertaining. The first issue focuses on the events surrounding Moses and the Jews’ departure from Egypt, and is lively with some thoughtful moments, mainly surrounding Erlin, who possesses the rune of the Shield, and who seems like a responsible and philosophical person who regards the mortal Moses as a trusted friend. I’ve seen Kordley’s art a couple of times before, but he really does a great job depicting large battles and realistic landscapes. It’s too soon to call this an unqualified winner, but I enjoyed it and I’m looking forward to more.

As a final note, I decided this week to stop buying the Jack Staff monthly comic, and switch to reading it in the collections. Paul Grist’s storytelling style isn’t well-suited to a periodical, and I’m finding that the overall stories take a long time to get anywhere (and sometimes I’m not sure where they’ve actually ended up). Basically, Grist’s writing just isn’t tight enough for my tastes

• 52 #39 of 52 (DC)
• Jack of Fables #7 (DC/Vertigo)

  For some reason the 2-part story begun in #6 is suspended and a 4-part story involving Las Vegas is being dropped into the middle. Weird. Doesn’t work very well as a storytelling structure, either.

• Ex Machina #26 (DC/Wildstorm)

  It looks like this book is about to get moving: One of the mysteries has been how Mitchell Hundred, the mayor of New York, acquired his power to talk to machines. I suspect writer Brian K. Vaughan has been dropping little hints here and there, but the pacing has often been too slow to keep me watching for them. It looks like things may be coming to a head, as a mysterious character - probably from a parallel world - appears in this issue.

  While the series’ general approach of putting a unique individual in a unique position and using him as a spokesperson for a certain point of view (political and otherwise), it’s always felt to me like that’s just the way of getting us to the real story: Mayor Hundred and his powers, as the only superhuman in his world. If this is the main arc finally taking off, then I’m really looking forward to it.

• Ms. Marvel One-Shot (Marvel)

  A basically unnecessary story a kid who can alter reality, and how a bit of our heroine’s past is pulled out to confront her. There’s nothing here to care about: Move along.

• Archaic: Rule of the Deviant TPB (Fenickx)

  Well, this was… odd. It’s billed as a “dark fantasy”, which is about right: A cruel tyrant is rising to power in a fantasy land, and he kills one of his nephews and imprisons the other, while his grand-nephew escapes as an infant to become a potential threat. It’s sort of like George R. R. Martin’s A Song of Fire and Ice crossed with gothic fantasy.

  While stylishly done, it’s got a lot of rough edges: Writer James S. Abrams can write some pretty good scenes, but it’s difficult to assemble them together into a coherent ongoing story: It seems like there’s a lot left unsaid, and the characters’ motivations often seem inscrutable or mercurial. Artist Brett C. Marting has a style similar to Jae Lee with maybe a little bit more Image Comics influence, but some of the panels are so dark it’s difficult to tell what’s happening.

  The creators’ commitment to the series (which is up to six issues so far, of which the first three are collected here) is laudable, but I think it would be much improved with a focus on character rather than spectacle, and some clearer layouts on the art side.

• Aquaman: Sword of Atlantis #47 (DC)
• Fables #56 (DC/Vertigo)
• 52 #33 of 52 (DC)
• Red Menace #2 of 6 (DC/Wildstorm)
• Supergirl and the Legion of Super-Heroes TPB vol 3: Strange Visitor From Another Century (DC)
• Fantastic Four #541 (Marvel)
• Ms. Marvel #10 (Marvel)
• Athena Voltaire: The Collected WebComics (Ape Entertainment)

Writer Kurt Busiek ad artist Butch Guice will be leaving Aquaman after #49, replaced by fantasy writer Tad Williams and artist Shawn McManus. This probably means that Busiek’s ongoing mysteries will either not be revealed, or will be revealed abruptly and rather lamely, which is a pity, since this storyline has really been all about the payoff. That said, I’ve been a fan of McManus’ art since his terrific work on Todd Klein’s Omega Men about 20 years ago, so his presence here may keep me reading the title after Busiek leaves.

Fables is a nifty little Christmas story. Willingham always seems to have a surprise up his sleeve. How does he do it?

Supergirl and the Legion of Super-Heroes is the third collection in Mark Waid and Barry Kitson’s reboot of the Legion title (you can also buy volumes one and two). The conceit in this volume is that Supergirl has somehow ended up in the 31st century, but has no memory of how she got there, and also believes that she’s dreaming it all. This makes her a little reckless, but she’s also powerful enough that it doesn’t really matter, although it does really annoy Light Lass. This is an enjoyable series with pretty good characterization, although the roster is so big that some characters get lost in the shuffle. Plus I really hate Supergirl’s bare-midriff costume, but that’s not Waid and Kitson’s fault, as it was foisted on them when the character was most recently relaunched.

I’m an old-old school Legion fan, and feel it went steadily downhill following the long-ago Ultra Boy/Reflecto story from the late 70s. And especially since Crisis on Infinite Earths it hasn’t had that special feeling that the original Legion had. But - much like Aquaman - DC keeps trying and many of their tries are worth reading, for a while, anyway. This is one of them. My biggest criticism is that I still find Kitson’s characters’ poses and expressions to be rather stiff.

Fantastic Four #541 is J. Michael Straczynski’s last as writer. It hasn’t been a distinguished run, but then he did have the handicap of having to write around the Civil War debacle. Straczynski’s basic problem in his Marvel work has been that he focuses so much on character that there’s not a whole lot of story, and it gets pretty boring. (His Squadron Supreme series is about two years old now and very little has happened.) Anyway, he finishes his run with a standalone story about the Thing leaving the US to avoid taking sides in the Civil War, and he ends up joining a French superhero team. It’s funny, which is a suitable departure for JMS, who seemed happiest on this title when he was writing about Ben Grimm.

I haven’t yet read the Athena Voltaire collection, but will probably get to it before Christmas.

• Fables #55 (DC)
• 52 #27 of 52 (DC)
• Eternals #5 of 6 (Marvel)
• Rex Mundi Book One: The Guardian of the Temple (Dark Horse)
• Luba: Three Daughters (Fantagraphics)

Fables presents a scenario where the humans would totally conquer the homelands - if only they knew about them, which they would, if the Emperor decided to invade Earth. Pretty neat point-counterpoint stuff.

Eternals is Neil Gaiman’s latest project for Marvel, illustrated by John Romita Jr. It’s a pretty straightforward riff on some obscure Jack Kirby characters: Immortal godlike beings who were left on Earth by even more powerful beings to safeguard it for their return. The Dreaming Celestial is about to awaken, and that might mean Bad Things for Earth.

Rex Mundi takes place in an alternate France in 1933 where the Inquisition holds sway, Islamic nations control the Middle East and North Africa, and magic-using secret societies are real. Julien Sauniére is a doctor in Paris who gets mixed up in a conspiracy when a priest friend of his is killed. The story is on the slow side and the art is a little stiff (if nicely-rendered), but it’s not bad. Good enough for me to try the next volume.

The new volume of Luba continues the stories of Gilbert ‘Beto’ Hernandez’ heroine and her sisters and daughters. Beto’s work peaked in the middle of the first run of Love and Rockets, and has meandered too far into magical realism for my tastes. I do wish he’d tighten up his storytelling and focus on the characters more, in particular not wandering off into the earlier lives of the sisters. The series was more fun when it was more grounded in present-day concerns, with a more linear narrative.

(For those familiar with the series, no, I’m not really a fan of Jaime Hernandez’ work.)