Superman/ Doomsday (DVD review)

Written by: Duane Capizzi & Bruce Timm

Directed by: Lauren Montgomery, Bruce Timm & Brandon Vietti

Voice Actors: Adam Baldwin (Superman), James Marsters (Lex Luthor), Anne Heche (Lois Lane)

Direct-to-DVD release date: September 18, 2007

Superman/Doomsday

This review is over two years past due. Sorry to keep you waiting.

If you waited 25 years for an adaptation of the classic (is it too soon to be a classic?) Death of Superman story, then the wait is over. Superman/Doomsday isn’t a true adaptation, but about as close as you can get in a one-shot animated story.

If you were expecting the movie to have the cast and themes of the Superman Animated Series (STAS) you are in for a surprise. Superman/Doomsday is a more adult-oriented, mature story – as would befit an adaptation of this story. Gone are the familiar Tim Daly, Dana Delaney and Clancy Brown; replaced by James Marsters (Spike from Buffy/Angel), Anne Heche (is she still around?) and Adam Baldwin (Jayne from Firefly and Casey from Chuck). That is the first clue that something is different in Denmark. The new cast performs adequately, but you never quite shake the absence of the familiar voices. By the end of the movie, it feels like you’ve finally gotten used to a movie whose lips don’t quite sync up with the dialogue. You know, like watching an Ashley Simpson video.

Superman/Doomsday is well done. The animation, while (slightly) different from the Animated Series holds its own and the plot is well-executed, if not entirely faithful to the original story. Where the story departs from the original (about halfway in), if you aren’t hung up on the history of the tale, the story works.

This is definitely not a movie for kids. The themes are a little mature and there is a lot of talking and time in between some exceptional Superman fights. On the other hand, there are some very well done Superman/Lois and Luthor scenes in all that talking, so the grown-ups won’t be disappointed.

The theme and content of the story are definitely a different direction for DC Animation. You can see where they are going with this – especially with the up-coming release of stories like “Under the Red Hood”, which will focus on the return of (the once-dead) Jason Todd. What we have to look forward to are more “faithful” adaption geared for a mature audience, not necessarily “all audiences”. And that is not to say that STAS and Batman the Animated Series (BTAS) didn’t do a good job. The one thing I wish were different though is the animation style. If the plan is to be a departure from the JLU (cartoon) and Superman the Animated Series and Batman the Animated Series, then the style of the art should reflect that change. In fairness, future animated movies look like they are doing just that.

Overall, Superman/Doomsday exceeds expectations, such as they are for such a thing that has sat on the shelf for two years. There are elements that will be familiar to comic readers and to fans of Superman from other genres (i.e., the movies).

Grade: B (Plot: B/Art: B-)

An Ongoing Monologue

Or what you would have heard if you were the dog sitting next to me on the couch

The following is the “director’s cut”, if you will for the review above. Much of what is here is actually not in the review. It is on one hand flow of consciousness writing and on the other, constant readers (from the Roswell days, yes I’ve been “reviewing” for almost a decade) will recognize this as a familiar writing style. Enjoy.

Not safe for kids #1: In the middle of the World

A long time ago Disney mastered mixing adult themes into their animation without overtly crossing the barrier from “kid friendly”. Jamming something up Satan’s rectum isn’t exactly Disney-subtle or necessary for the moment. Mind you, I’m not a prude, but the crassness seemed out of place and unnecessary.

Easter Egg #1

The two scientists Luthor mentinons: “Swan & Schaffenberger” are Curt Swan and Kurt Schaffenberger, legendary 70’s Superman artists!

Doomsday: the Origin

The discovery of Doomsday on Earth was a nice re-imagining of the character’s origin. On one hand it doesn’t require the story to start in space and on the other it lends some credence to the aforeknowledge that the Kryptonians knew of Earth. It is even reasonable that not everyone (like say Jor-El) knew of Doomsday’s ancient imprisonment. It’s not like they would have wanted anyone to go out and dig up this unstoppable weapon.

