Daniel Cheeseman Comic Reviews

If you've been reading Bane: Conquest, you know what to expect by now. The plot is often illogical and there's no substance to it but there's still some retro pleasure to be gained from this Michael Bay-esque cavalcade of explosions and brutality.

Issue #7 is a fast, action-packed read. You can zip through it in front of the television or as you're about to fall asleep and you won't really have missed anything. For that matter, you can probably leave the book on the shelf in the shop and you won't have missed anything. Bane is still unmistakably Bane but he's lost in this repetitive milieu which robs all the players of their complexity and offers the reader little intrigue for the coming issues.

It's interesting to see Bane ground down and finally making his own plans; this could be the turning point of the series. However, this issue's function is just to set up Bane's resurgence later on so if you're reading Bane: Conquest but skipping some issues, this is one you can afford to skip. The story hasn't progressed much in the last couple of issues, which is a shame when Dixon only has twelve at his disposal.

Issue #9 is jarringly positioned as it feels like these events should have taken place at the beginning of the series and it ends so abruptly you'll think there's a page missing. It doesn't take itself too seriously and lacks depth and progression so it breezes by; it's entertaining but far from essential reading even if you're enjoying this rather odd series.

All the good will issue #9 generated by introducing a colourful new gang of villains has completely gone out the window. Dixon delivers a script rife with bland, meaningless dialogue, inconsistent characters and unnecessary complications designed to fill up pages and nothing else.

It's been a long limpof a racebut it feels like Bane: Conquest may have finally found some extra energy as it nears the finish line. Fun forthe sight ofBane kicking ass, if little else.

A frenetic, unfulfilling finale to a daft series. There's a niche market for mindless action that might lap this series up but I'd advise anyone else to steer clear.

Disclaimer: DC Comics provided Batman News with an advance copy of this comic for the purpose of this review.

Disclaimer: DC Comics provided Batman News with an advance copy of this comic for the purpose of this review.

This story went downhill with each issue. After reading issue #32, the best thing I can say about this series is that Tom King hasn't wandered in and killed/shot/mercilessly deconstructed anyone. This 'finale' fails to tie up loose ends and doesn't feel like a triumph for the hero. Really, it's the midpoint of a larger story; 'Old Enemies' was created in service to a later (less skippable) arc, which leaves me feeling cheated.

A solid addition to the series, Batgirl #33 gives us a believable look at how Barbara would respond to the release of her brother. While her mentor celebrates 80 years of crimefighting over in Detective Comics #1000, Batgirl reaches a respectable 58 next month. By and large, Scott's portrayal remains true to the tenets that make her such an enduring heroine, and I'm hopeful that she'll bring the election, Cormorant, Bard, Jim, James Jr and the Terrible Trio together in a satisfying fashion over the next few issues.

A fun, well-paced introduction to the new story, albeit interspersed with some dull subplots. In the safe hands of Scott and Pelletier, Batgirl is a good, consistent series; not always surprising but never frustrating.

Skip the subplots and you'll have fun. The middle chapter of 'Terrible' is an action-packed romp, featuring a sharp portrayal of Batgirl, facing off against engaging villains.

Issue #1 is no disaster but its off to a rocky start. I'm pleased that DC aren't just focusing on the same old characters and that they're giving new voices, ideas and talents a chance as this benefits everyone; the industry and the readership. Maybe a character as unjustified and redundant as Duke isn't the right choice to spearhead this approach. Time will tell. I have my fingers crossed that Tony Patrick will nail the Batman characterisation in the two remaining issues of the series and turn things around.

Bats is firmly in the background, Detective Aisi doesn't make much of an impression and the juvenile delinquent baddies have confusing abilities and not much personality; if you're here then it's got to be for the journey of Duke Thomas. He may be one more family member than we need but he definitely has potential. The story moves quickly enough and I'm keen to see how it's all tied up in the last issue.

I love that DC is introducing a host of new characters off the back of 'Metal' and they need to continue to focus on increasing the diversity of their heroes and villains. However, in order to succeed they also need to make sure their new characters are interesting and original.

