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Captain Atom #1 – J.T. Krul and Freddie Williams II

My previous experience with Captain Atom is rather limited.  In almost every story I’ve read that he is in he either absorbs a ridiculous amount of energy then has to blow it off somewhere and/or is quite torn up about his identity.  J.T. Krul’s Captain Atom #1 thankfully avoids these story beats and provides a decent enough introductory issue.

The first thing worth noting about Captain Atom #1 is the Freddie Williams II art.  It’s a unique style, with Captain Atom drawn differently than the rest of the world.  Gone is the metal containment suit of the past, replaced by a light blue glowing body.  Captain Atom is inked and colored differently than the environment and other characters.  It looks like colored pencils were used instead of inks.  The other really cool effect happens when Captain Atom is literally dissolving.  As he loses control of his molecules, the panel strokes start to dissolve as well.

The story of issue #1 is decent, but don’t expect any background on the titular character.  Instead, the plot picks up with an already established Captain Atom.  The script gets a little wordy in the middle when Dr. Megala enters the picture and starts to drag.  It isn’t long before another crisis erupts and Captain Atom faces a life-threatening situation.  A few references are made to an accident, presumably the source of Captain Atom’s powers, but nothing more detailed than that is provided.  Hopefully as the series progresses J.T. Krul will flesh out the character.

Captain Atom #1 is one of the most stylistically unique books in the New 52.  Both Captain Atom and the world he inhabits have a look unlike anything I’ve seen in any of the other new comics.  That creative boldness is appealing to me as a reader.  I wish I could say that the story is as unique, but it doesn’t offer a new perspective, or really any perspective, on Captain Atom.  I don’t know any more about the character after reading it twice then I did before I read the issue.

Rating: 3 out of 5 Stars!

DC Universe Presents #1 – Paul Jenkins and Bernard Chang

There is nothing particularly good, or bad, about DC Universe Presents #1 featuring Deadman.  Scratch that, the Ryan Sook cover is exceptional.  Let me try this again.  There is nothing inside DC Universe Presents #1 that really stands out.  It is a straightforward, if not slightly boring, introduction to the B-list character Deadman.

As a Deadman origin story, DC Universe Presents #1 is decent.  The script is by Paul Jenkins, while the pencils come from Bernard Chang.  The comic sets Boston Brand AKA Deadman up as a man (ghost?) in search of redemption.  In life Brand was a jerk, completely focused on himself at the expense of others.  After being assassinated, he now wanders the Earth inhabiting the bodies of the depressed and lost.  His experiences, he is told by the god Rama, will help him become the being he is meant to be.

Bernard Chang’s artwork is pretty good throughout the book.  It reminds me of John Romita Jr.’s work in Amazing Spider-Man a few years back.  The title page is a very cool depiction of Brand’s fall from the land of the living to realm of the dead.  The other part that really stands out art wise are the war flashbacks.  The six rotated panels really convey the in-and-out of consciousness effect.

I have a few reservations about DC Universe Presents #1.  First, it isn’t a very exciting comic.  Overall, it makes for a rather depressing read; Boston possesses all manners of down and out people.  It doesn’t make Deadman all that interesting.   The other times I’ve encountered Deadman in the DCU, first in Jack Kirby’s Forever People and later, in Alan Moore’s Swamp Thing run, he was much more intriguing.  Second, I was expecting one-and-done storytelling from DC Universe Presents.  Based on the end of the issue, I’m not 100% sure the story will be continued in #2, but it appears that way.

Overall, I found DC Universe Presents #1 to be completely mediocre.  A lack of action is further hindered by an over-written script.  As a result, the comic feels like it’s 22 pages of wheel-spinning.  Unlike other comics released this week, there is nothing offensive about DC Universe Presents #1.  It’s a rather pedestrian comic that painlessly introduces readers to Deadman.

Rating: 2 out of 5 Stars!

Red Hood and the Outlaws #1 – Scott Lobdell and Kenneth Rocafort

What the hell did I just read?  Red Hood and the Outlaws #1, written by Scott Lobdell, is a flat out mess.  The only redeeming quality is the artwork by Kenneth Rocafort.  As a #1 it isn’t very accessible and certainly doesn’t make me want to come back for the next issue.  After reading the comic several times, the major question I’m left asking is why does this comic exist!

I liked the first few pages of the comic, but after the opening action sequence it goes downhill fast.  Rocafort’s pencils are different, giving the book a unique style.  The back-to-back double page spreads are great, with panels all over the place, emphasizing the chaotic nature of the escape.  It is definitely a violent comic, with quite a few vividly illustrated head shots by Rocafort, courtesy of sharpshooter Roy Harper.

