Buddy Beaudoin Comic Reviews

"Batman #45" was a great read. Theres so much to this issue that I didnt even begin to cover in an attempt to review and not blog or dissect. If youre feeling let down by DC or the New 52, or feeling lost in the continuity of their ongoing universe, youre not alone, but I implore you to read all four amazing years of Batman. In six months, Snyder and Capullo move out of Gotham, and I think that these years together may be some of the most iconic for the history of the Batman.

While this book isnt a failure by any means, its not exactly the thrill ride that weve become accustomed to while reading Batman. Capullos art remains savage and rich and Snyder weaves about a billion webs, but theres not enough of a balance here between the expanded Batman universe, and the current villain arc. They do keep you hanging on for more, however, leaving "Batman #46" feeling like a bumpy start to an epic conclusion.

Snyder and Capullo have certainly proved themselves worthy of the cowl in their storied history with Batman, and issue #47 will prove to be one of the standout books in that history. I could read this issue over and over again as a self contained book, but it adds volumes of depth and satisfies so many questions to the Superheavy arc. Whatever happens in Batman in the days after Snyder and Capullo, one things for sure, whomever picks up that gauntlet is going to have some damn heavy boots to fill.

Snyder and Capullo dared to do something different with Batman. In every arc, fans have been presented with choices that were sometimes enough to make them cringe. But, at every turn, the creative team proved that they knew what they were doing. Mr. Bloom was perhaps their biggest leap forward, and together, they crushed it. As their run comes to an end, Batman will live on, but the true dynamic duo must part ways.

Tynion IV and Williams are a great pairing on a great team-up piece. The story feels expansive and leaves a lot to the imagination. The art possesses a wonderfully handcrafted feel that isnt present in many comics these days, and brings you back to the origins of TMNT with the coloring of Jeremy Colwell. This book is really one for the fans.

Batman Teenage Mutant Ninja Turtles is a surprisingly great crossover series. The worlds are blended seamlessly and in a way that adds a lot of drive to the narrative. The art possesses a cross between digital and analog styles that makes the series a standout from much of what is on the shelves. Get on this one!

Batman: Europa #1 is a strong start to the four part miniseries. The creative team shine together, giving so much promise to this series that its hard to see where we could possibly be let down. Every page comes off as an accomplishment, with such lush lines and bold color work driving the script all the way to its very satisfying cliffhanger conclusion.

Batman Europa #2 is a magnificent bit of storytelling that educates its audience on the historical culture of Prague. Casali and Azzarello are the real dynamic duo, as theyve crafted a narrative that aggrandizes the Batman brand. Camuncolis painted art clenches this series as one most worthy of going down in the annals of Batman glory.

Batman: Europa is brilliant piece of storytelling both visually and narratively. Not only does this series change one of the longest lasting hero/villain relationships in comic book history, but it informs the reader on real life culture outside of Gotham City. Its superbly done from start to finish and is a perfect lead up to the concluding issue.

Theres a lot that can be done with Bloodlines. However, as of this first issue, theres a lot thats not being done as well. Theres boundless room for development, but as of now, the series is going to have to grow into itself.

Citizen Jack is an idiocratic look at the current political and news media systems. Theres just enough satire to make it feel satirical, but also little enough that it reminds you that Donald Trump is actually running for office. Issue one sets up a cast of rich and entertaining characters, and a horror/comedy setting that immerses you in its world. "Citizen Jack #1" is a must read book of the fall.

Citizen Jack perfectly blurs the line between satire and social commentary. Its a cunning look at the American electoral process and biased media. This is a book that should be read and recognized as a culturally significant piece of art. If youve paid attention to American politics in the past ten years, then pay attention to Citizen Jack.

"Clean Room" #1 certainly strives for perfection, and is nearly there. The writing and art direction, the horror, the thrill of the read, and the psychological drama of this book are all top-notch. It leaves you wanting more, but at the same time fearing that youll never be fulfilled. A very strong start for the series. Look for further reviews as we'll definitely be following this one closely.

Gail Simone and Jon Davis Hunt crawl inside your head, find your deepest fears, put them on toast with jam and force feed them back to you. Clean Room is so absurd and imaginative that it creates a malady in the reader by the end as they need to know where it goes and have absolutely no relief for their suffering. Read this damn book!

