Eric Bradach Comic Reviews

Old Man Logan #9 is a strong start, to a promising new story arc, to the seemingly best X-Men series at the moment. Jeff Lemire has added to the lure of not just Logan, but those in his supporting cast. The use of old friends and backdrops really kicks the emotional stakes into high gears, as the investment levels are through the roof. With Andrea Sorrentino going above and beyond the satisfaction levels with her visuals, this is the one Marvel title that fans should be clamoring about.

James Robinson continues to impress in this series. He's impressively taken the development of Scarlet Witch throughout this series to create the best Civil War II tie-in yet. Wanda's growth as a character is used to give the long-awaited confrontation between her and Pietro, and it's also used to point out the problems with the main players in the tiresome event. It makes it all the more disappointing that this book is being cancelled in order to make way for all the new #1's coming this fall. Hopefully another series can take advantage of what Robinson has done with Wanda here.

The conclusion to this arc succeeds an abundance of achievements that other comics all too often don't. It throws a curve ball at our expectations for the climax and still makes it compelling despite its lack of action. It creates suspense and a satisfying closing even with the addition of mystery to it. That only increases our appetites for more espionage from this dangerous redhead. Fortunately this series isn't being cancelled post Civil War II. This collaborative team cannot be praised enough, everything they've touched has turned into gold and Black Widow is no exception.

As said before, people should be more than thrilled that this series isn't on the chopping block once "Civil War II" is concluded. Jason Aaron clearly has a passion for not just this character, but the themes that tag along with him. Building the scales to a degree that seem monumental. Chris Bachalo's work only adds to that passion, creating atmosphere and tone that only escalate the stakes. Not subsuming to the current events that the rest of the Marvel Universe is entrenched in, has allowed this creative team to add lure and more importantly, legacy to the Sorcerer Supreme.

While I thoroughly enjoyed The Flash: Rebirth #1, I'd be lying if I said I wasn't somewhat worried that this series would be all about explaining the DC Rebirth fallout, digressing from character development. Thankfully Joshua Williamson has proven that he's committed to reestablishing the mythos of the Flash, creating a new status quo, and furthering the Barry Allen character. This issue expertly plays into old tropes and gets back to the roots of the Flash while also dabbling into new territory of comic book's most recognizable speedster. Gel that together with stellar work from the art team and you have the one DC book that you shouldn't miss out on.

The onslaught of DC Rebirth titles have yet to disappoint but if you'd had to pick one that has worked the best, it's the Flash. Writer Joshua Williamson has expertly crafted a comic that balances character moments with narrative driving scenes. It stays faithful to the character but introduces a new direction for the speedster while expanding on the DC Universe Rebirth mythology. With solid pacing along with its superb artwork, The Flash is a title that all DC fans should add to their pull list.

Moon Knight #5 has a very ambiguous ending and anything less might have been disappointing, considering the story that it "concludes"? It provides more thrills and turns to keep the mystery intriguing and the moments between Marc and Moon Knight are engaging. The art team deliver some brilliant visuals that only add to the quality of the writing. Thankfully, this is one of the series that isn't being cancelled with the upcoming Marvel NOW imprint.

With the high volume of Star Wars mini-series, you're going to have a various variety of quality. From those that reach their potential like Lando and Shattered Empire, to those that miss the mark like Obi-Wan and Anakin and Princess Leia. Fortunately Han Solo is off to a promising start thanks to its strong creative team. There are some comics that just hit the right spots and this is one of them. With on point dialogue and characterization supplemented with visually pleasing art, this is a mini-series that I highly recommend.

Sometimes the most satisfying stories are the ones you don't see coming.  I went into The Mighty Thor #8 expecting more of the high fantasy, War of the Realms confrontation that was executed so brilliantly in the first story arc of this series.  Instead, the creative team has decided to have Jane Foster check in and focus on her troubles on the mundane world of Earth.  This new story arc is off to a strong start thanks to a great balance of set up and character moments.  It also ups the quality of this comic that the art team delivers some glorious visuals and supply the fantastical elements in small doses.  Allowing them to really stand out and pop off the panels.

This is grievously a book that's being 86'd with the upcoming Marvel NOW 2.0 this fall. With the All New All Different Avengers team disassembling already spoiled, thanks to teasers, this will be an interesting book to keep up with and see whether or not its titled character plays a significant role to that outcome. Fingers are crossed that good stories will come out of this. At the time though, we'll have to make do with this masterpiece of a series we have at the moment. All thanks to a brilliant team that's combined their talents of compelling writing and captivating artwork.

