Jimmy Palmiotti and Amanda Conner team up with, uh, basically every major artist still speaking to DC for a blessedly playful introduction to their upcoming Harley Quinn series.
Harley Quinn was more damaged than perhaps any other character in the DC Universe (give or take a Jaime Reyes) by the DC Universe ‘soft reboot’ in the New 52. While Harley’s always had a dark, seductive edge, the New 52 stripped her of all her subtlety and most of her clothes, turning her into a vaguely ridiculous facsimile of one of DC’s most iconic female characters. Bits and pieces of the old Harley have resurfaced periodically, but by and large, Harley went from the Clown Princess of Crime to another bland merry murderess in a corset and boy shorts. It was an abysmal redesign. Now, however, Jimmy Palmiotti and Amanda Conner are taking over and steering Harley Quinn back towards being her own thing, a process that starts in the cluttered-but-playful Harley Quinn #0. Continue reading
Marguerite Bennett lands on a brilliant concept for a “Zero Year” tie-in, but the execution leaves a lot to be desired.
Posted in Batman, Comic Books, Comic Reviews, DC, New 52
- Tagged Batgirl, Batman, DC Comics, Fernando Pasarin, Marguerite Bennett, review, Zero Year
The Movement is a book I badly wanted to love. One of the few truly new ideas to emerge from the New 52, it had pretty much everything I look for in a monthly comic, at least on the surface. It had a fantastic premise – superpowered teens fight corruption and wage class warfare – that was extraordinarily relevant to modern society, a diverse cast filled with mostly new characters, and a dedication to building a strong sense of place in Coral City. But The Movement has failed to connect with readers (myself included) in a way that’s rare for writer Gail Simone’s work. Where did it go so wrong? Continue reading
Forever Evil, DC’s massive post-summer event, improves on an awful first issue with a passable second one, but its problems still linger.
I wanted so badly to like this book, but to no avail, because it’s pretty bad.
Ales Kot joins as the new writer in Suicide Squad #20, and he brings a little sophistication to a sluggish title.
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One of the New 52’s best books closes with a whimper rather than a bang, as a rushed conclusion leaves little room for the book’s incredibly strong supporting cast.
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