Clean Room is a triumph for the horror comic scene, but its full of so much intrigue that its not painting itself into the horror corner. Gail Simone and Jon Davis-Hunt are clearly working on their opus, and boy, is it a thing of beauty. I find myself checking release dates incessantly to find out when I can ingest more of it. The art is gasp inspiring, and not in a little cutesie anime way. Its just phenomenal work.

Clean Room is the best horror comic in years. How its managed to stay under the radar is anybodys guess. Theres so much talent on this series, and so many scenes of unsuspended beauty, terror, and consternation that even when this series is trying to make you lose your lunch, its an absolute joy.

Clean Room is impressive. It has a way of keeping its horror elements in the background, and then slapping you across the face with them. This issue caused some gasps, some queasyness, and some downright uncomfortable feelings, and that's damn cool.

With all the slow pacing of the story elements and difficulty in forecasting aside, DKIII The Master Race feels like a return to the acclaimed The Dark Knight Returns in art direction, character development, and overall vision. While not the quickest read, its exciting as hell as theres a very comforting feel to this book and youre left with a whole lot to look forward to from the remaining seven installments of the series. Book one gets it right.

DKIII: The Master Race has been an excellent addition to the lineage of the Dark Knight series that seemingly has managed to sway the opinion of fans left sour by The Dark Knight Strikes Again. Azzarello and Miller work well as a unit, and the art direction is top notch. While the first two issues have been a great read, there have been no wowing moments as of yet, but theres a lot of room left for that to change.

Descender #7 took what the first arc did, buried it deep in the ground, and built a damn mansion on it. This book is a vision, and has left me starstruck as I sit here pondering all of the opportunities that could be manifested by Lemire and Nguyen. Hold onto your butts, as Descender promises to be an all out space odyssey resting on the shoulders of a tiny bot.

Descender is an immersive and captivating narrative set behind beautiful panels. Its a work of great art. Lemire and Nguyen deliver a backstory in this issue that emotionally bind you to the pages and make you part of the story. Theres no telling where these two visionaries can take us, and that, perhaps, is the best part.

Descender is pristine. The expansiveness of the universe and the never ending reveals of new places and new characters place this series among the top rung of comics out there today. It is not defined by its genre, and is expertly crafted by an award winning creative team.

Descender is a powerhouse of talent and creativity on behalf of the series creators. Everything they do in this series is purposeful and precise, making Lemire and Nguyen compositional surgeons in the comics world. The end of their second arc is not immune to that level of genius. June cant come soon enough!

Flash #46 is definitely the best read in the series in quite some time, but fails to deliver a conclusion in the Zoom storyline that has been so thoroughly arranged. The art is better than the preceding books in the series, but detracts a little from the consistency of the series as youre now left to hope that the art is always this good.

The Flash #47 is a scopious work of art and a perfect companion for fans of the CW television series. Its a thrill ride through time that once and for all proves who is the fastest man in the world really is, and shouldnt be missed by Speed Force enthusiasts.

Gutter Magic is ferociously entertaining. The creative team on all accounts have done something marvelous in building this world and birthing its characters. The resulting pages of that effort are a joy to read. Get this book on your radar!

Gutter Magic is an elegantly illustrated tale of fantasy. The world building is top of its class, and they whole team manages to pack so much content into each issue that its worth reading each one two or three times to really appreciate all it has to offer. If youre not reading this series, youve got some time to catch up. Gutter Magic #3 will hit shelves on March, 9.

There are a few things that are satisfying about Gutter Magic, and the themes are presentation are chief among them. However, the ending halts the series just as it feels like its getting somewhere. In that same light, there is a whole lot of potential for a sequel series.

For someone who has written as many comic series as Nicholas Cage has acted in films, Mark Millar is still putting out quality work. Teaming up with Rafael Albuquerque was the right call here, as his art style lends to the boldness of the story and lends itself to the scripting, as well. With an ending like this one, people are going to take note, and I for one will be gearing up for Huck.

Huck is a charming reimagining of the classic superhero paradigm. The art, on all fronts, is spectacular and brings Millars narrative of altruism and deceit to stunning life. Though not the most original of beginnings to a superhero structure, Millar and Albuquerques imagination can bring this story to new heights, and I believe they will.

