Jesse Schedeen's Comic Reviews

Reviewer For: IGN Reviews: 5525
7.5Avg. Review Rating

With two meaty, entertaining stories, Wolverine #1 helps finally put the spotlight back on this iconic X-Man.
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Marvel's latest volume of Guardians of the Galaxy is a perfect excuse to jump on board the franchise.
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While darker than expected, Batman #86 serves as a bold and fast-paced start to the next phase of Bruce Wayne's life.
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Batman #85 isn't a perfect finale issue, but it hits all the right emotional notes.
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Batman #84 provides some much-needed answers and a novel approach to depicting the life of Thomas Wayne.
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Venom #20 is essential reading for anyone who followed Marvel's Absolute Carnage crossover.
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X-Force #2 cements the series' status as the most important and dramatic piece of the Dawn of X puzzle.
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Batman #83 delivers a touching tribute to an iconic DC hero, even as it justifies the need to kill them off.
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Marvel's newest monthly Deadpool series does very little to stand out amid a vast sea of Deadpool content.
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Fast-paced and enticing, Far Sector #1 kicks off DC's newest Green Lantern epic in style.
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X-Men #2 slows down to appreciate the complicated state of affairs in the Summers household.
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Fallen Angels completes Marvel's relaunched X-Men line with a solid debut issue.
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Legion of Super Heroes #1 makes a convoluted franchise accessible and inviting again.
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New Mutants #1 is a loving tribute to a classic franchise, but its mission statement is unclear.
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Batman #82 finally gives readers the showdown they've been waiting for, but it's forced to cover too much ground.
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X-Force #1 successfully blends old and new as it carves out a darker niche in the Dawn of X lineup.
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With a humorous yet heartfelt adventure, Batman Annual #4 is easily one of the best DC Comics releases of 2019.
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Joker: Killer Smile is worth a read for anyone wanting a good horror story centered around this iconic villain.
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Excalibur is another worthwhile addition to Marvel's Dawn of X relaunch, one that blends the old and new.
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Despite arriving at just the right time, The Amazing Mary Jane #1 doesn't exactly live up to its name.
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The Amazing Spider-Man #32 is a slow start to a new story, but it looks incredible.
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Marauders #1 is an entertaining book that fills a necessary void in Marvel's new X-Men line.
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X-Men #1 is a more character-driven alternative to House of X, though the visuals don't quite measure up.
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The Amazing Spider-Man #31 is technically an Absolute Carnage tie-in, but it's not Carnage who steals the show here.
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The Batman's Grave manages to find fresh new material with the most familiar hero in comics.
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Doctor Doom #1 is a flawed but still engrossing start to the iconic villain's new comic book series.
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Powers of X #6 may not fully deliver on the hype, but it provides a strong foundation on which Dawn of X can build.
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House of X #6 closes out the series with a bold, heartfelt look to the future of the X-Men.
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Powers of X #5 reinvents several fan-favorite characters and offers an exciting taste of things to come for the X-Men.
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Batman #79 finds beauty and pathos in Batman and Catwoman's enduring romance.
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G.I. Joe #1 helps reinvigorate a tired franchise thanks to a very different story direction.
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Spider-Man #1 lives up to the hype thanks to its superstar creative team and a surprising plot twist.
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Batman #78 is a welcome return to form for the series, as the Bat and the Cat take center stage.
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King Thor #1 is an epic start to the final leg of Jason Aaron's long Thor saga.
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A hilarious new take on Mister Sinister helps fuel the latest chapter of Powers of X.
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While not the best standalone issue the series has seen, Batman #54 is a satisfying celebration of fathers and sons.
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Doomsday Clock #11 is a messy but still thrilling issue that sets up an epic final chapter.
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House of X #4 ups the stakes even higher and highlights the emotional drama of the X-Men's most important battle.
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Spawn #300 is a fun celebration of a long-running series, though the art is the main selling point.
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Batman/Superman #1 is one of the strongest first issues of a DC series in recent memory.
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House of X #3 takes a traditional X-Men formula and infuses it with both huge stakes and human drama.
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Marvel Comics #1000 crams in a lot of content, but the lack of a consistent theme hinders this anniversary special.
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"City of Bane" finally builds steam in Batman #77, thanks to the assistance of Batman's bratty son Damian.
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Powers of X #3 shakes up the formula yet again, resulting in another fascinating chapter of this epic X-Men saga.
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Superman: Year One #2 is a flawed take on the idea of Clark Kent: Military Man, but at least it's a unique one.
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The latest villain-focused chapter of Amazing Spider-Man recaptures the charm of Superior Foes of Spider-Man.
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With a fun twist on the saga of King Arthur and a superstar creative team, Once & Future is a must-read comic.
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Powers of X #2 is another winner for Marvel's ambitious X-Men relaunch.
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Absolute Carnage #1 is a slow but haunting start to Marvel's latest crossover event.
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Batman #76 is an underwhelming addition to a normally great series, as "City of Bane" fails to live up to its promise.
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Berserker Unbound #1 is a solid barbarian comic undone by its numerous similarities to Marvel's Conan books.
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House of X #2 is one of the best X-Men comics in years, teasing a bold new direction for the franchise.
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Batman: Last Knight on Earth #2 isn't quite as strong as the first issue, but it's a must-read for Bat-fans.
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Powers of X #1 makes an even stronger case for Jonathan Hickman's ambitious X-Men saga than House of X #1.
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The villain-focused Amazing Spider-Man #26 is a fun throwback to the days of Superior Foes of Spider-Man.
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Batman: Curse of the White Knight is already shaping up to be a worthy sequel to Batman: White Knight.
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House of X #1 serves as a jolt of adrenaline to the X-Men franchise in a way only Jonathan Hickman can deliver.
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Marvels Epilogue delivers a heartwarming followup to a classic story, but it doesn't offer bang for the buck.
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Batman #75 offers a glimpse of a city in turmoil, but the scope of this issue is too small.
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Amazing Spider-Man #25 is a great starting point for Marvel's flagship Spider-Man comic.
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Batman #74 puts the series back on track as it wraps up Batman's father/son reunion.
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Invisible Woman #1 isn't the slam dunk it should be given the pairing of creative team and character.
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Lois Lane is long overdue for her own solo comic. And luckily, DC found the ideal creative team to bring that drought to an end. Lois lane #1 serves as a strong start to a series far more mired in real-world politics and headlines than your average DC book. But even as the series tackles timely subject matter, it also captures the core of what makes Lois such a compelling character.
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Despite its strong visuals, Target Vader #1 does little to stand out next to Marvel's various other Star Wars books.
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The Walking Dead #193 is a bittersweet and satisfying end to a long-running zombie saga.
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Despite a fairly anticlimactic finish, Amazing Spider-Man #24 generates ample excitement for the book's second year.
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Batman: Damned #3 is a flawed but unforgettable sendoff to this bleak and moody series.
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Mighty Morphin Power Rangers #40 is both an accessible starting point and a potential game-changer for the series.
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War of the Realms finally becomes the story it needed to be in its sixth issue.
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Batman #73 could almost be dismissed as an unnecessary addition to the series if not for a pair of important revelations about Thomas Wayne's motivations and larger role in the series. Even so, it's hard not to be frustrated by the repetition and general lack of momentum in this chapter. As good as this series often is, Batman is far too prone to dragging its heels as the buildup toward "City of Bane" slowly continues.
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The second year of Go Go Power Rangers ends in an epic and very satisfying special issue.
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Star Wars #67 is a dramatically satisfying but visually underwhelming end to Kieron Gillen's run.
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Amazing Spider-Man's "Hunted" crossover wraps up in a flawed but enjoyable epilogue chapter.
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Event Leviathan #1 has mood to spare, but it doesn't give this mystery series the early momentum it needs.
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Silver Surfer: Black is a gorgeously rendered comic with plenty to offer fans of the character and the creative team.
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Batman #72 delivers plenty of critical answers while still telling a gripping story of revenge and betrayal.
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The Walking Dead #192 goes a long way toward reinvigorating a once stale comic book series.
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War of the Realms #5 delivers more terrific artwork and more underwhelming plot.
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Amazing Spider-Man #22 is an intense, character-driven conclusion to the "Hunted" crossover.
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Batman: Last Knight on Earth #1 provides an engrossing look at the end of Batman's long journey.
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Doomsday Clock #10 pushes the series to new heights as it addresses some of the most burning questions of DC Rebirth.
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Heroes in Crisis #9 is a disappointing conclusion, one that fails to justify the series' extreme storytelling choices
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Detective Comics #1004 provides a satisfying look at the origin of a major new Batman villain.
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The Land of Giants #1 is an enjoyable War of the realms spinoff that features a great portrayal of Spider-Man.
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Superman: Year One alternates between rehashing familiar tropes and adding unnecessary new elements to the mythos.
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The penultimate chapter of "Hunted" shows that this Amazing Spider-Man epic is finally living up to its potential.
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Batman #71 ramps up the drama as even the reader is forced to question whether Batman can triumph against Bane.
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With fantastic art and superficial storytelling charms, War of the Realms #4 delivers more of the same.
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Batman and the Outsiders #1 suffers from a bland plot, but the characters and art make up for it.
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Samurai Jack: Lost Worlds #1 is worth a read for fans, even if it struggles in the home stretch.
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Batman #70 still doesn't give the series the forward push it needs, but it has other strengths to offer.
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DCeased #1 reads like DC's answer to Marvel Zombies, but it shows the potential to carve its own path.
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The Walking Dead #191 delivers a necessary shock to the system as the series veers down an unexpected path.
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War of the Realms #3 offers more zany superhero fun, but the series is still missing something crucial.
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The second half of Amazing Spider-Man's "Hunted" is shaping up to be much better than the first.
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DC's Heroes in Crisis provides plenty of answers and an emotionally rich story, but big concerns still remain.
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The Amazing Spider-Man #19.HU is an essential read for fans of The Lizard.
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Batman #69 delivers a strong, beautifully rendered ending to an overly drawn-out story arc.
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War of the Realms #2 delivers more zany superhero fun even as it struggles to build deeper character drama.
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The latest chapter of Amazing Spider-Man's "Hunted" shows improvement, but the story needs an adrenaline boost.
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Batman #68 offers a welcome dose of humor even as it explores the depths of Bruce Wayne's psyche.
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The Walking Dead #190 gives the series the momentum boost it's been needing.
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War of the Realms is off to an enjoyable start, but it doesn't do much to change the typical event comic formula.
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The second chapter of Amazing Spider-Man: Hunted does little to push this epic conflict forward.
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Detective Comics #1000 crams an incredible amount of Batman goodness into one comic.
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Heroes in Crisis #7 raises intriguing new questions and even lets a little light into this dark story.
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Batman #67 features characteristically strong artwork but a very barren and unsatisfying story.
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Spider-Man: Life Story #1 puts a fresh, exciting spin on a familiar era for Peter Parker.
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The Grim Knight #1 is a visually stunning and nuanced companion piece to The Batman Who Laughs.
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Transformers #1 moves slowly, but also offers a much-needed fresh start for the franchise.
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Batman #66 is a haunting look at Batman's unraveling mind and one of the best chapters of the series yet.
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Doomsday Clock #9 features a fun superhero showdown alongside dark new developments for the DCU.
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Ronin Island features a compelling setting but needs to focus less on monsters and more on characterization.
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Amazing Spider-Man #16 shows that better days lie ahead for Kraven the Hunter.
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Heroes in Crisis #6 provides readers with another emotionally rich interlude story.
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Batman #65 is a lackluster event tie-in but a strong showcase for Batman and Flash's partnership.
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Sharkey the Bounty Hunter is a fun but forgettable addition to the Millarworld lineup.
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Amazing Spider-Man #15 is a flawed comic, but one that pays warm tribute to a classic Spidey moment.
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Wonder Twins #1 kicks off an amusing and heartfelt revival of a fan-favorite DC duo.
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Batman #64 kicks off an awkwardly timed but still engaging crossover with The Flash.
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Marvel's latest Daredevil comic is a must-read for anyone who likes their stories dark, beautiful and brooding.
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The Walking Dead #188 is a solid addition to the series, but one that doesn't provide the momentum boost needed.
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The villains are the big selling point in Amazing Spider-Man #14, but the art isn't always up to the task.
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Heroes in Crisis #5 is light on plot but heavy on emotion and powerful superhero imagery.
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The Spencer & Locke formula retains its appeal thanks to an even more ambitious sequel.
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Despite its underwhelming use of John Constantine, Batman #63 is a satisfying addition to the series.
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Buffy the Vampire Slayer #1 manages to reboot a long-running franchise without losing its core appeal.
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Marvel's latest Invaders relaunch succeeds in casting Namor as both villain and protagonist.
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The surreal, deranged Batman #62 is a major step up from its underwhelming predecessor.
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Despite its strong suits, Captain Marvel #1 serves as a muddled and unfocused debut for the new series.
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Friendly Neighborhood Spider-man #1 has plenty of appeal as it explores the quieter side of Peter Parker's life.
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Young Justice #1 makes up for a basic story with great characterization and snazzy visuals.
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Conan the Barbarian #1 swerves as a mighty debut for the character as he returns to Marvel Comics.
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Heroes in Crisis continues to improve in its fourth issue, one marked by compelling characterization and gorgeous art.
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Man Without Fear #1 serves as a bland, formulaic bridge between two volumes of Daredevil.
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The Walking Dead quickly squanders some of its newfound good will in the underwhelming issue #187.
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After a mostly strong showing in 2018, Batman hits a major stumbling point in issue #61.
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Batman #60 continues the series' strong track record with a compelling look at both Batman and Penguin.
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Doomsday Clock #8 features a hefty dose of Superman, but the series' cracks are beginning to show.
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Thanks to a blandly perfect protagonist, Prodigy #1 is a disappointing debut for the newest Millarworld comic.
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Shazam! #1 is an excellent start to the series, and one that seamlessly merges classic and New 52 elements together.
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The Walking Dead finally begins building steam again after months of aimless storytelling.
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Livewire #1 has its problems, but a compelling lead heroine is enough to counteract everything else.
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Heroes in Crisis #3 adds much-needed context to the series through an emotionally charged flashback story.28 NOV 2018
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Ironheart #1 stumbles from time to time, but still succeeds on the strength of its visuals and an engaging heroine.
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Return of Wolverine #3 features a fun new take on Logan but suffers from underwhelming art and a lean plot.
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The new Uncanny X-Men still fails to create a sense of excitement or a unique identity in its third chapter.
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Batman #59 is every bit as rock-solid a comic as one would expect from the Tom King/Mikel Janin pairing. It's expertly rendered, with art and coloring both helping the ease the many transitions between past and present. It casts Penguin in an unusually sympathetic light. And best of all, this issue explores why darkness and violence aren't always the answer for Batman. If he's going to dig himself out of this hole, he has to find a better way to beat Bane.
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The Avengers #10 celebrates a big franchise milestone with engaging storytelling and terrific visuals.
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Mister Miracle #12 doesn't provide many answers, but it gives the series the emotionally resonant finish it needed.
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Thanks to a bland, jumbled storyline, the new Uncanny X-Men fails to live up to its name.
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Batman #58 is a visually stunning comic that also adds new layers to the Penguin.
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The Green Lantern #1 brings the franchise back to basics, but there's plenty of flavor to set the book apart.
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Firefly #1 kicks off the new series on familiar but enjoyable ground.
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Heroes in Crisis #2 raises some concerns about the series' direction, but it also tells a very compelling story.
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The Drowned Earth crossover offers few surprises but plenty of spectacle and character drama in its first issue.
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Despite a rushed final act, Old Man Logan closes out the series on a strong note. It highlights the sadness fueling both Logan and Maestro at the end of their lives, as well as explores how quickly decent people can turn to evil. This issue could easily serve as the final word on the saga of Old Man Logan, which sets a higher bar for Dead Man Logan to cross.
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Amazing Spider-Man #8 overcomes a few visuals flaws with an engaging story and a revamped Marvel villain.
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Books of Magic #1 works with too many familiar tropes, but at least it does them well.
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Old Lady Harley #1 delivers a goofy look at the future of the DCU, but it's disappointingly light on drama.
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Batman #57 delivers a disappointing and needlessly bleak conclusion to the Dark Knight's clash with KGBeast.
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Despite its flaws, Shuri #1 is an enjoyable spotlight for T'Challa's sister.
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Venom Annual #1 features an uneven lineup of flashback stories, but the art alone is worth the price of admission.
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Spider-Geddon #1 is a competent follow-up to Spider-Verse, but it doesn't do anything new with the formula.
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Venom is still a great read, but the series loses some momentum as it heads into its second storyline.
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Batman #56 is a gripping read, but one that ignores a crucial part of the current storyline.
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The Walking Dead #184 is yet another intriguing but plodding new installment for the series.
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DC's sequel to Wonder Woman: Earth One can't quite live up to the original.
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Amazing Spider-Man #6 delivers an amusing detour, but the art isn't quite up to snuff.
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Doomsday Clock #7 gives the series an adrenaline boost as Doctor Manhattan finally emerges from hiding.
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Heroes in Crisis #1 is an unpleasant but compelling look at a major tragedy in DC's superhero community.
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The Stranger Things comic doesn't do enough to enrich the mythology of the Netflix series.
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Batman #55 offers a winning blend of light and dark elements, though the jury is still out on the cliffhanger.
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Batman: Damned #1 delivers a flawed story bolstered by some incredible visuals and fun supernatural elements.
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Return of Wolverine is shaping up to be a worthy sequel to Death of Wolverine.
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Amazing Spider-Man #5 brings the new series first story to an entertaining close.
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Infinity Wars remains a visually flawed comic, but the story continues to move in intriguing directions.
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Brian Bendis' strong track record at DC Comics continues with the debut of Cover. The premise of this new series is fun, but it' really the strong visual presentation and finely rendered characters that gives the book its flavor. This comic doesn't read like anything else Bendis is currently writing, and that's a good thing.
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The latest chapter of The Walking Dead #183 makes some significant steps towards addressing the series' recent mistakes. The consistent focus on Michonne is appreciated, as is the emphasis on exploring the darker side of life in the Commonwealth. The political allegory is a little too heavy-handed to completely work, but at least the series is restring a sense of danger and unease again.
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Brian Bendis and Alex Maleev's Scarlet successfully makes the jump from Marvel to DC with an accessible new relaunch.
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Web of Venom: Ve'Nam #1 is an enjoyable read, even if it doesn't reach its full potential.
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Batman: Kings of Fear #1 stands out more for its visuals than its story.
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Venom #5 is another excellent addition to the series, one that again pushes Eddie Brock in unexpected directions.
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Batman #53 is one of the best chapters of a series already full of winners.
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Edge of Spider-Geddon #1is a fun read for anyone eager to read more about Spider-Punk and his world.
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Infinity Wars #2 is a disappointing follow-up to a strong first issue.
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Pearl #1 is a slow but intriguing start to Brian Bendis and Michael Gaydos' latest comic book project.
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Amazing Spider-Man #3 delivers a wacky premise and a satisfyingly well-rounded story.
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Fantastic Four #1 doesn't give the new series the exciting start it needed.
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The Sandman Universe #1 offers a jumbled but engrossing start to this new DC imprint.
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Batman #52 is a visually stunning and methodically executed look at the troubled psyche of Bruce Wayne.
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Despite some murky artwork, Infinity Wars #1 serves as a memorable start to Marvel's latest cosmic epic.
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The Walking Dead #182 is another slow addition to a generally sluggish series.
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Action Comics #1001 is a great start for the new creative team, one marked by strong characterization and art.
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Justice League Dark #1 succeeds on the strength of its compelling new team.
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Batman #51 delivers a moody, visually striking follow-up to the recent wedding storyline.
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Injustice vs. Masters of the Universe #1 is entertaining, even if it only begins to tap into its potential.
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The Life of Captain Marvel is a good starting point, even if it doesn't live up to its potential yet.
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Amazing Spider-Man #1 gives its hero a fresh start while also charting an exciting and unpredictable path forward.
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Despite its flaws, The Flash #50 delivers an epic and emotionally rich conclusion to "Flash War."
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Despite an underwhelming ending, Superman #1 offers a compelling, character-focused start to the series.
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Despite its compelling premise, Transformers: Unicron #1 doesn't live up to the hype.
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X-23 channels the appeal of All-new Wolverine rather than trying to be drastically different.
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Batman #50 may underwhelm new readers, but it serves as a strong culmination of many ongoing storylines.
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Marvel's latest Captain America relaunch shows plenty of promise, but the series has some growing to do.
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Catwoman #1 looks fantastic, but there's not much beneath the surface of this new series.
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Star Wars #50 suffers from familiar visual flaws, but it offers a compelling look at the struggling Rebel Alliance.
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The Sentry #1 serves as a promising start to the character's first ongoing series.
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Venom #3 continues a compelling overhaul of a familiar character, and one that all fans should be reading.
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Amazing Spider-Man #800 may have wrapped up Dan Slott's last major storyline, but the real emotional climax of that story comes in this epilogue issue. Slott and artist Marcos Martin are able to weave their magic with the character one last time, delivering a sweet, uplifting tribute to Peter Parker. This issue is over a little too quickly, but there's something to be said for leaving readers craving more, even after ten years.
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Batman #49 downplays the Dark Knight in favor of a harrowing reunion between Catwoman and Joker.
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Tony Stark: Iron Man #1 is an entertaining but fairly shallow debut for the new series.
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Thor #1 serves as an engaging start to the latest phase of Jason Aaron's ongoing saga.
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Venom #2 is a slower read, but one that showcases a bright future ahead for the series.
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Batman #48 makes up for lost time as Joker finally takes the spotlight.
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Immortal Hulk #1 delivers a dark, compelling revamp of a familiar Marvel hero.
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Justice League #1 gives this iconic franchise the overhaul it's been needing.
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The Walking Dead #180 caps off the series' latest storyline on a disappointingly quiet note.
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Despite its flaws, Amazing Spider-Man #800 is a fitting conclusion to a ten-year-long story.
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Doomsday Clock #5 adds new layers to DC's Watchmen sequel, painting an even more bleak view of the DCU's future.
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Justice League: No Justice ends its brief run in fine form with an issue that balances spectacle and characterization.
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Man of Steel #1 suggests that Superman will remain in good hands as Brian Bendis takes over the franchise.
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Black Panther #1 delivers a wildly different and compelling new status quo for T'Challa.
