The Comics Professor

My thoughts on The Batman

Being online so much finally paid off: I saw the announcement of the IMAX preview of The Batman just it was announced about a month ago, and was able to snag tickets for me and my son before it sold out (apparently within minutes). Last night we saw it, and we both walked out of the theater speechless.

In short: This is the Batman movie I'd been waiting for.

When I write and talk about Batman, I focus almost exclusively on the comics. Don't get me wrong: I love that he's represented in so many types of media, and everyone has their favorite, but mine has always been the version in the comics. Notwithstanding the craft, talent, and hard work put into the films, I have rarely warmed to them. I have always said that in my ideal Batman film, you would rarely see Batman himself—you'd see the shadow, the silhouette, and people reacting to him, but rarely would you see Batman (and never in the light). Batman has such a mystique about him that it's difficult to capture his ethereal nature on film, even for the best directors, actors, writers, costumers, and cinematographers. Less is more, basically, and they should leave the rest to the audience's imagination.

The Batman came much closer to that ideal that any screen adaptation of the Dark Knight to date, and that's just one reason I enjoyed this film so very much.

WARNING: There may be mild spoilers going forward, although I don't discuss any plot points or details.

The Batman was sumptuously photographed, with so many breathtaking shots that I wished I could have lingered on (and surely will when the Blu-ray is released). The subtle score was gorgeous, especially when it took the place of sound effects, giving those dramatic scenes the feel of a silent film accompanied by music. In this movie, Batman is very much a creature of the shadows; most of the film is shot at night or in darkened spaces, and Batman is rarely seen in direct light, maintaining that ethereal quality I prefer to see. But at the same time, when we see his face, he is undeniably human, primarily due to the focus on his eyes, which was surprising effective. (I was also surprised how well the "half cowl" worked in retaining the classic silhouette while preserving mobility, and thankfully avoiding the bulky rubber cowls of films past. Was it inspired by Daredevil's cowl on the Netflix Disney+ show, I wonder?)

There are several aspects of Batman that I particularly appreciate in the comics that were also represented here. This Batman is more detective than superhero, working closely with Detective Jim Gordon on a series of grisly murders accompanied by cryptic messages from the enigmatic Riddler (with occasional input from Alfred). From the beginning, we also see many instances of members of the Gotham City Police Department reacting in different ways to Batman's presence at crime scenes, in the tradition of the Gotham Central comic, combined with the corruption in the police force, well known from Batman: Year One. We can tell that Gordon and Batman already have some history together from the enormous trust Gordon has for the Caped Crusader, whom he repeatedly has to defend to his fellow police. Even when helping to investigate a crime scene or observing a medical examination of a murder victim, this Batman is still and silent, watching and only occasionally contributing an insight, as if he appreciates Gordon's indulgence and doesn't want to overstep and risk this valuable relationship.

In general, Pattinson's Batman—and even his Bruce Wayne, whom we see much less than in other films—is for the most part still and silent, which makes the action scenes all the more striking in contrast (as well as the handful of laughs, mostly from other characters at his expense). There also seemed to be less action than earlier films, which will surely disappoint some viewers (understandably): Most of the movie was a battle of wits between Batman and Riddler, with occasional action scenes and fights primarily between our hero and flunkies or mob toughs, until the final act that ramps up the action quotient very dramatically. This is not a typical superhero film; in pacing and tone, I would compare it more to the Daredevil show, or maybe Logan.

Pattinson's Batman/Bruce Wayne is a tortured soul, which he doesn't even bother to hide when he attends a public function as Wayne. Maybe he will later, but this Bruce Wayne has not yet adopted the millionaire playboy persona to travel among high society; for now he couldn't care less, clearly obsessed (as Alfred notes) with fighting crime or, as he puts it, pursuing vengeance. Thankfully, this concept of vengeance does not involve killing, which he prevents another character from doing, giving the standard explanation of "you don't want to turn into them." (He also makes his dislike of guns clear in another scene.)

