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Snapshots for 4/7
There's no way that Don and I can cover all of the material we have for review in full reviews, so these capsule reviews will offer some brief comments on other recent releases.
2 TO THE CHEST #1
by James Hudnall, Mazi & Miguel Lacal (Dark Planet Productions)
 Given the name and the general look, I was expecting 2 to the Chest to be a straight crime book, but Hudnall seems to have included a horror/conspiracy element to it as well. Like Rogues!, the other Dark Planet release this week, 2 to the Chest suffers from a feeling of being a little compressed, with dialogue that is clunky and unrealistic, but also like Rogues!, I see a lot of potential here. I'm almost disappointed to see the conspiracy elements, because Hudnall, Mazi and Lacal start off by giving us a pretty believable look at an exciting day in the life of a pair of patrol cops, and I would have loved to see more of a beat cop series, given that this sort of thing is rare in comics and, for that matter, in television as well, which often focuses on the detectives. However, there's a definite positive to the mysteries in the issue as well, as I was left wondering what did happen to our protagonist during his near-death experience, and that "oh, shit" finale rivals similar moments on my favorite cop show, The Shield. Mazi, Miguel Lacal and colorist Fran Gamboa provide artwork that is solid and clear, and if their characters are a little odd-looking or their backdrops a little less detailed, than it's a small price to pay for pretty solid storytelling that conveys the tension of the script. 2 to the Chest is not a perfect comic, nor even one of the better crime comics on the stands, but it has a raw, violent edge that I like, and the plot and characters have certainly hooked me enough to make me want to come back for more. 7/10
AVENGERS/THUNDERBOLTS #2
by Kurt Busiek, Fabian Nicieza, Barry Kitson & Gary Erskine (Marvel Comics)
 I found Avengers/Thunderbolts #1 a little bit wanting, dropping me into the middle of a bunch of characters I barely remembered without much of a reintroduction. However, the second issue has me more intrigued. Oh, I'm still not wild about the changes that have been made to the Thunderbolts, both visually and in terms of characterization, but this issue focuses much more on what the Avengers are doing about it, and it comes with quite the cliffhanger ending, a nice surprise that had me going back to reread the story and look for clues, just like the best issues of Thunderbolts used to. Honestly, I find myself a little bit stymied, because I often rail on about how superhero fans can't stand any real change, and yet I find myself resisting this series largely because of that same real change, as Nicieza has transformed some characters I really liked, such as the wicked Zemo and Moonstone, into characters I find dull. And while Kitson's art is very strong throughout, especially in terms of the expressions on the characters' faces or the smooth action sequences, his redesign for those two characters, Vantage and Atlas are sort of '90s kewl and ugly to me. It's entirely possible, indeed likely, that I'm just not in an Avengers mood right now, and certainly likely that my lack of interest in the new Thunderbolts is tainting my enjoyment of the series. However, fans of Nicieza's Thunderbolts, especially the tail end of his run, will be pleased to see that feel returning in this series, and I think anyone could appreciate the nifty little identity switch pulled at the end of this issue, which has stirred my interest in the plot as well. 7/10
DEMO #5
by Brian Wood & Becky Cloonan (AIT/Planet Lar)
 Everyone who has reviewed this so far that I've seen has made note of the similarities between the cover of NYX #5 and Demo #5, curious given that NYX was originally a Brian Wood/David Choe project and that both issues feature a similar power and concept. Since NYX #5 isn't out yet, you can't do a direct compare and contrast, but Quesada and Middleton have their work cut out for them in competing, because Demo #5 is another outstanding issue. Wood and Cloonan start off the story on a very mysterious note, leaving me a little unclear what's going on at first, but this turns out to be a benefit, as identity confusion is a big part of the story itself, and Wood explores a truism that everyone has experienced, that everyone views people through their own lenses and that we tend to be different versions of ourselves around different people. What Demo #5 is perhaps most notable for, however, is not an unusual exploration of the shapechanging power, but a very unusual stalker story that doesn't end with some sort of tragic violent incident, but instead an equally dramatic and powerful realization for the lead character that neatly sums up the theme of the story. 9/10
THE MONOLITH #3
by Jimmy Palmiotti, Justin Gray & Phil Winslade (DC Comics)
 This issue brings the origin story of the Monolith and his return to the modern world to a close, which is a relief given the tendency to drag out such stories over six or more issues these days even when they don't need it. Palmiotti and Gray have packed a lot of story into these three issues, but they've also had interesting standalone moments in each issue. The strongest such moments in this issue are the story of how the golem was imprisoned, which is heart-breaking in its cruelty and even more heartbreaking given that it might have been necessary. As with the early issues, I find I'm more invested in these Depression-era tales of Alice, Rabbi Rava and Han than in the modern-day tales of Alice and Tilt, and I'm sad to see that this is probably the end of the tales in that era. However, Palmiotti and Gray have built up interesting characters in Alice and Tilt, and I'm curious to see where they go from here. I'll also miss Winslade's beautiful renditions of Depression-era New York, but fortunately, he brings the same detail and veracity to his depiction of the modern day, and I'm constantly stunned by the beauty of the artwork, especially given that he's maintaining a more or less monthly schedule, a rarity from artists who can maintain this level of detail. 8/10