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Invincible Iron Man #600 serves as an imperfect finale to an imperfect series. Not every loose end is given satisfactory resolution here. It's also frustrating to see Bendis leaving just as he introduces some intriguing new developments in the Marvel Universe. But regardless, at least this issue leaves a strong foundation on which the next Iron Man comic can build.
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The Avengers #2 has an underwhelming story but strong visuals and a terrific cast.
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Justice League: No Justice continues to provide the team with the revamp it needs.
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X-Men Wedding Special features some great Kitty Pryde moments, but it does little to hype up her impending marriage.
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The Despicable Deadpool #300 provides a fitting conclusion to a long superhero saga.
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Justice League: No Justice #1 delivers the epic, visually stunning overhaul this team needed.
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Marvel's adaptation of Star Wars: The Last Jedi captures little of what made the movie so great.
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Venom #1 serves as a strong start to the new series, thanks mostly to its top-notch creative team.
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The Avengers #1 is a solid start for the new series, but one that holds few surprises.
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With its low cover price and trio of great stories, DC Nation #0 is a win/win for readers.
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Hunt for Wolverine #1 will disappoint anyone hoping for a clear, concise look at Wolverine's return to life. This story is less concerned with providing answers than it is setting up a pointlessly large crossover event. The lead story at least features some strong artwork and a few memorable flashback scenes, but neither is enough to justify the high cover price. Nor does this issue build much enthusiasm for what's to come for the character.
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This finale issue captures so much of what has made The Mighty Thor Marvel's best ongoing series. It's emotionally rich, beautifully rendered and continues to explore the themes that have defined Aaron's run for years. But as well-crafted as this comic is, the happy ending does seem to work against the grand sacrifice made by Jane Foster in issue #705.
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Action Comics #1000 isn't without its disappointments. A lackluster plot twist prevents Brian Bendis' first DC story from making the impact it should, and in general the short length of these stories tends to limit their scope. Still, there's a lot of heart in these pages, and no shortage of gorgeous artwork. It's impossible not to be moved by the many loving Superman tributes these creative teams have put together.
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This series has developed a pretty spotty track record when it comes to spotlighting Batman's fellow Justice League members. The altered setting in this issue is great, offering a dark, dystopian look at a Gotham City without its traditional Batman. Unfortunately, it's depiction of Booster Gold as an unfeeling sociopath is hard to stomach. Hopefully there's a deeper plan at work here.
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Most anniversary issues like this are devoted to introducing earth-shattering plot twists and setting the tone for a series going forward. Cap #700 takes a more character-driven approach, using its futuristic setting to test Steve Rogers in compelling new ways and explore the enduring appeal of this character. It serves as a fitting conclusion to Waid and Samnee's latest collaboration.
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If you've been waiting for Domino to branch out on her own, this new series won't disappoint. It delivers some wacky good fun and stylish visuals while also making it plain that being a super-lucky assassin isn't all it's cracked up to be. While there are some nagging storytelling flaws in this first issue, it's clear that Neena Thurman is in good hands.
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At first glance, Batman #44 comes across as a pleasant but fairly unremarkable addition to the series, one that arranges a few pieces leading up to the big wedding. It's only by rereading this issue and directly comparing it to the classic Batman stories it references that it becomes clear how King, Janin and Jones are commenting on the evolution of these characters and superhero comics in general.
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The long wait for this 300 follow-up doesn't exactly pay off in Xerxes #1. This issue retains some of the appeal of the original series, but doesn't do nearly enough to differentiate itself. The awkward fusion of art and colors doesn't help matters. If this series is to live up to its potential, it needs to expand its scope and show readers the Persian side of the story for a change.
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In many ways, Dark Nights: Metal is more flawed than Snyder and Capullo's previous DC work. There are simply too many moving pieces in this final issue, and not enough room to do it all justice. But despite that, there are enough great character moments, dynamic images and emotionally resonant themes at play to make Metal a crossover worth experiencing.
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Doomsday Clock #4 doesn't do a great deal to push the series' overarching conflict forward. But it does accomplish something more vital - fleshing out the background of the new Rorschach and allowing readers to connect with the character on a deeper level. If Johns and Frank couldn't make readers feel for these characters, what would be the point of publishing a new Watchmen sequel in the first place?
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Mighty Morphin Power Rangers #25 kicks off the "Shattered Grid" storyline on solid footing. This issue hints at the massive scope of this event, but the focus remains fixed on the core cast of characters and their conflict with Lord Drakkon. This issue is all about building emotional stakes for the conflict to come, and it certainly succeeds in that goal.
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Ghostbusters: Crossing Over #1 delivers a slow but enjoyable start to this epic crossover series.
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While hampered by pacing problems, Green Lantern: Earth One offers an engrossing overhaul of an iconic hero.
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If this first issue is any indication, "Go Down Swinging" will wind up ranking among the best of Dan Slott's many, many Spider-man tales.
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Batman #42 emphasizes both comedy and tragedy and manages to succeed at both.
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The Walking Dead #177 is more flawed than previous chapters of "New World Order." The jumbled narrative and overly wordy dialogue see to that. Even so, this issue has no trouble holding the reader's attention as it explores Michonne's unexpected family reunion and introduces some pivotal new characters into the mix.
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In general, things seem to be picking up for the series again, though I'm still very much looking forward to the new status quo that comes with the impending relaunch.
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This issue picks up exactly where Damnation left off, with Strange playing a high-stakes game Blackjack with his very soul in the balance. The result is an entertaining story that boats real stake for our hero even as writer Donny Cates and artist Nico Henrichon have fun with the idea of a demonic casino.
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This series often tests whether it's possible to cram too many speedsters into one book. In this case, I can't help but feel that the notion of Barry having his speed stolen by Gorilla Grodd would carry more weight if he didn't have three different speedster partners ready and waiting to pick up the slack.
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It's all executed well enough, but nothing about the story or the artwork feels particularly new or exciting.
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Too much of this issue unfolds like a standard superhero slug-fest. It's only later on that the emphasis shifts back to the bizarre plot twists and self-aware moments that have made the crossover so entertaining.
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This series has felt rather aimless of late, but this latest arc is helping to put things back on track.
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You have to admire the scope of this latest TMNT storyline, as New York buckles under the weight of an all-out war involving the military, the Triceratons and the Foot Clan. But ignoring all the spectacle, this story works because of the uneasy spot it in which places the Turtles.
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Time will tell if that long-gestating Labyrinth sequel ever comes to fruition, much less lives up to the original. But at least fans can rest easy knowing that The Labyrinth: Coronation is a worthy comic book offshoot. The first issue successfully translates the look and tone of the film, building a sad yet whimsical look at the early days of the man who became the Goblin King.
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It's understandable if readers are feeling burnt out on the Inhumans at this point. However, Lockjaw #1 offers an entertaining diversion from the norm that places more emphasis on Lockjaw's new partner than the trusty canine himself. This issue delivers all the wacky superhero fun one would expect, but it anchors that fun with a surprisingly deep look at a fallen hero in crisis.
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Spectacular Spider-Man #300 is far from the anniversary special this hero deserves. This issue embodies too many of the recurring flaws with this run, as it focuses on building empty spectacle rather than telling the earnest, character-driven stories Chip Zdarsky does so well. The excellent backup tale only highlights how big a miss the main story is.
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The Terrifics follows a familiar pattern with the New Age of DC Heroes line, offering a tale that's heavy on visual excitement and light on storytelling depth. There's definite potential with this Fantastic Four-inspired team, but the book lacks that crucial team dynamic that fuels the best FF tales. Future issues need to worry less about building on the foundation of Metal and more on enriching the main four characters.
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Riley Rossmo can always be counted upon to deliver terrific art, even if the story doesn't quite measure up (see Batman: Night of the Monster Men). That's very much the case with this latest addition to the Vertigo line.
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I appreciate that this series is trying to find that balance between cosmic adventure and showcasing the mundane struggles that make up Simon and Jessica's personal lives, but right now the book isn't succeeding in that goal.
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The end result is a much more grim and subdued Bond, even by the relatively darker nature of Dynamite's Bond comics.
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Reading this issue is an unusual experience for a number of reasons, not least of which being that this is the first chapter of Cave Carson not drawn by artist Michael Avon Oeming. Tonally, that results in a much different story, though Langdon Foss' absurdist approach does suit the corporate office setting.
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It's easy to forget what Aphra is even trying to accomplish at the moment. But the strong character dynamics are enough to keep the book humming along regardless.
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While not normally a fan of Carlo Barberi's exaggerated style, it turns out that said style is much better-suited to a book featuring younger heroes. Barberi brings a cartoonish sense of energy to the page, and only occasionally do his oddly proportioned figures become distracting.
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For the most part, Liam Sharp doesn't disappoint as he flies solo in this Batman/Wonder Woman team-up. The worst that can be said for this issue is that Batman's presence seems superfluous. But as a Wonder Woman comic, it gets high marks.
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Amazing Spider-Man tends to be one of Marvel's more reliable monthly titles, which makes a disappointing installment like this one all the more unusual. Issue #796 sets a couple wheels in motion, but for the most part it tells a formulaic Spidey adventure that doesn't live up to the standard of its predecessors.
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After a rough couple issues, Batman is back on track thanks to a new story arc and the return of the always dependable Mikel Janin. This issue may annoy readers hoping for more consistency in how Poison Ivy is portrayed in the DCU. But on its won terms, this issue paints a vivid portrait of a villain dominating an entire planet and a Dynamic Duo rendered helpless in her wake.
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How much Black Panther Annual #1 appeals to you as a reader may depend on how familiar you are with the different eras being referenced. Priest and Perkins' story is a great coda to a classic run, but not one that does much to stand on its own. Of the three, McGregor and Acuna's story does the best job of standing on its won two feet, while Hudlin and Lashley's tale reads like it needed a much larger platform to really breathe.
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Damnation doesn't start off quite as strongly as Cates' first Doctor Strange story did. This issue spends little time building to or even justifying Strange's foolhardy decision, and then too much time paving the way for the larger crossover afterward. Even so, much of the charm of the monthly Doctor Strange series remains intact. Rod Reis also proves more than capable of bringing this supernatural adventure to life. Damnation looks to be a pleasant diversion for the next couple months. We'll see if it can grow into something more.
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Hit-Girl is a predictably shallow comic, one more interested in offering up gory, frenetic displays of violence than trying to craft a compelling narrative. There's always a certain appeal in a series like that, especially one that doesn't attempt to cling to the grounded approach of the main Kick-Ass books. But in the end, that appeal is limited. There's simply not enough depth to this series to enable it to rise above the pack.
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The action and storytelling are as dynamic as ever, but the unusual character designs and world-building result in an issue that stands out in stark contrast to its predecessors. Let;'s hope Waid and Samnee keep taking risks like this.
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Even as enjoyable as the Jason Aaron/Chris Bachalo run was, I'm not sure I expected Doctor Strange to emerge as one of the biggest success stories of Marvel Legacy. Yet here we are, with issue #385 providing a satisfying cap to a thoroughly enjoyable debut for the new team.
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This new arc is giving writer Joshua Williamson his first real chance to play with Gorilla Grodd as a lead villain, and it's not disappointing so far. Williamson is able to paint Grodd as a menacing threat while still making his motivations clear and understandable.
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Even as enjoyable as the Jason Aaron/Chris Bachalo run was, I'm not sure I expected Doctor Strange to emerge as one of the biggest success stories of Marvel Legacy. Yet here we are, with issue #385 providing a satisfying cap to a thoroughly enjoyable debut for the new team.
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Despite its flaws, this issue makes me want a dedicated Ninja-G spinoff, so it clearly accomplished what it set out to do.
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This series is slow-moving, but it does seem to be expanding on the original Old Man Logan in meaningful ways.
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This issue contains two different action scenes that don't flow as clearly as they should. One of them would have been even harder to parse if not for the fact that it seems to mimic a key scene from The Last Jedi. In that sense, this is a rare misstep for the series.
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Amazing Spider-Man Annual #42 isn't a terribly essential read for Spider-Man fans on a budget. Apart from adding a bit of extra closure to Clone Conspiracy, this issue mainly focuses on telling a self-contained mystery story. That mystery suffers from inadequate payoff, but at least the book highlights the Betty/Peter dynamic in a fun way. And with Slott's run so near the end, any new material is appreciated.
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The Wild Hunt is hardly the most consistent or focused chapter of the Dark Nights: Metal saga, but it is a worthy addition nonetheless. This issue adds much-needed depth to the conflict and some major and minor players. It also conveys the scale of that conflict better than anything else we've seen from Metal. This issue is a reminder that no one does big superhero epics quite like Grant Morrison, even when he's merely a supporting player.
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As with the rest of this final story arc, Invincible #144 is a bit rough around the edges. There's also a certain frustration in realizing that Kirkman could easily have devoted an entire arc just to the events chronicled in this issue. But there's also something to be said for getting out while the getting is still good. Emotionally, this issue hits all the rights notes as Kirkman, Walker and Ottley bid a fond farewell to their creations.
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The hope was that moving Kick-Ass to a new publisher and introducing a new protagonist would be enough to kick this franchise into gear and allow it to finally start seizing on its potential. This series at least gives us a much different lead character, but in all other respects it feels like more of the same. This series is trapped in a weird middle ground between grounded superhero drama and wacky, violent romp.
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Star Wars: Thrawn #1 begins an engaging but very straightforward adaptation of a great Star Wars novel.
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There's still time to turn this series around, but these first three issues don't inspire much confidence.
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The inclusion of a classic Stan Lee/Jack Kirby story helps add a bit of value, but new readers interested in learning more about T'Challa are better off looking elsewhere.
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This is a book that still doesn't seem to know what it wants to be.
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The resolution to that battle is handled well, emphasizing Bobby's innate optimism rather than leaning on the old "Iceman finally taps into his true mutant potential" chestnut. But in general, this issue doesn't focus enough attention on Bobby himself.
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So far, this crossover event is two for two.
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This issue may be pricey, but it's a must-read for fans of Swamp Thing.
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The general concept driving this series is sound, but the fractured, spartan narrative makes it difficult to connect very deeply with the characters and their world in issue #1.
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Spider-Man and Loki make a great team. That was true during J. Michael Straczynski's time on Amazing Spider-Man, and it's true now. This issue makes the most of each character's respective status quo as they briefly join forces, even as it continues laying the groundwork for "Go Down Swinging." It's a shame this team-up couldn't have been explored in a lengthier format, but it's plenty of fun while it lasts.
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Ultimately, the latter half of "Superfriends" proves unable to do for Batman and Wonder Woman what the first half did for Batman and Superman. There's too much wasted potential, and this issue still suffers from poor choices made in Batman #39. Both the Catwoman scenes and the generally gorgeous art help offset those problems to some extent, but not enough to redeem the story in the end.
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Star Wars is not a bad comic. In some areas it's succeeding quite well at the moment, especially when it comes to lending new depth to Original Trilogy favorites. But it's also a comic where the art routinely fails to do justice to an ambitious script. The relentless emphasis on photo-realism only results in a stiff, awkwardly rendered book that lags behind the rest of the Star Wars line.
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The Walking Dead is often at its best in unpredictable periods like this, where it's not clear if the addition of new characters means progress or war for our heroes. This issue stumbles a bit in its depiction of the Commonwealth characters, but that core appeal still remains. And between the stark visual overhaul thanks to this new setting and the major drama in Michonne's life, there's ample reason to be invested in the series right now.
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It's been rough going for X-Men fans in recent years. Fortunately, the same writer who's made All-New Wolverine such a consistent treat shows is also capable of building a great ensemble series. X-Men Red #1 is a promising debut for this creative team, one that makes the most of Jean Grey's new, unfettered status quo and grounds the franchise in our chaotic and uncertain world.
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This arc is largely a disappointment, and it offers little hope that the upcoming World War Hulk II will be any better.
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Reading this issue only highlights the notion that this book is being cut short well before its time and before writer Dennis Hopeless was able to fully realize young Jean's character arc. But even so, this finale makes for a rousing read that celebrates the long history between the Phoenix Force and the Grey clan.
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What's surprising about this relaunched series isn't that it's good, but that it manages to be so good while simultaneously being so different from the winning formula established by Warren Ellis, Declan Shalvey and Jordie Bellaire and continued by various other creative teams.
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The Vertigo imprint is practically on life support these days, but a new series written by Si Spurrier and Rachael Stott is certainly nothing to sneeze at. Picture a mashup of Black Science and Dog the Bounty Hunter and you'll have some idea of what to expect here.
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This series has never quite captured those qualities, painting him instead as just another warrior with delusions of grandeur.
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For the first time, he has to question whether returning to his own reality is truly what he wants. That gives this issue a hook and a sense of gravitas that previous chapters lacked. That makes Quantum jack feel like a bit of a missed opportunity on the whole, but still one well worth a look for fans of the animated series.
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Writer Si Spurrier is seemingly everywhere in the comics industry lately, but he may have found his real sweet spot as co-writer on this series. Spurrier's sardonic voice complements that of co-writer Kieron Gillen, resulting in an issue that's very much in line with what's come before even as it pushes Aphra in wackier and more ambitious directions.
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Where some previous chapters of Dark Nights: Metal became overburdened by exposition and setup, the series is able to build a greater sense of momentum in its penultimate issue. Metal #5 stacks the odds even further against the Justice League even as it celebrates the true scope of this shared universe. Perhaps this is one event that will reach its pinnacle at the very end?
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If you're not currently reading the ongoing Flash comic, this annual issue is as get a jumping-on point as any. It finally touches base with the original Wally West and makes the most of his lonely, unhappy status quo. At the same time, it also sets the stage for what promises to be an epic conflict in "Flash War." If only the wait for the rest of this storyline weren't so long...
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Like most of the Young Animal line, JLA/Doom Patrol Special #1 is a little too weird and eccentric to be to every reader's liking. But if you enjoy a healthy dose of psychedelic imagery and fourth wall-breaking storytelling in your superhero comics, this issue won't disappoint. It makes the most of this oddball pairing even as it sets the stage for a wealth of new crossovers to come.
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On;ly at the very end does Phoenix resurrection begin living up to its potential. Issue #5 carries the emotional weight that was almost entirely absent in the first four chapters. It's still disappointing that this issue doesn't devote as much time to the Wolverine and Cyclops scenes as it could, but in general this issue juggles Jean's complex, painful history well and sets the stage for her more unpredictable future.
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There was plenty of potential for this comic to flesh out and enhance the title character. But as with all of Marvel's post-Return of the Jedi comics, the story never deviates from a narrow, established path. Apart from the always pleasing art of Kev Walker, this comic has too little to offer hungry Star Wars readers.
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The idea of of 30 Days of Night getting a full-blown remake from its original writer/co-creator is interesting, but after two issues, the new 30 Days of Night hasn't done much to justify its own existence.
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This comic manages to look both gritty and sentimental at the same time. Those few moments of supernatural horror stand out all the more because they're employed so sparingly. In short, this is a series worth following.
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So far, "No Surrender" is accomplishing what its creators set out to do by unifying the Avengers line and building a conflict worthy of Earth's Mightiest Heroes.
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This series has struggled quite a bit since the initial high of the "A Nation Under Our Feet" arc, and throwing a silent interlude tale into the mix only further dampens the book's momentum.
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It would be nice if the cover didn't blatantly spoil the big reveal, but Di Giandomenico and Joshua Williamson still succeed in building to a major crescendo as they establish the latest threat to Barry and his world.
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It may be lacking a few key characters, but in every way that matters, Marvel Two-In-One is the Fantastic Four book fans have been clamoring for.
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This series has basically been telling the story of how Poe Dameron tracked down Lor San Tekka, and it's never really justified the long, winding path it's taken to get to that inevitable end point.
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The payoff to this story isn't really worth the two issues of setup, as Juan winds up becoming a very complicated solution to a straightforward problem for Amanda Waller.
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It's not that Ryan Bodenheim's work is bad on its own merits. His pencils are clean and orderly while packing in just enough cartoonish weirdness to carry a sense of style. The problem is that Bodenheim's work is so drastically different from everything that came before. It makes for a very jarring read.
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Amazing Spider-Man #794 boasts a strong premise that often feels constrained by the limitations of the single issue format. Perhaps more could have been accomplished with the return of Scorpio, but it's hard to complain too much when a comic is able to achieve such a strong balance between dramatic tension and goofy comedy and deliver such eye-popping visuals.
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Between the methodical pacing and the fact that the series is falling behind schedule, it's hard to blame anyone who chooses to wait for the trade. But slow or not, this series is managing to tell a very gripping story that faithfully carries the torch for the original Watchmen. And everything else being equal, it's worth reading the series simply to marvel at Gary Frank's precise, dynamic artwork.
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Legion is a perfectly decent introduction to the character, which is likely what Marvel was striving for with this new series. This issue downplays the character's back-story and histroy with the X-Men in favor of crafting a a digestible conflict between David Haller and his own dark side. Unfortunately, the trade-off is that the book lacks that special, weird flavor that defines the best Legion stories.
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Disappointing X-Men events are, sadly, nothing new at this point. However, Phoenix Resurrection is proving especially frustrating as it fails to take advantage of a return fans have been waiting 15 years to see. This penultimate issue may deliver plenty of answers regarding Jean's return, but it does little to convey its emotional impact or true significance.
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What began as a simple tale of heroes battling Roland Emmerich-worthy natural disasters is quickly evolving into something more ambitious
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Ales Kot's pauses only briefly to set the stage and spends even less time establishing the main characters before jumping into their narrative. At times that lack of clarity can be frustrating, but there's also a lot to be said for a book with this much forward momentum in issue #1.
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What price will Strange pay for tapping into this level of power? That fuels an issue balanced out by equal parts magical spectacle, humorous banter and a dramatic look at a man always paving his road to hell with good intentions.
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Writer Ales Kot impresses immediately out of the gate, crafting a fast-paced tale wherein an injured Bond relays the events of his most recent mission to his MI-6 doctor.
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This new series continues to carve a niche for itself by telling an all-ages superhero story with healthy doses of steampunk technology and Rocketeer-inspired adventure thrown in.
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Fortunately, Pacific Rim Aftermath is better than it could have been, if not exactly required reading heading into Pacific Rim Uprising.
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As scattered as this book may be, it's generally enough just to take in this odd world and its odder residents.
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If you find yourself in need of a comic where Batman, Superman and Wonder Woman punch lizard men for several pages, Trinity #17 is the book for you. This isn't a particularly deep story, but it is fun to watch the Trinity struggle through a fantasy landscape where their collective lack of super-powers puts them on equal footing for a change.