Missing Men

With no disrespect to two Whedon Corps. Alumni, James Marsters (Lex Luthor) and Adam Baldwin (Superman), the show misses Tim Daly and Clancy Brown.

Superman II

From the Supes & Lois “romantic fortress getaway” to the Supes & Doomsday street brawl, there is a very familiar (Donneresque) feel to the first Doomsday battle.

At first it seemed insane that Doomsday would pick Lois (who can fly a helicopter!?!) and Jimmy’s chopper to jump on. Then you notice that it is the only thing flying in the sky. Some police choppers or US Army Blackhawks might have been a nice touch here, but who is going to nit-pick.

Not safe for kids #2: Whoa that is a lot of blood!

In the battle with Doomsday, Supes is taking a pounding. In one scene a very artistic spray of (Supes’) blood gets splattered on Lois’ face. Nicely done, sends the message, we get it. Cut to the next scene, where Supes is on his hands and knees literally vomiting a stream of blood. Okay, that was a bit over the top. You really had us at the over-dramatic splatter on Lois.

Remember those comics
As Superman emerges from the pit he and Doomsday created, there are a couple of nice (if not exact) tributes the original Death of Superman comics: the flag and Lois holding him. There are probably more scatter throughout, but it has been about 25 years since I’ve seen those issues!

Not for kids #3: Ma Kent

About 30 minutes into the movie, Superman is dead and Lois pays a visit to the Kent farm, where she breaks down in front of Ma Kent. It is about this point it becomes all-too clear that this not for kids. It makes sense to replace the voice cast and (ever-so) slightly alter the animation style. This is (meant to be?) an entirely different Superman.

The Return to (Richard Donner’s) Superman

Is it just me, or does Lois’ balcony look just like her movie balcony! If not, it’s close enough to put her “right at home”.

The Return of Superman (Luthor-style)

Oh… at first the return seemed too quick, there wasn’t enough build-up and then the pay-off. A clone!!! Nicely done Mr. Luthor, well played.

“Bigville”

Why I haven’t ever read or heard that expression before is beyond me. Smallville and “Bigville” with apologies if I missed it somewhere (like the Smallville TV show which I disdain).

Stunning Visual Direction

There are is some very cool imagery throughout the movie. The scene of the Super-clone hovering in front of the dead girl’s image is both breath-taking and haunting. The same can be said for the shot of the murderous Super-Clone hovering before the full moon, ala Batman.

The Return

“On this world, the laws of human death do not apply to you, Kal-El.” - Supes’ Robot

Well, that’s better than nothing I suppose.

Life threatening matters

“My beef isn’t with the kitty, it really irks me when people don’t take responsibility for the little things.” - Super-clone.

Superman saves an old woman white Persian long hair from a tree and proceeds to stand on the street lecturing her about irresponsibility. Awesome. Even more awesome, as Super-clone stands there he pets the cat and conjures visions of Dr. Evil… (okay maybe not Dr. Evil, maybe that bad guy from James Bond, but the first thing that came to the juvenile brain was Dr. Evil).

“I’m tired, quitting The Planet. Moving on.” – Lois

You will go a long way before you find a great line like that.

Wow! When Lois Lane rifles through files, she really rifles through files!!! Of course, the mess she makes and the very old-school folder she pulls out of the drawer begs the question, uhm, and why was all that printed out? But I digress.

The Final Battle(s)

Once Lois and Jimmy discover Luthor’s Superman-farm, the story really kicks into high gear, in a good way. Super-clone v. the Kryptonite Room was awesome; it’s always nice when his own creations outwit Luthor.

Superman’s return and battle with Super-clone had all the requisite smashing and destruction that you would hope and even a bit of heroic effort from the leading lady.

“You gonna’ wear the red and blue suit again? 'Cuz, I like that one better.” – kid in the park

From your animated lips to Superman’s (and Spider-man’s for that matter!) ears!

Greg's Comic Reviews for February 10, 2010

This week the comic haul consisted of a measly 9 titles (DC/Wildstorm: 4, Marvel: 5). There are three really good books, two absolutely horrible books and two literary adaptations that will sit on the shelf for awhile. Overall, it wasn’t a very good week for new comics.

