REVIEW: Aquaman #1

I have a friend called Sergio, and he’s a massive Aquaman fan.  For the many years I’ve known him, his unwavering support of the undersea hero made him the subject of much ribbing from myself and our mutual geeky friends.  And when even other comic geeks are ribbing you about your favorite superhero, you know you’re in trouble.  I’ve laughed at plenty of the tried-and-true “Aquaman is lame” jokes from various pop culture sources over the years, and while I was sure he wasn’t as lame as those gags made out, he was never a character I ever felt much inclined to read about, and so – until now – I’ve never bought an Aquaman comic.  Despite all this, whenever Sergio would write about Aquaman, he’d touch on a deep and fascinating mythos full of richness and epic scope for those who cared for it, and I always thought that if an actual comic could portray the world of Aquaman with the same passion as my friend, then the character could stand to become a lot more popular.

Then I read Aquaman #1.  Sergio, feel vindicated: this comic’s for you.

I’m not going to pretend like this relaunch of Aquaman as part of DC’s New 52 came totally out of the blue and took me by surprise.  Truth be told, I’ve been at the very least curious about the title ever since the creative team was announced back in June.  See, as part of DC’s ongoing attempt to restore credibility to this tenured Golden Age hero – following on from the groundwork laid in Blackest Night and Brightest Day – our buddy Aquaman was paired up with the same dream team that helped elevate Green Lantern from obscure hero punchline to A-lister: writer Geoff Johns and artist Ivan Reis.  Though the work Ethan Van Sciver and other artists did on Green Lantern: Rebirth and the early issues of the last Green Lantern relaunch also played a role in elevating this fallen mythos, it was when Ivan Reis stepped onboard that we got such classic, top-selling tales as Sinestro Corps War, Secret Origin and Blackest Night, making Johns/Reis the pairing most synomonous with Green Lantern’s resurgence.  Who better, then, to attempt the same trick with Aquaman?

Geoff Johns has long had a talent for taking classic characters who have been around for ages, honing in on that one most enduring core quality and bringing it to the fore in a way that makes the character feel fresh and relevant.  In the case of Aquaman, that enduring trait he singles out is that scorn and mockery the character has to deal with, which Johns slyly transfers from an opinion held by readers to one held by people within the DCU.  Repeatedly throughout the issue, criminals, cops, and even regular citizens (particularly one internet blogger who bears a striking resemblance to Matt Fraction) make gags about how lame Aquaman is, how he’s just “the guy who talks to fish.”  At first, this is played for laughs, effectively so (Johns has been stretching his funny bone a lot more since the relaunch, I’ve noticed).  But as the issue progresses, this becomes a poignant statement of character.

Through conversation with his wife Mera, we learn that Aquaman has chosen not to return to his undersea kingdom, as he feels like his human appearance meant the Atlanteans never truly accepted him as one of their own, even when he was their king.  And thus we get a sense of what it means to be Aquaman: he works tirelessly to defend two realms, land and sea, and on land he isn’t appreciated and dismissed as the “fish guy”, while in the sea he is scorned for being too human.  Arthur Curry is a man with no true home, and thus it’s appropriate that his abode of choice is a lighthouse on Amnesty Bay, on the boundary between land and sea.

It’s also worth noting that it’s his father’s lighthouse.  A recurring theme in Johns’ character work, particularly in his revival of Silver Age heroes, has been the long shadow cast by lost parents.  That is in effect once more here, with happy childhood memories with his father seeming to haunt Arthur’s thoughts.  Some words of wisdom from his father – about how he could have had the more glamorous role of ship captain, but chose instead to remain as a lighthouse keeper because it was his responsibility, and one has to live up to responsibility even when it’s thankless – seem to serve as the grounding for Aquaman even in the face of mockery and rejection from those he protects.  These little flashbacks and references to Aquaman’s past were also useful for me, as I’m not overly familiar with the character’s origin.

Johns crafts a simple, straightforward, highly accessible tale here that does its job at introducing this character to new readers better than many of the New 52 have done.  There is a fine balance of action and characterisation to make this issue a rewarding read in its own right, with the looming threat of the monstrous Trench adding an incentive to come back for issue #2.  If I had any small nitpick with Johns’ storytelling here, it would be that I don’t like the translations, showing the Trench talking to each other in their own language.  It “humanises” them, makes them that little bit less intangible and monstrous.  Think how less scary the xenomorphs in Aliens would have been if every so often we got subtitles saying stuff like, “Hey bro, we totally smoked those Marines there!  We, like, totally ATE their asses!”