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Venom Inc. was never the deepest Spider-Man crossover, and that certainly doesn't change in its final chapter. But if driven almost entirely by spectacle, this issue is worth the price of admission solely to gaze at the dynamic visuals of Ryan Stegman. Between that and the occasional moments of strong characterization, this crossover manages to wrap up on solid footing.
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It doesn't appear that this Batman/Wonder Woman team-up storyline will reach the same heights as the recent Batman/Superman pairing. The art is great, with Joelle Jones painting a vivid portrait of two heroes united in an eternal battle. Unfortunately, the characterization isn't as deep or compelling. Worse, King makes a very misguided choice when it comes to Diana's role in this story.
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Damage #1 is a less than auspicious way of launching "The New Age of DC Heroes." This issue tells a very straightforward tale that does nothing to set its title character apart from the classic Hulk or the many other character's he's inspired over the years. Fans of Daniel's art may be won over regardless, but there's little about this series that feels genuinely new or different right now.
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Star Wars #42 is very much a case of business as usual for the series. It offers a compelling story that forges fascinating new connections between the original Trilogy crew and the cast of Rogue One. It also adds meaningful new layers to characters like Han and Luke in the process. But a great story only gets you so far without great art to match, and that's a problem this series continues to wrestle with.
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The Mighty Thor continues to make a strong case for it being not just Marvel's best series, but the best ongoing series from any publisher right now. The book remains remarkably consistent as Jason Aaron and Russell Dauterman dig deeper into "the Death of the Mighty Thor." While Marvel is seemingly telegraphing the outcome of this story, that does nothing to diminish its impact as Jane Foster gears up for his last and greatest battle.
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This issue caps off the series' first story arc in especially brutal fashion, as Bloodshot finds himself transformed back into ordinary, human form at the worst possible moment.
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Charles Soule's pitch for "Mayor Fisk" is strong, but the execution still leaves a lot to be desired.
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This isn't necessarily Kolins' strongest Flash work. His figure work is fairly loose, particularly late in this issue. But even so, there's nothing like the dynamic, animated quality Kolins brings to Flash's adventures.
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This series has tended to struggle in the visual department whenever Ivan Reis isn't on board, but Edwards gives the conflict the scope and detail it needs.
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The book still entertains easily enough, but this issue in particular reads like standard Kingsman fare - the sinister villain has toppled the old world order and Eggsy is racing against the clock to find his hidden lair.
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This arc delves into Logan's Japanese history more deeply than any Wolverine comic in years, including bringing back some pretty major characters. So why isn't it connecting more strongly? A lot of that comes down to the mediocre depiction of the Gorgon as a blowhard, Cobra Commander-like villain with an overly complicated evil plan.
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There's little sense of scale or intensity to the many armored battles in this issue. After three issues, it's enough to wish Frank would just get back to basics.
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This series really is a seesaw of quality, one whose fortunes really depend on the artist in question. Suicide Squad fared poorly in the previous story arc for that reason, but having Fernando Pasarin at the helm helps get this new story off to a strong start.
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If you've been feeling apathetic about the state of the Avengers franchise in Marvel Legacy, the "No Surrender" offers new hope. While straightforward and focused more on spectacle than characters, this first chapter starts the crossover off on solid footing. If nothing else, it's clear that Marvel's Avengers writers are working closely in sync to bring this latest conflict to life.
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Harley Quinn #34 unfolds much in the same way the rest of this volume has. It offers moments of goofy fun humor and emotional depth, but the script proves too scatterbrained and disjointed for its own good. The art can only do so much to propel that messy narrative along. This is a road trip comic that needed to spend less time on the journey and more on the end point.
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The Old Man Logan universe remains one of Marvel's more popular alternate realms, and Old Man Hawkeye #1 suggests that there's still ground left to cover. Even without the original creative team, this first issue does an excellent job of recapturing the vibe of the original series. However, it doesn't do quite enough to differentiate itself or establish a clear conflict that can sustain a 12-issue comic.
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Phoenix Resurrection has crossed the halfway mark and still has yet to live up to its potential. Even as issue #3 makes some strides in terms of the X-Men's role in this tale, it stumbles due to rushed, unsatisfying artwork. There's still room for this book to bounce back in the remaining two issues, but based on the course of the series so far that seems unlikely.
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Charles Soule and Giuseppe Camuncoli have long since proven that a second Darth Vader comic was a wise move on Marvel's part. This series is just as skilled as its predecessor when it comes to subtly illuminating the man underneath Vader's armor. While it's a little strange to see the Inquisitorius so abruptly drop out of the story, in all other aspects this issue is a fantastic end-cap to the book's second story arc.
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Artist Chris Samnee makes the most of the premise, creating a dense, unsettling jungle environment and really capturing the scope of Cap's predicament. And while this issue maintains the done-in-one format of Waid and Samnee's issues so far, it does play its part in terms of advancing the overarching narrative
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There's nothing groundbreaking or remarkable about Cosmo #1. It's just a fun, silly, low-stakes book about a group of Martian heroes taking a bumbling human astronaut under their wing.
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A lot of DC's recent Hanna-Barbera revamps are more interesting curiosities than must-read stories. But just as he did with The Flintstones, Mark Russell is able to overhaul a cartoon icon in a way that serves as profound commentary on contemporary civilization.
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Romero once again kills it in this issue, with page after page of stylish action and expressive (but not overly detailed) figure work. It's a real shame this series is nearing its end.
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By the end of this issue, much of the book's lost momentum has been recaptured
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While basically an offshoot of Hellboy: Darkness Calls, this series functions as a perfectly accessible standalone story in the same way so many Hellboy/BPRD projects do. Mike Mignola and Ben Stenbeck chronicle the origin story of this undead Slavic killer, framed by a charming little bar sequence in Hell. That story gets off to a strong start in this first issue.
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At this point, Kieron Gillen may well be the MVP of Marvel's Star Wars line. He excels in working with both movie favorites and original characters, and his prose manages to capture the thrill of Star Wars while also adding its own quirky charm.
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IDW has become a goldmine for every '80s kid that insisted on allowing their various action figure lines to co-mingle. Luckily, Transformers vs. The Visionaries isn't simply a random, slapdash pairing of two disparate franchises. Instead, this first issue seeks to build a meaningful conflict that takes advantages of the differences and similarities between the two groups.
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Batman #38 is a perfectly solid and entertaining comic, just not one that meets the same high standard as the previous few chapters of the series. This issue struggles to establish its new villain as a worthy addition to Batman's rogues gallery, but at least it manages to offer a well-rendered, carefully constructed detective story. There are far worse ways to spend $3.
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Three issues already seems like too little to contain this ambitious look at Duke Thomas' new superhero status quo. But better too much ambition than not enough. Batman and the Signal looks great, and it successfully pushes the character forward and cements his new place within the Batman family. We can only hope DC has more planned after this brief miniseries wraps.
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Guardians of the Galaxy #150 isn't an ideal series finale. It doesn't offer much in the way of closure, and it suffers from a lot of the flaws that have hindered the series since the Legacy relaunch. Still, between the strong characterization, Kuder's vibrant artwork and the return of a fan-favorite hero, there's plenty more good than bad in this comic.
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Phoenix Resurrection isn't turning out to be the shot in the arm the X-Men franchise needs. This chapter is again bogged down by dull ensemble scenes that seem to accomplish little beyond prolonging Jean's return. Jean's personal storyline fares better at least, and this issue is more satisfying from a visual perspective. Even so, it's hard not to yearn for the story after this story instead.
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There's plenty of reason to be excited about the future of this series. Issue #175 doesn't just kick off an ambitious and potentially game-changing new arc, it's also one of the best issues of the series in a long while. The cliffhanger ending alone is enough to reinvigorate the series and remind readers that anything is possible in this unpredictable universe.
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Doomsday Clock #2 maintains the series' methodical pace while drawing more DC characters into this ambitious conflict.
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Hawkman Found #1 isn't a critical Dark Nights: Metal tie-in, but it is a well-crafted one.
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Phoenix Resurrection #1 is a better Jean Grey story than an X-Men story.
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Star Wars: The Storms of Crait #1 adds little to The Last Jedi but makes the most of the Original Trilogy cast.
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There's a pretty obvious question that arises from the announcement that IDW is publishing a "reimagining" of the original 30 Days of Night miniseries - why?
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This issue strikes the right balance between zany bombast and grim danger, suggesting a bright future ahead for this crossover.
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This series is frequently blurring the line between telling a Doctor Strange story and a Thor story, and that's not even factoring in the unexpected return of the Sentry. Yet somehow that odd intersection of characters and franchises works better than it has any right to.
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I don't think I've ever been more excited as a Hulk reader than in 2005, when Greg Pak was weaving the original Planet Hulk saga and drastically overhauling that character's role in the Marvel U. I wish that same sense of excitement and wonder was driving its sequel. But after three issues, Planet Hulk II still feels like a dull, unnecessary retread of the original.
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In the end, issue #35 accomplishes little more than delaying the next phase in this ongoing conflict.
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This Quantum & Woody relaunch breaks Valiant's 2017 trend by not trying particularly hard to cater itself toward newcomers. It's very much about exploring the deteriorating state of the relationship between these two superhero brothers.
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This is at its best when focused on Amphora's Imperial nemesis/potential love interest Lieutenant Tolvan, whose fortunes rapidly rise and fall over the course of the story. It's also a real treat to see Triple Zero back in action, particularly now that he's more enemy than ally to Aphra. Unfortunately, the cast of scoundrels writers Kieron Gillen and Si Spurrier cook up for this issue don't prove very memorable.
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I'd be more annoyed at the fact that Poe Dameron has become a guest star in his own book if A) Poe has often been the least compelling character in this series, and B) it was someone other than General Leia Organa filling in.
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This issue does a terrific job of conveying the overwhelming stakes and never-ending struggles facing our beleaguered heroine. It's a great time for artist Russell Dauterman to be returning to the fold, in other words.
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This series truly offers an embarrassment of riches. Issue #37 caps off a short but enthralling celebration of the Batman/Superman friendship, one that inspires both laughter and love for these enduring icons. The only reason this issue doesn't qualify as the series' best to date is that it's had such stiff competition over the past few weeks.
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Some crossovers are decompressed and drawn-out. Metal is not one of those books. At times it suffers from the exact opposite problem, as it crams in more story and world-building than these individual issues can really handle. Even so, Metal remains a wonderfully ambitious and exciting read, one that only grows bigger and more varied with each new issue.
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Even by the usual standard of standalone Hellboy adventures, Krampusacht is a pretty light and spartan little outing for our demonic hero. Even so, this issue offers an emotionally satisfying look at the battle between the two characters. This issue is worth the price of admission just to see Hughes' vibrant take on the long-running franchise.
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The Fantastic Four have been absent for far too long in Marvel's comics. Marvel Two-In-One quickly makes up for lost time as it explores the lasting impact that absence is having on the remaining FF crew. This issue manages to both celebrate the legacy of Marvel's First Family and pave the way for the sort of whimsical adventure that team was always known for. This is exactly the sort of book that was promised when Marvel Legacy was announced.
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I still have certain reservations about the "Orphans of X" (including their weird knack for taking down some of the biggest heavy-hitters in the Marvel U), but overall things continue to look up for this series.
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The series seems to be veering towards a more '80s-inspired aesthetic, and that's not necessarily a bad thing.
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When even Joshua Cassara's gritty art shines better in the supernatural-focused scenes, maybe it's time to transition this creative team to a different project.
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This series has been through a few rough patches of late, but this new arc feels like the fresh start Barry Allen and friends needed.
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This series is definitely worth a look for the curious.
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There's a delicate balance when it comes to respecting that quality while still giving fans enough substance to stay hooked. And unfortunately, this series often threatens to fall on the wrong side of that balance.
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At some point, Suicide Squad lost all semblance of a clear, cohesive visual style, and that's something DC really needs to address.
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The second chapter of Venom Inc. isn't quite as as strong as the first. Lee Price and his symbiotic minions aren't exactly the most compelling threat Spider-man has ever faced. But this crossover continues to thrive in two key areas. The characterization frequently shines as Slott explores the constantly evolving relationship between Peter and Flash. And Stegman's gritty, powerful art recalls the best aspects of the early '90s Spider-Man books.
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It's fitting that the only series that can rival Batman as DC's best current book is another Tom King-penned epic. Mister Miracle delivers its finest issue yet thanks to this emotionally charged, intimate look at the romance between Scott Free and Barda. It's got humor and sex appeal, but it truly succeeds when it comes to highlighting the enduring appeal of this pairing and their ability to survive the worst the Fourth World can throw at them.
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Never has the gulf between writing and art been so wide on this series. Kieron Gillen has quickly established himself as a worthy successor to Jason Aaron, spinning a Star Wars yarn that features humor, heart and some fascinating ties to the events of Rogue One. But that enjoyable story is being held back by subpar visuals. The art often looks cobbled together from chunks of the films and simply doesn't do the book the justice it deserves.
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This issue offers more insight into what Steve is actually trying to accomplish in his cross-country travels, but for the most part it tells a pretty straightforward story. For now, that's enough.
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There are some moments of fun centered around the young Bobby's anxiety and out-of-control powers, but in general this issue struggles to generate good banter or really delve into the troubled Drake family dynamic.
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Right now, the series feels very much trapped in a transitional state, struggling to build a new overarching conflict that can live up to the initial Ra's al Ghul storyline.
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This story arc has taken some interesting turns, between the focus on setting up the relationship between Vader and the Inquisitorius and Jocasta Nu emerging as the unlikely hero of the tale. Unfortunately, this issue doesn't do much to propel that narrative along.
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The art in this issue doesn't quite live up to the book's usual standard. Damian Cuceiro's work is a little loose and lacking in fine details. But that aside, this conflict is a great way to welcome tour heroes back to Earth.
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This comic is frustratingly unsuccessful in updating an old favorite, but ultimately, it would be a disappointment regardless of the name on the cover.
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Most importantly, the script nails the emotional beats as Negan hits rock bottom and struggles to rise again. Adlard is instrumental in making that process work. His use of intense lighting and his emotionally charged facial work do wonders for Negan's sad little solo adventure.
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Fans of the enduring Spider-Man/Venom rivalry are in for a treat with Venom Inc. This crossover already contains the depth and strong characterization that was lacking in Venomverse. This issue makes the most of the rivalry between Flash Thompson and Eddie Brock, as well as the unexpected x-factor that is Spider-Man. Combine that with Ryan Stegman's gorgeous art, and you have a winning debut issue.
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The only thing better than reading a terrific Batman comic from writer Tom King is getting one two weeks in a row. This new story arc looks to be making the most of Batman's surprise engagement, welcoming a stellar art team back into the fold and doing a fantastic job of fleshing out the complicated friendship between Batman and Superman.
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This miniseries proves there's still plenty of ground left to cover with the pairing of the Batman and TMNT families. This sequel feels at once more dramatically ambitious and more intimate than its predecessor. At the same time, the book hasn't lost sight of the sheer fun and bombastic nature of this pairing. If you enjoyed the original, there's absolutely no reason not to stick around for Round 2.
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After only two issues, Donny Cates and Gabriel Hernandez Walta show every sign of becoming one of the defining Doctor Strange creative teams.
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The new Justice League creative team probably won't restore the series to its chart-topping status from the New 52 days, but they do bring a fun and very unique sensibility to a series that's been in need of an overhaul. Even more impressive that Priest's clever writing is the vibrant new art style employed by Woods. Unfortunately, this issue wraps without doing enough to give readers a strong hook.
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Regardless of whether you've read Morrison and Mora's previous Klaus work, this standalone issue is well worth the relatively high price of admission. It's a fun, clever take on all sorts of holiday tropes. It looks fantastic, and it taps into many of the same themes that have made Morrison's superhero work so powerful and emotionally resonant.
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This issue goes a little overboard in terms of Khonshu's narration, but otherwise it showcases a confident, disturbing and darkly humorous take on the character.
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Pamela Ribon's script is darkly amusing and just ambitious enough to make sue of the standalone format. Eric Hayes succeeds better than most at replicating the show's unique art style. I certainly wouldn't mind seeing more from both creators on this book.
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The decision to include a flashback storyline in this series hasn't done anything to help its visual consistency.
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Writer Charles Soule doesn't seem to have a great deal of leeway when it comes to fleshing out Poe's past (much less his future), leaving him to dance between the raindrops of this pre-Force Awakens period. But it may well be that we'll look back on Poe Dameron and realize that Soule was doing more to enrich the franchise than was immediately obvious.
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Tomasi and Pelletier's take on the dysfunctional relationship between Krypto and Streaky gives this goofy adventure all the weight and gravitas it needs.
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This issue could have used a few more pages in which to expand that battle and explore the tearful parting of ways between the two teams. Still, it's usually a good thing when a comic leaves you wanting more.
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Some of the best chapters of Tom King's Batman run have dealt with the Batman/Catwoman romance, and this issue continues that trend. It's often a very funny read, but one always anchored by the sad, desperate longing these two character share with one another. This issue also happens to be one of the prettiest additions to King's run, which is no small feat at this point. If you enjoy this particular superhero pairing, this issue is not to be missed.
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Any fan of Superman: Secret Identity would do well to check out Batman: Creature of the Night. This series definitely reads like a sequel in many respects, or at least a riff on a similar theme. As dark as this story is, it's anchored by the very real, genuine bond between a boy and his uncle. Busiek and Leon prove here that's it's always possible to find a fresh new spin on the Batman mythos.
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It's disappointing to see such a promising prequel comic stumble so hard in its debut. In some ways, John Wick #1 succeeds in capturing the tone and voice of the films. However, as a result, there's little sense of this version of Mr. Wick being fundamentally different or less experienced than his movie self. Even a "by the books" John Wick adventure would be fine so long as it replicated the stylish appeal of the films, but the loose, poorly defined artwork in this issue can't manage that feat.
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There's plenty of potential at work in this new fantasy series. Rodriguez has clearly put a huge amount of thought into his new universe, drawing from all sorts of influences and creating a dense, varied tapestry to explore. Unfortunately, he often seems in far too big a hurry to move the story along, not taking the time to let readers get acquainted with the major characters before moving to the next big set piece. This book needs to slow down if it's going to live up to its potential.
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After such a strong showing these past couple months, it's frustrating that "Lethal Protector" ends on such a bland note. This issue delivers neither a fitting homage to Amazing Spider-Man #33 nor a satisfying rematch between venom and Kraven. Instead, it wastes time setting the stage for the return of Lee Price. Mark Bagley's clean, confident art helps smooth over these problems to some extent, but not enough to save what could have been a memorable finale.
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This series has received a real shot in the arm with Marvel Legacy. Part of that simply boils down to the change in artist. Juan Cabal's dynamic, expressive style gives All-New Wolverine a sense of energy it's been lacking lately.
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DC really hasn't been doing this series any favors lately with its oddball structure and publishing strategy. The recent "Bats Out of Hell" crossover interrupted the flow of this Black Hole storyline. Even worse, there's no discernible reason why this short, current arc, "Black Hole Rising," couldn't have been compressed down to one issue.
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It's been the same story with every chapter of "The Secret History of Task Force X." The lack of a consistent visual style really hinders what could have been an epic new conflict for the Suicide Squad.
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Etrigan and his human hoist, Jason Blood, are characters who have been out of the spotlight for far too long. Thankfully, this new miniseries shows every sign that'll it'll be able to make up for lost time.
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This issue does a great job of exploring the somber aftermath of recent battles and the idea that the planet may not actually be better off for having been liberated. However, there is a slightly repetitive quality to the script, as Aric does little more than fly from one location to the next, getting scolded by the very people he's been trying to help.
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It's a real shame that this series' art quality has been so lackluster in 2017, because in terms of story and characterization, it's everything fans could want in a post-Rogue One comic. Kieron Gillen tempers his usually sardonic approach to the franchise, focusing on the somber aftermath of Jyn Erso's sacrifice and the futile campaign still being waged by the Partisans.
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Where Thanos was a decent (if flawed) addition to the Marvel library in its first year, the series is now on track to become one of Marvel's most exciting titles. Cates and Shaw once again prove themselves a talented creative team, and Marvel made a wise decision by keeping the two together as they make the jump from the creator-owned world to the Marvel Universe.
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Doomsday Clock looks to be a slow burn, but one that expertly captures the feel of a true comic book classic.
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Like all of Bendis' current Marvel titles, The Defenders doesn't seem in any particular hurry to get where it's going, which calls into question whether Bendis can give his story a proper finale when the time comes. But as David Marquez remains the biggest draw with this series, the slow, measured approach certainly has its advantages.
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It feels psychedelic and larger-than-life while at once very intimate and ordinary. In other words, this series remains in good hands.
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In short, this chapter proves that this series is capable of shaking things up even after several years on the stands.
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This issue feels very much like a transitional chapter as the series moves into Marvel Legacy. That said, the sheer entertainment value in this Kate/Laura/Gabby team-up is more than enough to make up for any plotting concerns.
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This issue veers into some interesting, Civil War-inspired territory without getting too bogged down in real-world politics and allegory.
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"The End of All Things" hasn't been using its time effectively. This issue in particular suffers from the relentless way Kirkman and Ottley blow through the long-awaited Invincible/Robot reunion. As a result, one of the most important confrontations in the series' long run feels perfunctory at best.
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This series looks phenomenal under Pichelli and colorist Justin Ponsor, but that's not enough to save it from being a major disappointment.
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The plight of Jocasta Nu becomes even more fascinating as she returns to her former home and struggles to balance the needs of her quest with her rage at seeing the Jedi Temple perverted. Who would have thought that such a minor character from the Prequels could suddenly become such a compelling protagonist?
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While a few nagging flaws hold this issue back slightly (the flawed coloring, the generally rushed pacing), it does it part to flesh out Peter Parker's new status quo and reassure readers concerned about the character sliding back into old routines. The great dynamic between Peter and Bobbi and the always dependable artwork of Stuart Immonen help the whole package go down that much more smoothly.
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Even great comic book runs hit a few bumps in the road, and Tom King's Batman was probably overdue for a misfire. This issue does some solid work exploring and fleshing out the current Batman/Catwoman dynamic, but there's a general lack of closure to "Rules of Engagement." Even at a mere three issues, this story seems longer than it needed to be. Hopefully the next storyline can put this usually dependable series back on track.
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While the standalone format limits what can be accomplished in this issue, The Batman Who Laughs #1 nonetheless offers a welcome look at one of the more memorable characters introduced in this crossover. James Tynion and Riley Rossmo offer a suitably twisted, bleak look at a world where Batman becomes the thing he hates most. In the process, they manage to elevate the Batman Who Laughs into an even bigger and more imposing threat than he already was. Metal #4 can't come soon enough.