READING LIST

February 10, 2010
ULTIMATE ARMOR WARS # 4
AMAZING SPIDERMAN # 620
PUNISHERMAX # 4
ADVENTURE COMICS W/BLACK LANTERN SUPERBOY # 7
BATGIRL # 7

February 11, 2010
BATMAN AND ROBIN # 8
SHIELD # 6

In the “read me” queue
DARK TOWER: BATTLE OF JERICHO HILL # 3
ENDERS GAME COMMAND SCHOOL # 5


REPORT CARD
THE GOOD
Punisher (Max) #4 (w: Jason Aaron/a: Steve Dillon) continues to deliver an excellent Kingpin-retcon, Punisher-style. And by “Punisher-style”, that really means “Garth Ennis-style”. The Kingpin makes his move. Aaron’s version of “the Russian” takes on Frank and that is not good for Frank. Aaron & Dillon’s run is really holding its against grand expectations. Grade: A+ (story: A+/art: A)

The Amazing Spider-Man #620 (w: Dan Slott/a: Marcos Martin & Javier Pulido) is real treasure. It is like a grown-up version of the 60’s cartoon. There are shout-outs to classic Spidey stories (Capt. Jean DeWolfe), there are more villains than you can shake a stick at, and a plot and dialogue that keeps on moving. What is strange about “Gauntlet” is the incongruity between storylines. What is great about “Gauntlet” is that in the middle of this long epic, you can have cohesive storyline that just works. From story to art, Amazing #620 is a great Spidey book. It does have a “throwback” sort of feel to it (augmented by Martin & Pulido’s art), but in the end this issue really pulls together all the (sometimes wandering) plotlines from the Mysterio story, but also picks up one of the lingering on-going plots. Grade: A (story: A/art: A)

Batgirl #7 (w: Bryan Q. Miller/a: Lee Garbett) just gets it. For years, Stephanie Brown, aka Spoiler, now Batgirl has been a useless wasted plot in Robin’s (Tim Drake) otherwise exemplary story. Or maybe what made her interesting just escaped me. About two issues ago, I got it. Or maybe something clicked with the character, but as Batgirl was about to fall from the “pull list”, suddenly this title became a valuable part of the current “new Batman” story. Batgirl (the title) gets it, even more than “Batman” (the title). There is a certain chemistry between Batgirl and Robin. In the old days that was Dick and Babs. Forever that has been Dick & Babs. Until Batgirl #7. The beautiful part of the new relationship between Robin (Damian) and Batgirl (Stephanie) is that both remain in character, which is apparently a hard thing for DC to manage and still… find chemistry. There are bad guys. There is a plot. And Batman too and Oracle to round out the cast. Batgirl #7 is a comic that makes you believe that Bruce can be gone, that Dick is Batman. And more importantly, a legacy survives Bruce. Of course after this wonderful story, you turn to the “DC Nation” page and you see the six covers for Batman: Reborn (or whatever they’re calling it) and you sigh and wonder why you bother. Grade: B+ (story: B/art:B+) advertising: F-.

Adventure Comics #7 – featuring Black Lantern Superboy (w: Tony Bedard/a: Travis Moore). I have a “pull list”, I’m sure we all do. Adventure has been on that list since it’s re-launch. I knew there were changes afoot and I knew they were coming sooner rather than later. No offense to Bedard, but as I picked up Adventure #7 and saw the splash page, my heart just sunk. The brilliant Geoff Johns/Francis Manupal storyline was gone again and I was holding yet another Blackest Night ancillary story. Then I turned the page. The two-page introduction to Conner Kent was a surprisingly good trip in the WayBack machine. Back to the Four Supermen and in two pages, Bedard (mostly) catches the reader up with Superboy. It was still easy to expect the worst, but that never came. Instead, with Cassie (Wonder Girl) and Krypto along for the ride, Adventure Comics #7 is a really good Conner Kent story. The tale even ties itself (with a very clever comment from Cassie) to the previous Adventure storyline. Moore’s art is nothing to write home about, but the strength of Bedard’s plot & dialogue carry the day. Grade: B (story: A/art:B-)