Once Starfire is introduced the comic just falls apart.  The trio retire to the Caribbean, relaxing while they wait for another job, I think.  Lobdell never really establishes why these three are working together or what motivates them.  The opening narration says that Harper was in the Middle East to help an oppressed people overthrow their dictatorial leader, but later it is implied that the Red Hood set him up with the gig.  If the Red Hood didn’t set up the job, and Harper was just helping out of the genuine kindness of his heart, why would Red Hood want to rescue him.

This comic nearly (or maybe completely) destroys Starfire as a character.  Her costume has never been described as practical, but Rocafort cranks the dial to 11.  I would be embarrassed to be caught reading this comic in front of my girlfriend, or really anyone who doesn’t read comics, because of all the cheesy bikini shots.  Lobdell gives Starfire a very, very short term memory to conveniently explain why she would be hanging out with the Red Hood and having sex with both male leads.

For a first issue, Red Hood and the Outlaws brings up a ton of continuity issues.  Starfire’s new short term memory means she doesn’t remember being on the Teen Titans or having a relationship with Dick Grayson.  The comic very clearly suggests that Starfire has been on Earth for awhile, but the mystery man in Chicago gets all excited when he sees a picture of her?  ”A Tamaranean.  On Earth.  At last,” he says, as if this is the first time she has been captured in a public appearance.

The second half of the comic is some nonsense about Jason, a character named Essence, and something referred to as the All Caste.  Lobdell gives no explanation as to what this is all about, but at least the last page teases that answers are coming.

After the first issue, I’m left wondering why Red Hood and the Outlaws exists.  I can’t help but feel that Kenneth Rockafort would be better utilized on a better DC property.  The comic makes a mess out of continuity rather than using the history of the three characters in a constructive way.  There is no mention of the Green Arrow or Batman.  I’m not sure why these characters are working together or why they are even working at all.  I have no clue what is going on with Jason Todd and this All Caste (what series should I have read to get this?).  The only reason I could see myself picking up issue #2 is to see how the story could possibly get worse.

Rating: 2 out 5 Stars!

Supergirl #1 – Michael Green, Mike Johnson, and Mahmud Asrar

I think it’s fair to say that Supergirl has never really found her place in the DCU.  When researching Supergirl for this review, I discovered that Supergirl #1 marks the sixth beginning for the Girl of Steel.  Fortunately, it’s a pretty good start from writers Mike Johnson and Michael Green.

Issue one starts readers on the ground floor, with Supergirl’s arrival on Earth.  The major twist comes early in the comic.  The debris carrying Supergirl falls over Kansas, but her ship impacts so hard it cuts through the Earth’s crust and emerges in Siberia.  Dazed and confused, Supergirl is alone in a winter wasteland convinced she is having a dream.

The art in Supergirl #1 does much to add to the dreamy feel of the comic.  The colors have a watercolor-like appearance that makes the environments feel hazy.  Much of the comic is a fight scene, as Supergirl battles against unknown assailants, presumably sent to capture her.  The action is dynamic, but never confusing.    Supergirl’s disorientation is captured very well, the pain she endures as her powers manifest nearly palpable.

The story is a straightforward introduction to Supergirl.  After awakening from her crash landing, she is set upon by a squad of soldiers wearing some sort of battle-mech suits.  It isn’t clear whether the soldiers are Russian or American, based on the opening narration it could go either way.  I enjoyed when Supergirl developed her super-hearing and heard dialogue from some of the other New 52 books.  The story leaves little doubt that Supergirl is Kryptonian, but the question of how she reached Earth remains unanswered for now.

Supergirl #1 is a solid, good looking relaunch.  It doesn’t do anything different or radical with the character.  It gets readers in on the ground floor, provides some decent action, drops a few hints about Supergirl’s past, and is fun to look at.

Rating: 3 out of 5 Stars!

Nightwing #1 – Kyle Higgins, Eddy Barrows, and JP Mayer

Nightwing is back in a new solo series as part of DC’s New 52 relaunch.  Issue #1, with a script from Kyle Higgins and pencils from Eddy Barrows, is a solidly entertaining, but very brutal, comic.  Higgins’ script is well paced and makes for an interesting read.  It is clear that he “gets” Dick Grayson.

The comic wastes little time getting new readers up to speed.  Dick is returning to his Nightwing persona after a year of filling in as Batman for Bruce Wayne.  I really liked Higgins’ characterization of Dick in this regard.  He looks back positively on his time as Batman, recognizing that he has grown physically and mentally as a result of the experience.

