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"Jeb Rivers: "Steam's Up!"": The synopsis for this issue has not yet been written. Featured.
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Again, the problem rests more with the execution. Master Bruce is a villain who covets the life of the real Bruce Wayne to the point of madness. He reads less like a unique character than a slightly overhauled take on Hush. That was the initial impression given by Batman 38 back in January, and little about this follow-up story does anything to change that impression.


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This character simply needs more depth before can begin living up to his potential. At best, he serves as an interesting lens into the psyche of the real Bruce Wayne than a full-fledged character in his own right. Rather than attempt to flesh out the character, this issue seems content to hit readers with a disorienting story that, on its face, appears to be a revised take on the traditional Bruce Wayne origin story.

It eventually becomes clear what's actually going on with the story. What isn't clear is why this story needed a full issue in which to be told. Rather than making the narrative more compelling, the off-kilter approach is guilty of making much ado about nothing. This script feels hollow and barren in a way King;'s work so rarely does. That's to say nothing of the fact that this issue is such a strange choice to follow up on Batman That issue culminated with Batman being confronted by none other than his father from the Flashpoint timeline.

There was no indication that the story arc was actually ending at that point. In fact, I had to double check to make sure I hadn't somehow missed a chapter. Presumably this jarring shift from one conflict to the next is an intentional storytelling choice, but for the time being that just adds to the sense of frustration with this new arc. The good news is that Travis Moore's art does offset this issue's storytelling flaws. If not completely, then at least to an extent.

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Moore's style is relatively understated when held against most of the artists who have worked on this series, but that's exactly the approach that's called for in a comic that downplays Gotham's costumed characters in favor of a suffering boy wallowing in darkness and misery. There is certainly nothing appealing in the Jenga contraption of heartbreak and terror that has beset pretty much every character in the comic, and nearly every issue is saddled with at least one extended bout of dialogue that is infuriatingly expository and clunky.

So what is it about "The Walking Dead" that makes it worth reading? Charlie Adlard certainly has a lot to do with it. Over the course of his career, his work has evolved into a beautiful melding of the work of Walter Simonson and Mike Mignola. He is, thankfully, in every issue, given frequent free reign to be the sole storyteller; free from dialogue, his staging and pacing is spectacular, and the world that these doomed characters inhabit is gorgeous in bleakness helped tremendously by the grey tone work of Cliff Rathburn , and that alone is always enough to keep you interested in the next page.

Hit Comics #61 - Read Hit Comics Issue #61 Page 34

But I would be remiss if I claimed that his art was the only reason worth reading "The Walking Dead". Because as much Kirkman's ear for dialogue is frequently left wanting, he is incredibly adept at guiding this desolate narrative forward. Each individual development of truly awful stuff is encased in a slow but steady moving locomotive of plot.

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Rick and his ever-shifting and -evolving and -dying band of travelers are always convincingly propelled from one safe haven to the next, and what drives them toward and away from each locale never feels arbitrary. The world that Adlard and Rathburn have created, visually, feels inhabited by that doom, but all happens so slowly and naturally, that you're never slapped in the face by it.

For instance, Rick's decision to take up with a group headed to Washington D. It's just another slow, deliberately hung carrot to guide these people on their slow, deliberate way. It is uncompromising, and in some ways almost ludicrously uncompromising.

And yet, issue after issue, it remains compulsively intriguing. These collaborators have built a relentlessly grey America that, in its own way, is beautiful enough to keep coming back to. We respect your privacy and we are committed to safeguarding your privacy while online at our site. The following discloses the information gathering and dissemination practices for this Web site. This Privacy Policy was last updated on December 20, When you visit our Website, we collect certain information related to your device, such as your IP address, what pages you visit on our Website, whether you were referred to by another website, and at what time you accessed our Website.

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Tales of Suspense #61

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