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Monstro Mechanica is a promising debut for AfterShock's latest series. The Assassin's Creed similarities may help bring in a few more readers, but the real beating heart of this book is the compelling relationship between Leonardo da Vinci and his assistant, Isabel. Not every aspect of this book is as strong. The political backdrop is a little played out, and the art sometimes lacks a dynamic energy. But regardless, this looks to be the start of a fascinating story.
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Ninja-K #1 is the latest Valiant comic to offer a clean, engaging gateway to one of the publisher's heroes.
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The Mighty Thor continues to hum along as one of Marvel's best and most consistent ongoing comics. That consistency doesn't vanish even as the series welcomes a guest art team for this issue. James Harren perfectly captures the heavy metal spirit of Jason Aaron's writing. Meanwhile the arrival of Mangog promises to be another crucial development in a saga that's managed to include nearly every major Thor villain so far.
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As far as new status quos go, having Daredevil confront a world where New Yorkers have just elected Wilson Fisk their mayor is pretty swell. It's essentially Dark Reign in microcosm. Unfortunately, this series doesn't immediately make the most of that premise as it enters Marvel legacy.
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It's never a great sign when the title character is the least interesting player in their own book. That's turning out to be the case for this new Falcon series.
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Writer Ryan Ferrier crafts a tale that works very naturally as a follow-up to the original 1968 film. Normally, I';m not thrilled when crossovers take so long to actually maneuver their two worlds together, but the slow, methodical approach really works here.
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This series is a departure from recent Moon Knight comics in many ways, but it already has a strong hook even without focusing on the title character.
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It really does appear that the entirety of this new miniseries will involve Rainbow Rowell and Kris Anka slowly getting the old gang back together. I wish that it were more ambitious from a plotting standpoint, but it's hard to argue with the results in terms of characterization.
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It would help if the series could maintain a better and more consistent visual standard. Barnaby Bagenda returns in this chapter, but his work is noticeable looser and less refined than in his previous issue.
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Two issues in, this sequel has become a thoroughly entertaining celebration of both franchises.
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Wonder Woman finally meets her twin brother Jason in this issue, and the results are surprisingly low-key. For the most part, the two characters spend this issue simply talking and making up for lost time. Not the most thrilling addition to the series, but it's an approach that works well enough thanks to James Robinson's solid characterization.
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Batman Lost isn't an absolutely critical tie-in for those Metal readers who are trying to buy as few books as possible. But it does do a lot to enhance and flesh out the events of that crossover. It also works well as a celebration of the long history of Batman himself. And despite the massive creative team, this issue manages to tell a very cohesive, effective story.
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Deadpool was among Marvel's best ongoing series before the Legacy relaunch, and it remains so now. Even though this arc loses a bit of momentum early on with the abrupt end to Cable and Deadpool's feud, it quickly makes up for that problem with an epic, bizarre and thoroughly entertaining showdown with Stryfe. Even after five years, this series has lost none of its charm.
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If you need another all-ages superhero comic in your life, Jupiter Jet is most certainly worth a look. The series combines elements of The Rocketeer and Robin Hood as it crafts an enjoyable retro-futuristic world. The relative lack of emphasis on heroes and villains doesn't hurt the book's appeal, either. The art has its problems when it comes to consistent storytelling, but this first issue nonetheless serves as a promising debut for the new series.
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Anyone not following Mister Miracle is missing out on one of the best comics of the DC Rebirth era. This particular issues manages to tell a gripping story despite unfolding almost entirely within a small, confined space and with a limited cast. The bitter rivalry between brothers forms the backbone of a tense, emotionally charged issue. Kudos to Gerads for keeping this issue so visually striking despite the "talking heads" format.
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It's hard to imagine a writer better suited to take the reins of this series than Kieron Gillen. Gillen's experience on books like Darth Vader and Doctor Aphra serves him well as he picks up the story of the Luke, Han and Leia and ties their journey into the events of Rogue One. Unfortunately, while the series' narrative has a newfound momentum, it's visual problems are largely unchanged. It's continually frustrating that this series can no longer meet the high standard of art it achieved in its first year.
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It seems there's a lot of potential in pitting Venom against Spider-Man's most iconic foes. While this issue doesn't do enough to flesh out that Venom/Kraven dynamic, it does further cement Kraven as a worthy and very dangerous foe to Eddie Brock. It's also a real treat to see Mark Bagley delivering some of his best work in years with this arc.
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This issue makes for a very slow, even quiet start to Spectre of Tomorrow, and because of that, this may not be the ideal jumping-on point for new and curious readers.
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This is a gorgeous book, one that brings a bold, angular, shadowy look to Gotham City and gives numerous Batman villains a distinctive visual overhaul.
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It's a solid return for the character, but it could have been something more.
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Seeley really nails the dynamic between Simon Baz and Jessica Cruz, channeling the bond between two partners who have grown comfortable working with one another, even if little else in their lives seems to be going as planned.
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These past two issues have left me yearning for a more lasting reunion of the original Champions, both because writer Sina Grace taps into that fun team dynamic and because he could have done so much more with it.
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Taylor allows readers to connect to and sympathize with a character who has seemed pretty blatantly villainous up to now. It's a welcome reminder that character development, not plot or spectacle, is the real source of this comic's appeal.
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This issue definitely reads like a middle chapter, but it does its part to enrich the events of Metal.
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This series is developing into a worthy follow-up to the previous Vader comic, even as it strives to tell a very different sort of story.
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Writers Erik Burnham and Tom Waltz immediately prove that there's plenty of potential left to mine when it comes to the dynamic between these two teams. That said, it's a bit strange to see the writers spend so much time setting the stage for this crossover given that it's happened once before already.
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DC's Jetson's revamp is cut very much from the same cloth as last year's Flintstones comic. It's a postmodern re-imagining that concerns itself a great deal with man's place in the world and the drawbacks of civilization. What it lacks, however, is the Flintsones' wry sense of humor and focus on satire.
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Batman is normally one of DC's consistently best books, so it's a little strange to see the series take such a hit in the middle of this new story arc. Issue #34 reads very much like a transitional chapter, one that pads out a handful of key character moments with repetitive dialogue and fight scenes. The most we can hope is that issue #35 will redeem this troubled storyline.
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Whether you're eager to follow the fallout of Secret Empire or are just ready for Captain America to move on, there's plenty to like in the first chapter of Mar Waid and Chris Samnee's new run. Waid is a seasoned Cap veteran at this point, and he proves that he hasn't lost his touch with the character. Samnee, meanwhile, shows that he's perfectly at home in any corner of the Marvel Universe. This run isn't shaping up to be a particularly groundbreaking, but it tells a good story and tells it well.
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The Walking Dead is in a state of flux right now, which is proving to be both good and bad. On the downside, the series has reverted so directly back to its post-"All Out War" status quo that the book is developing a redundant, cyclical quality. But despite that, the brewing tension in Michonne's storyline is enough to give the series that dangerous, unpredictable quality that has served it so well in the past.
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This issue doesn't offer the bold, inviting jumping-on point readers might have been hoping for with Marvel Legacy. The book's numbering may have changed, but Ta-Nehisi Coates is still very much in the middle of telling his second major Black Panther story. And unfortunately, that story still struggles to measure up to "A Nation Under Our Feet."
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For however much IDW is doing right with these properties, they make it very difficult for those readers who just want to read one book and leave it at that.
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DC picked a weird place to begin their newest Dark Nights: Metal tie-in, as "Bats Out of Hell" interrupts the flow of the ongoing Dark Flash storyline. That aside, this issue serves as a promising start for "Bats Out of Hell." It builds very naturally on the events of Metal #3 and the disappearances of Batman and Superman, to the point where it almost reads like Metal #3.5.
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I wish this miniseries had more depth, but it still offers a fun romp for Jack fans starved for new content.
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The true gift of Silver Surfer was seeing what's possible when one consistent creative team is allowed to run wild on a property. We can only hope it inspires other books to follow its example.
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It's past time DC established a more consistent look and feel for this series and prevented the seesawing quality that's been a problem from issue #1.
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Don't expect an immediate follow-up to last issue and the long-awaited meeting of Diana and her twin brother, Jason. Writer James Robinson instead tackles an interlude story that explores how Grail and Darkseid fit into this conflict. Needless to say, it kills the momentum this story had generated in its first two issues.
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Kindt maintains a great balance between showcasing the scope and drama of the battle while keeping the focus squarely on Aric himself. The question is less whether he can succeed than if he can do so without losing touch with some vital part of himself. That makes for a very somber, emotionally resonant story of war (even if the final page is a little awkward and on-the-nose).
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Peter Parker is back in a more classic status quo thanks to Marvel Legacy. For the most part, that's working in Amazing Spider-Man's favor. It's fun to see the inverted dynamic between Peter Parker and Spider-Man, and the book continues to look spectacular. However, between the forced rivalry between Spidey and Human Torch and the worry that the series is trying a little too hard to leave behind the Parker Industries era, there is some cause to worry about where ASM is heading.
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If DC is going to features its most popular heroes and villains in a Halloween-flavored comic, the results should at least be fun. That's not the case with DC House of Horror #1, a pointlessly dark and morbid comic that seeks to drag Superman, Batman, Wonder Woman and the rest through the mud. Perhaps this comic justifies its high cover price sheerly in terms of page count, but that doesn't really matter if the stories moistly aren't worth reading in the first place.
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Gerry Duggan has been writing Deadpool in one form or another for five years now. That saga has only seemed to improve in 2017. This issue continues building on the momentum of Secret Empire, with Duggan and Koblish delivering a dark, emotionally charged look at a major falling-out between Wade and the man who once called him "partner."
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As exciting as it is to see the flagship TMNT comic hit a new milestone and undergo some significant status quo changes, the execution of this issue leaves a lot to be desired. TMNT #75 is a very disjointed read, both visually and in terms of subject matter. Whatever urgency is established early on is drained away in the abrupt transition from space warfare to courtroom drama. At this point, it'll be a relief to leave Dimension X behind for a while and see the Turtles return home.
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Basically, if you've been waiting for a good point to dive into this series, now is the time.
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This issue proves that there's plenty of appeal in simply exploring the fallout and highlighting key character relationships. But the creators also hint that the dark times might not be over just yet.
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This first issue has a frenetic, unbalanced quality that fits right in line with the story's Kafka-esque sensibilities (and numerous references to Kafka himself). However, the jumbled narrative makes it difficult to truly connect with any of the characters or their struggles
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You may think you've read every variation on the "ordinary kid discovers they're part of a secret magical community" fantasy trope, but Maestros manages to put plenty of new spin on an old favorite.
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The best thing about this series is that Rubin has more room to stand out and lend his own flavor to the franchise without needing to stay tethered to the work of Dean Ormston's more sentimental art style.
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It was inevitable that this series was going to tackle its own take on the Black Costume storyline at some point. That said, now isn't necessarily the best time given how overexposed Venom is elsewhere in the Marvel U. And there's definitely a sense that this book is competing with Mike Costa's venom series for attention, especially given the emphasis on the interplay between Gwen and her new symbiote partner.
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This issue is full of dynamic action, intense, close-up moments and striking shots of ma proud, defiant Phasma making her way through the galaxy. If The Last Jedi is going to redeem Captain Phasma, it'll already have a nice head start thanks to this miniseries.
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Superficially, this looks very much like a Star Wars comic, but the visuals have a hollow quality that does the book no favors.
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Now that the art quality matches the writing, this series is finally living up to its true potential.
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One of the great things about this series is the way it always feels fresh and different with each new story arc. The return to the present, the increased emphasis on the Batman/Catwoman romance and the series debut of Jordie Bellaire all contribute to an exciting and unpredictable new storyline. As much as this series is highlighting the bond between the bat and the Cat, it also reminds us that marriage might not actually be in their best interests.
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Cable seems to have taken one step forward and several steps back as it joins the Marvel Legacy. The new team writer Ed Brisson begins assembling in this issue shows plenty of potential. And group with Doop as a member is a group worth following. But while the team dynamic is great, the conflict is somewhat less memorable. And with the book now struggling so much in the visual department, this series flaws are outweighing its strengths.
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Unfortunately, Deadpool vs. Old Man Logan does little to stand out in a sea of Deadpool crossover comics. This first issue does little to tap into the meat of the Deadpool/Wolverine dynamic. Nor does it showcase Wade's comedic side particularly well. And while the art style is a great fit, the storytelling is riddled with a number of flaws that hinder the flow of the issue. There's a lot of potential to this team-up that isn't being utilized here.
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Jason Aaron's Thor saga may be five-years-deep at this point, but it's showing no signs of slowing down or running out of gas. This issue serves as both a celebration of Thor's heroic legacy and a look forward into the dark days lying ahead for the hammer-wielding heroes of the Marvel U. With an all-star cast of artists on board, this oversized issue easily ranks among the best of Aaron's long run.
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There's some concern that the series is treading into overly familiar territory as Tom Taylor again digs into Laura's tragic past. However, the addition of Daken and the emphasis on lingering threads from the Wolverine Origins days does help to spice up the new conflict. And certainly, the unexpected cliffhanger promises to shake up Laura's world in a big way.
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Marquez's versatility is on full display in this issue as he shifts between three distinct styles. His traditional superhero pages are as stylish and impeccably rendered as always. But Marquez shifts gears and takes a grittier, more textured approach to certain key scenes, reminding readers that this is a book set on the dark edge of the Marvel U.
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First Strike's penultimate issue unfolds largely as the previous four have, juggling a large cast but only really making use of a small handful of characters.
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Neil Googe's style may lack the slick, angular quality of Carmine Di Giandomenico's, but Googe still injects the story with ample energy and a proper sense of speed.
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This series is based on a line of high-end action figures created by co-writer Bryan Lie, which explains the gorgeous, eye-popping character designs. I'm not sure how much the mythology behind God Complex existed prior to this series, but it certainly makes for an inviting world.
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It seems the entire thrust of this arc is getting the old gang back together. But given that this is a miniseries, that creates a big dilemma. Why spend so much time rebuilding the team if there's not going to be a chance to do anything with team when all is said and done?
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Reading this issue, it seems as though Kieron Gillen and Kev Walker planned it to be a potential series finale if the need arose. There's a certain finality to Gillen's script as Aphra fights to escape the chaotic battle between Darth Vader and Immortal Rur.
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This issue lacks the tight, purposeful presentation of that series, but Bagenda does at least give the issue a playful energy and balances out the superhero elements with a slight sci-fi flavor.
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For a story that's ostensibly so important to Wonder Woman's journey in DC Rebirth, it's a little perplexing that DC didn't put more effort into maintaining a consistent art team here.
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Amazing Spider-Man's new direction in Marvel Legacy is a bit of a mixed bag right now. As satisfying as it is to see a classic, "down on his luck" version of Peter Parker, the series needs to prove that Peter can continue to evolve as a character even as he falls back into old habits. Fortunately, the proven creative team are still able to deliver an entertaining start to this new era for the series.
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You can't fault Dark Nights: Metal for its scope and ambition. This is every bit as epic a story as fans were promised, and the stakes only continue to grow more dire in this issue as the Dark Knights run amok in the DCU. Unfortunately, this issue seems prone to biting off more than it can chew, resorting in a number of exposition-driven sequences that slow down an otherwise exciting storyline.
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This new series shows some potential as it attempts to chart a new course for Sam Wilson, but the lackluster execution makes it a tough sell for all but hardcore Falcon fans. This first issue struggles to properly balance the Marvel Universe with real-world drama, and the dialogue has a tendency to become overwrought and stilted. If Sam is going to thrive as he returns to his old role, it's not going to be a quick or easy transition.
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Three issues in, Mister Miracle is unquestionably one of the best books DC is currently publishing. This series continues to offer a fascinating glimpse into the mind of one very troubled god. It manages to blend mundane human drama with epic cosmic spectacle and royal family intrigue. This is another beautifully rendered and expertly structured issue. The prospect of nine more is very appealing.
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While this series was billed as having more of a standalone approach to X-men storytelling than most X-books, it doesn't actually seem that way in practice. This opening storyline reads very much like one, continuous conflict. And a conflict that's becoming painfully drawn out, no less.
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It's the character dynamics that make this issue worthwhile. Seeing Hercules and Amadeus Cho reunited is practically worth the price of admission all on its own.
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DC has done a great job giving this sequel a more consistent and attractive sheen than its predecessors, and the book is never better than when Bruno Redondo is on board.
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This series may have reverted to its classic numbering, but little has actually changed with the start of Marvel Legacy. That's mostly a good thing.
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Jessica Jones may not have much of a rogues gallery, but her rivalry with Purple Man is one of the most compelling in the entire Marvel Universe. So it's impossible not to be excited for the direction of this series as Purple Man makes his big return. And as plodding as the book's first year was at times, Jessica Jones could certainly use the adrenaline boost. Unfortunately, issue #13 is still a slow-moving affair.
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Though it would have been nice to see Aaron stick around for at least a bit longer, this issue nonetheless serves as a fitting conclusion to his run.
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This series has been telling a very simple, direct tale of Phasma's actions immediately following the events of The Force Awakens. That direct approach has worked well, offering some subtle insight into this monolithic character without attempting to be overly ambitious with the limited format. But with issue #3, it often feels as though writer Kelly Thompson and artist Marco Checchetto are losing track of their main story.
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Soule does a great job of showcasing Vader's growing confidence in himself and his abilities and the lingering mistrust and resentment he feels toward his new master, all while relying on a minimum of dialogue and exposition.
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Bagley feels right at home in Eddie Brock's world. Maybe he does bring the same extreme, hyper-kinetic quality to the action sequences as Gerardo Sandoval, but Bagley shows much more storytelling versatility.
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While one of the big moments in this issue suffers from awkward build-up, otherwise Batman #32 serves as a satisfying conclusion to this lengthy story arc. It's dramatic and emotionally charged, yet also marked by moments of campy humor. And the twists in this issue promise to have a significant impact on the series moving forward. What more can readers ask for?
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In terms of story, Batman: White Knight has a few hurdles to clear before it can live up to its full potential. This first issue has some dialogue problems and dwells too long on setting the stage for Joker's personality change. But it's a promising start all the same, and the gorgeous artwork is worth the price of admission all on its own. Murphy's dynamic, gritty style is perfect for bringing Gotham City and its inhabitants to life.
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Any fan of Garth Ennis' past Punisher MAX work will want to add The Platoon to their pull list. This first issue proves right away that Ennis and Goran Parlov still have plenty more to say about the character. Nor is this a mere origin story, as the framing sequences and focus on the Viet Cong lend a greater context to Frank's descent from soldier to vigilante. This is already shaping up to be another definitive Punisher tale.
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The idea of a supernatural team-up book featuring four of Marvel's horror icons sounds great on paper. Unfortunately, this series seems in little hurry to bring that team together, despite the fact that there are only five issues to work with. Spirits of vengeance definitely looks great, giving an expressive sheen to this darker corner of the Marvel U. But that alone doesn't do enough to justify the book's existence.
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Venomverse had picked up steam following an underwhelming debut last month. Sadly, the crossover falls back into old habits in its final issue. This closing issue downplays the more interesting character dynamics in favor of a generic battle between the two sides. Iban Coello's art helps to make that battle clean and easy on the eyes, but that can't change the hollow, anticlimactic nature of the story. This issue seems more interested in setting up a sequel than properly tying up loose ends, and that's never a good thing.
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It's impossible not to feel excited for the future of this series given certain developments in Marvel Legacy #1, but the current conflict is starting to seem like a bland appetizer before than enticing meal.
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It's not often that I find myself wishing an event comic had a smaller scope, but that's where we are with First Strike. As fun as it is to see so many Hasbro characters mashed together in one epic team-up, the series is only really making great use of a small handful.
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This issue marks the end of Victor Von Doom's latest solo series, if not necessarily the end of his tenure as Iron Man. It's a bittersweet experience at best.
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More than any DC series of late, Suicide Squad has been a showcase for how much the art can impact the overall impact of a series. The most recent story arc struggled in large part because of the significant dip in visual quality compared to previous stories. But with Stpejan Sejic briefly hopping on board again, suddenly it feels like a whole new Suicide Squad.
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Emotionally, this issue makes for a satisfying read, as Aaron digs even deeper to the theme of worthiness and shows how Jane's compassion intersects with Volstagg's boundless rage. But from a plot standpoint, it's hard to say what lasting impact this conflict is meant to have on the larger narrative.
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In short, this relaunch continues to barrel ahead with no sign of losing momentum.
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Generations: Spider-Man ranks among the more disappointing chapters of the series, as it fails to add much to the Peter/Miles dynamic even with the shift in time period. As with Spider-Men II, this story is at its best when Peter is absent from the picture entirely. But for anyone who fell in love with Ramon Perez's art on Amazing Spider-Man: Learning to Crawl, this issue is a must-read.
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Generations: Captain America is essential reading for anyone who's been following Nick Spencer's Captain America saga, regardless if you've been reading the other one-shots. This issue reads like the proper finale to that long run, offering the closure to Sam Wilson's tenure as Cap that Secret Empire didn't. It doesn't take full advantage of the time travel premise, but it works as well as could be hoped given the limited space available.
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Marvel Legacy #1 is almost eerily similar to DC Universe Rebirth #1 in many ways, but it also works for the same exact reasons. Legacy allows writer Jason Aaron and his artists to take a step back and reexamine the course of the Marvel Universe, while also just introducing some very fun ideas and bringing back a few fan-favorite characters in the process. It's a little choppy in places, but well worth a read for anyone who wants to see this superhero universe thrive again.
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Venomverse is a stronger book now that it was in its first couple chapters, and a lot of that comes down to the addition of Carnage. As annoying as this villain can be in other Spider-Man stories, here he offers a welcome dose of fun and unpredictability to an otherwise stale conflict.That, combined with the vibrant artwork, makes for a much more readable crossover adventure. Still, the series hasn't done enough to build up the excitement level leading into the final issue.
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Wonder Woman #31 offers a mostly satisfying start to a long-awaited DC Rebirth storyline.
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This issue breaks the the team into pairs and explores several key relationships. Between the blossoming Cap/Thor romance, Vision and Hercules pondering the nature of immortality and Spider-Man trying to get to the bottom of why Wasp doesn't like him, there's plenty of great character work on display here.
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The issue mainly shines in the past, both because of Barber's ability to channel the grandiose tone of the Silver Age Strange comics and because these pages are illustrated by Kevin Nowlan. Nowlan's impeccably rendered art goes a long way towards justifying the cost of admission all on its own.
