The Department of Truth #1 Review

Writer: James Tynion IV

Artist: Martin Simmonds

Rating: 6 of 8

The Department of Truth #1

 

Everyone knows conspiracy theorists are full of it... aren't they? When you hear people say the Earth is flat, or that the moon landing was faked, you probably dismiss them, knowing the Earth's round and that the landing was legit. But here, you get the impression such conspiracies have a lot more credence than you might expect.

Though going in, I didn't expect the explanation Tynion ultimately gave, it was an interesting one nevertheless. He was also wise in opening the issue the way he did, as he utilized one of the most hotly debated assassinations in history, that being that of JFK. It's also pretty brilliant how this wasn't simply used to open the issue and that it came into play in a pretty interesting way.

If there was anything I'd criticize about the issue, it's that I wish more of it was in the moment, rather than most of it being a recounting of what had happened. I also would've liked to have seen a bit more of the last conspiracy we see, which is breathtakingly brought to life by Martin Simmonds. At times, the issue can be a bit wordy, with a large influx of dialogue as Agent Turner recounts his tale.

When it comes to the art, it's very reminiscent of longtime Bendis collaborator, Alex Maleev, which fits the issue, given it's closed in nature. Simmonds gives a distanced feeling to the opening scene, which almost makes the situation and some of it's people feel further away than they are. It's a little scary and unclear, which definitely fits, given the abnormal situation.

Overall, it's a pretty good opening issue, that could be a bit better in certain aspects. Could be worth checking out, if only for some interesting ideas and solid art.

Cash #1 Review

Note: I received a copy from one of the creative team to review.

Writer: Chad Halley

Artist: Daniel Caval

Rating: 7 of 8

Cash #1

One of the best things a story can do is surprise you. That's most certainly what Cash #1 did for me, as it delivered a tale with a lighter touch than I expected going in. There were a number of things that made me think it'd be a darker tale, first of which being the cover itself, which indicated a darker tone than the issue ultimately had.

Other things which made me worry I was in for a darker, tenser tale were the setting and art style, the setting being Afghanistan, a country filled with war and terrorism. Meanwhile, Caval's art is reminiscent of that used in Satrapi's Persepolis, a film filled with political tension, revolution and war. 

But thankfully, I was wrong. Halley's writing fills the issue with a noir sensibility, largely thanks to protagonist Cash's narration. It's something that reminds me of a hard boiled detective thriller and though seeing that in this setting surprised me, it works surprisingly well.

Besides that, Wali Jabar's laissez-faire attitude helps alleviate what otherwise could've been a pretty tense situation. For a decent part of the issue, he's Cash's focus. Thanks to him, the issue gets to bring up a not often highlighted issue in Middle-Eastern society, that being the sad fact that homosexuality carries a death sentence. 

It's something I applaud Halley for bringing up. It just goes to show how much worse things can be for gay people in other parts of the world. If there was anything I'd criticize about the issue, it's that I'm sometimes left confused how certain characters survive certain situations, given what happens to those characters.

Other than that, it's a pretty good 1st issue, that I'd happily recommend.

 

Detective Comics #1027 Review

Writers: Marv Wolfman, Mariko Tomaki, Greg Rucka + 

many more

Artists: John Romita JR, Brad Walker, Riley Rossmo

Rating: 6 of 8

Detective Comics #1027

If you measure somebody by the legacy they leave behind, then Bill Finger and Bob Kane must be two of the biggest people around. When they helped bring the Dark Knight to life all those years ago, could they have ever expected the impact and longevity he'd have? Yet, 1,000 issues later, (with Batman debuting in Detective #27) here we are.

Though there're some mixed tales in this celebratory issue, most of it really stands up really well, with some making a good case for why those writers would be a good fit regularly writing the Caped Crusader. Chief among these is Rucka's Rookie, a tale that hardly features the titular Dark Knight, but is perhaps all the better for it. Here, Rucka focuses on a young woman just starting a career in the GCPD, a job made all the more difficult by the corruption inside the force.

It's a surprisingly timely tale, given what's been going on with a number of officers in America, though regardless of your thoughts on that, it fits the rotten nature of Gotham perfectly. Yet another great example of how hard it can be to do right when there's so many around you determined to do the opposite, it alone makes the issue well worth a look.

Though Rucka's isn't the only tale to explore the city's corruption, with Kelly Sue DeConnick's Fore doing so remarkably well. It sees Bruce fighting a battle on two fronts: as himself, at a golf course, and as Batman, in various parts of the city. It shows just how well he's able to deal with a villain, without relying on his alter ego. Romita JR's art is smooth and consistently good throughout, showing just how much a difference a good inker like Klaus Janson makes. Like Rookie did for Rucka, Fore makes a good case for DeConnick taking on Batman in a more regular capacity.

The Master Class does similarly for Brian Bendis, as Batman and the Bat-family - Red Hood, Robin, Nightwing, Spoiler, Batgirl and Red Robin - investigate a dirty cop's decidedly messy end. Apart from the opening, which is filled with more quips than I'd like, the rest of it's pretty good and shows just how good Bendis can be with a mystery when he wants to be.