THE BAD
Ultimate Iron Man: Armor Wars #4 (w: Warren Ellis/a: Steve Kurth) is just uninspired, uninteresting and a model of the unfortunate direction of the Ultimate-verse. After three issues of the tired old cliché of Stark fighting armored guys to get his technology back we finally get back to the “meat and potatoes” of the mini-series: the Ghost and that black box. Two unremarkable twists and reveals later and we’re left wondering if any title surviving Ultimatum was a good thing. Grade: C- (story: D/art: B+)

UNREADABLE
Batman & Robin #8 (w: Grant Morrison/a: Cameron Stewart) is sadly unreadable. Unless you really need one more Batman running around (think a Morrison version of Brubaker’s `70`s Captain America) or you need one more dead hero who is going to come back the next, or same issue (think Kyle Rayner), you can skip this book. I wish I had.

The Shield #6 (w: Eric S. Trautman/ a: Marco Rudy) marks the end of this title’s run on my personal “pull list”. The Shield is still a good idea, a modernization of sorts of lots of familiar patriotic DC heroes and like Rudy’s artwork deserves better treatment than he has been getting. He would make a good addition to Robinson’s Justice League. The Inferno second feature (w: Brandon Jerwa/a: Michael Gaydos) is better than the other Red Circle back-up Hangman (and the Shield for that matter).

Greg goes Avenging with Azrael (A review)

A little history, Greg-style: Jean-Paul Valley

A long time ago (circa 1992) the Order of St. Dumas and their avenging angel Azrael were introduced to the Bat-Mythos in a storyline in prelude to the Knightfall saga. Batman took Azrael (Jean-Paul Valley) under his wing, to the (sometimes) consternation of Robin (Tim Drake). Eventually, Knightfall saw Batman (Bruce Wayne) succumb to a vicious attack from Bane which left him crippled. To no one’s surprise (except maybe Robin & Nightwing), Valley took on the Mantle of the Bat… the armored and now-lethal Mantle of the Bat. Needless to say that didn’t last long before Bruce pulled himself off his infirmed bed to wrest the mantle off Valley’s armored skull. Still wounded, Bruce passed the cape & cowl to Dick Grayson and Valley limped off to resume his crusade as Azrael.

Despite lasting 100 issues, recollections of Jean-Paul Valley’s adventures pretty much start with his introduction and end with Knightfall. That isn’t to say that (in almost a decade) he didn’t have any interesting stories along the way, but even his death at the series end fell mostly under the radar.

Behind curtain #2: Michael Washington Lane

Michael Washington Lane was one of three GCPD officers who had been selected to train with the Caped Crusader, to take his place should anything ever happen to Batman. In order to recreate the rage and passion that drives Bats, Dr. Hurt (who ran the program) murdered Lane’s sister and brother. In true Morrison fashion, the three “Batmen” were secreted away and Bruce was hypnotized to forget the experience. Or something Morrisony-like that.

Lane re-emerged in Azrael: Death's Dark Knight (a Battle for the Cowl mini-series), where he was approached by a splinter faction of the Order of St. Dumas which has proffered their own version of Azrael. This is not the same group who used “The System” to train their warrior; instead their Avenging Angel is equipped with the Suit of Sorrows and two flaming swords.

The new Azrael is a more grounded, character-driven storyline than the original. Azrael is still more brutal and faith-motivated (e.g., the stories tend to be preachy). The origin mini-series is a good read, and comes highly recommended (review).

Following the mini-series, Azrael was featured prominently in the Bat-mythos crossover that ran through the 2009 Batman and Detective Annuals. Unfortunately, that story was entirely forgettable and is to be avoided if possible. Luckily, I had already purchased the first two issues of the new series before I read these annuals, otherwise I would certainly not have picked up the new Azrael series.