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If Tom Taylor's scripts don't quite rise to the heights of recent chapters here, he nonetheless makes the most of that showdown and the amusing banter between characters like Wildcat, Harley Quinn and Plastic Man.
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Based on where issue #139 left things, it wasn't clear how Robert Kirkman and Ryan Ottley intended to fill four more issues of the series. And that question is all the more pressing after reading issue #140.
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Calling this a filler issue seems a little harsh, but it's clear that Invincible Iron Man is biding its time until Marvel Legacy ushers in the series' big new status quo.
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This series really needs to break out of its current cycle of having Jean pair up with a different Marvel guest star every month.
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The plot isn't terribly remarkable, but the survival drama element at least gives the issue a certain sense of immediacy. Mostly, though, the book stands out because of Jason Latour's handling of the Han/Leia dynamic and Han's efforts to justify his reasons for continuing to remain with the Alliance.
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The detailed line-work, the massive sense of scale and the vivid color work all combine to form the most attractive Star Wars comic Marvel is currently publishing.
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Paolo Siqueira's detailed, dynamic pages do a great job of bringing the symbiote's world and viewpoint to life while also bringing a more balanced, evenhanded look to a series that's often too stylized for its own good.
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In terms of story, this is easily one of the more satisfying installments of "The War of Jokes and Riddles" yet. It captures the zaniness of Batman's temporary supervillain alliance, yet never loses sight of the true darkness fueling this conflict. Unfortunately, the bright, sunlit setting brings about some visual problems. Mikel Janin's work simply doesn't have the same impact when exploring the sunnier side of Gotham.
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Valiant continues to make it both easy and attractive to dive into their superhero universe in 2017. Bloodshoot Salvation #1 serves as a great starting point, even though it serves as the latest act in Jeff Lemire's ongoing saga. With strong characterization and a compelling balance between present-day and flash-forward conflicts, there's plenty of reason to become invested in this new chapter in Bloodshot's ongoing struggles.
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Samurai Jack: Quantum Leap is clearly unafraid to push the franchise in a new direction, and it deserves credit for that. The series has a quirky sense of style that both respects the source material while charting its own course. However, this first issue is light on both plot and dialogue, and it fails to fully establish its premise or make Jack's relationships with the characters in this bizarre world. The series needs a little more in the plot department before it really comes into its own.
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Venomverse is still a frustrating read in some respects, but the fun is beginning to outweigh the more negative aspects as the series rounds the halfway mark. The new free agent introduced in this issue certainly helps, as does the generally wider focus taken by Cullen Bunn. Iban Coello's dynamic art also goes a long way towards making this formulaic conflict feel exciting.
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This standalone issue makes it clear that Slott has big plans for Osborn heading into 2018.
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Coming from the high that was The Defenders #4, this issue feels a bit underwhelming in comparison. The overarching plot is beginning to meander as Brian Bendis and David Marquez put Diamondback back into play immediately after his defeat last month.
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Like Revolution before it, First Strike succeeds in capturing the fun and zaniness of being a kid and mashing action figures together.
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This new villain doesn't leave a strong impression in terms of look, powers or motivation. His tendency to monologue doesn't exactly endear him to the reader, either. But at least Barry's own personal drama carries more weight as the ramifications of Barry's Negative Speed Force exposure continue to play out.
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This issue feels like it's missing a certain something, but at least it still works as an effective character study.
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Still, there's a real desperation to the series as Aphra struggles to salvage some small victory from the ruins of her harebrained scheme. And while Kev Walker's art feels a bit more rushed than in previous issues, his eclectic character designs and generally energetic approach help heighten that intensity.
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Whatever momentum this series has managed to build up over the past year has mostly faded thanks to the "Kill Your Darlings" arc. This issue attempts to cap off the long-brewing conflict with Direktor Karla and the People, but it does so in very abrupt, unsatisfying fashion.
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While Metal still has a few kinks to iron out before it can rival the best of Snyder and Capullo's work, the series is delivering plenty of drama and spectacle as it explores the collision between the DCU and the Dark Multiverse. This issue increases the story's pace, focusing both on crazy, dynamic action and highlighting the fear and uncertainty propelling the Caped Crusader as he delves deeper into his biggest case yet.
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Runaways #1 is a slightly odd way to kick off this long-awaited new series. It only features a handful of characters and is more concerned with addressing the fate of Gert than touching base with the various scattered team members. Despite that, however, the strong characterization of Nico and the generally crisp, attractive art suggest that these characters are in capable hands. But if you're a Runaways newbie, this isn't the place to start.
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Secret Empire started strong but turned out to be a dud. This issue can't redeem that disappointing event, but it can at least wrap things up on a slightly more satisfying note. While this issue undoes one of the few developments of lasting consequence from the main series, it also complicates Steve Rogers' return and ensures that he won't be making a clean and easy return to the superhero game. If you've made it this far into the event, you might as well complete the journey.
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Star Wars #36 is, if nothing else, a very entertaining Star Wars comic. This issue adds to R2-D2's reputation as a fearsome warrior (perhaps a little too much) while also celebrating his rarefied status among the droids. The art is also more effective than we've seen from recent chapters of the series. But at the end of the day, there's a nagging sense that more could have been accomplished with C-3PO's temporary captivity.
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Two issues deep, Venomverse's appeal is superficial at best. The series certainly looks snazzy, with the action-heavy approach to this issue making full use of Iban Coello's storytelling skills. But apart from the resurgent Eddie Brock/Peter Parker feud, there's simply no weight to this story. The Venoms are uninspired riffs on familiar characters. Their foes are bland, zombie-esque villains. This crossover needs to show more ambition than it has so far.
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I wish there were more consistency as the book shifts from one artist to the next, but Bendis and his artists paint a particularly memorable and hopeful vision of Marvel's future.
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Visually, this issue struggles in other areas, including the uniformity of Barberi's facial work and the repetitive use of splash pages. It's hard not to wonder how this issue might have turned out with a different creative pairing.
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It's haunting and gorgeous, yet also energetic and action-packed. But while the art is really the driving force of this issue, Kelly Thompson's script doesn't disappoint, either. The tone is equally fun and foreboding as Kate deals with the mess madame Masque is currently making of her life.
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It's pretty impressive how a "mere" video game tie-in has become one of DC's consistently best ongoing series. That's the power of great storytelling.
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The series is taking on a more hopeful tone, a fact which is surely intentional as Bendis and Gaydos gear up for the return of a major character next month.
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Between Victor LaValle's Destroyer and now this series, it seems there's a trend of comic creators tackling modernized spins on the Frankenstein formula. That supernatural angle is enough to spice up what otherwise may have been a straightforward tale of vigilante revenge.
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In the end, this appears to be the sort of fantasy series where there are no true heroes or villains.
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The series values realism far less than most, instead emphasizing stylized figures and dynamic figure work. The result is a very unusual but effective Star Wars comic.
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Visually, this book offers a pretty diverse and enjoyable blend of symbiote-flavored violence (with Shalvey's story again standing out the most in that regard), but this issue is best skipped by all but the most hardcore Venom lovers.
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Batman #30 marks another high point for the current Batman storyline. On one hand, it lends further depth and pathos to Kite Man, exploring just how much this outwardly goofy is motivated by tragedy and loneliness. On another, it changes Batman's role in this conflict in a major way and makes the Dark Knight a source of mystery and uncertainty. And with top-notch visuals from Clay Mann, Seth Mann and Jordie Bellaire, this issue truly fires on all cylinders.
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It's a shame the artwork in this issue isn't stronger, because otherwise Iceman #5 is a strong finish to the series' first arc. It dabbles in well-worn tropes but executes them in an effective way, as writer Sina Grace cuts to the heart of Bobby Drake's personal struggles. We've seen him confront his insecurities many times over the years, but finally there's a sense that Bobby is moving forward and embracing a brighter future.
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Captain Phasma is already shaping up to be one of Marvel strongest Star Wars miniseries. This first issue takes a brutal, efficient approach that very much suits this monolithic villain. It doesn't attempt to delve into her past or background, yet still serves to illuminate the character through her actions. That efficient approach to storytelling, coupled with the gorgeous tag-team combo that is Marco Checchetto and Andres Mossa, makes this a Star Wars comic every Phasma fan should read.
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There's always a great need for The Walking Dead to introduce new characters memorable and nuanced enough to stand alongside the slowly diminishing classic cast. This issue introduces a potential contender, though it remains to be seen if Princess has more to offer the series than superficial flamboyance. The real problem is that her debut hogs too much page space, preventing the story from advancing very far beyond the events of the previous issue.
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Venomverse #1 boasts strong artwork, but that's about all propping up this otherwise bland, unremarkable crossover. This series gives readers little reason to care about either the cast of Venoms or the enemy currently hunting them. It's clear this event is meant to tap into the strong response to Spider-Verse, but it only replicates the most superficial elements of that story.
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Kingsman: The Red Diamond reads like a worthy and natural continuation of the original series, even with the shakeup in creative team. While this first issue is a bit too similar to the original in some ways, its character-driven focus and strong sense of style go a long way towards getting the series off on the right footing. Assuming Williams and Fraser can craft a sufficiently different villain, The Red Diamond should meet or even exceed its predecessor.
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While not quite as strong as issue #6, Black Magick #7 is an enjoyable read that serves as yet another reminder of how strong the Greg Rucka/Nicola Scott partnership is.
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It's unclear exactly how much the events of this issue will impact the ongoing Hawkeye series, but it proves there's still plenty of potential left to mine in the Kate/Clint dynamic.
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It's strange to think that this series is ending with next month's issue #12, because it barely feels as though Brian Bendis and Alex Maleev have accomplished anything with Victor Von Doom over the past year.
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There's a renewed excitement to JLA as our heroes confront overwhelming odds and brave the unknown. Apart from a weird, random segue into regular DCU matters, this issue does a fine job of ramping up that mystery.
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Even if you don't follow Red Hood and the Outlaws monthly, this standalone issue offers a clean and enjoyable gateway into the series.
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This issue ranks as yet another memorable, done--in-one outing for Aaron, but the art is really holding this series back at the moment.
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Writer Devin Grayson makes the most of that age-old struggle between duty to the many and individuality. Grayson also uses that conflict to shine a light on the Turtles and their family bond. I do wish this issue offered more finality to the ongoing feud between the Turtles and Hakk-R, but it's likely that the constraints of the main series prevented a more definitive conclusion.
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DC's Jack Kirby anniversary celebration ends on a high note thanks to this Darkseid one-shot. This issue manages to capture the power and bombast of Kirby's classic Fourth World adventures while crafting a conflict that feels grounded in the here and now. Couple that with a visually impressive OMAC backup and some added Kirby reprints, and this issue offers a lot of bang for the buck.
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After two issues, Boom has more than justified the existence of a second ongoing Power Rangers comic. Go Go Power Rangers works as a fitting companion to its sister series, telling a more character-driven story that wouldn't necessarily be possible on Mighty Morphin Power Rangers. The series is thriving on the strength of Dan Mora's artwork, working both as an epic superhero adventure and a humble slice-of-life drama.
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Rise of Atriox gets off to a mostly enjoyable start in its first issue. The creators paint a bleak picture of a few hapless soldiers making their final stand against an overwhelming enemy, which is something the Halo franchise often does well. At the same time, while this issue paint Atriox as an unstoppable force of nature, it makes no effort to explore him in any depth. Future installments need to do more to balance action with strong characterization.
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Secret Empire is hardly the first Marvel event to end on a disappointingly bland note. But considering how much promise this series showed early on, this lackluster finale issue is a huge disappointment. A handful of strong moments can't make up for the formulaic, unambitious conclusion, especially with such uncharacteristically mediocre art from Steve McNiven.
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At this point, any attempt by Marvel to venture out of the original Trilogy era is a welcome one. That said, this series looks to do little with Mace Windu and his fellow Jedi we haven't seen in numerous other Clone Wars-era projects. The solid characterization for Mace's team and Cowan's gritty art are both selling points, but that may not be enough for all readers.
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The series is beginning to lose it focus as writers Mairghread Scott and David Rodriguez draw in more characters and shift away from exploring the core Scarlett/Ironblood relationship that was so critical in issue #1. There's plenty of fun spectacle here, but less opportunity for the writers to settle in with any one character.
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Iceman and Daken make for a surprisingly effective pair. That's the main takeaway from this issue, which pits the two mutants against one another as Bobby tries to track down a wayward student.
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This issue's big selling point is that Firewatch directors Sean Vanaman and Olly Moss step into the driver's seat. Sadly, the issue doesn't pack the visual punch one might expect given the distinctive art style of that game.
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"Kill Your Darlings" is ostensibly a very character-driven story arc, but it's not terribly successful in that regard.
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This may be the most well-rounded chapter of Dimension X yet.
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Stryker and his Weapon X cronies are still bland, but at least the series seems headed in the right direction.
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Much as the first Ultimate Spider-Man story arc took several issues to build to Uncle Ben's inevitable death, X-O Manowar has been taking its sweet time to arrive at the reunion between Aric and his alien suit. That methodical build-up only adds to the book's gravity and emotional weight. But crucially, as methodical as Matt Kindt is being in this area, he's blazing forward in terms of the larger narrative.
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Edge of Venomverse ends its run just a sit began, telling another tale of a Marvel hero merging with the symbiote and changing very little as a result. This issue does little to take advantage of this fusion. And ignoring the Venom trappings, the characterization of Deadpool is more obnoxious than amusing. James Stokoe's art is something to behold, but that alone can't make up for the many mistakes this comic makes.
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The new Power Rangers story arc is off to a strong start. This issue brings a little added darkness to the series, but in a way that enhances the fun rather than distracts from it. This issue plays out as much like an '80s horror movie as a traditional Ranger romp, and the darker, more unsettling take on Finster is already paying off for Higgins and Prasetya. 18 issues in, this series continues to serve as just the sort of modernized update the original Power Rangers deserve.
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Nightwing: The New Order isn't just a welcome opportunity for Kyle Higgins to return to the character, but also a chance to see one possible future for this long-standing hero. The New Order's character-driven approach helps mitigate the shock of seeing Dick become the villain. Higgins' strong characterization and the moody visuals both combine to form one enjoyable package.
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Despite the promising build-up to the climax of this crossover in Secret Empire #8, issue #9 is a mostly disappointing affair. The influx of so many heroes leads to a jumbled narrative that focus more on spectacle and quips than highlighting the key players. But because of the muddled, inconsistent art, this issue doesn't even deliver on a visceral level. It's a worrying development for the series as the grand finale looms near.
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While not necessarily an essential read, Doctor Aphra Annual #1 serves as a fun opportunity to become a little more familiar with Black Krrsantan. Writer Kieron Gillen is able to lend new insight into this character without diminishing his fearsome aura. And while the art could do more to ease the transitions between past and present, Marc Laming and Will Sliney are right at home in this corner of the Star Wars franchise.
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This issue should make long-time fans of the Injustice comics very, very happy. Tom Taylor has the opportunity to reconnect with one of his most memorable characters from the Injustice: Gods Among Us days, and that magic touch hasn't worn off one bit.
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"The End of All Things" is trapped in a strange place right now, and it's imperative that Kirkman and Ottley right the ship in time for a proper, fully satisfying finale.
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Basically, this issue reads like an upbeat celebration of Riri's first year on the job and her first real victory against a Marvel supervillain. It's fun to watch Riri butt heads with SHIELD, bond with militiamen and generally try to solve Latveria's problems in the way only a naive but brilliant 15-year-old would. But the real joy comes when she returns home and reconnects with her mother.
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While a fairly slow start to this 15-issue, series, this issue manages to immediately pull the reader back into the story of Kevin Matchstick.
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With a penultimate issue this strong, the finale has a very high bar to meet.
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Angel Unzueta's art is serviceable (if plagued with stiff, robotic figure work), but lacks the distinctive texture and vaguely otherworldly tone that makes Noto's work so memorable.
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The result is a fun, wacky adventure that celebrates all the wrestling tropes - the soap opera, the betrayals, the costumed pageantry. And given the Dimension X setting, it's funny to note that the Turtles themselves are by far the least outlandishly designed characters in the story.
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Not many creative teams could pull off a comic about Bruce Wayne sharing a fancy meal with Joker and Riddler, but Tom King and Mikel Janin aren't just any team. This issue serves as a tense, tightly rendered and slightly surreal addition to "The War of Jokes and Riddles." Despite another abrupt, underwhelming ending, this issue is another winner for the creators.
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Apart from a surprisingly sluggish middle act, Dark Nights: metal #1 is a terrifically enjoyable read. This issue crams in all the adventure and bombast that was promised, but also makes it clear that Batman is confronting one of the most dire and all-encompassing threats of his career. But for fans of the Snyder/Capullo Batman run, all you really need to know is that the old gang is back together.
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It's clear by now that each Generations one-shot is going to follow a very specific formula, which could start to work against the series as that formula grows more and more played out. But it's one that works well in this Wolverine crossover. This issue makes the most of the Wolverine/X-23 dynamic and celebrates the legacy of a fallen X-Man.
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Brian Bendis and Sara Pichelli have enjoyed a flawless track record with Spider-Man thus far, but Spider-Men II may turn out to be their first big misfire. This second issue makes a number of poor storytelling choices as it tries to shed light on the long-standing mystery of Miles Morales. In the end, it's hard not to wish Bendis and Pichelli had simply reunited for a more traditional Miles adventure.
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Star Wars #34 is a visually muddled but still enjoyable showcase for Sana Starros and Lando Calrissian. It's not entirely clear why Lando needed to be included, but he makes for a fun counterpart to his headstrong, relentless partner. And Sana herself really shines here, proving that she deserves to follow in Doctor Aphra's footsteps and branch out into her own series.
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Month in and month out, The Mighty Thor is a clear contender for Marvel's best ongoing series. This issue crams in all the carnage and spectacle one could ask for from a clash between a god and a fire demon, but also plenty of emotional drama to boot. This story arc continues to make a strong case for the existence of three Thors in the Marvel Universe.
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Tom Taylor and Leonard Kirk continue to make the most of the Wolverine/Guardians of the Galaxy team-up here, even using character traits like Drax's newfound pacifism and Rocket's hatred of animal lab testing to their advantage.
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There's a strong case to be made for The Defenders being crowned the best-looking comic book on the stands right now.
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It's really the same story month after month with this book. The general status quo and psychological approach are compelling, but the lack of momentum and forward progress has really started to hold the series back.
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JLA has been in need of a fresh start for a while now, and "Panic in the Microverse" looks to be just what the doctor ordered.
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This issue explores the all-out chaos that forms when Aphra's ill-advised auction degenerates into a shootout with a Jedi-possessed assassin droid. It's a premise that plays well with Gillen's penchant for black humor and kooky characters.
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It continues to be frustrating how little Rob Williams is exploring Harley Quinn's mindset and motivations as new field leader. And El Diablo is more plot device than valid new addition to the team. However, Katana does enjoy some strong scenes as Williams explores her own reluctant role in the Squad.
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More than just being a fun spinoff of the main series, this issue actually ranks as one of the best TMNT comics in recent memory.
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Slott and Immonen really made the most of this tie-in arc, using the carnage of Secret Empire to further key story threads and accelerate the collapse of Parker Industries. This issue delivers more epic, emotionally charged visuals and sets the stage for what promises to be a fascinating new status quo for Peter Parker in Marvel Legacy.
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If IDW is going to keep publishing annual Hasbro crossover events, at least they're being handled well. First Strike manages all the tricky challenges of a first issue, laying out the groundwork for new readers, quickly establishing its conflict and ensuring that the human drama is never lost amid all the action and spectacle. This is a great spot to either jump on board the Hasbro-verse or remind yourself why it's so exciting having these characters sharing the page in the first place.
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Mister Miracle #1 is every bit as good as one would expect from a creative team of this caliber working with such a venerated character. Tom King and Mitch Gerads manage to blend the larger-than-life nature of the Fourth World with a very grounded and emotionally charged story of a hero at his lowest ebb. Regardless of your familiarity with the New Gods, this is a series that absolutely deserves to be on your pull list.
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Secret Empire #8 has its flaws. The art quality isn't entirely consistent , and the overarching narrative is becoming messier the more Nick Spencer works to reflect the many tie-in books. But those problems are secondary to the sheer satisfaction earned from reading this pivotal new chapter. Daniel Acuna's pages are gorgeous, and he and Spencer effectively shift the tone of the series as a resurgent Sam Wilson lights the way for Marvel's heroes.
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Venom has improved quite a bit in recent months, even if the artwork tends to struggle whenever Eddie Brock is out of costume and not clobbering dinosaurs. The tone is silly, yet tinged with a necessary darkness as Eddie and the symbiote slowly come to terms with one another all over again. The challenge for this series going forward will be balancing nostalgic comfort with an ability to push Venom in new and unexpected directions.
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In other words, this is a great way to wrap up the current story arc and set the stage for the next phase of this apocalyptic drama.
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This is hardly DC's most visually consistent comic, but it does have some pretty major highs.
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In short, the series achieves a nice blend of goofy action and violent tension. Artist Leonardo Romero helps further that balance with his clean, elegant art style.
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Taylor does a wonderful job of tapping into the shared history between Dinah Lance and Ted Grant as Wildcat enters the picture just in time for Dinah's wedding. The result is a very tender, heartfelt story that gets to the heart of the family bond that makes the JSA so appealing.
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I'm not thrilled with the direction Hitch seems to be pushing Wonder Woman, as it runs completely against the grain of the character as she exists in DC Rebirth.
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The story as it is right now isn't quite strong enough to stand on its own, independent of Opena's incredible artwork.
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It's a pretty exposition-heavy start to this conflict, especially with the way so many returning characters enter the stage. Even so, this issue makes for an exciting start to this new chapter of the series.
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This series moves forward from its brief, unsatisfying Secret Empire tie-in to begin a new arc centered more around political and romantic drama than costumed tomfoolery. It's a welcome change of pace for the series, even if the B-plot involving Omega Red's return shows that the series isn't stopping its trend of pointlessly dusting off old villains one after the other.
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Despite an unsatisfying ending, this issue offers a compelling portrait of a city ravaged by war. Tom King and Mikel Janin prove once again what an effective team they are as they craft a comic dominated by symmetrical storytelling and moody, haunting visuals. This series is usually at its best when these two are working together.
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Generation s isn't shaping up to be a particularly groundbreaking series for Marvel. With little background for the premise of this crossover or its ties to Secret Empire and Marvel Legacy, Generations: Hulk simply plays out as a fun, character-driven team-up between two heroes. But for fans of these two characters, that should be enough.