But that’s a small nitpick.  Overall, some fantastic writing by Johns here.  In the New 52 as a whole, I’ve noted a return to form for Johns, specifically that he seemed to be firing on all cylinders with Green Lantern #1.  But Aquaman #1 is easily his best effort from this first month of the relaunch.

Of course, Johns’ writing is only half of the equation.  The other half lies with Ivan Reis.  I was a huge fan of the stunning work he did on Green Lantern: his clean, beautiful pages were the sign of a superstar in the making.  Then, his work on Blackest Night followed through on much of that early promise, showing he was more than capable of handling a massive event.  But in the later issues of Blackest Night, and particularly going into Brightest Day, I felt like his work began to get more or a rough, “grim-n-gritty” look I was less keen on.  Thankfully, Reis is back on top form for Aquaman #1, a fact made clear immediately from the stunning, instantly iconic cover to the issue: surely one of the best covers of the New 52.

Looking inside the comic itself, the interior art is just as impressive.  The action scenes are dynamic and exciting.  The Trench look truly monstrous and frightening – a triumph of design.  But my favorite parts of the artwork in this issue were the smaller beats, such as the silent reaction shots of various characters that really help sell a gag, or the flashes of annoyance Aquaman gives when someone cracks a joke, or – in one particularly badass moment – when a bullet grazes past his forehead.

As always, the near-symbiotic relationship between penciller Reis and inker Joe Prado bears splendid fruit.  Prado’s lines are fine, but have just enough thickness to make Reis’ characters jump off the page.  And surely the distinct, textured look of the Trench is thanks largely to the contribution of Prado.  In fact, those two opening pages where the Trench are introduced could surely be called an inking masterclass, as we’re presented with the ominous darkness of the ocean depths, then with the emergence of creatures even darker from within.

I also want to acknowledge the coloring of Rod Reis, in particular as regards Aquaman’s vest.  I’ve seen some people question why Aquaman has reverted to his classic costume, when his pirate look was much cooler.  But the glittering, shimmering quality of Aquaman’s orange vest shows how cool the costume can be.  Much like how Hal Jordan’s old duds were revitalised by injecting some glowing green, this plated (and, as we discover, bullet-proof) design looks cooler than ever thanks to Reis’ deft coloring of it.

On just about every level, Aquaman #1 is a huge success.  While my curiousity had been piqued, I did not expect going in that this would be DC’s best new release of the week, but it was.  I’m now an Aquaman fan, thanks to this issue.  And I’m sure I won’t be the only one.  I think my friend Sergio is about to have lots of company.

REVIEW: Red Lanterns #1

I almost didn’t pick up Red Lanterns #1.  I had no intention of getting it, being of the opinion that while Atrocitus and the Red Lanterns were interesting enough as antagonists to the Green Lantern Corps, they didn’t have the depth to sustain their own series.  But when I was in the store picking up my other comics, the cover piqued my curiosity enough to take a look inside, and I was treated to what looked to be a glorious opening sequence involving scene-stealing killer kitty Dex-Starr.  As an impulse buy, I added it to my pile.  Once I read it, however, I was left wishing I had gone with my original gut instinct.

Red Lanterns is the first New 52 comic I’ve read that I didn’t enjoy.  After that fun opening sequence, I thought the comic was going to be packed with crazy, violent fun.  But instead things went quickly downhill after the opening, with much of the rest of the comic taken up by Atrocitus standing around and pontificating on the nature of rage and his purpose in life.  Peter Milligan is one of those great writers whose most acclaimed work I’ve never had a chance to read.  I absolutely loved Sub-Mariner: The Depths, but his work on Thor left me cold.  So he’s still something of an unknown quantity for me.  I’m looking forward to what he’s going to bring to Justice League Dark, but Red Lanterns felt too much like a story going through the motions.

Thankfully, then, Ed Benes’ art looks great.  At least, it starts off great.  But the sequences set on Earth feel pretty flat, and as the issue progresses, the crisp lines of Benes start to get a bit messy in places.  As with my review of Green Lantern #1, I have to give credit to the colorist, in this case Nathan Eyring.  The reds just burn off the page here, particularly on the Red Lantern homeworld of Ysmault.