I've always been a casual Batman fan, never reading his comics on the monthly basis. Gaining most of my knowledge of the iconic character through trades of classic stories and from talking to fans that read his comics regularly. All-Star Batman, aside of the stigma of being closely named to the Frank Miller failure, is off to a strong start that allows readers with a basic knowledge of the Dark Knight to jump on board. There are some missteps in Snyder's script but the premise is intriguing, there are some engaging character moments, and displays some solid themes to analyze. Not counting the misstep of Two-Face's design, Romita Jr.'s and White's visuals are nearly flawless. All that accumulates to a new series that I'd recommend checking out.

In a week where we saw Barbra Gordon demoted to an emotionally unstable girl who vents to her token gay friend about her relationship problems, it's satisfying to see her character given due service in the platform she was born in. Hope Larson has executed an opening issue with an intriguing new status-quo for Batgirl, created some engaging character moments, as well as a compelling closing. With a superb art team that visualized some fantastic tone fitting images that brings this comic to life, Batgirl is a series that looks nothing but promising.

The Daredevil Netflix series has been a massive success for Marvel and one of the standouts in that show was Vincent D'Onofrio's portrayal as the Kingpin. So it makes sense that he'd get his own mini-series in which ties itself to Marvel's summer event. The fact that it's good is greatly satisfying considering that the majority of the Civil War II tie-ins have largely been a miss. Matthew Rosenberg has taken a strong idea capitalizing off the constant infighting amongst our heroes, which is becoming excruciatingly tiresome, and created an intriguing story with memorable and engaging characters. If this issue is an indicative of what's to come, then this is the Civil War II tie-in to be reading.

Green Lanterns: Rebirth #1 is a strong start to this promising synopsis. It's going to buddy-cop series but our leads have powers from the cosmic. Johns and Humphries create an engaging dynamic between Simon and Jessica and there's instant chemistry there to hold readers investment. How the two of them will deal with one another while trying to gain a grasp on their new powers should be enjoyable to see play out.

Joyride #2 is a worthy follow-up. Who doesn't love a fun outer space road trip story? The issue continues to develop the characters while introducing new ones at a nice pace and installs groundwork for future stories. I also really enjoy how this comic is taking its time by providing us with small hints to the couple of lingering mysteries in the background. While the artwork is not as solid as its debut issue, it's still visually pleasing. Boom Studios made a smart decision in turning this into an ongoing series.

Kill or be Killed is off to a strong start thanks to its creative team and intriguing premise. Brubaker knows how to pace a narrative as well as add great characterizations to his characters through interactions. He also allows Phillips to take over telling the story, as he understands comic books is as much a visual medium as it is a written one. The shift in ingredients is a bit jarring and could distract some readers, however the positives in this debut chapter are engaging enough to warrant a recommendation.

Boom Studios' Mighty Morphin Power Rangers series has been nothing short of a genuine surprise and issue #5 is no exception. Writer Kyle Higgins has done an impressive job of adding to history with a modern and complex take, while still keeping the fun campy lure that the original series held. It's the perfect balance that this series called for and hopefully the upcoming movie from Lionsgate can do the same.

Marvel's female spider themed super-heroine crossover overall was frustrating at times. The plot meandered and the narrative dragged and even stopped in some issues. Fortunately it's saved by an exhilarating conclusion with Spider-Women Omega #1. There's a sense of satisfaction when all is said and done and we see how far our heroes have come. The three of these characters work brilliantly off of one another and each one has their moment to shine. The action scenes are stellar and superbly visualized by a grade A art team so what more can you ask? Go out and buy this book.

People who're looking to jump aboard the new ongoing series for the Amazonian warrior won't be disappointed. Greg Rucka has expertly presented the background of Diana in small bits and set the groundwork for the stories to come. It does lack an emotional pull with the lack of character insight, however the element of mystery introduced here is more than enough to intrigue readers to return for the next issue.

The conclusion to X-Men: Worst X-Man Ever is grim, somber, and closes out in bitter sweet fashion, which is why I enjoyed it. As said before, life can be a drag and this mini-series illustrates that brilliantly but not in a complete downer way. There are some uplifting moments and valuable life lessons to take from this comic. You just have to really think about them and not judge it by its cover.

When it's all said and done, Charles Soule's second chapter in this Daredevil/Punisher crossover is a satisfying installment. He's able to grab the voice of the characters mindsets as well as convey the atmosphere of the world these two live in. Again the shift of Matt's mentality is too abrupt but that's the problem writers ultimately run into when executing a mini-series. The action scenes are engaging, the character moments are intriguing, and the artwork fits the writing, so what more can you ask for.

This has turned out to be one of the more engaging mini-series that Marvel has released in recent memory. The third chapter may lack a bit of the intrigue with the ideological battle that was utilized so well in the first two issues. However this is still a solid issue, successfully driving the narrative forward towards the climax. Here's to hoping that the final installment doesn't disappoint.