Speaking of vengeance, in what was perhaps the most surprising part of the film (in the best way), Batman has an epiphany at the end regarding his mission that is set up marvelously well, using a minor character that shows up only a handful of times throughout the film but plays an integral role in tying the whole thing together. (At nearly three hours of very steady but slightly drawn-out pacing, this was very useful.) Here, this young Batman discovers a positive aspect of what he does that can complement the negative aspect of fighting crime, and could serve to add a different tone to the next installment (although I hope it doesn't change the tone entirely).

Finally, the performances were excellent across the board. Robert Pattinson wisely chose to underplay both Batman and Bruce Wayne, using his face (which we see more of, even as Batman, than before) to show the tragedy that motivates him and the steely resolve that carries him on, despite discouraging odds. Zoë Kravitz was magnificent as Selina Kyle, portraying the self-determination and instinct for survival that allows her to prosper in any situation, both amongst the criminal element and alongside the Dark Knight (with whom she has undeniable playful chemistry, reflecting the best of their relationship in the comics). Gregory Wright was delightfully gruff as Jim Gordon; Andy Serkis's Alfred was not seen enough, but his few scenes were effective and heartfelt (even without the gentle snark often seen in the character); and Paul Dano was a terrifically unhinged Riddler (though he reminded me more of James Gordon Jr.), especially in the later part of the movie when he was not in his, ahem, questionable outfit. (Speaking as a huge Colin Farrell fan, I don't know why he played the Penguin as Robert DeNiro, but the character worked well in a role that sets him up well for future appearances.)

I went into this movie more curious than anything, but I walked out astonished, and I'm very eager to see what Matt Reeves and company do with Batman next (especially if it involves the character teased at the very end, which I hope they continue to tease for a while longer).

My thoughts on Avengers: Endgame (Spoilers clearly marked)

Well that was something!

After rewatching Avengers: Infinity War Thursday night, I saw Avengers: Endgame Friday morning by myself—well, me and the hundred other people in the sold-out small theater, but you knew what I meant—and then again with my kids in a much larger (but still sold out) IMAX theater. I grouse a lot about the modern movie experience, what with the ubiquitous cellphones and incessant chattering, and I've been going to the movies less and less the last several years because of it, but this was an occasion that demanded and justified the full social experience. The Friday audience was quiet, applauding only at the end of the movie, but the Saturday crowd was into it, cheering at every character introduction and revelation throughout the entire film. As many comic book fans of a certain age have noted, we were ostracized for our hobby as kids (and perhaps even more so as adults), so it's immensely gratifying to arrive in the year 2019 where we can sit in a theater with several hundred people, only a fraction of whom have likely every read a comic book, and cheer together to the exploits of the heroes of our childhood (and adulthood).

What about the movie itself? Again, I'm afraid I don't have much to say that probably hasn't already been said, and if you're looking for dispassionate criticism and analysis, look elsewhere my friend. I'm writing as an unabashed fan here.

Avengers: Endgame is a magnificent film, filling every last one of its 181 minutes without a lull, with excellent pacing and balance between its many subplots and storylines, and hitting every last emotional note it needed to. I'm frankly astonished at the magnitude of this movie and how well it put a bow on the unprecedented 22-film story that is the Marvel Cinematic Universe—so well, in fact, that I had a distinct feeling of loss at the end, not just for any events in the film itself, but for this initial stage of the franchise itself.

There isn't much more I can say without giving away story details, so this is where I warn...

THERE BE SPOILERS AFTER THIS GLORIOUS GIF OF GONEMMENEMMENEMMENON!

(Did you remember that he said that in Infinity War? I have to admit I did not, until I rewatched it Thursday night, after which I felt really stupid for forgetting it. Of course you remembered it, because you're all very smart.)

Here are my thoughts, with varying significance and coherence, starting with the six original Avengers themselves.

