4 Kids Walk Into A Bank had a strong first issue followed by a bit of a delay that made me worry it might lose a little steam. Luckily that’s not the case, and I have to assume that the delay was due to the fact that artist Tyler Boss is churning out some of the most visually arresting pages in comics here. From a sequence set in the side-scrolling beat-em-up the kids are playing in the arcade to the Charles Ware-esque scene where Paige gets into a police computer, this book is an eye popping treat. It’s not all flash, as Boss is equally adept at selling Rosenberg’s quippy and clever script with perfect facial expressions and body language. Speaking of Rosenberg’s script, the story and dialogue aren’t outshined by the amazing artwork. The character work is so well done and the overarching story is paced nicely making for a book that’s just a joy to spend time with.
Worst X-Man Ever wraps up its run this week, proving that Marvel would do well to produce more out of continuity books like this. The story of an otherwise normal teen whose mutant power (he can blow himself up, once) leaves him an outsider looking in on the entire X-Men roster, the book is a love letter and lightweight deconstruction of not just everyone’s favorite mutant soap opera, but to the enduring nature of superhero comics as a whole.
Even though there aren’t any Rebirth books this week, Dark Knight III #5 almost feels like one. It seems that the unofficial theme of Rebirth has been to bring the hope and wonder back to superhero comics and even though the last place one would expect to see that would be a comic set in the DKR universe, it’s here and it’s wonderful.
Indoctrination from writer Michael Moreci (Roche Limit, Burning Fields, Transference– all good reads) is here to fill that True Detective-shaped hole in your life with this rural noir that’s also got a little bit of Homeland thrown in for good measure. The moody, Templesmith-ish art from Matt Bataglia is perfectly paired with Moreci’s bleak and atmospheric script which follows two FBI agents as they track a serial killer whose murders are connected to an infamous terrorist who is looking to bring about the end of days.
So, as anyone who’s read comics for a stretch of at least six months knew, Captain America’s shocking heel turn was revealed to have an appropriately comic-booky explanation. The shattered cosmic cube that gained sentience and took the form of a little girl (because little girls are creepy) has all along been working for the Red Skull. Why? Because the Red Skull was a kindly father figure to her who imparted the lesson that people are happier when they’re loyal to Hydra, so she sets about altering reality one person at a time to make them Hydra agents. It isn’t a backtrack or response to the ‘outrage’ as this issue was probably already being colored or lettered by the time #1 hit the stands, but to be honest I’m a little disappointed that they showed their hand this early. Since most of us knew that something like this was coming, I would have preferred to be left hanging in limbo a little longer, watching Steve Rogers- the one person no one would suspect- play double agent for Hydra.