Matt Fraction's Many Happy Returns isn't as good as these tales, though Chip Zdarksky's art makes for some stirring moments, like Batman being hit by the Bat-signal's light as he meets Gordon, or the Joker standing alone in the middle of the road. Grant Morrison's Detective #26 is a good story, with Silver Ghost's name feeling like a nod to Adam West's Gray Ghost. His costume even reminds me of him, which definitely isn't a bad thing.

Given that and the title, it makes sense that it revisits the early days of crime fighting in Gotham, before there even was a Batman. It even revisits the titular Detective #27, showing readers the crueller version of the hero they know today, his words fittingly framed by sharp points. Artist Chris Burnham fills it with awe inspiring moments, especially early on, where he gives us a very striking Silver Ghost.

Meanwhile, Dan Jurgens' Generations: Fractured is underwhelming not due to it's quality, but simply due to how quickly it ends. Unlike most of the issue, it feels like it ends when the story's only getting started. With the nature of the story and the fact that it was originally meant to be part of something bigger, I can understand this, but as it is, I'm left wondering just where things go from here and whether it really fit this issue.

Fittingly, Tom King's Legacy shows us just what Batman wants his legacy to be and that, despite his enemies' hate, he ultimately doesn't feel the same way. It's lovely to see to see that, despite the darkness of his world, there's far more light in the Dark Knight than you might expect - and perhaps that is his legacy.

Overall, a very good issue and a fitting celebration for one of DC's darkest heroes. Even if you haven't been following Detective Comics, I highly recommend it.

 

The Amazing Spider-Man (2018) #48 Review

 Writer: Nick Spencer

Artist: Marcelo Ferreira

Rating: 6 of 8

The Amazing Spider-Man #48

Sometimes in life, you have to make hard decisions. You might not want to make them, but you have to - and depending on the decision, what you decide could make things worse for other people - or even for your soul.

In TASM #48, Peter Parker has to make such a decision. In the last few issues, notorious serial killer Sin-Eater's mysteriously returned from the dead. In his first life, he believed it was his divine mission to kill those filled with sin - though that also included upstanding police officer Jean DeWolff.

Now he's returned to that mission, though now with a supernatural edge. But the key difference here is that the people he kills don't stay dead. Once they reawaken, they're not quite the same people and are filled with remorse for their crimes.

But the dilemma for Peter is that Sin-Eater's latest target is his arch-nemesis, Norman Osborn. Throughout the years, he's committed acts of incredible evil and done his best to hurt Peter in some of the worst ways possible. But can he let even a man like that be 'cleansed' by the Sin-Eater's gun? Especially when he's unsure he can trust this 'cleansing'.

It's something the wall crawler grapples with throughout the issue, getting advice from Miles (another Spidey), Ghost-Spider (an alternate Gwen Stacy) and Jessica Carpenter, the new Madame Web. Before the issue's over, he finally makes a decision, even if his web slinging friends aren't sure it's the right one.

Overall, it's a pretty good issue, with some fitting callbacks to tragedies caused by Osborn. It's also infused with Bagley like art, though it's Ferreira on pencils. Whether in more action packed moments, or the quieter ones, it definitely fits the issue. Worth checking out, especially if you've been following the Sins Rising saga, or Osborn's various villainous exploits. 

Lonely Receiver #1 Review

Writer: Zac Thompson

Artist: Jen Hickman

Rating: 7 of 8

Lonely Receiver #1

 

Who are we without someone? Someone to love us, support us; someone who'll simply be there. We all need someone. Whether it's a friend, a partner, or family, we're not quite complete without them. 

But the tricky thing is making sure you don't lose yourself in them. That's a problem Catrin and Rhion have to deal with as their relationship develops. The two of them are better - and worse - for having each other. Though watching a relationship develop can be interesting, especially when it's built on shaky ground, that isn't the most interesting part.

No, what makes it interesting is the fact that one (or both?) of them isn't even real. From what I understand, Rhion was artificially created using Catrin's special phone. At least, that's the impression I got early on, as we see Rhion created by Catrin and her phone, though later scenes indicate Catrin's the AI. It's not entirely clear, but perhaps that's the point.

It might've been done to make us question who the real one is and what makes them real. Or it could be trying to make us ask if what makes someone real is their sense of identity. The lack of clarity over who the AI is is the only thing I'd criticize, as otherwise, the issue's pretty good. Hickman's art is filled with life and, like the scene above, bursts with colour and vibrancy. 

Throughout the issue, Jen shows their skill as an artist. Whether it's in the above scene, or in the explosive, all too relatable violence, Hickman's art is never dull. It would be remiss of me to neglect mentioning Thompson's writing. Thanks to both of them, the issue flows well and never drags. 

It's filled with the quieter moments of a relationship, like having breakfast, or seeing your partner off as they head for work. But Thompson never forgets just how dark a relationship can turn, with the issue opening with an angry, curse laden farewell, one which hints at an emotionally abusive relationship, or something more complicated. 

Overall, despite my confusion, this was a pretty good opening issue. I'd recommend it to anyone up for a darker look at a relationship, filled with sinister sci-fi trappings.