Captain America. As you might guess, my favorite moments were those centered on Captain America, who received a fantastic send-off. Before he "retired," he managed to poke a little fun at his catchphrase "I can do this all day" as well as his fan-favorite rear end, and also wield the mighty Mjolnir (as he has several times in the comics), which brought perhaps the loudest round of cheers in the Saturday showing. (And I have to wonder how much Nick Spencer paid the Russos to have Cap say those two little words. They used it well, but geez guys, give us some warning next time!)

Most interesting, compared to the comics, was that Cap retired at all. A constant theme, which I highlight often at my The Virtues of Captain America blog as well as the book of the same name, is that he continually feels the contrasting pulls of duty and love (or "mission" versus "life") and reliably picks the former. As much as he feels he's done enough and deserves happiness, he always returns to the shield, without fail. Of course, given the realities of comic book publishing where established characters rarely change too much, this is understandable, but Evans's retirement gave the filmmakers the opportunity to have their Cap make the other choice—while leaving a world with a very capable successor in Sam Wilson. (This makes me wonder if the announced Disney streaming series featuring Falcon and the Winter Soldier was just a ruse, or if it was always meant to be about Sam as Cap and Bucky helping him.)

Iron Man. Despite the tremendous moments that Cap had in this film, the emotional center was definitely Tony Stark, which was appropriate given that it was Iron Man, as played by Robert Downey Jr., that got this entire party started in 2008. For the same reason, it made sense that he would die while dealing Thanos the final blow (or snap). (I like to think that, as he usually does in the comics, he uploaded a version of his consciousness into a computer so he can be the AI in a successor's armor, whether that successor is Pepper, which is doubtful, or someone like Riri Williams, Ironheart from the comics, who did have an AI version of Tony in her helmet for a while.)

Speaking of Pepper, it was amazing to see her in the armor, even if (as I suspect) just for this one time. We all knew it was coming after the earlier scene with little Morgan, but to actually see it... that elicited another huge cheer from the Saturday crowd (as did the collection of the MCU's incredible collection of female heroes protecting Peter and the gauntlet at the end). And seeing her fighting back-to-back with Tony... that, together with the stakes of the situation, made me forgive the fact that, as Rescue in the comics, Pepper's armor had no weaponry.

(And Tony's final words to his daughter, "I love you three thousand"... I'm tearing up again as I type it.)

Black Widow and Hawkeye. Black Widow made the ultimate sacrifice, of course, to Hawkeye's objections. (I'm sure he felt he should be the one to die, given the fact that he had racked up quite a few murders in the preceding five years, but would good ol' Frank have done the same thing?) But, I suspect she will be back, depending on how Cap "returned" the Soul Stone in his reverse-time-heist before getting hitched and living out his days as Married Old Man Steve. If the goal was to restore the original timelines, did he just give the stone back to the Red Skull—I really want to see that conversation—or did he just prevent Nat from sacrificing herself in the first place? And if he gave it back, could he somehow have saved Nat? (If only Evans didn't want to retire, I would ask for a streaming series on Cap's trips in the past to restore the Stones. Hear that, Feige?)

The Hulk. The newly chill Hulk was wonderful (calling back to Bruce's efforts at maintaining inner peace when Nat found him the first Avengers movie), especially with the kids who wanted their picture with him, with Scott when he saw he'd lost his taco, and especially when revisiting the Battle of New York and having to fake his old raging self. It also made his sadness and grief more apparent after losing Natasha, when he did show his anger a little more.

Thor. And of course, "the Odinson abides." This was the one part I think they took a little too far, though it provided some great laughs, especially with Rocket (who would imagined those two would make such a great pair, in both Infinity War and Engame), and a touching moment with his mother. I was sorry we didn't see him interact with Jane, though, which leads to my next comment...