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Marvel's new Darth Vader series seems to be finding its voice after a rough first couple months. This new chapter takes a brutally streamlined approach to exploring the aftermath of Vader's first battle with Kirak Infil'a and the destructive rematch that follows. The violent imagery and dark plot twists speak to the idea of a fledgling Sith Lord claiming his place as the galaxy's most feared villain.
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The Walking Dead is entering a very intriguing and unpredictable new phase, even if this issue takes some time to really get the ball rolling. The decision to shift focus away from the usual crew in Alexandria to other uncharted territories adds an even greater sense of danger and excitement to the book. There's no telling where Kirkman and the gang are headed right now, and that's a very good thing.
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This mini-series isn't shaping up to be essential reading for TMNT fans. It's more a fun, mindless diversion that allows Allor and Tunica the chance to shine a light on the unexplored worlds of Dimension X. The wacky premise and vibrant art make this a worthwhile read for those who aren't satisfied with one monthly dose of TMNT.
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If you pine for the simpler, more innocent Archie Comics of yore, then Your Pal Archie is the comic for you. This new series offers basically the exact same take on the Riverdale crew that fans have seen from those grocery store digests for decades. Simple, innocent, all-ages fun, in other words.
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It's a satisfying feeling knowing that Black Hammer can now be officially referred to as "The Eisner-winning Black Hammer." And this issue is a good showcase for why the series won that award.
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At its core, the Freaky Friday-esque premise of this series is pretty straightforward. It's really the execution where Crosswind stands out and finds its voice.
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Doom Patrol is back following a brief hiatus, and the wait was well worth it. This issue manages that delicate task of honoring the franchise's roots while looking ahead to the future.
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Slow pacing and decompression are problems plaguing too many Marvel books right now. What makes it especially frustrating with Infamous Iron Man is the knowledge that this series looks to be ending with the Marvel Legacy relaunch.
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If you're an Axe Cop fan and you've been searching for another comic that can replicate that book's zany, free association approach to storytelling, look no further than Shirtless Bear-Fighter. This book is goofy and dumb in all the right ways.
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Given its focus on a non-movie cast of characters and the seedier side of the Star Wars universe, Doctor Aphra succeeds more than any of Marvel's Star Wars books in bringing something new and different to the table.
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This issue succeeds in highlighting the various clashes of personality as Waller fights for her life, Enchantress lashes out at her teammates, a traitor stands revealed and Harley quietly arranges chess pieces from the background. That last element is arguably the most compelling element of this arc, though also its biggest disappointment because of Rob Williams' refusal to explore her mindset and motivations very deeply.
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This late in the game, I still care little about the resurgent Weapon X program or its Frankenstein's Monster of a super-soldier creation. Not that the bland visual style is doing much to help this already underwhelming conflict.
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As far as fresh starts for long-running franchises go, this one is quite a treat.
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Does the world truly need two ongoing Mighty Morphin Power Rangers comics? Not necessarily, and some readers may find that this prequel doesn't do quite enough to stand apart from its sister series. But regardless, the terrific visuals and high school character drama combine to form an enjoyable teen superhero book.
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If you're burnt out on Guardians of the Galaxy comics, this new mini-series probably won't do anything to help. This is a very traditional take on the franchise, one that could just as easily be an extension of the regular comics or movies as a prequel to the Telltale game. But between the fun tone, strong team dynamic and expressive art, it's at least a very well-executed Guardians story.
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It was certainly ambitious of Oni to attempt a sequel to "Interdimensional Cable" in comic book form, but this issue only further suggests that that concept needs to be put to rest. This issue mainly settles for recycling the general formula and even some specific gags, and it struggles to fully replicate the distinctive look of the animated series.
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Secret Empire is improving as it moves closer to the big climax. This issue finds most of its success in exploring the divide between Marvel's older, pragmatic heroes and the younger, more idealistic generation. The heavy focus on the Punisher doesn't hurt. But inconsistent art quality remains one of the main, recurring problems with this mini-series, and that problem doesn't seem to be lessening with time.
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For now, at least, it's more "Donald Duck" than "DuckTales," as the focus remains squarely on Donald and his nephews and characters like Scrooge and Launchpad are completely absent. That's somewhat disappointing, but this issue still succeeds in spinning two amusing, duck-filled yarns as Donald bungles his way through various odd jobs and his nephews get into all sorts of mischief.
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All told, this is a very promising debut for the series.
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Miller's style doesn't quite have the clean, dynamic appeal of artists like Bruno Redondo, but he succeeds in crafting emotionally rich figures and in capturing the scope of Krypton's destruction.
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This might be the first issue of this series that didn't frustrate with its slow pacing issues. Brian Michael Bendis' script offers a satisfying blend of armored action and character drama, as Riri clashes with Lucia von Bardas and her Doombots on one hand while FRIDAY and Tony Stark ponder the nature of A.I. existence back home.
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This issue finds itself in a slightly odd place as it attempts to both chronicle another epic clash between the League and their latest world-shattering foe and build the way towards an even bigger conflict to come. It's not particularly successful when it comes to the former.
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There's so much that could have gone wrong with this mash-up, but Peopose and Santiago's risky premise paid off. And it's little wonder the movie rights have already been optioned.
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This mini-series has improved quite a bit now that the focus has shifted more directly to Maul's rivalry with Jedi Padawan Eldra Kaitis.
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Readers may be questioning whether this series really needed a third Thor, but this issue makes a pretty strong case for "The War Thor." He's a very different sort of thunder god, one whose worthiness is measured less in valor or noble deeds but in his ability to punish evildoers and draw buckets of blood.
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The "Weapons of Mutant Destruction" crossover suffers from the same problem that has plagued the new Weapon X comic from the start. The character dynamics are strong, but the conflict itself is very bland and unremarkable.
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As underwhelming as Marvel's ResurrXion relaunch has been as a whole, at least Astonishing X-Men seems capable of living up to the hype. The series gets off to a strong start thanks to an eclectic cast, memorable characterization and typically strong artwork from Jim Cheung. This is the ideal comic for those who want to dip their toes into the franchise and those who have been craving something different in the X-Men universe.
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Batman #27 doesn't do much to add greater momentum to "The War of Jokes and Riddles," but ti does serve to greatly enrich a character who, until now, was treated merely as a recurring joke in the series. This issue chronicles the tragic rise of Kite-Man and further cements the idea that the war itself is less important than the terrible toll it's taking on Gotham's citizens.
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It's clear from this issue that Mighty Morphin Power Rangers won't be immediately rushing into its next major conflict. And why should it? This chapter serves as a chance for the team to regroup and come to terms with a world free from giant monster attacks. It's an enjoyable, attractive book that makes the most of the newly reunited cast.
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Secret Empire is far from Marvel's best-executed event comic. The pacing has been all over the map, and things slow down once again in issue #6 even with Hydra and the Avengers having a massive showdown. But for all its problems, this series shows an ambition that can't be ignored. This issue works best when it explores the gulf between where the Avengers are and what they would like to be.
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Sisters of Sorrow has an appealing elevator pitch, but little of that appeal carries over to the final product. This first issue fails to establish a compelling cast or even justify their transformation into vigilante killers. Between that and the muddled, unclear storytelling, there just isn't much to recommend with this mini-series.
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At its best, this series recalls the glory days of Brian Bendis' work on books like Daredevil and Alias. It remains incredibly satisfying to see Bendis working with these characters again, particularly given how radically their lives have shifted over the past decade. Unfortunately, this issue has an annoying tendency to get lost on pointless tangents.
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The series has little sense of momentum at the momentum, and maybe it's just as well that it's getting relaunched and re-branded for Marvel Legacy in a few months.
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It feels very much like the series is spinning its wheels until the Atom-focused storyline begins next month.
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The high stakes of Logan's clandestine mission are certainly appreciated. But this arc's real success is in the relatively nuanced portrayal of the Hulks themselves.
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Marvel did this series no favors at all by giving it the "Secret Warriors" branding and inviting unwarranted comparisons to the previous volume. The good news is that the series is starting to find its footing, even if it continues to share little in common with its namesake.
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Now this is more like it. After a slow pair of opening chapters, the new Darth Vader series really starts to find its groove in issue #3.
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Doctor Aphra #9 takes the series back to business as usual in the aftermath of the "Screaming Citadel" crossover, and that's an appealing prospect. Especially since it means artist Kev Walker is back in the fold.
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This series has featured some of the best artists currently working at DC, with its visual high point occurring last month as Stepjan Sejic stopped by to lend his unique touch to the franchise. In the wake of that excellent issue, Suicide Squad #21 is a bit of a letdown.
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Even if you're not familiar with the original America Way, this sequel is well worth checking out. It balances out biting, insightful social commentary with thoughtful characterization and engaging visuals. Even with as many deconstructionist superhero stories as we've seen over the years, The American Way has something important to add to the mix.
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While the abrupt visual transitions in this issue can be a little annoying, that's a minor concern compared to everything else Dark Days: The Casting does so well. This issue ably picks up where The Forge left off last month, further building excitement for DC's upcoming Batman event and creating all sorts of fascinating new connections in the DCU. This is exactly the sort of ambitious, epic conflict that makes a great event comic.
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It's never a bad thing to see Brian Bendis and Sara Pichelli exploring the life and times of Miles Morales. Spider-Men II #1 captures a lot of what makes their partnership work, with Bendis' humorous dialogue and Pichelli's gorgeous art resulting in a very pleasant reading experience. But with the novelty of the Peter/Miles team-up evaporated by now, this issue reads less like the start of an epic new crossover and more like just another day in the shared lives of these two heroes.
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Venom still has some kinks to iron out, particularly in terms of the visuals, but at this point there's no denying the the series is better off with the return of Eddie Brock and the other changes that status quo shift has brought about. This issue offers plenty of zany fun without losing sight of the core host/symbiote dynamic that's been the series' strongest asset all along.
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The new Wonder Woman creative team doesn't immediately measure up to the old, and this series seems likely to lose its place as one of the best ongoing Rebirth comics. But on its own merits, this issue has something to offer fans. It's a relatively lighthearted and often charming little adventure that isn't afraid to explore the darker side of Diana's crusade. If not for the mixed art quality, this issue would be a perfectly solid addition to the Rebirth lineup.
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This issue continues to mine gold from the wonderful Gabby/Deadpool partnership, while also making the most of Laura's new team-up with the Guardians of the Galaxy.
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Green Lanterns is far from DC's most visually consistent series, and that trend shows no sign of changing.
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We're probably all starting to sound like a collective broken record here, but it's frustrating that, issue after issue, the main story in Harley Quinn is outshone by the Batman: The Animated Series-inspired backup tale.
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Kelly Thompson's script manages to add extra dramatic weight by switching between present-day and flashback sections, though after a while it becomes clear that the former just isn't as compelling.
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If Rebirth is all about building and repairing relationships, then this issue is another critical step in that process.
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Pocket It Like You Stole It is an enjoyable addition to Oni's growing Rick and Morty library. This first issue captures the look, feel and general sense of humor of the show while also offering a different perspective on the mobile gaming source material. The art quality doesn't always hold up, but fans hungry for more Rick and Morty could do far worse.
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Basically, Robinson Crusoe in space. It's a fun diversion for the series. But more importantly, it's one that adds some welcome depth to the Skywalker sibling relationship and fleshes out Leia's past in a meaningful way.
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The wait between new issues of this series continues to be frustratingly long, and it doesn't help that this new chapter elects to flash back in time and chronicle the origin of Edward Spellman rather than advance the present-day narrative.
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All in all, this easily ranks as one of the strongest debuts for AfterShock Comics.
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"The War of Jokes and Riddles" is shaping up to be another classic Batman tale for King and Janin. This issue doesn't do much to push forward the present-day portion of the conflict, but it does built a growing sense of unease and showcase both Joker and Riddler at their best. And Janin's gorgeous art is yet another reminder that he and King make an excellent team.
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Given how well the original Deadpool Kills the Marvel Universe has sold for Marvel, you can't really blame the publisher for returning to that well. But that does nothing to change the fact that this follow-up reads like a pointless, derivative rehash of a formula we've seen too many times already. Only hardcore Deadpool fanatics need apply.
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The Injustice comic has always been at its best when it focuses on fleshing out the key players in this dark superhero universe over setting the stage for the games. That's certainly the case with this issue, which offers a terrific take on Ted Kord and his relationships with pupil Jaime Reyes and former partner Booster Gold.
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There's been plenty of death and carnage in The Walking Dead lately, and it looks as though Robert Kirkman and Charlie Allard will be taking some time to regroup and focus on character relationships over plot. That's perfectly fine, especially with issue like this that manage to create new character drama and build on past storyline in clever and unexpected ways.
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Together, De Campi and ChrisCross create a boisterous, explosive tale of modern war and espionage, one where the liens between good and evil are practically nonexistent. If the plot comes together, this could become a truly memorable addition to Dark Horse's lineup.
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It's a suitably low-key, lighthearted chapter of the series, poking fun at ghost hunting culture and highlighting Babs' rational scientist mindset as she struggles to find a rational explanation for the supernatural. The actual mystery angle falls a little flat, however.
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This series enjoyed a strong debut in 2015, though its long absence was an unfortunate momentum killer. Luckily, Rucka and artist Nicola Scott hit the ground running with this issue, which is easily their strongest to date.
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Clue is a comedic, character-driven and very self-aware series that should appeal to anyone who adores the cult classic 1985 film.
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Andrea Broccardo's art is a little too light and cartoonish in tone for the dark nature of this story, but it's still a big step up from the Uncanny Valley visuals on display in Salvador Larroca's issues.
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This issue is equal parts funny, wistful and optimistic, and further proof that Sejic needs to be a recurring face in the Rebirth lineup.
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There are too many loose threads and open-ended conflicts remaining for Rucka to really tie everything together in one issue. But emotionally, Wonder Woman #25 serves as a strong finish to that run.
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The Amazing Spider-Man is quickly shaping up to be one of the stronger Secret Empire tie-ins, though this issue's strengths have less to do with Marvel's latest crossover event and more with the ways in which it furthers several of the series' key plot threads. With top-notch art from Stuart Immonen, a nuanced look at the warring sides of Peter Parker's life and the grand return of Otto Octavius, there's plenty for ASM fans to chew on here.
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DC truly saved the best for last with their DCU/Looney Tunes crossover specials. Batman/Elmer Fudd is a gleefully absurd mash-up of the two franchises, one made all the more ridiculous by the fact that it presents itself as a completely serious and gritty noir tale. But as goofy as this comic can be, it also treats its two leads with a huge amount of care and gravitas, resulting in a crossover the delivers on multiple levels and somehow emerges as King's best Batman comic to date.
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Edge of Venomverse #1 works fine as a sort of short, condensed take on the origin of X-23 and her first meeting with the NYX cast. It's a story that's well-suited to Ramon Bachs' murky, brooding art style. But it's not one that makes particularly clever use of the Venom element. Nor does it do much at all to build anticipation for the upcoming Venomverse crossover.
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It's good to see Secret Empire building steam again as the series reaches the halfway point. Issue #5 helps push the narrative forward again, even as it devotes most of its attention to showcasing various heroes and villains and the ways in which this conflict is burdening them all. From Thor Odinson to Black Widow to Cap himself, there's plenty of strong character work to go around, and the (mostly) strong visuals help keep the story humming along.
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Star Wars: Droids Unplugged offers an entertaining look at the lighter side of the franchise, with three droid-centric stories that cover all three trilogies. The BB-8 take in particular manages to tickle the funny bone and tug at the heartstrings. However, for those readers who have experienced these stories elsewhere, the $3.99 cover price might be a tough pill to swallow.
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This series has both spoofed and paid loving having homage to many eras of the comic book industry. It was only a matter of time before Jeff Lemire and Dean Ormston got around to lampooning the excesses of '90s superhero comics.
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This is definitely an issue that demands multiple readings to be fully appreciated. The first time around, the narrative feels a bit jumbled, as it's not at all clear how the two plot threads and their respective protagonists are connected. But once this issue establishes its Freaky Friday-esque twist, the pieces click into place.
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This series is doing a great job of establishing Riri as a character, just less so when it comes to making her an active player in the wider Marvel Universe. But between Bendis' characterization and Stefano Caselli's gorgeous, expressive art, the positives continue to outweigh the negatives.
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Basically, if your Image reading list has a Luther Strode-sized hole in it right now, Shirtless Bear-Fighter is the comic for you.
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The book still lacks a bit of the fine-tuned, cinematic quality of Marvel's best Star Wars comics, but at least there's been a marked improvement over the early chapters.
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"Black Dawn" becomes the latest story to pit Superman's brand of hope and optimism and Black's pragmatic ruthlessness. It's a well-trodden dynamic by now, but one that fits DC Rebirth like a glove.
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It's always been clear than The Black Monday Murders is a horror story, but that fact becomes all the more obvious in this issue.
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Jason Aaron's Thor run is known for introducing mysteries that take months or even years to resolve, so it's a refreshing change of pace that this new issue both introduces the new Ultimate Thor and reveals his identity right off the bat.
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Tom King and Mikel Janin's new Batman epic is off to a fine start. This issue manages to set the stage for an epic conflict in Gotham City without losing the momentum by flashing back to the past. King's take on the two lead villains is fascinating, and the series never looks better than when Janin is by his side.
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This series hasn't turned out to be the critical companion to Secret empire readers might have expected. This issue in particular suffers from a seeming inability to fixate on any one plot point, instead bouncing around the landscape of Secret Empire. But there are at least some memorable moments along the way, not to mention that the art is far more cohesive than is usually the case with this book.
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The newest incarnation of Spectacular Spider-Man is nothing if not a fun read. The book banks on the rock-solid relationships between Peter Parker and his supporting cast, throwing in a few new faces for good measure. And it looks great, to boot, thanks both to Adam Kubert's wide-open art and Jordie Bellaire's striking colors. That said, this first issue doesn't exactly build a compelling conflict right out of the gate. That's one area both Amazing Spider-Man and Renew Your Vows have it beat. Good Peter Parker: The Spectactular Spider-Man #1 is a fun, attractive but fairly shallow debut for the new series.

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Marvel's new Darth Vader comic still has a ways to go before it lives up to its predecessor. The series offers a compelling look at the Star Wars universe immediately after the events of Episode III, but the sluggish pacing and lack of a proper foil for Vader are both limiting its overall impact. And while the storytelling is sound, the odd rendition of Vader himself is often distracting. Okay Darth Vader #2 offers a fun glimpse of the post-Episode III timeline, but the series continues to move too slowly. 21 Jun 2017
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Weapon X has been one of Marvel's more disappointing debuts this year, but things are looking up for the series as it begins its crossover with Totally Awesome Hulk. Greg Pak is able to use the latter to provide the former with a much-needed jolt of humor and a stronger sense of visual style. Meanwhile, the Weapon X team dynamic is much stronger off thanks to this issue.
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In terms of plot, this new story arc is far from the most remarkable we've seen on All-New Wolverine.
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Captain America: Sam Wilson #23 does its part to flesh out Sam's head-space and the character's role in this massive conflict, but it doesn't necessarily add anything critical to the larger crossover. But for long-term fans of the series, it's worth it mainly just to see Nick Spencer explore what happens when Sam no longer has the will to be Captain America.
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Joshua Williamson uses Hal's presence to its fullest, drawing from his own relationship to fear and forcing Barry to confront how fear is the real culprit behind his recent miseries.
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Slow pacing is becoming a real sticking point with several ongoing Marvel titles right now, and Hulk is possibly the biggest offender of them all.
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This series shows a lot of promise, but it needs to move past this uneven first chapter.
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It's a little surprising that the X-Men don't have their own dedicated tie-in mini-series for Secret Empire, but this one-shot does the trick well enough.
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Salvador Larroca's Star Wars work has always been mixed at best, but lately his reliance on photo-referenced figures (especially those pulled directly from the original Star Wars movies), is becoming a huge distraction.
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As usual, the heavy-handed narration needs to be toned down. If anything, it's all the more "in your face" coming right off of the narration-less issue #7.
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Coming off Tradd Moore's strong effort in issue #150, this issue doesn't measure up visually.
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It feels like there's a worthwhile comic lurking somewhere beneath the surface of Weapon X, but it has yet to actually rear its head.
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The first half of this issue makes a strong case for writer Steve Niles' latest foray into the horror realm, bombarding the reader with unsettling imagery and buckets of gore while leaving them questioning everything they're reading. But following that opening sequence, this issue pretty much loses its way.
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Rucka's characterization is rock-solid when it comes to both leading women and Cheetah, who arguably suffered more than anyone in this arc. And all of that misery serves a valuable purpose, with Rucka reinforcing the notion that Diana feels love and compassion for all, even her most bitter of enemies.
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Dark Nights: Metal just became the event comic to watch thanks to this prologue issue. Scott Snyder and James Tynion weave an engrossing story that manages to feel both adventurous and darkly foreboding. And while the visual tone of the issue isn't as consistent as it could be, it does feature memorable visuals from three of the biggest artists in DC's lineup. It's impossible not to be excited for Metal after this.
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The Defenders may not appeal to readers specifically hoping for a traditional take on this superhero team, but anyone who enjoyed Brian Bendis' work on books like Daredevil and Alias will be happy to see him return to this cast of characters. And with David Marquez at the helm, this series immediately gets off to a strong start.
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Old Man Logan is in solid shape as the new creative team takes the helm. This issue doesn't offer a drastically different take on the character, but it does continue nicely from where writer Jeff Lemire ended his run while also drawing in a bit of the weirdness and brutality of the original Old Man Logan story. It's an approach that seems to be paying off nicely so far.
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Secret Empire #4 is an enjoyable read on its own merits, but as a chapter in a much larger storyline, it comes up a bit short. The Ultron-focused subplot seems better-suited to a one-shot tie-in, and it leaves Nick Spencer too little room to explore the series' many other concurrent plot threads. More than ever, it's a good thing this series ships as frequently as it does.
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This issue may raise more questions than it answers, but those questions are more than enough to hold the reader's attention. The fact that this issue also goes a long way towards showcasing how this series will diverge from the movies rather than echo them certainly doesn't hurt.
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Dan Slott can sometimes be too preoccupied with setting the stage for future conflicts at the end of current ones, and that approach gives this battle a slightly anticlimactic feel in the end.
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This series is the first outside of the Iron Man books to really take advantage of Victor Von Doom's current status quo. That led to a really fun Avengers/Doom team-up in issue #7. Unfortunately, this follow-up story mostly ignores that dynamic in favor of picking up threads left over from the recent Avengers: Four mini-series.