MY FAITH IN FRANKIE #4
by Mike Carey, Sonny Liew & Marc Hempel (DC Comics/Vertigo imprint)
 My Faith in Frankie is one of Vertigo's most unusual, unconventional and unpredictable limited series in years. This issue brings the whole story to a satisfying and unexpected conclusion, with plenty of laughs along the way. Carey has stretched his wings beyond the dark fantasy of Lucifer and Hellblazer to tell a lighter, funnier tale, and I'm hoping we'll see more of this kind of thing in the future, because he does it well. Despite the tone of the series, which could almost be described as a parody of the kind of hell and romance thing done in many Vertigo books, Carey also makes the reader believe in the relationships between Frankie, Jeriven and Kay and care about what happens to them. There's a genuinely uplifting moment when we see that faith can go both ways, and I was impressed that Carey managed to avoid what seemed like an inevitable need to let one or the other character down and give everyone a happy ending. All of this magical weirdness and romance wouldn't have worked half as well, however, if it weren't for the artwork of Sonny Liew and Marc Hempel, whose imaginative weirdness gives us a comedic and yet monstrous looking Bragash or his hellish realm, as well as making Kay and Frankie strangely proportioned and yet believable all at the same time. My Faith in Frankie defies description, unless that description is "fun, imaginative and well worth your time." 10/10
PARA #2
by Stuart Moore, Pablo Villalobos & Mostafa Moussa (Penny-Farthing Press)
 With characters and basic premise established in issue one, Para #2 dives right into the creepy atmosphere and starts to unravel the mysteries. I was a little put off by the suddenness of a relationship developing between Sara and Roger, especially as deep as the one Moore portrays, but it does give a little more power to the surprising ending of this issue. I was also surprised to find that while I like the three lead characters, the more fascinating characters are Agent Sanchez and Dr. Z, both of whom are sort of out of the inner circle and out of the spotlight. Sanchez's high-tech toys and blustery attitude marks her as a likely villain of the piece with a secret agenda we don't yet know, and Dr. Z's intelligence and open-mindedness is an interesting contrast with his stutter and generally shy nature, bordering on cliche but escaping it because his personality is so enjoyable. By far the best part of Para #2, however, is that it's got some genuinely creepy stuff, from the sudden brutal explosion at the end to the dream at the beginning which can't help but give off a sort of Lovecraftian vibe thanks to Mike Mignola associating frogs with horror from beyond in the original Hellboy. 8/10
REX MUNDI #9
by Eric J & Arvid Nelson (Image Comics)
 This is another issue of intricate conspiracies and historical details, which teeter on the verge of being overly complex but instead stay on the right side of the line, as something fascinating, intelligent and both mystifying and intriguing. The cover gives away one of the most interesting aspects of the issue, as Nelson and Eric J deliver an unusual take on the Man in the Iron Mask, one that is more interesting than just the notion of a twin brother to the king, but it doesn't reveal that one of our lead characters finally comes face to face with the physical manifestation of the conspiracy they've been chasing. Nor does it reveal the introduction of Isabelle St. Clair, daughter of the Duke of Lorraine, a seemingly cruel character who is softened only pages later by the revelation of some interesting backstory on the Duke, backstory that further clarifies his relationship with Genevieve. Rex Mundi is a great boon for both conspiracy theorists and history wonks, not to mention those of us who like a good, tense horror story with a touch of restraint. As the story goes on, it's gotten deeper and deeper, and it's worth starting at the beginning to really get the full effect, but this issue, like each single issue before, also has plenty of stuff that's interesting enough on its own to draw new readers in as well. 9/10
SUPREME POWER #9
by J. Michael Straczynski, Gary Frank & Jon Sibal (Marvel Comics/MAX imprint)
 With this issue of Supreme Power, Straczynski and company convey a believable sense of chaos and awe as Hyperion finally breaks free of his government handlers, and leaves the readers and the government administrators alike wondering what happens next. Frank and Sibal show off the most brutal use of superhuman powers this side of the original Authority, spreading a little bit of fear into even the most diehard superhero fan raised on the idea that Superman would be a force for good, and no real danger to the rest of us. Stracynzski has done perhaps the best job I've ever seen of showing how the government could justify its fear and paranoia over superhumans, and at the same time he's got me once again wondering what's next for Supreme Power. Will Hyperion bring together the Squadron and take over the world? Will there be superhuman vs. superhuman warfare? Will there be something else I can't predict? Given how the book has been going, my prediction is that third thing. Supreme Power takes a very realistic, some might even say cynical, view of the uses of superhuman power, and it's not one I'd like to see reflected in superhero comics as a whole, but as something different, Supreme Power stakes its claim as one of the most interesting takes on the superhero as world-shattering threat. A combination of intelligent writing, beautiful artwork and constant surprises and twists makes this one a reliably great read. 9/10
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