While Huck wades through the middle of its arc it is met with some growing pains. Millars narrative is enjoyable, but theres not enough here to hang on to. Albuquerques artwork is a saving grace, and fully supports the character driven story. You can feel the build though, and theres something to be said for that as we rapidly approach the arc ending sixth issue.

Kripke and Higgins do not have any problems living up to their reputations. Jacked is ludicrous in the way that reading it makes you say, oh nooooo to yourself with a smile on your face. Fabrys covers are still masterful and grab your attention before even opening the book. Jacked is only a six part series, but is already something to behold!

Jacked is a psychedelic and hyper-violent reaction to a midlife crisis brought to you by the collective talent of Eric Kripke and John Higgins, aided by half of the Preacher art department. Its a throwback to classic action films of the 80's and 90's, and its a nonstop thrill ride worthy of an audience.

With just one issue left, Jacked maintains a level of groundedness that is steeped in human emotion and flung through a whirlpool of offbeat hallucinations and endless gore. Its just pure entertainment with every turn of the page.

Justice League #46 goes a long way in displaying the aftermath of the death of Darkseid and is a solid second act to the Darkseid War series. Francis Manapuls art captures and adds a fair amount of succor in times where the story is faulty. The decision to not actively include the core Justice League members to a greater extent helped to establish the secondary characters that this act focuses on, but came as a surprise after the last month of one-shot issues that promised to be followed up in this very issue.

Justice League #47 fills in all of those missing pieces left open from the preceding issue. Geoff Johns gives painstaking attention to his character development and makes this book a true member of the Justice League franchise. If youre not following along, be sure to catch up as the promising conclusion of The Darkseid War may turn out to be a blockbuster event for DC in 2016.

Though maybe not the best stand alone story without context, Justice League: Darkseid Wars Batman #1 is a great read. The idea of a god like Batman is fantastic and script and art direction were entertaining from start to finish. I would have loved to see more of a tie-in with the previous issue of Justice League, but enjoyed seeing God Bat kick some ass, nonetheless.

Justice League: The Darkseid War: Green Lantern #1 is rich and impactful from start to finish. What it lacks in depth of lines, it makes up for in the details of the story. The inclusion of the tie-in to the rest of the series is a gripping segue as well be back into the main Justice League storyline in no time. The best read of the Darkseid War series by far.

The Justice League: The Darkseid War: Lex Luthor #1 is underwhelming. The story of Lex and the Omega power is sparse and feels incomplete due to a one-shot full of flashback and a throwaway ending. Theres nothing in here that really adds much of anything to The Darkseid War as a series or The Justice League as a whole.

"Justice League: The Darkseid War: Shazam #1" fails to deliver. The redeeming qualities in the story are overlooked by the lack of direction in the storytelling and the inconsistencies in the art direction. Seeing a Shazam with an all-new power set would have been something to behold, but it looks like were going to have to wait until "Justice League #46" to see a payoff on that.

This issue is absolutely welcome, as it gives some much needed backstory to Grail, and her intentions. While theres not a lot of forward momentum to be seen here, what it does in terms of developing the already established narrative is nothing less than necessary.

I left this book feeling let down. With such a huge event taking place in a DC flagship series with their star character, I would have expected a much better showing. The story, as its presented, makes me question my reading comprehension, and the art simply does not help. Im still hopeful for the rest of The Darkseid War event this one was a wash.

This was a super fun story to read. The pacing was quick and derisive, which is fitting for a speedster, and the art direction maintained a level of greatness all the way through. At times, this book made me reminisce of the 80's glory days of heavy metal, and I swear I could feel my hair getting longer. These guys nailed it on a day that a book in the same story line fell short. An excellent way to keep The Darkseid Wars alive.

With the holiday season on our doorstep, Klaus is a far fetched and unusual retelling of the legend of Santa Claus. Its brutal, full of action, blood, mystery, and suspense, and ready to kick ass. I cant wait to read more of it and watch Grant Morrison turn my childhood on its head.

Klaus is a sparkling tale of holiday magic set in a barbaric wonderland, and its just the thing to revive your vigor for Christmastime. Morrison and Mora have created something truly unique in an industry rife with competition and creators, and the result is purely breathtaking. If youre missing out on this series, be sure to put BOOM! Studios on your radar before the six issue run is complete.