Playing with time. What better way to pay tribute to the entire 22-film series than revisit some key scenes from the earlier films to the process of finding the Infinity Stones in the past? That was simply brilliant. Both times I saw it I tried to figure out which scenes which pulled from the earlier films, such as the famous shot of the six Avengers standing back-to-back in a circle during the Battle of New York, and which ones were new, such as the elevator scene in New York (calling back to Captain America: Winter Soldier even though it was set during Avengers) and the subsequent lobby scene with Alexander Pierce (also from Winter Soldier), which featured a key move from Loki (who managed to play an integral role despite dying early in Infinity War). I have to assume the quick shot of Jane Foster was old and Natalie Portman didn't shoot any new footage—otherwise, I think someone would have interacted with her. What's more, I found it very clever of the Russos to use the time travel device (plot device, that is) to bring in the Ancient One as well as the younger Howard Stark, Jarvis, and best of all, Peggy Carter.

There's so much more I could mention, such as the emotional reunion of Peter Parker with Tony Stark, the return of the Wakandans, Valkyrie on her magnificent flying steed, Janet van Dyne (!) at the end, and Captain Marvel's limited but effective role (my favorite scene of hers being when she met Peter, showing that she doesn't have to be fierce all the time). My one complaint: I wish they would have done more to show the return of half the life in the universe than Clint getting a call from his wife and Scott seeing more birds outside. I realize the movie was long enough as it is, but just a 30-second montage of people hugging returned loved ones around the world (and on other words) would have been nice to show the enormity of what our heroes accomplished (before Thanos arrived and blowed them up but good).

That ending. The funeral scene, with the slow pan over the entire cast of the Marvel Cinematic Universe, was poignant in its intimacy as well as breathtaking in its scope, showing the scale of that universe with all the sub-franchises contained in it, and everyone paying tribute to the hero that started it all. as well as, I like to think, the actor—very much still alive—that played him so well.

That other ending. Even though, in spirit, the series began and ended with Tony Stark, as a Cap fan I appreciated that the final shot of the film showed Steve and Peggy dancing (I assume in the late 1940s), picking up not long after where they left off when Cap made the ultimate sacrifice himself in his first film. That gave the movie, which was incredibly heavy emotionally, an optimistic conclusion, showing that true love and lasting happiness is indeed possible... if you have Pym particles and a time machine. (If anyone knows where I can get these things, let me know!)

That other other ending. The cast credits, ending with tributes to the six that started it all, really drove home that this is the end of an era, even if it is also the beginning of a new one. It really hit me, especially on my second viewing, that this was the last time we'll see some of these characters on the big screen, and what they, along with everyone else involved in these films, have accomplished. Twenty-two interlinking movies in twelve years, most of them standing fairly well on their own and each mini-franchise possessing its own unique aesthetic, but all feeding to a large narrative... just like the Marvel Universe of the comics.

And that, perhaps more than even the faithful renditions of the characters and the Easter eggs for the diehards, is what makes the MCU gratifying to comics fans: The movies feel like the comics. With both, we can revel in the continuity of the large-scale narrative at the same time that we appreciate each individual story, scene, and line. Not all of the movies need to be equally good, and you don't have to like every character as much as your favorites, but you can still enjoy most if not all of the movies on their own and the series as a whole. (For my part, I regard all 22 movies as at least good, with most of them very good and a few of them excellent.)

What's even better than that? As I mentioned at the beginning, my childhood obsession is now a cultural phenomenon. And when an entire large theater erupts in cheers, five minutes into the movie, at the first appearance of Captain Marvel—a character introduced into the mainstream consciousness in her first movie just a few months ago—you know that something amazing has happened. I'm thrilled to have been there to experience it... and I can't wait to see what happens next.

Captain America #700 reminds us who Steve Rogers is...

The final issue of Captain America by the now-classic team of Mark Waid, Chris Samnee, Matthew Wilson, and Joe Caramagna was, appropriately enough, the bonus-sized issue #700, and true to its anniversary status, it serves as a reaffirmation of who Steve Rogers is. In wrapping up their near-future storyline, the team puts Cap in an impossible situation, forces him to make a tough decision, and gives us one of the best Cap scenes in recent memory, all before setting him up for his next round of adventures from Waid and an all-star roster of artists (before a new #1 this summer from Ta-Nehisi Coates and Leinil Yu).