As a finale to a 4 issue mini-series, this one succeeds. Again, it brings what fans of these two street level vigilantes want to see to the forefront and executes a story that's very reminiscent of their lure. It's clouded with gray moral stances and doesn't draw a clear boundary between right and wrong. All in a simple story that anyone can grasp. The artwork captures the tone that's needed for the rivalry but is lacking in detail. While distracting at times, it doesn't take away from the point of the story.

It's sad to see one of the few ongoing X-Men books that's actually good, digress its way towards meaningless Civil War II event. Fortunately though, Tom Taylor has provided a fairly enjoyable read with some solid character moments and strong mysteries to intrigue readers. Guara's artwork conveys a nice balance of tone throughout and hopefully he'll be brought back for future stories.

All-New X-Men unfortunately got sidetracked with the editorially mandated crossover. Here, Hopeless is allowed some breathing room to flesh out his characters but regrettably, the portrayal of Laura, who's the issue's focal point, is too inconsistent with her solo series. The rest of the book makes for an enjoyable read, however with the looming Marvel NOW imprint in the horizon, this book is going to be cancelled. It'll be interesting to see how Hopeless plans to end this and fingers are crossed it doesn't disappoint.

As someone who's never picked up a Birds of Prey comic, I'm invested. Yes the issue is heavy on exposition but that's how nearly all the DC Rebirth issues have been. It'll be better suited to judge with the follow-up and when this series starts to become more fleshed out, after the first story arc is finished. Julie and Shawna Benson have executed a strong start with character introduction and story intrigue that'll surely capture one's anticipation for the next chapter. With Claire Roe on art duties, this is a solid prologue issue.

As far as tie-ins created for Civil War II, the X-Men feels the most genuine and non-contrived. The mutants have been pitted against the Inhumans for sometime now and it's about time we see a real conflict begin. Cullen Bunn has executed a story in familiar territory but will engage long time X-Fans. The intriguing twist ending may feel out of character for a long standing X-Man but it's best to withhold judgement until it's fully played out. Visually, this comic lacks engagement but the strong characterization is more then enough to recommend this book

This is by no means a perfect issue but it doesn't have to be. Fans of these properties will be pleased with just seeing a rumble between them and this debut issue executes a set up towards that. It would be nice if there were more originality to this crossover, as one can easily predict what's behind the corner. However the all the characters identities feel in toned and the artwork is able to gel them together in satisfying fashion.

I'm a sucker for crime thrillers, so when I came across this comic I had to pick it off the rack and give it a look. What I got was a genuinely grim and somber story with characters that feel authentic. Which makes it all the more disappointing when the artwork is a miss in the tone department. However Sombra is still off to a solid start and I'll definitely stick with it and see what the next three issues have in store.

Titans Rebirth had a strong start with the promise of discovery and big reveals, Titans #1 sets more of that up but its closing catch falls short. Fortunately Abnett saves that with some delightful character interactions, creating a powerful team-dynamic that one can't help to become invested in. There are some poor choices made from an art perspective but it could be worse. While the conclusion is disappointing, this issue is still engaging enough for readers to come back for next months issue.

Wonder Woman: Rebirth #1 showed a lot of promise for potential storytelling, however with its follow-up it presents signs of over-ambition. The abundance of plots coinciding together causes them to be move at a snail's pace. However it's best to reserve judgment till the first story arc is completed and see if it'll all be worth it. With that said the synopsis is still intriguing and the character moments are engaging. Along with some heavily detailed and effective artwork, Greg Rucka's Wonder Woman #1 is still worth checking out.

The new flagship series for one of Marvel's most beloved franchises is starting to get back on track. It's clear that Lemire has a passion for these characters as they're all spot on with their interactions with one another. It just gets bogged down by this more then likely mandated cross-over featuring a villain who hasn't appeared in X-Men books for awhile, but he's in an upcoming movie so they have to take advantage of that. Hopefully Lemire will be able to write his own stories when the cross-over is all said and done. With that said though this is still a solid issue that'll hold readers interest enough with its character development, superb artwork, and pretty stellar cliffhanger.

Extraordinary X-Men is in dire need of a new arc. I for one was hoping that it'll be focused on the Illyana/Sapna relationship but with the open-ended closing page, it doesn't look too bright. That along with the upcoming "Death of X" story, the future doesn't look to optimistic for this series as it'll detract from its own story. The supposed new flagship title of the X-Men could have been something to treasure. The potential it had with Jeff Lemire and Humberto Ramos attached had me pumped, but they'd been sidetracked from telling their own stories in favor of cross-overs and events. This is unfortunately a comic that isn't worth the sticker price.