But nice art isn’t enough to bring me back for more.  In the couple of days since I read the comic, I’ve pretty much forgot what happened.  There’s nothing particularly wrong with Red Lanterns #1, but there’s nothing that stands out enough to make me interested in picking up issue #2.

REVIEW: Green Lantern #1

I’ll be brutally honest here: I thought this was going to be my last issue of Green Lantern.

A few short years ago, Green Lantern was the comic I most looked forward to reading every month.  With the help of some gorgeous artwork – from Ivan Reis, then Doug Mahnke – Geoff Johns crafted an instantly iconic expansion of the mythology for Hal Jordan, the Green Lantern Corps, and their various friends and foes, with enough mysteries and prophecies to provide endless discussion and debate, and all roads leading to the big, climactic event, Blackest Night.  But post-Blackest Night, the Green Lantern franchise as a whole felt like it was lacking direction.  I gave up on Emerald Warriors after a couple of issues, dropped Green Lantern Corps, and soon was only buying Green Lantern, and even that was meandering along at a casual pace, taking over a year to ultimately not do very much.

Every month I would read the latest issue, find it quite enjoyable, then very quickly forget about it, with no anticipation for the next instalment.  I was buying out of habit, rather than the genuine investment in the story that I’d had before.  And while I liked the Green Lantern movie a lot more than some did, it still wasn’t enough to reignite my passion for the character like I hoped it might.  I figured that I was buying enough comics without getting ones I genuinely cared about, and so when the news of DC’s relaunch came, I decided that I would give this new Green Lantern #1 a chance to win me over, out of respect for Geoff Johns’ earlier work on the series.  But I had very little anticipation for it, and as I got round to reading the comic – as an afterthought, after getting through the releases from this week I had actually been looking forward to – I was fairly confident this would be my farewell to the series I had enjoyed so long.

Then something strange happened.  Green Lantern #1 totally blew me away.  It was one of the best New 52 comics I read this week, and surely the best Green Lantern comic Johns has written in about two years.

One of my biggest problems with Green Lantern over the past couple of years is that it has been in endless event mode.  One of the things that originally made me a fan of Geoff Johns’ writing was his keen eye for character.  With the Rogue profiles in The Flash, and even the earlier arcs of Green Lantern, Johns had a real talent for honing in on one aspect of a character that had always been there, and enrichening it with a humanity that made readers connect with them and care about them.  But as Green Lantern jumped from Sinestro Corps War to Blackest Night to Brightest Day to War of the Green Lanterns, and the series became so much about fight-fight-fight that characters in the book were even making meta-textual gags about Hal never taking off his Green Lantern uniform, I feared the series had become a shallow read, devoid of the emotion that was supposed to be at its core.  In this context, Geoff Johns did the wisest thing he possibly could have done with Green Lantern #1, the thing I’ve been wanting him to do for ages: he strips everything down to basics, draws back on the scale and scope, and makes the focus of the issue a dual character study of Hal Jordan and Sinestro.

Hal Jordan has been a cipher for so long, our access character as we get dragged from cosmic set-piece to cosmic set-piece, it felt refreshing to experience him as an actual character again.  And for all the complaints from certain fanboy circles that his Hal is a faultless Mary-Sue that can do no wrong, Johns actually is very brave here in just how much of a screw-up and a deadbeat he is willing to portray Hal as.  He might be the greatest Green Lantern of them all, but without the ring, back on Earth, he isn’t very good at being Hal Jordan.

He can’t pay his rent.  He can’t hold down a job.  He can’t get a lease on a car.  And he has a habit of letting down the few people left who care about him.  Johns wisely sets much of the action of this first issue on Earth, and in the real world, being a fearless hero isn’t always enough to get by on, and sometimes can even work actively against you.  Carol offers Hal good advice when she says that “most jobs are jobs”, and that he should take her offer for a non-pilot job at Ferris Air because most people have to settle for work that doesn’t offer the pride and the glory, but we don’t know if it falls on deaf ears.  Geoff Johns takes all that time he had Hal Jordan spend as Green Lantern without respite towards the end of the last volume, and makes it a statement of character: Hal Jordan is Green Lantern all the time, because nowadays that’s just about all he can do.

