Johnny Bullet
DC Comics
Review: Cyborg #12
By Philip Schweier

May 3, 2017 - 5:16

Publisher(s): DC Comics
Writer(s): John Semper Jr.
Artist(s): Will Conrad & Cliff Richards
Colourist(s): Ivan Nunes
Letterer(s): Rob Leigh
Cover Artist(s): ill Conrad with Ivan Nunes; variant by Carlos D’Anda

Back when I was a mild-mannered newspaperman, there was a reporter whose copy was so horribly written, it bordered on masochism. Every time a new story came in, there was a guilty pleasure in reading all the ham-fisted nuances, over-blown hyperbole and veiled innuendo.


I wish Cyborg were that entertaining.


As a whole, the title started out okay, but then it stumbled. Then it got better. Then it stumbled again. Then it got a little better, only to stumble yet again. And now it’s in free-fall.


It’s like watching the old Teenage Mutant Ninja Turtles cartoon. Anomaly, Cyborg’s ongoing nemesis, has been creating one extraordinarily exaggerated creature after another. Mutations, cyborgs, giant robots – you know, nothing new.


The latest cast member to the title that has included Variant, Black Narcissus and H8-Bit, is Ratattack. Once the king of Detroit’s rat population, Rizzo Rattama has now been horribly mutated by Anomaly into a Saturday morning cartoon reject.


As our story begins, Cyborg is attempting to boom tube himself home, ending up six months later than he left. His techno-helper, Exxy, has parlayed his “partnership” with Cyborg into fame and fortune, and is now a rap star (because that’s what the kids listen to these days). For a person to turn their recent affiliation with a super-hero into a rap career is far-fetched in my opinion. It leads me to believe that Semper has a very narrow scope through which he is viewing the residents of Detroit.


But Anomaly is still around, waiting SIX FREAKIN’ MONTHS for Cyborg’s eventual return. And this leads to a showdown at Exxy’s latest concert. Of course, the audience believes it to just be part of the show, complicating Cyborg’s take down of Anomaly’s latest beasties.


Will Conrad’s artwork is serviceable, but hardly outstanding. Or maybe it’s the addition of Cliff Richards that’s taken it down a notch (or two). What I see on the page suggests the artist is aware of how awful this book has become, but being the professional he is, he does the best with what he’s been given, in the hopes of eventually finding work on another book. Maybe at Marvel.

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