It's upsetting that we're getting another Marvel event that'll deviate writers from their current stories. Especially so soon after the exhaustion that was Secret Wars(2015). Fortunately Brian Michael Bendis has delivered a strong opening issue that'll hook readers investment. The motivations are genuine and not contrived, which was the biggest mistake of the original. Hopefully this will also lead to strong character development and if it's good, ramifications that'll impact future stories. With assistance from a stellar art team who deliver the goods as well, Civil War II #1 is definitely worth a read.

Brian Michael Bendis is nothing short of a talented writer. No one can deny his addicting dialogue and character moments, however sometimes he digresses from the narrative drive in favor of those scenes and Civil War II #2 is no exception. Tony Stark's actions are genuine but create a black and white conflict in this chapter and choosing sides isn't an issue given the execution. There isn't any sense of danger or urgency within the story until the very ambiguous ending. It inadvertently fails to draw in emotional weight or investment. The dialogue is spot on and the artwork is beyond stellar but those aren't the most important parts of an event comic.

Bendis' fairly promising set up issues to begin this event, created a sense of optimism for the future. Yet that was all detracted once the ball started to roll, and it became another meaningless Marvel event where the heroes fight each other rather than a super-villain. The whole editorial mandate that demanded this sequel to Mark Millar's 2006 story was off-putting itself. There has been nearly zero characterization to Ulysses, the one who started the conflict. Those who do get development, come off as obnoxious with their disregard of compromises and nuances. Not even the stellar artwork brought in by David Marquez can save this issue and the mini-series itself empathize everything wrong with Marvel.

This issue is incredibly frustrating. Nick Spencer is a strong writer who can write a well paced story, engaging dialogue, solid character moments, and natural comedy. In those terms there are no negatives with this comic. However, the twist is grating and reeks of gimmick and editorial mandate. The artwork is stunning in moments and distracting in others. I want to give this comic a positive review because the positives do outweigh the negatives. However the negatives are too agonizing and distracting to overlook.

Civil War II: Amazing Spider-Man #1 is an unfortunate misfire tie-in. Christos Gage has proven in the past to be a talented writer and he does his best to make this an enjoyable read with its quippy humor. However the story is too contrived and Peter's response to the situation is too opportunistic to engage the readers. It's a meaningless tie-in that simply attaches a popular character to a popular event with no substance or reason to exist. Regrettably, this is attached to some really stellar artwork but that's not enough to save this comic.

Green Lanterns was one of the more inviting books to come out of the DC Rebirth line-up. It started out as a nice entry point into the Green Lantern franchise, which as of the last few years have become impregnable. Disappointingly though, this story arc is going on longer than it needs to and it's starting to hurt the charm of the characters and the dilemma facing them. Humphries relies on too much recycled material carried over from issue to issue and it'll cause readers to lose interest and investment. Hopefully the conclusion is in the near horizon and the characters can begin to grow and move forward.

I could have forgiven the deceptive marketing had this comic supplied a few compelling stories that truly tied into to greater story. Unfortunately Civil War II: Choosing Sides #1 is a massive disappointment and nothing more than a vain attempt to sell more tie-ins. All but one of the stories has any value and it's significance will undoubtedly be small at best. That added on top of substandard art, this is a Civil War II tie-in that you can surely pass on.

Invincible Iron Man #12 has extremely little going for it and is beyond frustrating. The enjoyable moments are just too far in-between and at the end of the issue you find yourself asking, what was accomplished here? This issue is essentially filler at a time when there isn't a panel to waste. Its debut issue was one of the best to come out of the new Marvel line-up post Secret Wars(2015), but now with the dragged out story-lines, interference from Civil War II, and poor artwork make this comic one to be passed on.

It makes perfect sense to capitalize off of the success of one of the stand out characters of the Force Awakens. What doesn't make sense is the time period they chose to tell their story and what's even more confusing is making this an ongoing series. It's a very constricted stage within the Star Wars saga so it can't help itself but to be dragged out. It also fails to grab any intrigue or investment because we know what lies ahead. The artwork is detailed but its a simple case of the style not capturing what's required.

The fourth volume of Uncanny X-Men could have been something special with the talented Cullen Bunn at the helm. However issue #10 emphasizes everything wrong with Marvel at the time, the push of cross-overs, events, and mimicking the movies. There is nothing in terms of character development and the individual stories themselves never truly tie together. With Marvel Now 2.0 beginning in October, it's not looking too bright for the X-Men given that there's only one X-Men title announced, that being "Death of X". Hopefully Marvel editorial will allow Bunn to end this series on a high note and create his own story.