 

SPOILERS BELOW!!!

How were this week's comics? (February 3, 2016)

If you missed it last week, this is a new thing I'm trying here, registering my very brief thoughts on the comics I buy each week.

NEW COMICS FOR FEBRUARY 3, 2016

Big week this week, with 13 books (10 Marvel, 3 DC). I'll be brief with the last few.

FAVORITE: A-Force #2. I tend to be drawn to clever books these days, and while these tend to be the more humor-oriented books like The Unbeatable Squirrel Girl and Howard the Duck, they also include more traditional super-books, and A-Force is a perfect example. Full of wondrous action and punches galore, this comic is also replete with sharp writing from G. Willow Wilson and Kelly Thompson and attention-grabbing art from Jorge Molina and Laura Martin. The story of Singularity trying to connect with unfamiliar versions of her Battleworld teammates is both heartbreaking in her disappointment and uplifting when she sees the same heroism in these people that she remembers from that world long gone. And when the heroes assemble near the end to confront the danger facing the world, you might get chills as Molina and Martin nail their strength and resolve.

CLOSE RUNNER-UP: Howard the Duck #4. What can I say, I'm a sucker for a unique Galactus story, and no one does unique like Chip Zdarsky, Joe Quinones, and the rest of the Howard team. The promise of Howard the Silver-Surfing-Duck from last month is fulfilled; we see guest stars galore; and we get one of the best meta-comments on the resolution of Secret Wars we might ever see (at least until next issue). 

Spider-Man #1. Finally, Miles Morales is back in his own book and firmly ensconced in the 616 Prime universe. (They couldn't just pick a prime number? You know, like 617?) Brian Michael Bendis, Sara Pichelli, and Justin Ponsor do a fantastic job of welcoming readers new to this Spider-Man while making oldtime fans feel at home with Miles' new dimensional address (and the return of his mother, thanks to a generous gift of a burger to a hungry Molecule Man). As well as elevating a deserving new character to the big leagues, this book also retains the essential high school setting of the classic Spider-Man comics (also seen currently in Spidey and Ms. Marvel) but from a new and fresh viewpoint. The Avengers storyline may have felt a little forced, and it sets up a guest appearance that might have come too soon, but I have faith that both will pay off next issue.

Batman: Europa #4. I didn't know what to expect from this loooong-delayed series when it finally came out, but I was very pleasantly surprised. It's been a fantastic, old-fashioned Batman-and-Joker story by Matteo Casali and Brian Azzarello with an interesting twist, and terrifically lush art by a different team each issue, reflecting the shifting locales, unified by Giuseppe Camuncoli's layouts. And Batman hasn't looked this good in years–classic and timeless.

Invincible Iron Man #6. One of my favorite artists, Mike Deodato Jr., joins this title's second arc and brings a significant shift in visual tone that matches Frank Martin's subdued color palette, both contrasting interestingly with Bendis' characteristically chatty and hilarious scripts. Dr. Doom returns in a big way in this issue, stealing every scene he's in, and Rhodey also gets some much-appreciated screen time. Bendis is definitely showing a different side to Doom here; I never thought I'd like seeing him out of armor for this long, but I do. (Doom, that is, not Bendis.)

Doctor Strange #5. This book continues to impress with stunning work from Jason Aaron, Chris Bachalo, and an Avengers team of inkers (Bachalo's colors in particular standing out from his always amazing line work). While Stephen continues his epic and draining fight against mysterious forces, we see more of Wong's character come to the fore, including a surprising (and somewhat disturbing) view of just how far he'll go to help his caped friend. (Definitely got a Kazuo Ishiguro vibe from this.)