It's not as repetitive as previous issues - the story is finally moving, at last - but it still feels as though this arc has been written for small children. The characters are just plain, exposition-mouthpieces and none of the 'reveals' are surprising because the whole arc has been thoroughly predictable.

Though much of it is the same one-dimensional fare we're used to, Jurgens bravely makes his mark on the mythology with a couple of big changes this issue. If you're a disillusioned fan of the series, you may wish to tune back in for this one.

Issue #19 is aflawedbut occasionally satisfying end to a mostly forgettable arc. Pick it up if you can't get enough of Bruce brooding in his own series or if you consider it a big deal that Terry might finally have a Robin.

Issue #20 is not a blast of a read but some promising and unpredictable storylines are set in motion.

There's nothing ground-breaking about 'Target: Batman' but so far it's been a handsome and intriguing piece of escapism. If you like to see several characters attacked just when they're reaching turning points in their lives, this could be the issue for you.

Fans who are here purely for Terry may wish to skip issue #22 as it belongs to the Scarecrow, Matt and Bruce. The story moves forward by inches but it's still a fun issue mostly thanks to a delightful flashback interlude starring the original dark knight.

My patience is running out with this series. A few issues ago, I appreciated the slow pace because Jurgens was taking the time to flesh out his characters, but now he's fallen back into the same old pattern of presenting one-dimensionalprotagonists facing transient,surmountable perils.

The resolution of the 'Target: Batman' storyline is as unsatisfying as sitting through the credits of a Marvel movie and finding out there's no sting at the end. All matters are addressed as expected but there's little logic to events and no consideration for whether or not the reader will be excited or bored by the plot's chosendevelopments. The story visitsthe well-worn theme of collateral damage in Batman's war with the criminal underworld but, like the plot itself, it's a half-baked ideathat goes nowhere.

Batman Beyond #25 is more of a prelude than an opening chapter; I admire Jurgens' restraint in spending almost a whole issue getting his readers up to speed but delivering so much exposition in one issue means it eventually gets boring. The interludes that drive the story forward are promising though; if anyone can make this series shine again, it's the Joker.

Batman Beyond #26 is a delicious mouthful but will leave you hungry. Jurgens' has established a steady pace in previous arcs and this one is no different; exciting stuff happens in this issue but seemingly nothing of any lasting consequence.

Although the pains of being a high-profile billionaire slightly outstay their welcome, this is a promising first issue. A story that takes itself seriously, an appropriate amount of reference to the property that spawned the series and first class visuals make Sins of the Father's debut worth checking out.

This issue shifts the focus more onto Bruce's alter ego but there's still a sensible balance of action and discussion. The story doesn't move forward much but we do spend a lot of time in Bruce's head, giving us more of a reason to care about him. Though it treads water more than it's predecessor, issue #2 is still worth checking out.

 

Issue #4 treads water and builds up the series' villain by diminishing the faculties of it's hero. There's some tense conversation and dramatic revelations but the issue lacks the sophistication of previous instalments.

Due to the amount of action contain therein, issue #5 is a read that flies by but it's worth revisiting for the emotion and artwork on show. Gage and Ienco return to full strength and effectively set up the series' finale.

Batman: Sins of the Father is a very straightforward tale. It's firmly grounded, there aren't many surprises or moments of levity and it isn't stuffed withcomplexity, intertextuality or subplots. For better or worse, it's theopposite to the kind of stuff most writers are doing with Batman at the moment. Ienco's individual style and diligence in every particular is admirable and fans willappreciate his replication of design elements from the game series. Though the series went awry in the middle, Gage has successfully introduced his own take on Floyd Lawton (who I still felt sympathy for despiteall his goading this issue!), continued the tale of the game's raw, emotional Bruce Wayne and steered the series to a satisfying conclusion.

 

A stylish interlude that satisfyingly responds to our questions (albeit with elementary answers) and builds anticipation for Kate's showdown with Safiyah. If you're reading Batwoman's Rebirth adventures, even sporadically, you probably need to read this issue to fully appreciate Marguerite Bennett's sprawling narrative.