But the descent of Hal Jordan is juxtaposed with the rise of Sinestro.  In our opening sequence, we see Green Lantern’s arch nemesis reluctant to rejoin the Green Lantern Corps.  Long the most nuanced character in the series, Sinestro was a villain who felt his actions were justified, that he was always acting in the interest of a greater good.  Now, he is being given a chance to put his money where his mouth is, and in this first issue at least, replace Hal as the cover hero, and the Green Lantern of the title.  For now at least, he seems to be taking to the role like a duck to water.  One sequence where he makes short work of a former Sinestro Corps compatriot allows him to be an el primo badass, while a small touch like him destroying the yellow ring before it can seek out another host demonstrates the knowledge of a veteran, showing how he once earned his reputation as the greatest Green Lantern of them all.

Sadly, Carol Ferris isn’t so well developed.  The previously mentioned moment where she advises Hal on his life choices works well, but in her later appearance, she seems to default back to the marriage-obsessed harpy of the Silver Age, with a totally unreasonable reaction to her incorrect assumption that Hal was about to propose to her.  Why would she even be expecting him to propose?  Isn’t he still in a relationship with Cowgirl?  Or since we haven’t seen her in years, are we to accept that she has been sent off to Grant Morrison’s lonely planet of forgotten characters?

If Carol fails to convince as a love interest, it is perhaps understandable, as Geoff Johns’ Green Lantern saga is surely an epic love story between Hal Jordan and Sinestro.  If his run doesn’t end with the two of them kissing against the sunset, I will be sorely disappointed.

Resuming his art duties on Green Lantern is the always reliable Doug Mahnke.  We know this guy can draw crazy monsters and aliens in his sleep, and he gets to do a little bit of that here, but in this issue he gets to demonstrate how he can also excel in the quieter moments, showing how the smallest flickers of emotion can alter the dynamics of a conversation, saying a lot even when the characters say nothing at all.  There you go, the book is about emotion again!  And Christian Alamy’s crisp inks give the book a very clean, precise aesthetic.

But I also want to take a moment to give credit where due to colorist David Baron.  For a comics colorist, Green Lantern has to be one of the best gigs you can get, because it is a series where color is at the forefront, where each shade and hue is packed with symbolic power.  The glowing green of the Green Lantern costume, ring, battery and constructs is as striking ever, seeming to glow from the page.  But also of note is the occurence of green on the Earth-based scenes, or lack thereof.  All of a sudden, Hal Jordan’s world is devoid of green, making the periodic flashes of it relevant.  In his apartment (which he’s ultimately evicted from) he is standing on a small patch of green carpet, which the landlord is encroaching on.  And at the moment where he mistakenly believes he can be a hero again we get little mocking emerald flashes – the curtains in the apartment across the street, even the color of his underwear sticking up from under his jeans.

And as well as green, there’s yellow, the color of fear.  From the envelopes of the unpaid bills to the decor of the restaurant he takes Carol to, yellow seems to be closing in all around Hal Jordan.  And near the end, when it hits him how wrong his life has gone, Hal’s face is cast into shadow, and behind him is a stark yellow background.  Some great work from Baron.

So, in the case of this series, the DC relaunch did its job.  Green Lantern has a new lease of life.  I thought this would be my last issue, but my interest in the character and the mythology has been revived.  I’m back onboard, Geoff.  I hope what you’ve got coming in future issues is able to keep me there.

REVIEW: Justice League #1

Justice League #1 is a comic with a lot to carry on its shoulders.  Most obviously, and what we’ve heard a lot about, is that this is the book that marks the dawn of a new era for DC Comics.  This week, only two DC comics shipped: Flashpoint #5, the end of old DC, and Justice League #1, the beginning of new DC.  With all of DC’s outreach to new and lapsed readers over the past few months of marketing, this is the comic DC are hoping to use to sell their universe.  This is the first shot, the opening salvo, and this prestiguous position has resulted in making the comic one of the biggest successes of 2011 even before its release, with retailers ordering north of 200,000 copies of the book.