Azrael 2.0

Written by: Fabian Nicieza

Art by: Ramon Bachs (inks: John Stanisci)

Azrael #1

Published: October 21, 2009

The inaugural issue of the new Azrael series comes complete with a requisite cameo from the new Batman, in case you forgot we were still in Gotham. The plot, on the other hand, didn’t need the appearance of the Bat. Nicieza delivers a satisfying murder mystery, intertwined with religious dogma that not only fleshes out Lane as Azrael, but also give some body to his supporting cast (of which Batman is clearly not). The real kicker is at the end of the issue, which peeks ahead six months. Grade: B+ (story: A/art: B)

Azrael #2

Published: November 18, 2009

There is something to be said for “branding” Azrael by continuing to have Gotham heroes appear in his comics, but Oracle and Huntresses appearances in Azrael #2 are less than superfluous and adds nothing (of value) to the story that doesn’t come out throughout the natural issue. Of course, “Huntress” and “superfluous” are synonymous right? The White Ghost/Ras al Ghul intervention into the Azrael ongoing is a much better use of the Bat-mythos. The action is good, the set-up is lacking and the conclusion weakens the League of Assassins more than it improves our comfort of Lane & co. as Azrael. It really isn’t quite enough to say that “the set-up” is lacking. Two people are in obvious peril, visible across the Gotham skyline. One (both?) is screaming for help. With all the Bat-folk running in and out of Azrael’s title you’d think one of them (or just an ordinary passerby) might have noticed them. A good plot idea, bad execution. Grade: C+ (story: C/art: B)

Azrael #3

In a surprise twist, no other Gotham heroes appear in Azrael #3. Unfortunately Azrael barely appears in Azrael #3, which instead is a war-come-home story featuring Michael Lane and his squad from the war. These kind of stories are hard to tell, they always seem contrived and end up sort Afterschool Special feeling, even when the topics at hand are dark, mature and complicated. As has been the case with Azrael (the series), the plot is decent, but it may be too soon to have an Azrael-out-of-costume story. Nicieza is clearly working on establishing Lane as a complex and interesting character, but no one really buys the “Bruce Wayne” comic do they? Bachs art also under-achieved compared or perhaps stood out more with a distinct lack of action (or characters in costume). Grade: C (story: C/art: C)

A break here in the review before we go on to the most recent issue, at this point there is a distinct downward trend to the series. The Azrael-St. Dumas subplot is still interesting. The Azrael (with the Suit of Sorrows) is still a good idea. The complications are coming from too much Michael Lane, from too many different directions (family, ex-military, ex-cop, etc.) and ultimately a weakness in either maintaining a suspenseful enough on-going plot or delivering a win with each issue. These are not good combinations, for a series (character) that a lot of promise coming out of the introductory mini-series.

Azrael #4

Published : January 20, 2010

The last thing the Azrael series needed was a team-up with Batman and yet here it is. The plot in issue four reads like a steamroller tied to the front of a bullet train, massacring both Batman and Azrael in the process. The plot returns to (yet another) subplot for Michael Lane, the murder of his family. Azrael #4, the series as a whole really, has gone more the way of the Detective & Batman annuals than the original mini-series or even the first issue of this series. And that is not good. Of all the Gothamites in this story, only Robin (whose personality is shallow and cavalier) comes off accurate or effective. Bachs artwork has become less than impressive, particularly the use of perspective which makes all the characters seem foreshortened or look like dwarves for LOTR whose heads are too big for their bodies. Grade: D (story: D/art: D)

Prognosis

There is still potential in the character and background of Azrael, but the more complicated the story gets the more his already complex background becomes an anchor that sinks the book. Here’s the problem with the Huntress (whom I dubbed “superfluous” earlier in this review), while she has a background that launches the character into the thick of the tapestry of Gotham, she keeps being dragged into the Bat-world, where her background gets lost and she’s just another superhero(ine) with a pointy cowl. Well, that and her original origin as the Earth-2 daughter of Batman and Catwoman was better, but I try not to hold that against her anymore. Suffice it to say that the Huntress often becomes this interchangeable “Bat Person” (insert Batwoman, the Question, and now Azrael) running around fighting crime that is beneath the Batman’s notice, when she should really be going all Punisher on organized crime. She should be a little less flashy, ditch the cape and pointy cowl and do some (almost Question-style) battle against the Gotham underworld. Instead, most often when we see her she is swing from rooftops or tooling around on her motorcycle. Like all the other Gothamites.