Batman & Robin Eternal #18. In this issue we get the payoff we've been waiting for and in a way that makes sense and that I did not see coming, thanks to very clever plotting by James Tynion IV and Scott Snyder, with script by Ed Brisson, and fine art from last issue's team: pencils by Scot Eaton, inked by Wayne Faucher, and colored by Allen Passalaqua (with Gabe Eltaeb filling in on the last four pages). (There was a jarring decline in the quality of the art in the last four pages, but I can't blame it on the colors.)

Captain America: Sam Wilson #6. The Serpent Solutions storyline wraps up with a partial return to the status quo with a new addition (which will not be a surprise if you read the solicits but I'll keep mum all the same). I felt Nick Spencer's editorializing went a little overboard in this issue; it's been an important aspect of previous issues but seems to dominate this one, and the characters involved come off as caricatures more than they did before. Joe Bennett's clean pencils, inked here by Belardino Brabo and colored by Romulo Fajardo, are always a joy; appropriately, Bennett also illustrated a fair bit of Priest's short-lived Captain America and the Falcon run, which had a similar narrative tone to the current book.

Scarlet Witch #3. Steve Dillon acquits himself quite nicely here in a different context than I'm used to seeing him in, and James Robinson mines more of Wanda's past than in previous issues, which is appreciated. With colorist Frank Martin and an art assist from Chris Visions, this book shows the formidable (and in control) Scarlet Witch we always knew was there.

Captain Marvel #2. Had I been doing these reviews when the first issue came out, Captain Marvel #1 likely would have been my favorite, and this issue continues the high quality, making great use of Carol's new supporting cast, including Agent Brand of S.W.O.R.D. and members of Alpha Flight.

Rocket Raccoon and Groot #2. Like Captain Marvel, another #2 that maintains the quality of the first issue; the focus shifts almost entirely to Groot, with some nice Memento-like touches and commentary on Groot's rather limited word use.

Uncanny Avengers #5. The best issue of the run so far, even though it featured only half of the cast (and very little of Steve Rogers). I liked the art much better (pencils by Carlos Pacheco, inks by Mariano Taibo and Dave Meikis, and colors by Richard Isanove), I appreciated seeing more of Johnny Storm, and the reveal at the end was very well executed.

Detective Comics #49. A nice Gordon-and-Bullock story within the current status quo by Peter Tomasi, Fernando Pasarin, Matt Ryan, and Chris Sotomayor. Even though it's not fair to the work done by this fine team, one can't help feel the higher-ups are playing out the clock until Bruce comes back in Batman #50. Or do have I simply been led to expect every story these days to be huge and have impact, so I don't appreciate the delights of a simple superhero/detective yarn any more? That would be sad indeed.

So... what are your thoughts on these books or any I missed?

How were this week's comics? (January 27, 2016)

This is something I've wanted to do for a while, a round-up of the new week's comics, made up of short thoughts and comments rather than any attempts at longer, in-depth analysis (although I'll still try to do that when appropriate). Not full reviews either, so apologies in advance when I don't mention every creator of every comic by name. I'm thinking more along the lines of Hannibal Tabu's "The Buy Pile" column at CBR, where he gives brief comments on a few comics and his general impressions of others. Really, these are the same kind of quick and easy comments I'd shout out on Twitter, but this format gives me a little more space.

If nothing else, this will give you an idea what I'm buying these days: still a lot of Marvel and very little DC (just Batman titles, Justice League, and Aquaman). I try independent, non-superhero books from time to time, such as Monstress and Black Magick, but while I admire the craft, I just can't seem to get into them enough to follow them regularly (although I plan to get the two I mentioned in trade). (I'm all about the capes, I guess.)

My goal is to get this online Thursday morning; I'm trying to schedule my time better, and that includes setting aside time on Wednesdays for reading the week's new comics and writing about them. No promises about how long this will last or how timely it will be, but I hope it's fun while it lasts!

NEW COMICS FOR JANUARY 27, 2016

What order to do these in? I like alphabetical, or by company, but part of me also wants to do my favorite book of the week first. But maybe I should leave it until last? But will people read that far–or will that get them to read that far? (Are you even still reading this? Whew.)