With this aspect of the anticipation of the new Justice League so grand in scope, it’s easy to forget the other, longer-brewing goal this must strive to meet.  It has been many years since Justice League of America has been a comic that has enjoyed particularly noteworthy critical or commercial success, or been anywhere near the centre of the DCU.  I remember Dwayne McDuffie being vocal in his complaints about the comic freewheeling from event tie-in to event tie-in with no chance to build any momentum or identity of its own, and how long has it been since his run on the title?  It’s only got worse since then, with a hodgepodge roster of B-and-C-listers and legacy characters filling out the cast of a comic that has been shunted to the fringes of the DCU.  Meanwhile, over at Marvel, The Avengers has long been a central lynchpin brand that has proven capable of generating impressive sales and sustaining multiple titles each month, and is going to be the basis of what is set to be one of the biggest films of 2012 and one of the biggest superhero movies ever.  Their DC counterparts have sorely needed to play catch-up.

It seems like for years, the rumor has floated around that Geoff Johns and Jim Lee would be teaming up to put together a proper A-list roster with DC’s most iconic heavy hitters, and make the JLA a crown jewel in the DC lineup once more.  And it made sense: DC’s biggest team should be written by its biggest writer and drawn by its biggest artist.  Now, we’re finally getting that long-desired Johns/Lee JLA project, but it’s called Justice League, and it is the bedrock of a relaunched DCU.  Can Justice League #1 possibly live up to all that crushing expectation?

Before I get to tackling that big question, I’ll start by saying this comic looks great.  It’s been a long time since we saw a new comic from Jim Lee, but amidst all the complaints of his tardiness its easy to forget how nice his pages are when we do get them.  Visually, DC’s co-publisher is the perfect choice to brand the new DCU in its first foot forward: presenting a world that’s clean, slick and stylish.  But deserving just as much credit as Jim Lee is colorist Alex Sinclair.  It’s the bright, crisp colors that really make each page pop.  This is a world that is fearful and suspicious of its new protectors, and that is reflected in the color scheme, as the darker palette is almost invaded by bright, dazzling bursts of light whenever the superhumans are around: be it the glowing green of Green Lantern’s constructs, the blinding red of the Parademons’ feiry projections, or the red and blue blur that marks Superman’s entrance.  Batman, meanwhile, seems to always find some shadow to sink into, a moody contrast to the dazzling palette of the rest of the book: a triumph for inker Scott Williams.

In terms of the writing, I had some problems.  I cast my mind back to Grant Morrison’s first issue on Justice League of America.  This too was a new #1, and this was also an attempt to bring DC’s biggest heroes back together after a period of lesser known heroes filling the roster.  But with Morrison’s debut, we were instantly launched into a story epic and ambitious in scope, and concisely (re)introduced to every member of the roster (save for Aquaman, who would show up later) in a manner that efficiently established their respective powers and personalities.  Coming into this new Justice League #1, this was one of the benchmarks I was set to compare the issue to.  The other was some of Geoff Johns’ own famous “chapter ones”.  The Sinestro Corps War Special.  Infinite Crisis #1Blackest Night #1.  If there’s one thing Johns can do really well, it is start an event in a way that really lays out the stakes and scope of the story ahead, while also providing a tether of human drama with fine ensemble work.  And, in my opinion, this is what Justice League needed to be presented as: an event.

We don’t really get that here.  I don’t see this as a major spoiler, as I won’t go into specifics, but all that happens in the issue is that Batman and Green Lantern fight a Parademon, talk for a bit, then meet Superman.  This amount of story would probably fill about 2 pages of an average issue of The Sixth Gun.  I may be misremembering some of the marketing, but didn’t Dan Didio and co. make a big deal out of putting an end to decompression and writing for the trade, and instead providing comics that were full, satisfying experiences on an issue-by-issue basis?  This is a classic case of decompressed storytelling, and new readers might be disappointed to pick up Justice League #1 only to discover that half the characters on that snazzy cover don’t even appear in this issue.  As a typical comic, or even a regular launch of a new volume, the story is fine.  But as the dawn of a new era, it fell short of my expectations.

Setting aside my expectations, however, I can appreciate that the thinking behind Johns’ plotting of this issue is actually pretty sound in its own right.  Johns has said in recent interviews that a major priority for him in writing Justice League was to showcase the distinct personalities of each member, making their group dynamic and interactions a crucial part of the title rather than it simply being plot-driven.  Bearing this in mind, perhaps it makes sense to play it slow and steady with how the characters are introduced over the course of this opening arc.  And it’s also clever when you consider the order of chaacters introduced, as far as appealing to new readers: Batman and Green Lantern are the two characters who have currently ongoing film franchises (one admittedly enjoying more critical acclaim than the other), while Superman has a new movie due in a couple of years.  So, start with the characters fans who have never picked up a DC comic might be most familiar with, and build from there.