All the way back as far as Rucka's run on the character, horror tropes have been a part of Batwoman and Blanco has fun delivering them throughout the first half of the book. To mention anything from the second half would be to give away spoilers. I noted last month that issue #12 was very predictable; this certainly isn't the case for issue #13! If you like Batwoman and have been looking for a place to jump back into the action, this is the issue for you.

Though it's a slightly lacklustre issue, it's fun to see Alice again. The set-up isn't promising but maybe I should have more faith in Bennett; she's a talented writer and it's perfectly possible she'll land an excellent conclusion to the arc in issues #15 and 16.

Even Batman couldn't save this forgettable arc which started strong but ended with a whimper rather than a bang.

Bennett makes an excellent case for Batwoman to continue beyond August 2018 with overdue character development and an exciting, well-paced new storyline.

Appropriately, Batwoman #18 is an issue of varied quality to close out a hit-and-miss series. However, if you've been reading throughout Rebirth and you love Kate Kane, I'd definitely recommend picking it up.

An exciting, well-paced first chapter which sets the stage for some unique adventures courtesy of the eclectic heroes and the book's dark, grizzly vibe. With epic event 'The Witching Hour' already announced for October, everything's coming up roses for Justice League Dark.

A satisfying follow-up to the first issue, Justice League Dark #2 propels the story forward whilst giving the reader a chance to get to know the oddball team better, all against a backdrop of magic and disgusting monstrosities.

'The Last Age of Magic' concludes within only three issues and, thanks to Tynion's tight writing, we've already met the heroes, we've got to know some of them better, we've been educated about the world of magic in the DC Multiverse (but not so much as to bore us with unnecessary detail), we've encountered a memorable new villain, we've been thrilled by some awesome action, and we've witnessed the set-up for the next arc. There's no filler here; it's all magic.

Though it will read better as part of a trade paperback (a whole issue of action seems strange in isolation), Justice League Dark #4 is an enjoyable read on it's own, thanks to it's memorable characters, epic scope and stunning visuals.

I couldn't bring myself to care about half the issue because I don't know much about Myrra and the main hero just spent the whole time alienating me. Though the weakest instalment of the series so far, Justice League Dark #5 is a solid, handsome read.

Tynion IV competently balances the spectacular and the tragic in this unpredictable denouement. It's so dramatic that you can't help but wonder where he goes from here; we'll just have to wait and see"

Though its a fully functioning and occasionally emotional ending to the storyline, Titans Annual #2 doesn't quite live up to the build-up and, despite the extra pages, fails to give us any inkling of where the team are headed in the future.

The decision the Justice League and the Titans come to feels to me like a contrivance for the sake of a future storyline so by extension so is this issue. Abnett and Pelletier haven't wasted an opportunity for some old-fashioned family drama (which has always been a part of Titans and Teen Titans) intercut with a bit of satisfying action but I doubt anyone will be remembering this issue wistfully or re-reading it for fun.

A solid start to the 'Titans Apart' arc, it may be a predictable issue but it moves in some promising directions and has a lot of heart.

As usual, angst is front and centre but Abnett handles it so genuinely and manages to make space for Pelletier to deliver an exciting brawl in each issue. There's nothing that will really twist your melon here but that doesn't matter as long as the action and drama is this compelling. The Titans may not be enjoying life right now but I'm having fun reading about them.

Issue #22 is almost entirely action so I definitely feel it will read better as part of a collected trade, especially as this issue forms the first part of a battle which will be concluded in a fortnight in Titans Annual #2. As the characters have become puppets of the plot, this instalment isn't as good as it's predecessor but it's still a fun read if you've been on board for the arc so far. The Titans June reboot issue is being written and illustrated by the same team so this story may end with some lasting consequences.

A solid start to the new arc, Titans #23 is action-heavy but has good character moments. It's not quite special yet (we're only two issue into the new direction, after all) but Abnett has the cast and skill to make it the Titans Rebirth series the fans deserve.