That is the trapdoor that Azrael is about to fall into. Instead of probing for and telling stories that are outside of the influence of the rest of the Bat troupe, Azrael keeps ending up right in the middle of them. Like Huntress, his origin lends him to a sphere of interest (religious, zealots, secret societies, etc.) that aren’t usually the places that draw Batman & Co. Now, in Azrael #4, the story actually does center on a secret society. Unfortunately it is Batman and Robin (who admittedly bumble into Batwoman’s villains) that get involved with the cult. Azrael only comes into the plot because a supporting character overhears something in a bar and calls him. Uhm, huh? Kind of misses the low-hanging fruit.

The other quicksand that Nicieza is falling into (or being pushed?) is the over-personalization of the character. This isn’t the “Michael Lane” comic, it’s Azrael. The last two (out of four) issues were Lane stories or his own personal crusade. With this kind of “soap operaetic” pace, it is difficult to have any interest in Azrael and despite best efforts, there is too much going on to empathize or identify with the Michael Lane character.

The Final Word

Azrael gets two more issues and then it comes off the pull-list. One saving grace has been that Azrael hasn’t fought any Black Lanterns. Uhm, then again, it might have been interesting to see what his spiritually charged swords would have done against a Black Lantern. Not that I think we need any more Blackest Night crossovers.

Greg catches up with the Read Me pile - February 5, 2010

The Read-me pile is a stack (sometimes a terrifying stack) of comics that for whatever reason were set aside unread the week they were brought home. Most often it is because I prefer to read that particular title as a run of issues, but sometimes there are other reasons. Sometimes there isn’t enough time in a week, but usually there is a more well-thought out reason. In these columns, I do my best to explain why the books were set aside, as well as (of course) provide an entertaining recap.

Following the same format as the weekly review column, tonight I read six books (DC: 3, Marvel: 2, Independent; 1). Somewhat surprisingly all six were solid and rewarding reads. One of the reasons titles sometimes get put into the “Read-me” pile is that they are on the verge of being left off the pull (“buy me”) list. None of the five titles reviewed tonight were on that precipice and all of them acquitted themselves admirably (more or less).

Reading List (February 5, 2010)

Chew #8 (published on 1/27/10)

Detective Comics #861 (published on 1/27/10)

Batman & Robin #7 (published on 1/27/10)

The Web #5 (published on 1/27/10)

Spider-Woman #4 (published on 12/23/09)

Spider-Woman #5 (published on 1/20/10)

Report Card

The Good

Spider-Woman #4 (w: Brian Michael Bendis/a: Alex Maleev) is an excellent post-mordem to Secret Invasion. The big difference between the two big companies’ (Marvel & DC) huge crossover mega-events is that Marvel continues to build on the previous huge event, while each of DC’s crisis’ seemingly tears down everything that has come before. Spider-woman #4 exists (and is brilliant) because Bendis draws on the very complicated and tortured past of Jessica Drew (Spider-Woman) to address the very disturbing hand she was dealt in Secret Invasion. The result is a much more satisfying response than killing a character and bringing them back, so that you can kill them again or make them a Black Lantern. I’m just saying. Spider-Woman #4 sat in the “read pile” for so long because somehow I neglected to pick-up Spider-Woman #3. While there is a subplot that I had to piece-together, the story is written well enough that even if you haven’t been reading Spider-Woman, if you enjoyed Secret Invasion you will probably enjoy this book, where Jessica gets the opportunity to come face to face with a Skrull for the first time. Grade: A (story: A/art: A)