Limbo is a marvel. The style in the writing and art drives the action and puts you in dark alleyways and dive bars. You can smell the stench of the fishmen and hear the breaking of necks as the world built by Watters and Wijngaard sucks you in like a Tron machine. A modern day noir that will leave critics of the genre in debate, no doubt about it.

Limbo is fun and imaginative. It takes every child of the 80's back home and fills their heads with nostalgia and a land before polygons. Wijngaard and Watters have a clear vision, and its nothing short of beauty watching it play out.

Limbo reads like the direct result of taking a handful of psychotropic drugs and driving around aimlessly on a full tank of gas. Its that awesome. The art and narrative design feel like a truly unique experience - and its not because neo-noir has never been done, its because nothing has ever been done in quite this way.

I have given tens before, but this issue makes me question every one of them. Limbo is the new standard for a series living up to itself. It presents you with an idea from page one that grabs you by the hand and says watch this! If this series has been under the radar for you, it's time to adjust your radar.

While the story of Outcast remains entertaining and Azacetas art continues to be excellent, theres not a lot happening in this issue. They do a very good job of tying up loose ends associated with the end of their last arc, and answering questions it left about core characters, but it was a very slow start to the new arc. One can only hope that the inclusion of The Devil at the end of the issue means that hes going to take a much heavier hand in the development of the story, and push this thing along.

Outcast is a blast. Kirkman and Azaceta are a superb pairing, and though this is the second arc in their long arc series, it feels like its just the beginning. Every relationship feels like its about to evolve, and its enough to leave people foaming at the mouth coming into the new year.

Its not that Outcast is a bad series. Right now, its a series in which something good could happen. That being said, its hard to love, as you must read each month in patience waiting for the good to come out of it.

Saga is an important book in our current social/political climate. It stays on top of social and cultural issues and presents them in an accessible and gorgeous package. Issue #31, as the opening of a new arc, hits that button that makes Saga the premiere science fiction comic in modern comics.

Saga is one of the best comics of the past three years, and in my opinion, one of the greatest stories ever told. Issue #32 is no exception, showcasing the beautiful love story that began the series - that of Alana, Marko, and Hazel. Vaughan and Staples seem to pull from a never ending well of creativity and inspiration that infuses Saga with its uniquely human moments. They are on top for a reason.

Vaughan and Staples are still one of the finest creator couplings in comics today, and Saga is a masterful reflection of that. This series is so good at making you feel for its characters, and though it's a wildly fantastical space opera, it's so easy to connect with each of them on a human level - even the ones with televisions for heads.

"Superman: American Alien #1" is a great start to what promises to be a new and adventurous take on the life of Clark Kent and his journey to becoming The Man of Steel. The tandem work of Landis and Dragotta seems effortless in this compelling and dramatic retelling of a familiar story. Issue one shines, and left me anticipating the brutality promised in issue two.

Superman: American Alien does a great job at setting itself apart from the typical Superman story. Landis reimagining is bold and is a brave thing to do with a character that has over 75 years of established backstory. This issue, however, falls short in clarity of vision and is a disappointing addition to the series after such a promising start.

Superman: American Alien has been a series of missteps thus far. The narrative is seemingly more derisive of the source material than it is a retelling of it. Though the art team did a phenomenal job in this book, its hard to approach Superman: American Alien #3 with anything resembling seriousness.

For better or worse, Superman: American Alien is not your typical Superman story. Max Landis fluently shares his millennial vision of the Man of Steel, and brings in a wealth of artistic talent with him in each new installment. This issue stands out as the best so far, putting to rest some of the titles previous shortcomings.

Len Weins new Swamp Thing is a fun bit of storytelling. Its purely entertaining and purely enjoyable. The art department does a wonderful job of switching gears on the franchise and planting some new roots for a new narrative. An exciting start to the six part series!

The Swamp Thing series with Len Wein back at the helm brings back all of those iconic images and gross feelings that make Swamp Thing fans rejoice. While Alecs story is always full of monsters and macabre, its always been one of the most human tales in the DC Universe, and its nice to have Wein back in that action.

While the effort to bring back an old classic, and really make it feel like an old classic, should be applauded, so much of this series has missed the mark, with issue #4 taking on the brunt of that responsibility. The art, and actual forward mobility, are Swamp Things saving grace, but are not enough to save itself from constantly stepping on its own feet.