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The appeal of having Bane co-creators Chuck Dixon and Graham Nolan working with the character again was deflated after reading the first chapter of this new maxi-series. Issue #2 makes some solid improvements, but Conquest still isn't on the level of their previous Batman work.
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It's been a long time since Rocket has shone this brightly on his own.
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Brave New World adds little to the larger Secret Empire equation, as it does little more than showcase what various secondary heroes are up to during the rise of Hydra. Nor do the majority of the characters on the cover actually appear in this issue.
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This issue leaves readers with equal bits sad resignation and hope for the future. A year ago, who would have expected such strange, wonderful ambition from a Flintstones comic?
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After all this time, it's still not entirely clear what Negan's motivations and end goals are, but it is clear that he's still the book's most electrifying and fascinating character.
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Where the ongoing Wonder Woman series ranks among DC's better books these days, this one-shot feels generic by comparison.
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Batman #24 is a terrific way to cap off Tom King's first year's worth of Batman stories. This moody, introspective issue manages to both flesh out Gotham Girl and illuminate Batman's complicated psychological state in the wake of storylines like "Rooftops" and "The Button." This issue also makes the most of both artists, with the visuals anchored by the haunting colors of Jordie Bellaire.
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As a whole, The Dark Knight III is a flawed story at best, and one that hasn't always captured the greatness of the original mini-series. But the final issue stands out in large part because it doesn't try to. Instead, it brings a newfound sense of optimism to this formerly dark and dreary universe. It's a refreshing change for the Dark Knight franchise, and one that leaves the door open for an even bolder and more daring sequel.
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Iceman #1 doesn't make the strongest case for this series as an ongoing story, as it could just as easily be a standalone one-shot starring the frozen X-Man. But it's a very well-executed story regardless, one that showcases Bobby Drake's crazy personal life while still making the most of his incredible powers. Iceman is shaping up to be a worthy addition to the ResurrXion lineup.
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This issue basically serves as a character study for Sam, exploring his reaction to Hydra's takeover of America and the internal conflict between his weary resignation and innate need to help others. Nothing earth-shattering, in other words, but enjoyable enough.
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This series never feels entirely right unless Joshua Williamson and Carmine Di Giandomenico are both in the driver's seat. That reunion helps start this new story arc off on the right note.
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It's a shame that Gamora of all books didn't stick around a little longer. There's a lot to like about this series, between the intimate look it provides at the Most Dangerous Woman in the Galaxy and the gorgeous visuals of Marco Checchetto.
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Some teen X-Men books really shake up the formula, and others seem content to play it safe. Generation X is, sadly, shaping up to be the latter.
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This series continues to show plenty of promise, but it needs a tighter approach to pacing and a willingness to stay mired in darkness as long as Jen's character arc demands it.
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Ultimately, this issue repeats what's now become a well-worn theme - the idea that Logan has to stop living in the past. But it's a worthy sentiment all the same, and hopefully one the incoming creative team will bear in mind.
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This "Calvin & Hobbes Meets Sin City" mash-up grows even darker in issue #2, in case if you were wondering whether that was even possible
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"The Screaming Citadel" isn't shaping up to be very notable in terms of plot or its relevance to Luke's quest to become a Jedi Knight, but ti does offer a winning blend of goofy yet high-stakes action and solid character drama.
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As a celebration of an iconic character just before she makes her solo film debut, this issue delivers the goods.
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Cable immediately establishes itself as one of the stronger additions to Marvel's ResurrXion lineup. This first issue offers a tightly paced, attractive romp as the cyborg hero hunts a mysterious enemy across time. And fortunately, the book is able to add just enough depth and complexity to its main character to balance out the light, breezy storytelling approach.
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Secret Empire is not a perfect event comic by any means. The series is becoming crowded with characters even as the actual plot begins to lose momentum. And while Andrea Sorrentino's art is frequently gorgeous, Sorrentino isn't versatile enough to handle all aspects of the story. But despite its flaws, Secret Empire manages to grab the reader's attention in a way that too few crossover events ever truly manage.
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This issue takes a step back to explore the original meeting of Colonel Weird and Talky-Walky. That origin story is extremely entertaining, making the most of Jeff Lemire's talent for evoking the feel of classic Silver Age storytelling with a modern, self-aware twist.
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For a series that ranked among Marvel's best in 2016, Black Panther is having a surprisingly difficult time finding its footing in its second story arc.
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You really have to admire this series' ability to include, significant, meaningful developments in each new issue. Even if it often takes months for any given character to cycle back into the dense narrative, no chapter feels wasted or out of place.
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The series' current story arc reaches an uneven conclusion here. The problem is mostly one of pacing. After so much build-up, it's bizarre to see the Sarko threat so quickly and easily dealt with. Because of that, there's a general lack of urgency and dramatic tension in this issue.
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Surprise, surprise. The latest chapter of Infamous Iron Man is another slow, methodical read. But more than ever, the strong characterization is making up for the glacial story pace.
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This series has a compelling team, but it has yet to figure out how to properly test them.
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Anytime you start to question why this series needs to actually be set in Batman's backyard, it delivers a firm reminder.
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Marvel really shouldn't have dusted off the "Secret Warriors" name for this book, because it only invites certain expectations regrading tone, subject matter and, honestly, quality that it just can't deliver.
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The plot is pretty straightforward, but Rob Williams and Tony Daniel add just enough flourish to keep things interesting.
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This issue wraps up "The Truth" and brings Greg Rucka's run one step closer to its imminent conclusion. And if this chapter is any indication, that run will be given the finish it deserves.
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In terms of its contribution to the larger Secret Empire narrative, Captain America: Steve Rogers #17 is a winner. It offers crucial context for the story and how Hydra's rise impacts both the superhuman community and ordinary Americans. But as with so many issues of this series, the art is disappointingly rushed and haphazard.
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I Am Groot #1 is a perfectly entertaining new addition to the Guardians franchise. The art alone is a pretty strong selling point. But even with Groot's new status quo, the series doesn't do much to venture outside of the safe, comfortable confines readers are used to by now. Unlike Rocket #1, I Am Groot #1 is content to play things safe.
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Venom #150 is a significant step up from the series first six chapters. Tradd Moore's dynamic art style is a natural fit for this over-the-top villain, and the writing immediately benefits from having two solid protagonists rather than one. However, the series still has to prove the new status quo can do more than bank on nostalgia. Also annoying is that neither backup feature really justifies the increased cost of entry.
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This issue in particular features some very raw, intense moments that promise to fuel a very dramatic final chapter.
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Reading this issue makes it obvious why artist Ryan Ottley needed a break to start working ahead on this final, epic storyline. Ottley renders what might just be his most epic fight sequence yet, as Mark and his small band of allies make their stand against General Thragg and his literal army of Viltrumite offspring.
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It's the same story with both Iron Man books right now - great characterization, top-notch visuals and an agonizingly slow pace. Even seven issues in, it feels like this series has barely gotten started with establishing Riri Williams' role in the Marvel Universe.
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Luke Cage #1 is, at best, a blandly competent comic.
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Yes, it's a fun read, but there's very little in the way of depth here. The script offers almost no insight into who Nick Fury Jr. is or what makes him tick. That's been the character's core flaw from the very beginning, and unfortunately, that doesn't appear to be changing now.
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Visually, this issue is a severe step down from its predecessor. Salvador Larroca's art is even more frustrating than it was on the recent Yoda flashback storyline.
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Between the increased focus on Leia and the other members of Black Squadron, the series is starting to feel like a more vital addition to Marvel's Star Wars lineup. Unfortunately, that comes as artist Phil Noto is replaced by Angel Unzueta.
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With Batman #23, Tom King and Mitch Gerads further cement their status as one of the greatest creative teams currently working in comics. This issue offers a captivating blend of moody horror and zany humor, while the creators make the most of the surprisingly resonant bond between Bruce Wayne and Alec Holland. Its's enough to make you wonder why DC has kept Swamp Thing out of the spotlight for the past year.
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Deadpool: Bad Blood is a graphic novel geared very much towards fans of the character's earliest adventures, and clearly the creative team are aware of that fact. The book does indeed succeed in recapturing a bygone era, warts and all. But ultimately, Bad Blood serves as a reminder of how far Deadpool has come in the decades since his debut.
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"The Button" reaches a slightly underwhelming finish, as the story provides few answers to the mystery that's been slowly unfolding across the DCU for the past year. But the characterization shines even if the plot itself stalls out. And Howard Porter does a great job of evoking both DC Universe Rebirth #1 and Watchmen in his art.
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The Injustice 2 comic got off to a strong start, but one that offered little sense of where the series was headed as it began to build towards the events of the new game. Issue #2 is an improvement in that regard. The two chapters in this issue shed more light on the series' overarching narrative without losing sight of the great character moments that make these comic so special in the first place.
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Secret Empire has a few presentation issues in the switch from one artist to the next, but otherwise this is one event that looks to deliver on the hype. This issue manages to both convey the full scope of Hydra's takeover while keeping the focus intimate and relatable. Things are looking bleak for the Avengers, but there's also a ray of light on the horizon as the race against time begins.
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I do wish the creators had emphasized sequential art over illustrated prose a little more with this book, but regardless of approach, A.D. works as a very intimate, very emotional look at a man finally coming to terms with death.
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This series made such a strong impression early on thanks to David Lopez's art, and it's never been able to meet that standard since.
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But in the end, this series proves once again that Batman and the Ninja Turtles are two great tastes that go great together.
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Black Cloud isn't an easy read, but it's a gorgeous one.
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The Allreds deliver a surreal, enjoyable script, but one that doesn't fully tap into the psychological weight of Forager's constant cycle of sleep and wake and death and resurrection. Hopefully that'll change soon enough.
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After a promising debut, it's disappointing to see Justice League of America fall to the back of the DC Rebirth pack.
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This current story arc has benefited immensely from the decision to eliminate the backup stories and shift to a traditional story structure. Suddenly the characters have more room to breathe.
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The relationship between Diana Prince and current adversary Veronica Cale grows a little more nuanced and compelling with each new issue.
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It's disappointing that Jeff Lemire's Old Man Logan run continues to struggle so close to the end. The time travel premise has worn a bit thin, though Lemire does add some intriguing new complications to that formula here. The hope is that this issue is at least setting the stage for a truly worthy finale. Lemire's run deserves that much.
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If you like your horror both grotesque and unnerving, then Regression is the comic for you. The series makes a strong and immediate impression in its first issue thanks to the efficient storytelling and Luckert's knack for rendering Cronenberg-worthy visuals. Not a perfect debut, but one that makes a strong case for Image's latest new series.
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Together, Al Ewing and Adam Gorham ensure that this series is more than just another Rocket Raccoon comic. It offers a very unique take on the furry hero, one that manages to entertain even as it shines a light on Rocket's tragic past and love life. Suddenly, the question isn't "Does Rocket Raccoon actually need his own comic?", but "When can we get the next issue?".
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Fans of the original Secret Warriors comic will need to keep their expectations firmly in check for Vol. 2. This new series shares little in common with its predecessor and settles for delivering a generic, slow-paced team building story. Whether as a follow-up to the original series or a companion to Secret Empire, the new Secret Warriors is a disappointment.
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Marvel's second Star Wars crossover is shaping up to be stronger than the first. The Screaming Citadel #1 uses both Star Wars and Doctor Aphra as a logical jumping-off point, making the most of this unusual pairing and introducing a compelling new world in the process. Kieron Gillen and Marco Checchetto are the ideal creative team to play in a galaxy far, far away.
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Perhaps it was too much to hope for more than one great Bane story out of DC this year. Bane: Conquest comes right on the heels of Tom King and David Finch's "I Am Bane" storyline, but it does little to build on that momentum.
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In some ways, the "Champions vs. Freelancers" storyline has been a disappointment, as the series has done little to flesh out the latter group or make them feel like a compelling bunch of characters in their own right. But they have, at least, had a profound effect on the Champions as they struggle to establish their place in the ever-changing Marvel U.
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It's entirely possible that this comic will hold more significance who have actually experienced the ride and crave a souvenir of the experience. But on its own merits, this reads like a pretty run-of-the-mill Guardians comic.
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While at first this series seemed a worthy successor to the original Alias, over time it's proven to be a far more inconsistent experience.
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Even with a key moment being repeated over and over again, Hitch continually finds new ways to depict the carnage and human drama.
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Writer Frank Tieri tends to do his best work with projects that combine horror and violent action with a little bit of silliness. With that in mind, fans should feel right at home with Pestilence.
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Get ready for one of the most emotionally charged Walking Dead issues in the series' long history.
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This latest series aims to give readers a fresh start by introducing a new team of heroes banding together after the old Youngblood was disgraced. The result is a perfectly decent, fast-paced superhero book, but one that doesn't do a great deal to stand out from the crowd.
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Marvel's relaunched Guardians comic isn't quite as different as its title would have you believe. In fact, it pushes the franchise in an even more movie-inspired direction. But it does offer plenty of fun featuring Star-Lord and the gang., as well as a terrific sense of visual style. For now, that's enough.
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"The Button" may be playing things conservatively when it comes to providing answers to ongoing DC mysteries, but it's certainly managing to tell a great story. The third chapter is easily the best yet, as Batman and Flash's journey takes an emotional turn and Joshua Williamson and Jason Fabok manage to channel much of what made DC Universe Rebirth #1 such a powerful read last year.
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Injustice 2 isn't as quick as the original Injustice: Gods Among Us to establish its main conflict. This issue doesn't necessarily do enough to establish where the series is headed over the long-term. But that's a minor concern when compared to the thrill of seeing Tom Taylor and Bruno Redondo working together again. This issue immediately recaptures all the fun and strong characterization of their early work, suggesting that readers are once again in for a wild, lengthy ride.
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Jean Grey seems like it'll develop into a worthwhile addition to the growing ResurrXion lineup. The art is strong, and Dennis Hopeless shows a decent handle on the title character. Unfortunately, the series gets off to a needlessly slow start in this first issue, dwelling on an overlong battle with the Wrecking Crew rather than diving into the heart of Jean's struggle.
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While the art in this issue isn't quite as consistent as it needs to be, in general Secret Empire is shaping up to be one of the rare crossover events that actually delivers on the hype. This opening chapter sets the stage well, establishing a drastically different Marvel Universe that's already feeling the influence of Hydra's reign. It offers a winning blend of character drama, superhero spectacle, and even significant humor to balance out the darker moments. If that balance can be maintained over the long haul, readers are in for a treat this summer.
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This issue kicks off the second season of Ta-Nehisi Cates' Black Panther run, and there's an immediate and palpable stylistic shift. The emphasis is less on politics and high-minded ideals and more on the supernatural side of Wakandan culture.
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Britannia: We Who Are About to Die is more than just a hard-boiled detective mystery set in the Roman Empire. It's also an examination of the debauchery of late-stage civilization and the contradiction of a man of reason and deduction being tormented by visions from the gods.
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Two issues into this arc, it still feels like the conflict between Doom and Ultimate Reed Richards is stuck in its most nascent stage.
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I was hoping for a little more from Lemire's final arc.
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At long last, Suicide Squad is moving away from the choppy structure of previous arcs and focusing on telling one story per issue. The book's pacing improves immediately and significantly as Rob Williams and new artist Tony Daniel explore a clash between Amanda Waller and Lex Luthor.
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Aside from the sheer, epic insanity that is "The Asgard/Shi'ar War," half the fun with this current storyline is seeing writer Jason Aaron reconnect with so many familiar faces from his Wolverine and the X-Men run.
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Two issues in, Weapon X is still shaping up to be one of the weaker additions to the ResurrXion relaunch.
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Rucka and artist Liam Sharp are content to maintain a slow, steady pace in this issue, drawing out the clash between Diana and Veronica Cale for maximum dramatic impact. If not quick to advance the plot, this issue does serve as both a strong character study and another great showcase for Sharp's storytelling skills.
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It wouldn't be out of line to describe this X-O Manowar relaunch as "Space Conan."
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Even if Alien: Covenant fails to live up to its promise, at least fans of the franchise are getting one worthwhile Alien story this spring. Dead Orbit is an excellent throwback to the original film, focusing on claustrophobic horror and dread rather than action and spectacle. This is what happens when you give a talented storyteller the reins of a beloved franchise and simply let them go wild on the page.
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Batman/The Shadow shows every sign of living up to the recent high standard set by crossover comics like Star Trek/Green Lantern and Tarzan on the Planet of the Apes. It cleverly merges the two franchises and explores the enduring legacy of The Shadow in Gotham City, for good and ill. And thanks to Rossmo, the comic looks every bit as good as it reads.
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Ben Reilly: The Scarlet Spider #1 is a fairly enjoyable debut. Peter David's sense of humor shines through, as always, and it's always great seeing Mark Bagley playing in this corner of the Marvel U. That said, this issue does little to establish Ben as a sympathetic or even understandable protagonist. The character's new mean streak is both a blessing and a curse as this series tries to establish itself.
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Eight issues in, Ormston and Jeff Lemire have allowed readers to care about these fallen heroes as if they're lifelong friends. That, above everything else, is what makes this the best superhero comic on the stands.
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While enjoyable, this crossover has felt a bit drawn-out, and the finale does little to justify that approach.
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Timms always brings a slightly more sinister edge to the book, and that's certainly called for given the subject matter. Still, there's a growing concern that this series is losing its bite.
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Writer Brian Bendis uses this issue as an opportunity to play Riri against many mainstay characters from his iron Man run, including Mary Jane, Pepper Potts and even Tony's birth mother, Amanda Armstrong. Tony's digital A.I. self provides ample comic relief (perhaps a little too much at times), but the book resonates most when it simply focuses on Riri's struggle to decide what she truly wants and her inability to acknowledge her fears and doubts.
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This series is proof that it's always possible to revive an ailing franchise with a change in direction and creative team. I already find myself more invested in the Inhumans than I have been in years.
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For all that this series seems to suffer from the storytelling limitations imposed by the Force Awakens-era setting, Soule manages to remind us that not every character in this series is safe from harm, and that there are consequences to failure.
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Super Sons retains much of the charm that makes Superman such a joy to read, but with the added fun of the Damian/Jon dynamic to spice things up. Tomasi captures both their voices well, frequently contrasting Jon's wide-eyed innocence with Damian's cranky cynicism and arrogance.
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The Wild Storm is a clever, engrossing update to the old Wildstorm universe, but the series has been a bit lacking when it comes to the sardonic wit Warren Ellis usually brings to his work. Luckily, that begins to change in this issue as Ellis and Jon Davis-Hunt introduce Jenny Sparks into the fold.
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"Ends of the Earth" wraps with what is easily one of the strongest chapters of All-Star Batman to date. This issue manages to drag the Dark Knight out of his comfort zone even as it offers a powerful meditation on the end of the world and the power the Batman symbol holds to light the way in dark, confusing times.
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Batman #21 is a very slow-paced, methodical start to this crossover, which is a little frustrating considering that writers Tom king and Joshua Williamson only have four issues with which to work. Still, this is a gorgeous start to "The Button," and one that perfectly establishes the mood, even if it doesn't seem overly concerned with plot.
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Nick Fury #1 is a perfectly enjoyable read for anyone craving a little super-spy action. The psychedelic art recalls the glory days of Jim Steranko's S.H.I.E.L.D. work while still giving the book its own flavor. Unfortunately, this issue does little to paint its title character as an interesting leading man capable of supporting his own series. Fury is a character in dire need of more depth, and it's unclear whether this comic can get the job done.
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Secret Empire probably isn't going to be for all readers. If you haven't been won over by Captain America: Steve Rogers over the past year, Secret Empire #0 likely won't change your mind. But for those who can roll with the concept of Marvel's brightest hero becoming its greatest betrayer, this issue serves as a strong start to what promises to be a very epic and emotionally charged conflict.
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This first issue reads more like a grounded cop drama starring Misty Knight. Most of the characters on the cover don't even put in an appearance. But despite the weird branding and the sometimes agonizingly slow pace, this first issue does succeed in exploring a different side of the Marvel U.
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Sam is at his lowest ebb since taking up the mantle of Captain America. And while a great deal of energy is spent rehashing his journey so far, the book carries enough emotionally weight that it doesn't read like a simple recap.
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There's a charming, Silver Age quality to this series that's reflected on this issue's cover - the old "hook readers with a melodramatic take on the evens within" trick. No, readers shouldn't expect a story about Iris West turning to the dark side, but they should look forward to an issue that puts the intrepid reporter in the spotlight for a change.
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This issue shifts the series in a bigger, bolder direction as it shines a light on Domino Swift's past and the real story of how her father came to adopt her. It's fun seeing the book develop a heavier sci-fi angle as time passes, but it's really the character drama that continues to give Motor Crush its strongest hook.
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There's a definite appeal to seeing Lemire explore these flashback periods and Logan's reaction to being forced to relive some of his worst moments. There's even a nice bit of tension in the Weapon X flashback as Logan risks stranding himself in his own personal hell. At the same time, this issue doesn't do enough to build a sense of momentum for the arc as a whole.
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This issue did leave me all the more disappointed that Gillen didn't do more to flesh out Aphra's current nemesis, Captain Tolvan, but otherwise it wraps up the series' opening arc in strong form.
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This arc has also gone a long way towards making Task Force X feel like a close-knit unit and not just a random, movie-friendly assortment characters. Harley's rallying cry from last issue leads into some surprisingly upbeat moments for Captain Boomerang and his fellow escapees. Unfortunately, John Romita's art has deteriorated in quality compared to earlier chapters.
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The creative team's take on Circe also impresses, with the villainess showing just the right blend of understandable, human drive and otherworldly menace.
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Dan Slott's Spider-Man run hit a slump with The Clone Conspiracy, but Amazing Spider-Man is quickly bouncing back in its aftermath. This issue delivers a fun, visually dynamic superhero romp that also asks some difficult questions about where Peter Parker's responsibilities truly lie these days. Peter himself, not Norman Osborn, may well be the real antagonist of this arc.
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Deadpool vs. Punisher doesn't dramatically reinvent the superhero crossover comic, but it has enough spark to stand apart from the crowd. Writer Fred Van Lente makes the most of this odd pairing of not-quite-superheroes, while Pere Perez strikes the right balance between goofy slapstick and grim, violent romp.
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This issue truly marks the end of an era at Marvel, and Brian Bendis and his collaborators give the Guardians the farewell they deserve. This issue has the scope of a huge event crossover but keeps the focus squarely on the Guardians and their family dynamic. It's a gorgeous comic, and one that manages to be funny and heartfelt in equal measure.