Spider-Woman #5 (w: Brian Michael Bendis/a: Alex Maleev). While Bendis has become synonymous with huge Marvel Mega events and comics that have more talking than fighting, it is easy to forget that aside from all the hype, Bendis can pen a really excellent comic. On her own, operating in the same Bendis-Verse as the Dark Avengers, Norman Osborn, etc. most of Spider-Woman #5 is a self-contained (or series contained) story that is gritty, mature (themes) and compelling. An Avenger, a Skrull-prisoner, a double-double agent, Jessica Drew has a lot of baggage, which remarkably makes this series better rather than drag it down like an anchor. Without question, Drew has become the best thing to happen to SWORD since Whedon created it. Deftly Bendis & Maleev, through Drew, make SWORD a viable organization and useful contributor to the larger Marvel U.(unlike say the mercifully canceled SWORD series). Spider-Woman (the series) is tightly wound around a central plot that has bounced back and forth between the backstreets of Madripoor, a Hydra base and the psyche of Jessica Drew. Spider-Woman #5 brings the story back to Madripoor, where we see another use of Jessica’s powers and she is inevitably re-connected to the current mega-event. Grade: B+ (story: B/art: A)

Chew #8 (w: John Layman/a Rob Guillory). Sometimes comics get held back to the "Read me" pile because they have in the past been “just that good”. Usually these are independent titles or titles that aren’t connected to any other titles (or major event crossovers). Chew #8 was held back to be savored (pun intended). While coming into Chew late, it has been consistently entertaining in a light-hearted, mature (for language, theme and plot complexity) read. The second story arc (which started with Chew #6) has maintained the quality of the first arc. Each issue tells a complete story and also advances the “International Flavor” story arc. Chew #8 has Tony helping a local Police Chief ruffle the feathers of a cock fighting ring. Meanwhile, we also learn more about the mysterious fruit that tastes like chicken. Chew remains a satisfying meal that leaves you wanting just a little bit more. Grade: B+ (story: B+/art: B)

The Web #5 (w: Marc Guggenheim/ a: Talent Caldwell) trumpets the arrival of a new creative team and makes for a decent jumping-on point. The Web remains not only a good comic, but the best of the Red Circle line. Web #5 continues to define the personality of the main character, as well as expands the stable of former-Archie Comics heroes. The story moves briskly, like an episode of NCIS or 24. The plot isn’t complicated but develops cleanly and is packed with action. The Hangman back-up is still difficult to read and doesn’t measure up to the main feature. Overall, the Web has been one of my favorite books for the last few months. It fell into the "Read me" pile because it is, for the most part, disconnected from the goings-on in the DCU (Blackest Night) and there were so many titles that came out last week. Grade (on the Web story only): B (story: B/art: B)

Batman and Robin #7 (w: Grant Morrison/ a: Cameron Stewart) starts a new story arc, with a new artist, with Batman (and Batwoman?) in the U.K., while Alfred has delivered the injured Robin to his mother, leaving us to wonder just who is minding the store back in Gotham? Robin’s Luke Skywalker impersonation, floating in a healing vat and his mother’s cryptic mutterings are dire omens of things to come, but who didn’t see that coming? It is nice to see the British dynamic duo. The underlying theme of the plot is intriguing, the execution is mediocre and only the reader is more confused than Batwoman as to what she’s doing in this story. Grade: B (story: C+/art: B)

Detective Comics #861 (w: Greg Rucka/a: Jock). There just simply wasn’t enough time to read the two Bat titles (Detective and Batman & Robin) last week. Compounding the delay, the phenomenal artist J.H. Williams is replaced (for at least this story arc) by Jock. Detective #861 marks the return of Batman to the series. Rucka’s Batwoman plots have been convoluted and disjointed, but had until now have been aided by Williams’ superior art. Jock, while no Williams, does a very good job rendering the work, but the stark panel-to-panel, page-after-page of a traditional comic artist really emphasizes the haphazard storytelling of Detective. All that being said, Detective #861 isn’t a bad story, but isn’t well organized (to the point of distraction). And for the record, I quit reading the Question back-ups about two months ago, they are that bad. Grade: C+ (story: C/art: B+)