Symmetry is a very engrossing read. The world building is excellent, but slightly frightening at the same time. It's gripping. The artwork is highly detailed and crisp and brings a ton of life to the futuristic storyscape. This book leaves you hanging on, and paying attention.

If youre not reading Symmetry, youre missing out. From the top notch world building down the the after notes in each issue, this title is gorgeous and complete. Hawkins and Ienco represent a collective talent approaching 50 years in comics, and boy, does that experience shine through in every page.

The Goddamned #1 is a ferocious and bloodthirsty look at biblical canon created by two twisted geniuses. The set design is massive and bold, creating a world that reminds you of your insignificance and leaves you pondering your own mortality. Aaron and Guera are back in the drivers seat at Image, and this promises to be a blockbuster finish to the comic book year of 2015.

The Goddamned is a deeply disturbing and morose take on Biblical lore that only Jason Aaron and R.M. Guera could tell. The second issue is much further reaching than the first, and plunges you into the mind of Cain as he runs head first at every opportunity to die. Its an amazingly satisfying piece of storytelling from a team that is at the top of their game.

The Legend of Wonder Woman provides lush bolstering art that is breathtaking to behold. De Liz and Dillon make a wonderful creative couple. The sense of mythology is intense and sustainable and there are endless opportunities to learn something new about the beginnings of one of DCs shining stars.

The Legend of Wonder Woman is a collection of gorgeous works of art complete with an enjoyable story. De Liz and Dillon are a winning creative coupling, and have done their due diligence on making this series the enchanter that it is. While certainly not the first time Wonder Woman's origin story has been told, The Legend of Wonder Woman is a welcoming and accessible fresh start for those who have never taken the opportunity to dive into her mythos.

The Sheriff of Babylon paints a very dark and perilous picture of post-9/11 Baghdad that feels true to life, but fails to deliver in many cases in its consideration to character. The storytelling does leave you wanting more, and the intrigue is palpable, but its hard to say in one way or the other whether readers will get that big payoff.

The Sheriff of Babylon feels like a story that could be great, but is presented in such a way that theres really no way of knowing. Its deep and complex and sinks you into the grit of the world, but then kind of just leaves you there without a tour guide. Its clear that theres a lot going on behind the scenes, however, the panels in the book are left stark of explanation of what that may be.

The Violent is important. It opens up the dialog on drug addiction and poverty to the community of comics and effectively broadens the awareness and scope of those topics. While it may not be dazzling, it is beautiful and raw and hits you right in the gut. This book deserves an audience, and I hope that it gets one.

I loved Unfollow. I was pleasantly surprised to love Unfollow. Everything about this book works so well, and teases you just enough to keep you interested, but without really spoiling anything that theyre setting up. The creative team should be proud of the effort put into this book, and Vertigo should keep promoting the heck out it. Indie creators, take note. Well done.

Unfollow is vibrant and human. It connects you to a cast of characters that are so defined and enjoyable that its hard to believe that this is only the second issue. Williams and Dowling have created something that promises to be epic in scope by the time that its through, but theyre doing it at a pace that gives consideration to their cast and it reads like a dream.

Unfollow is a masterpiece. Rob Williams and his art team have created something here that is as imaginative as an Oscar winning film, but is believable enough to be a documentary. The social commentary is beautiful and rife with touching moments that keep the series grounded in reality and allows the creators to embolden their message. Its clear that Unfollow is just getting started, and weve all just been reminded to hang on for dear life.

Unfollow consistently makes itself one of the best books out there right now, and with the events of this book, its clear Williams has only given us a taste of what's to come. The artists are magnificent, giving incredible life and individuality to each of the many characters living between the pages. Keep this book on our pull list!

While the rest of the Unfollow ensemble was missed, having this opportunity to know and understand one of the series most enigmatic characters is a blast. We see all sides of Deacon, and thats meant quite literally. Its anyones guess where the series will go from here, but from now on, fans will have a special place reserved in their hearts just for Eric Warner Riggins.

We Can Never Go Home takes you back to a time when responsibility was never on the horizon. The characters are smart and relatable. The art is engrossing and full of surprises. The end of the first arc is satisfying and consistent with the story as a whole. This is an encouraging piece of work for indie creators, and should be on your radar.