FAVORITE: The Unbeatable Squirrel Girl #4. Practically guaranteed to be my favorite book of the week any week it comes out, Ryan North and Erica Henderson's Squirrel Girl is a delight month after month, and this issue is one of the best yet. What's more, it has almost as much Doctor Doom as it does Squirrel Girl, and I find it very interesting how Doom can be mocked so mercilessly as he is here (and elsewhere) and still remain the most feared and respected supervillain in all of comics. (There's also a cute dig at Old Man Cap–get them in while it lasts, folks!) 

Spider-Woman #3. It's such a relief to find a superhero comic these days that's nonstop action; last week it was Captain Marvel #1, and this week it's Carol's bestie Jessica Drew's book. But the exciting plotting and clever dialogue by Dennis Hopeless is outdone this month by the brilliant art from Javier Rodriguez, Alvaro Lopez, and Rachelle Rosenberg. Not since the days of Kirby and Steranko have I seen such mindblowing layouts as when Jessica is traveling through the intergalactic maternity ward. A feast for the eyes indeed, and a fantastic comic all around.

Daredevil #3. Most of this issue is a battle in which Daredevil, Blindspot, and Tenfingers' gang fights the Hand. (Hey, I've got ten fingers too, but you don't see me making a big deal out of it.) There isn't a lot of character work here until the very end, where a couple quick hints are dropped about Matt's new status quo as well as possible changes to it. Ron Garney's new style for this series remains a joy to behold, but I find the pacing in Charles Soule's approach to the series to be slower than I would like, and I am eager to find out more about Matt's new life aside from his job in the district attorney's office.

All-New All-Different Avengers #4. I find myself underwhelmed by all of Avengers titles since the relaunch, but because this seems to be the "main" Avengers book, I am more disappointed by it than by the rest. (I'm not counting The Ultimates as an Avengers book, and it is incredible. If you're not reading it, fix that right now. Go!) ANADA (really?) has a terrific line-up but seems slow to get off the ground. The team is still finding its feet, building a new headquarters (with very little funds), confronting minor threats–even Jarvis doesn't know what to make of them yet. I don't mind trying out new Avengers concepts in the other books, but I'd like one Avengers book, the main Avengers book, to feature an experienced, confident, and capable version of the team from the get-go. (It has been eight months since Secret Wars ended, after all.) Hopefully this book will get there soon, because the creative team is as impressive as the team of Avengers, and I know they can produce a knockout book. But for the time being, it seems almost as if they're holding back. (At least the kiss on the cover was well played out inside, and Mark Waid and team got a nice jab in at folks who complain about a diverse range of superheroes.)

Grayson #16. We don't see any of the fallout from Robin War in this issue, but we do get a lot of exciting spy work from Agents 37 (Grayson) and 1 (Tiger) while they try to take down Spyral, with the Matron (the New 52 version of Helena Bertinelli) appearing to fight back, including recruiting some interesting new protagonists for our titular hero. Best of all, and most surprising from a book from the reliably dour DC Comics, this book was fun, not only because of the witty dialogue given to Grayson by Tom King, but from the entire approach to the book, plotted by King and Tim Seeley and illustrated by Mikel Janin and Jeromy Cox. I think the best word for the this book is "romp"–nothing heavy, just action, humor, and charm. It's not often I smile or laugh while reading a DC book these days, but I certainly did with this book, even more than usual.

Batman & Robin Eternal #17. A much more consistent and tightly-plotted affair than the first weekly Batman title, Batman Eternal, this installment should have been more satisfying, as we finally learned more about Batman's dealings with Mother in the past. It may have given away too much too quickly, though, and was somewhat disappointing because of it; but it seems there are still secrets to be told. While the art in this series has been up and down, this issue was very well drawn and colored, thanks to Scot Eaton, Wayne Faucher, and Allen Passalaqua.