With most of the issue devoted to just Batman and Green Lantern, we get plenty of time to get reacquainted with each of them.  Johns gives us a wonderfully badass Batman, brooding and intimidating, but also with a droll, deadpan sense of humor.  So many writers depict Batman as deadly serious, so it’s all the better in the depictions when you get flashes of sarcastic wit behind the straight face.  Green Lantern, meanwhile, has his cocky demeanour heightened and brought to the fore, with his occasional habit of referring to himself in the third person garnering some chuckles.  He’s going to be the hothead of the group, and while some people are complaining about Green Lantern being depicted as too arrogant and stupid, these are largely the same people who were complaining about Green Lantern being dull, stoic and faultless a couple of months ago, and I don’t see a problem with it.  Also, it was a nice touch how some of the mythology of the Green Lantern Corps  was worked into the dialogue, rather than taking it for granted people would know who Green Lantern is.

Superman has less panel time, but there’s some skillful work done at establishing him through how other characters perceive him before he first appears.  It adds a layer of mystery and unpredictability to that most safe and familiar of characters.  And though he’s not Cyborg yet, we do get an intriguing subplot involving Vic Stone.  There’s been some complaints about Cyborg’s place in the Justice League being mainly just to tick the diversity box, that he isn’t a compelling enough character to justify the placement.  Well, it would seem that this opening arc is going to play against the backdrop of something Johns has long been very skilled at: getting to the core of characters and really making us care about them.

So, under the weight of all that expectation, Justice League #1 might not quite match up.  But if you cast aside that expectation, and take it just as a Justice League comic, Geoff Johns and Jim Lee give us a first issue that offers much to like.  I think that a lot of people who picked this up will be back for issue #2.

The #New52Review Project

We are now less than a week away from DC Comics’ much hyped linewide relaunch.  This radical – and controversial in some circles – plan involves bringing the current ongoing publishing line of the DCU to a close, and launching with 52 new #1s, and in many cases altered or even rebooted continuity, in an effort to make the comics more accessible to newcomers and jaded fans alike.  Whether you’re in favor of this move or not, you can’t deny that it’s got people talking.  In spite of Marvel’s best efforts, DC has dominated the news sites since June, and the retailer order numbers are reportedly very high, with Justice League #1 apparently topping 200,000 buys.  But the big test will be next week and onwards.  You might be able to get people’s attention, but can you keep it?

I have had some reservations, but overall I’m very excited about the DC relaunch.  I’ve been trying to think what I can do to participate, beyond buying the books that take my fancy and recommending books to others.  One thing I can contribute is reviews of the comics I read, which gave me an idea.  Everyone who has a blog, or who writes reviews for a comic site, why not let DC know what you think?

I’m gonna set up a #New52Review hashtag on Twitter, which I’m going to use to link to my reviews of the new titles here.  But I don’t want to be the only one.  Anyone out there who has a blog, or who writes reviews for comic sites, write about the titles you buy.  DC have reached out to us, so we should try reaching out to them in return.  Let them know what books we like and why, or even what books we don’t like so much and how they can improve.  It could be a good way of showing  the creators our appreciation, as well as promoting the comics that are worth reading.

I don’t expect to be picking up this many titles come October, but for this first month  at least, I’ll be trying 18 #1s from the New 52:

  • Justice League #1
  • Action Comics #1
  • Batman #1
  • Batgirl #1
  • Batwoman #1
  • Catwoman #1
  • Wonder Woman #1
  • Green Lantern #1
  • The Flash #1
  • Aquaman #1
  • The Fury of Firestorm #1
  • Stormwatch #1
  • Justice League Dark #1
  • Swamp Thing #1
  • Animal Man #1
  • Frankenstein: Agent of S.H.A.D.E. #1
  • Demon Knights #1
  • I, Vampire #1

I’ll be posting up reviews of as many of these books as I can each week.  The reviews might not be quite as in-depth as my reviews usually are, since I’ll be trying to write so many reviews, but I’ll be offering up something.  And I’ll be linking to the reviews using #New52Review.  I hope you guys will do the same.  Here’s to exciting times ahead in the comics world!