The central conflict in the first issue revolves around the return of Haly’s Circus to Gotham City for the first time since Dick’s parents were murdered.  It is a nice plot point that allows Higgins to simultaneously add depth to Grayson and provide background for new readers.  There some wonderful moments in the Haly’s Circus sequence.  The clown who looks a little too much like the Joker and Dick’s joy on the trapeze are two that stood out.

Eddy Barrows pencils fit Nightwing quite well.  In every panel the title character is dynamic and agile, practically dancing across the page.  Barrows opens the comic spectacularly, with three early back-to-back double page spreads.  I thought it was interesting that the title page seems to mirror that of Detective Comics #1.  While Barrows pencils make Nightwing fly off the page, the inks from JP Mayer effectively set the mood of the comic.  Gotham seems dark, almost evil, and it’s getting worse.  My only complaint is that Dick Grayson’s haircut makes him look straight out of the 1970s!

Nightwing #1 makes me want more.  It’s an interesting comic with some outstanding artwork.  It does an excellent job of forming a bond between the reader and Dick Grayson.  Higgins acknowledges the character’s time as Batman and moves forward, using that experience to present a more mature, developed Nightwing.  I’m even more intrigued by the possibility that the story will intersect with Scott Snyder’s first Batman arc.  Even if it doesn’t, I’ll definitely be back for issue #2!

Rating: 4 out of 5 Stars!

Legion of Super-Heroes #1 – Paul Levitz and Francis Portela

I really want to like the Legion.  The first Legion book of the New 52 didn’t do anything for me, so I was looking forward to Legion of Super-Heroes #1.  Unfortunately, I found the comic suffers from many of the same issues that made Legion Lost #1 so unenjoyable.  While the art from Francis Portela is great, Paul Levitz’s script is anything but.  It is completely inaccessible, with a tremendous amount of references to the previous series.  Levitz is regarded by many as one of the greatest Legion writers of all time.  His run in the early 1980s produced The Great Darkness Saga, which is generally regarded as the best Legion story.  With this knowledge, I had high hopes going into Legion of Super-Heroes #1.

It seems like someone forgot to tell Levitz about the DCU relaunch.  So much of the story builds off of the previous series that it is practically criminal to call it a number one.  Characters constantly reference events and characters from the pervious series with little or no explanation.  If someone picked up this issue to get into the Legion of Super-Heroes, they will be sorely disappointed.  There are so many characters in the comic that most go without any sort of introduction.  Much of the time spent on individual members is with the two newest, and most annoying, Legionnaires, Dragonwing and Chemical Kid.  Readers aren’t given any sense of the Legion itself, with no time spent on why it exists and what it does.  Instead, the script repeatedly detours, derailing the entire comic.

In particular I would call out the one page dedicated to Colossal Boy and the scene featuring Starman.  Both sequences add nothing to the main storyline in the issue and are references to events in the previous series.  Even more bewildering is the editor’s note about Legion Lost #1!  I read that comic and I have no freaking clue how it relates to Colossal Boy’s wife.  After seeing that note, I re-read Legion Lost #1 and can’t find anything in that issue that I believe is about what Colossal Boy or his wife.  Here is a partial list of references to previous events: The aforementioned page featuring Colossal Boy, the conversation between Mon-el and Brainiac 5 about Niedrigh, rounding up Saturn Queen’s crew, the Flashpoint Effect, Mon-el missing his lantern ring, Daxamite abilities, a high number of recent casualties on the team, Glorith in the time lab, the death of Oaa, and finally a Daxamite.

Francis Portela’s art is the best thing about Legion of Super-Heroes #1.  The characters look heroic, while backgrounds are busy and alien.  For some reason Panoptes reminds me of the forest moon of Endor.  The sheer number of characters in the comic weighs against Portela, because eventually they all start to look alike.  This is amplified in the opening, as all of the characters wear the same military uniforms, removing the major way to distinguish them from each other.  In some instances I found it difficult to follow the action from panel to panel.  Right at the beginning of the issue, Chameleon Boy morphs into a human as a disguise.  I had to re-read the sequence several times before I realized he was transforming into the blonde military man.  If I, someone who’s been reading comics for 15 years, had trouble following, I can’t imagine how a brand new reader would be able to make it.

I really didn’t enjoy Legion of Super-Heroes #1.  If you’ve never read a Legion comic before, this issue might as well be in a different language.  Labeling it as #1 is a travesty, a cruel joke on new readers.  It doesn’t provide any background on the Legion; No motivation and no origin whatsoever.  Portela’s art is nice, but it can’t save this comic from its own script.  I can’t help but think a real opportunity was missed by Levitz with the New 52 relaunch.  If you’re like me and really want to like the Legion, this comic is not for you.  Do yourself a favor and pick up The Great Darkness Saga trade paperback instead.

Rating: 1 out of 5 Stars!