Aquaman #48. This issue wraps up Cullen Bunn's storyline, and I'm sad to see him go. I have to admit that this storyline didn't excite me, but I like Bunn's work and I stand among those who feel he got a tough break from Aquaman fans and DC. (Who knew there were so many Aquaman fans and that they were so vocal?) As for the story, Aquaman and Mera's reunion was very nicely portrayed, and Bunn ended the arc and the issue with a nod to current global events that I hope his successor Dan Abnett picks up on when he starts his run next month. (Having been a huge Tempest fan before the New 52, I hope Abnett continues to develop Garth's character as well.)

Well, there's my first try at this–we'll see how I do next week with thirteen books as my list compared to this week's seven! If you have any comments or thoughts on these books, or any others I didn't read, be sure to leave them in comments, and I hope to see you here again soon!

Why is Loki: Agent of Asgard #1 such a great comic? Here are some reasons...

If Al Ewing and Lee Garbett's Loki: Agent of Asgard #1 doesn't end up being the best single issue of the year, then we've got a great year ahead of us. Why did I love this book so much? How much time do you have?

(Look Ma, I'm writin' a listicle! *sobs*)

1. It's a fantastically constructed done-in-one that tightly packs in everything you could want in a comic book. (This could be a listicle of its own—nested listicles, much structure, wow...)

Let's start with one great attention-getting splash page for an opener and another shocking one to close, with an entire adventure in between—an adventure that stands perfectly well on its own while setting up a larger story to come.

Did I mention that it also recaps Loki's essential history with the Avengers—and features the Avengers too? Yes, all in one comic, I kid you not. If they're not careful, they might attract the mythical New Reader with this book—and actually keep him and her. Wait... do you think that was their plan all along? That's just devious enough to be worthy of Loki himself.

2. Just when you thought Kieron Gillen was the master of Loki-speak, Al Ewing threatens to take that horned crown from him. Under Ewing's pen Loki is just as snappy and clever as we've come to know him, and when interacting with the Avengers you can't help but hear his lines in Tom Hiddleston's voice. (Hey Google, I said Tom Hiddleston! TOM HIDDLESTON! That's three times! Now where's my check?)

3. Lee Garbett brings his clear lines and layouts to a book with a distinctly darker feel than the Stephanie Brown Batgirl series on which he shone so brightly—do I ever miss that book—and makes it his own while at the same time very different from adventures of the wide-eyed Steph and battle-wisened Babs. His characterization is magnificent, not just on Loki but on the other characters as well, especially Thor and... no, I can't give it away. Together wih colorist Nolan Woodard, Garbett makes his book a joy to look at as well as to read. (Hats off to Jamie McKelvie for the new Loki design.)

4. What's that? Did I say "joy"? In a modern comic book?

Verily! This book was fun to read, and will surely be fun on numerous re-readings. I laughed outloud through the book, not just at Loki's dialogue and inner monologue but also at his devious machinations—all the twists you expect from Gillen's writing of him against the background of a simpler and more new-reader-friendly premise.

5. And this passage, from Loki's mind:

Magic is taking a thought and making it real. Taking a lie and making it the truth. Telling a story to the universe so utterly, cosmically perfect that for a single, shining moment... the world believes a man can fly.

Best explanation of magic in comics I've ever seen (when one is given at all)—and also keeping a nice link to Gillen's emphasis on stories through Journey into Mystery and Young Avengers. There's also a distinct Douglas Adams quality to it: I immediately thought of his line from The Hitchhiker's Guide to the Galaxy about flying being jumping and forgetting to fall. And the subtle Superman reference is just one of the pop culture references strewn through the book—see if you tell what he's singing in the shower—another legacy continued from Gillen's development of the character.

Loki: Agent of Asgard #1 is a success on many levels. Ewing and Garbett have successfully taken over Loki from GIllen's capable hands and put him in a new context that will be familiar to longtime fans and new wanderers from the land of cinema alike. And did I mention it's fun? In the end, that may be the best thing about the new Loki title—I expect lots of pathos, betrayal, and misunderstandings throughout this run, but I hope it never stops being fun.