An unpredictable (almost non sequitur) issue with plenty of jokes but still no characterisation. Usually such books at least offer exciting fights instead but the art here is so poor that the reader can't really enjoy the action either.

Many readers could probably compile a whole shopping list of complaints about this book's logic and reliance on generic monsters. Nonetheless, the fantasy aspects of last issue and the televisual traverse in Titans #25 prove that Abnett's imagination is firing on all cylinders and it's undeniably entertaining stuff.

Another fun chapter of Titans, issue #26 isn't surprising or ground-breaking but thanks to clever plot devices, multiple story threads, exciting action and plenty of heart, it makes for an entertaining ride.

Although it's important for getting the characters caught up with events happening in the wider DC Universe, Titans #27 is not an entertaining issue you'll be revisiting for pleasure. This melancholy break will read better when collected with the rest of the series but will still feel forced and lacking in the emotional impact it could have had.

Titans #28 does a lot of things, all at once. It's a sci-fi action romp, it gives Donna room to grow, it offers the team a chance to heal, and there's a cheesy message in there about not living in the past. After a gruelling amount of misery and uncertainty for the Titans, it seems Abnett's path for them is now becoming clear. The old team is dead (mostly); we no longer have the comfort of old friends. However, if this fresh, disparate team can come together and persevere, their triumphs might be considered all the greater.

Titans takes a random trip and stalls again. New readers jumping on for the beginning of the 'Marooned' arc will be confused, while dedicated fans of the series will find their patience stretched to breaking point.

Abnett abruptly blows his subplots in the most skippable Titans story yet. If this is your first issue of Titans in a while, you might enjoy it; the action is cool, the team are finally frank with each other, and it's a handsomely drawn comic. Though for anyone who has been following the series, the aborted ideas, recycled affirmations and disappointing pay-offs will likely leave you somewhat bitter.

This book does everything you'd expect. The bones of the past are picked over, the new order rises and a villain waits in the wings for the perfect time to strike. It's frustrating to see heroes being mean for the sake of the story but there are plenty more good character moments " illustrated by a varied and talented group of artists " to get us excited for the future of the series.

Despite all the mythology surrounding this arc, it looks set to be an old-fashioned brawl of a story. A bit of daft fantasy could be just what the series needs after a post-Manapul slump.

If you're planning on picking up issue #18, I'd advise just looking at the pictures and avoiding the captions. It's a pretty book but really only amounts to a load of fights, most of which are glossed over (and don't include Warlord, despite the claim made on the cover). Without any particular narrative or heart, it's like being told about a great party instead of being in attendance yourself.

A plain, rushed ending to a forgettable arc. Batman is undeniably a detective and Wonder Woman is a warrior but beyond that, there's no signs of life in these characters and too many pages of exposition boxes dumped on top of art of vastly varying quality.

Even writing a DC series in it's death throes is a privilege but it's clear that Robinson doesn't know or care all that much about these characters. The story is mostly logical but lacks any kind of hook to interest the reader and it just feels like going through the motions each fortnight. 'The Search for Steve Trevor' arc is following the template of it's predecessor so far and justifying the series' imminent cancellation.

The messy penultimate issue of the series highlights the absence of an actual story by paying frequent, inconsequential, bewildering visits to the past.

Thanks to it's structure of long-explanation-followed-by-flurry-of-action, Trinity #22 feels like an abrupt end to the arc which will probably read better in the trade compendium. 'The Search for Steve Trevor' isn't the ending Trinity deserved but at least the final issue ties up a few loose ends and doesn't fall prey to the mistakes that may be to blame for the series' decline and cancellation.

The solicitations promise this arc will'rewrite the future of DC's magical heroes!' There's no way to guess what this shake-up will entail from the opening issue, but I'm definitely onboard (then again, I said that in 2016 when the eventually disappointing Justice League vs Suicide Squad began). Part one of 'The Witching Hour' makes for a solid, if not stellar, beginning to the tale, with several nice character moments, a formidable villain, and handsome, richly detailed artwork.