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It's always nice to see Greg Pak return to the X-Men franchise, but Weapon X proves disappointingly bland and formulaic in its first issue. There's little here we haven't seen from various other grim and gritty X-books, and the solid characterization can't make up for the dull conflict and lackluster art. Weapon X does nothing to help the ResurrXion relaunch start out on the right footing.
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While the appeal of the All-New X-Men has diminished in recent years, X-Men Blue is able to quickly recapture that early magic. Cullen Bunn's team dynamic is strong, Jorge Molina's art is slick and the creators introduce just enough wrinkles to the familiar formula to keep things fresh.
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All that really matters is that the new status quo allows both Laura and her younger sister Gabby to serve as superhero partners. Their relationship continues to be the driving force of the series and the main reason All-New Wolverine is one of Marvel's most purely enjoyable superhero comics.
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Mix Aquaman with a healthy dose of 1987's The Abyss and you basically have the "H2.0" storyline. The name is a little dumb, but the execution sure isn't.
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It's the execution that really drags the book down. John Semper bombards readers with an onslaught of expository narrative captions, all of which seek to chronicle exactly how Vic is thinking and feeling at any given moment.
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After a dull, grim debut issue that seemed a little too eager to pattern itself after the Netflix series, Iron Fist #2 is able to get back in touch with what makes Danny Rand an appealing character.
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The creators deliver a very emotionally rich new chapter here, one that explores the highs and lows of the Luke/Jessica romance in the aftermath of the latter's recent mistakes.
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The Inhumans needed a fresh start every bit as badly as the X-Men. And while the jury is still out as to whether ResurrXion can truly revive the X-Men franchise's prospects, it's immediately worked wonders for the Inhumans.
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Kudranski's figure work can be robotic, but he certainly sets a distinctive mood. For his part, Brian Bendis puts a compelling new spin on a familiar story, particularly where Jefferson is concerned.
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The visual weirdness bogs down what is otherwise a strong finish to this arc.
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"I Am Bane" has been a worthy addition to Tom King's Batman saga, and it wraps up in strong form in Batman #20. It delivers a visually spectacular finish, one that thrives as much on Jordie Bellaire's mood-enhancing colors as David Finch's ultra-detailed pencils. It also reinforces the central themes of King's work, reminding readers once again that the Dark Knight might be mortal, but he can never be conquered.
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Captain America: Steve Rogers #15 is an especially eventful new chapter of the series as Marvel gears up for Secret Empire. While the opening pages offer a jarring transition from Uncanny Avengers #22, the remainder of the issue delivers a compelling look at the new state of the Cap/Red Skull dynamic. The book's real problem ,as usual, is its wonky, inconsistent art style.
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Of all the possibilities open to Marvel, it's disappointing that they chose to do a direct adaptation of Rogue One than attempt to expand on the film's rich cast of characters. This issue does manage to stand out at times as it seeks to explore hidden moments between familiar beats. But for the most part, it settles for being a decent but very straightforward take on a familiar story.
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It's never a dull moment in the Walking Dead Universe. No sooner is the latest threat to Alexandria brought under control than Rick and friends find a new threat emerging where they least expected it. This issue is great about building up new tensions between Alexandria and the Saviors, culminating in an unexpected but intriguing twist. The art has a few rough edges in this issue, but Charlie Adlard and his collaborators deliver where it matters most.
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It's clear that Marvel still has a ways to go before the X-Men franchise achieves comic book greatness again. However, X-Men Gold #1 at least feels like a step in the right direction. The new series doesn't have enough new elements and ideas to balance out the heavy nostalgia trip, but the focus on Kitty Pryde and the '90s-worthy visuals do strike a chord.
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The hope was that Dennis Hopeless would be able to wrap up his series on a high note in the aftermath of IvX. Sadly, that doesn't turn out to be the case.
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This issue features the first team-up between Batgirl and Supergirl in current DC continuity, which is just one more reason why Rebirth needed to happen in the first place. Unfortunately, the main story doesn't do a whole lot with that dynamic.
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Perhaps everything wraps up a little too neatly and quickly in the end, but this issue still offers a satisfying look at a deadly agent trying to atone for the sins of her past.
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Once you make the decision to recast Victor Von Doom as a hero, the logical next step is to make Reed Richards the villain. The inverted dynamic is at the heart of this series' second story arc. Unfortunately, the book's lackadaisical pacing continues.
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Writer Al Ewing covers a lot of ground here, proving right away that his voice is a great fit for the franchise. He brings a strong sense of humor to offset the general doom and gloom plaguing the team.
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World-building is one of Greg Rucka's particular strengths in his creator-owned comics. Rucka knows how to hook readers with a strong concept and compelling cast of characters without bogging down his story with too much extraneous information. The Old Guard is a testament to this.
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It does seem like this book is a little too preoccupied with ancillary characters like Old Man Logan (who's quickly becoming as overexposed as his predecessor was), but there's no denying that Logan's bond with Javelynn is a great deal of fun to read.
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It's not easy making someone as powerful and feared as Thanos feel like the underdog, but that's something Jeff Lemire and Mike Deodato have accomplished with this series.
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The Dark Knight III has plenty of spectacle and visual excitement to offer in its penultimate chapter. Andy Kubert directly channels Frank Miller's work on 300 as he chronicles the ultimate battle between Amazons and Kryptonians. But the story feels more spartan than ever in this issue, which calls into question whether a an extra ninth chapter was truly necessary.
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Green Lantern/Space Ghost sounded promising when it was announced, and the finished product doesn't disappoint. This issue forges a strong bond between the two space cop heroes and manages to tell a poignant story that avoids recycling too many of the usual crossover tropes. And for fans of the 2005 Space Ghost mini-series, it's almost like getting a sequel.
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After a promising start, it's disappointing to see Justice League of America stumble so hard and so quickly. None of the series' core strengths are on display in this issue, as Ivan Reis is again absent and too little attention is devoting to exploring the JLA group dynamic. At this point, the current arc needs to end so the series can hopefully get itself back on track.
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It's disappointing to see Old Man Logan lose so much steam this close to the end of Jeff Lemire's run. This arc always faced an uphill battle without Andrea Sorrentino's art to fall back on, but it suffers further from a dull, straightforward storyline that feels stretched out even at a mere two issues. Hopefully the series can only rebound from here.
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X-Men Prime #1 includes some strong moments as it attempts to build a new status quo for the weary mutants. But those moments don't necessarily add up to a cohesive whole. This issue lacks the excitement and energy needed to revitalize a franchise that's been in sorry shape for the past couple years. If ResurrXion is truly going to fix the X-Men, it needs to be more daring than this.
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Jeff Lemire and Dean Ormston devote the majority of this issue to fleshing out the background of the fallen Black Hammer and the bond he shared with his daughter. The story is executed well, as usual, with the creators doing an excellent job of making readers care for a hero who had little direct role in the series before now.
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The creators aren't just building a new Doom Patrol, they're celebrating the legacy of the team and reminding readers what a shame it's been that they've been out of action for so long. In this era of D Rebirth, it's a very fitting approach.
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Elektra's new comic isn't exactly lighting the comic book world on fire with its portrayal of the troubled assassin, but great art is usually enough to make a book stand out regardless.
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While entertaining, for most of this issue the team-up doesn't give the impression it's going anywhere particularly noteworthy. It doesn't help that Jesus Merino's art in these pages feels plain and lacks the dynamic quality of most Flash issues. But the issue makes a hard swerve in its final few pages.
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This issue features plenty of big moments, though the relentless pacing sometimes prevents the story from reaching its full emotional potential.
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These characters aren't particularly compelling yet, and it often feels like the creators are telling two completely separate stories at once here.
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As a villain, Tomoe's role feels pretty generic. All the effort spent trying to establish the character as a credible threat in the previous arc comes to naught here. But the book continues to soar on the strength of Bendis' characterization and Caselli's expressive art.
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Crystal is able to craft some psychological harrowing montages in this issue, but in general the series could really do with a return to visual form. At least writer Jody Houser continues to paint a compelling portrait of her damaged protagonist, one who is developing into far more than just another vigilante on the Gotham scene.
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The cover to Wonder Woman #15 featured a very arresting image of Diana wracked with insanity and locked away in a psychiatric institution. Sadly, this arc hasn't really exploited that premise to its fullest, treating her incarceration more as a temporary burden to be borne and then cast aside easily enough in this issue.
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Danny Rand can't seem to catch a break lately. This first issue is competently executed, but it pushes Iron Fist in a very generic and uninteresting direction. The lack of humor and the decision to downplay so many of the traditional trappings of the franchise only serve to dull the appeal of Iron Fist in the first place. Hopefully this issue isn't a sign of what to expect from the series as a whole.
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Darth Maul continues to be a disappointing addition to Marvel's Star Wars lineup. It mostly ignores the more unique aspects of the villain's background in favor of telling a safe, bland story about his pre-Episode I exploits. The series looks good, but it could be accomplishing so much more.
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The Unworthy Thor #5 isn't a perfect finish to the series, as this issue suffers from the presence of multiple fill-in artists. And fans may be disappointed with the straightforward nature of the big reveal. Even so, this issue serves as a terrific examinations of the central themes of Jason Aaron's Thor run and a solid springboard for what comes next.
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Whether you're a hardcore Valiant reader or a complete newbie, there's no reason not to give this relaunched series a try. X-O Manowar #1 offers a compelling portrait of a battle-worn hero trying and failing to leave his old ways behind. The elegant script and gorgeous visuals combine to form a very inviting and accessible new series.
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This issue finds a strong emotional hook in the way it explores themes of anxiety and self-doubt and forces Batman to question even fundamental truths about himself and his past. Giuseppe Camuncoli's art matches the story well, as he's able to transition from a relatively straightforward superhero style to something far more twisted and surreal over the course of this issue.
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This issue doesn't necessarily cover a lot of ground in terms of plot (the frequent flashbacks tend to get in the way of that), but plot is rarely as crucial as characterization when it comes to Batwoman.
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Nick Spencer's greatest strength with this series is that he uses Sam Wilson to showcase a different sort of Captain America, one who struggles to do the right thing and even wrap his mind around what the right thing actually is.
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Chamberlain takes the spotlight in this issue, and the results are predictably enjoyable. It never gets old seeing the silver-tongued Chamberlain talk circles around his rivals. But here we also get a better sense of his murky background and what his end-game is in this massive, post-apocalyptic conspiracy.
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G. Willow Wilson and Takeshi Miyazawa work some very strong character drama into this chapter. There's plenty of good, awkward romantic drama among the supporting cast.
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Two problems hold this issue back. One is that the figure work is frequently stilted, with too much emphasis placed on trying to capture the likenesses of the actors and not enough on clean, clear storytelling, The other is that there simply isn't enough space to tell a complete and satisfying story.
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The series continues to entertain, but I'm still waiting for it to take the next step and really dig into the main character in a more meaningful way.
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This issues bristles with energy as it chronicles the long-awaited clash between Asgard and the Imperial Guard. Rarely has Russell Dauterman's art looked so epic or featured such a massive sense of scale.
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This new issue of Amazing Spider-Man has a lot going for it. The main story, if a bit awkwardly paced, delivers some big twists, a dark tone and plenty of gorgeous art from Stuart Immonen. Unfortunately, this issue struggles to justify the hefty cover price. Too many of the backup stories read like pointless filler rather than meaningful additions to Peter Parker's increasingly chaotic world.
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American Gods: Shadows is shaping up to be a competent adaptation of the source material, but one that only sporadically uses the new medium to good effect. The rest of the time, the heavy reliance on Gaiman's original text begs the question of why readers shouldn't just turn to the novel instead.
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"I Am Bane" doesn't give the impression that it really needs five issues to be told. But that slow, methodical pace serves its own uses. This issue allows Tom King and David Finch to get into Bane's head in a more subtle way, exploring the tragedy of his return even as the villain mops the floor with every enemy Batman can throw at him. This issue looks and feels as unique as any of the others that have preceded it.
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The latest comic to call itself "Vampirella #1" offers a promising new status quo for the iconic heroine. It's extremely welcoming to newcomers and tosses in heavy doses of satirical humor and dystopian sci-fi for variety. However, this issue fails to establish a clear conflict or sense of direction for the new series, so for now the jury is still out.
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It's probably just as well that Venom is gearing up for a major status quo change, because this series clearly isn't working in its present state. However, those impending changes are doing nothing to help the current storyline, especially with the way this issue abruptly pivots to make room for what's coming.
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This particular chapter sheds more light on the revised history of Cap/Zemo and how the latter figures into the rapid build-up to Secret Empire. But at this point it's regrettable that said build-up has to be so relentless and fast-paced.
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For all the build-up to the debut of the League of Shadows, the organization doesn't quite live up to the hype. That's mainly because writer James Tynion IV keeps the focus almost entirely on their leader, Lady Shiva. The result is a perfectly enjoyable "Lady Shiva beats up the Batman family" story, but not one that feels particularly groundbreaking yet.
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In short, there's a nice blend of character drama and Flash Rogue banter on display here. However, Jesus Merino isn't very successful when it comes to capturing the book's dynamic, angular aesthetic.
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But if a bit overly preoccupied with violence, this issue at least uses it as a means of exploring Guy's troubled psychology and the childhood of abuse that forged him into them man he is today.
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The setting is certainly novel, and easily the biggest factor working to distinguish this book from the rest of the Hellboy pack. I do wish the script were a little more graceful in its exploration of that setting and the Chinese legends fueling the conflict, however.
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There are ways to fuse hard-boiled detective noir with the wider Marvel Universe, but so far this series has only found haphazard success.
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Mother Panic remains the most traditional of the four Young Animal books, though still only in a very relative sense. Yes, it's a bt more approachable for superhero fans, but writer Jody Houser finds success in plumbing the depths of Violet's complicated psyche and exploring how her childhood trauma fuels the Batman-hating vigilante she is today.
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As fun and enjoyable as the Cameron Stewart/Brenden Fletcher/Babs Tarr Batgirl run was, the creators seem even more in their element with Motor Crush. Anything goes in the world of drug-fueled, high-stakes, psychedelic motorcycle racing.
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The book remains the most darkly entertaining addition to Marvel's Star Wars franchise. At this point, I'd happily read a comic featuring just Beetee and Triple Zero. But after five issues, it feels like we should be further along in the story of the Aphra family hunting down the elusive lost Jedi city.
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It's a shame the art in All-New Wolverine #18 isn't more dynamic, because otherwise this issue manages to deliver a strong finish to "Enemy of the State II" and the first 18 months oft he series as a whole. It embraces positivity rather than darkness and it paves the way for a newer, more hopeful era for the new Wolverine.
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The return of Leinil Yu gives IvX a boost in its final chapter, but even that isn't enough to make up for the disappointing turn the conflict takes here. Poor characterization and a lukewarm resolution mar what had been a pretty entertaining and thoughtful take on the "hero vs. hero" trope. At this point, both franchises are in desperate need of the fresh start ResurrXion will provide.
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Man-Thing #1 is hardly a flawless debut for the series, as the choppy structure prevents either story in this issue from reaching its full potential. Still, it offers a clever, campy take on the iconic monster hero, and the art in both stories is very easy on the eyes.This promises to be a fun ride for fans of the Marvel Monsters.
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We can hope that Jeff Lemire will be able to wrap up his Old Man Logan run on a high note, but without Andrea Sorrentino providing interior art, the odds aren't looking great. This issue kicks off an entertaining but spartan little storyline that paves the way for Lemire's final conflict. And without the book's trademark surreal, psychedelic look in place, some of its appeal is lost.
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It's great to see Suicide Squad taking its place alongside the other titans of the DC Rebirth lineup. The series is in better overall shape following the Justice league vs. Suicide Squad crossover. The characterization is deeper and the two halves of the book are finding a better balance.
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Mark Waid and Mike Del Mundo deliver a fun tribute to Avengers past and present in this issue as the team uses Kang's methods against him. There's a real joy in seeing this new team join forces with the iconic Avengers of yesteryear, and Waid's humorous dialogue makes particularly strong use of the original Avengers.
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Ramos' normally distorted figure work becomes even more so here, which really messes with the sense of perspective during the extended paintball battle and makes it difficult to follow the flow of the action.
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The resulting team-up shows Aaron doing what he does best on this book - pairing clever supernatural conflicts with ample amounts of black humor and a healthy dose of Strange's self-loathing.
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The book opens strong with a sequence from Joseph Michael Linsner (a creator whom I'd really like to see draw a complete issue of Harley Quinn one of these days), but it then makes a series of jarring transitions as it bounces between Khari Evans and John Timms' pages.
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The book evokes that classic Bond feel, but it doesn't do much to break the mold, and this issue is over a bit too quickly for its own good.
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If this is the last we'll ever see of Midnighter and Apollo in the DCU (as is seeming likely at this point), i's a fitting send-off.
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Only during the first meeting between Peter and Tony Stark does the pace slow to the point where the book actually captures the flow and cadence of the screenplay. But even there, the best the book can offer is a very unremarkable adaptation of a story that's better experienced in its original form.
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If there were any doubts that Miss America truly needed her own comic, America #1 should put them to rest. This new series features an engaging take on the adventurous America Chavez, one that emphasizes goofy humor and grounded character drama over superheroics. Anyone who enjoys The Unbeatable Squirrel Girl or Hawkeye will feel right at home here.
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This series has taken its sweet time building up to the battle royale between Batman and Bane, and now that it's arrived, this issue doesn't disappoint. David Finch and Jordie Bellaire bring that fight to life in glorious, vivid detail, while Tom King's script eloquently points out the many ways in which Batman and bane have been linked since childhood.
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This latest Star Wars storyline continues to frustrate and entertain in equal measure. Jason Aaron and Salvador Larroca should be applauded for taking risks and playing with the familiar Star Wars formula, but there's still the fact that "Yoda's Secret War" doesn't really have the depth to justify a five-issue structure. Nor does the art live up to the series' usual standard.
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Sometimes, more really is better. The Walking Dead has certainly benefited from the fallout of "The Whisperer War," as our heroes continue to fight a losing battle against thousands of zombies and now find themselves dealing with more unwanted complications. This issue is very suspenseful and reminds readers that no character is truly safe from the undead.
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In general, the series continues to combine both franchises into one cohesive whole, one that retains Batman '66's campy charm with a slightly more serious undertone.
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This series always takes a noticeable plunge in visual quality whenever Jesus Saiz is absent, and that's very much the case here. Javier Pina continues his valiant effort to echo Saiz's approach, but his work lacks the smooth, refined quality that makes Saiz's work such a joy to view
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Plascencia is really this book's MVP at the end of the day.
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Writer Robert Venditti has a lot of plates spinning as he charts a new future for the Green Lantern Corps and their partners. Fortunately, it all makes for enjoyable reading.
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The series is clearly a meditation on trauma, PTSD and the struggle to rebuild a life after the unthinkable. Maybe that won't satisfy readers looking for a heavy dose of smashing, but it all makes for a fantastic character study.
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Basically, all the right pieces are in place by now, but they aren't being arranged as quickly and efficiently as they need to be.
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The Old Guard features many trappings that will be recognizable to Greg Rucka fans, including a strong but tortured female protagonist and a heavy focus on espionage and black ops. But when combined with the Highlander-esque immortality angle and mixed altogether, the end result is something refreshing and new.
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Lemire taps heavily into characters and conflicts that began in Jonathan Hickman's Avengers run, but Lemire lack's Hickman's flair for grandiose wordplay.
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The Clone Conspiracy disappointed with its abrupt, open-ended finale issue, and this epilogue chapter doesn't do enough to give the event the closure it needed. It focuses too little on Otto Octavius, and it doesn't do enough to shift Ben Reilly from sinister villain to compelling protagonist again. Giuseppe Camuncoli's art is always a draw, but this series clearly needs a fresh start.
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Elektra's new solo comic isn't groundbreaking in any way, but it does offer an engaging look at a troubled assassin who can't seem to leave her old life behind. As with the previous volume, the art is really the big selling point. It's clean but stylish and shrouded in gorgeous color work that takes advantage of the glitzy Vegas setting.
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IvX is building momentum again as the big finale looms. While the series is still lacking a certain visual punch without Leinil Yu at the helm, the plot receives a major adrenaline boost in this issue. Between several enjoyable character confrontations and a heavy focus on shifting alliances, this issue takes full advantage of the complicated relationship between the two teams.
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Justice League of America #1 is a stronger read than its predecessor. Without the need to focus on setup, this issue can dive right into the action and explore the various character dynamics in greater depth. JLA isn't quite as deep as it needs to be given the team's mission statement, but the cast and the art both help establish this series as a solid addition to the Rebirth lineup.
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I wish this series were a little more subtle in the way it mixes superheroes and contemporary American politics, but there's no denying that this issue packs a punch as it explores the racial inequities of the criminal justice system and (most powerfully) the perpetual cycle of violence that builds from one generation to the next.
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This issue offers an engrossing new take on Cap's origin story, one that takes some pretty shocking twists and turns along the way.
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This is a high fantasy story anchored by very grounded, very human drama. Even as elderly hero Emmett Quinlan defies the gods who want him to hand over his mystical sword, he also has to come to terms with overcoming his Alzheimer's and truly meeting his family for the first time in years. That balance between big and small is the source of this book's appeal.
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This issue is clearly the last quiet moment before the final plunge, and it knows how to get the job done.
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This might be Caselli's strongest issue yet, as the combination of ninja, Iron Man armors and physical comedy results in a consistently entertaining adventure.
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It's nice to see a little added depth mixed in with the book's familiar spectacle and widescreen action. That said, this issue seems a little pointlessly complicated in how Hitch tries to represent the chaotic nature of time-travel through the jumbled, fractured approach to chronology.
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Poe is a perfectly fine and likable protagonist, but after 11 issues it still doesn't feel like we know anything about the cocky pilot we didn't already get from The Force Awakens.
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Consider this issue a quick palate cleanser in between major story arcs. Jon Kent takes the spotlight as he and Kathy venture into the ominously named Dead Man's Swamp to tack down a missing cow. What follows is a heaping helping of horror movie imagery and general psychedelic trippy-ness.
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"I Am Bane" is quickly shaping up to be one of the best stories to feature the titular villain. The "less is more" approach pays off handsomely when it comes to both Bane himself and Tom King's exploration of the Batman/Superman friendship. This issue is dramatic, suspenseful, and full of gorgeously detailed artwork. What more could a Bat-fan ask for?
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The Clone Conspiracy ends its short lifespan much as it lived - with great visuals and some big emotional moments, but also a lot of missed opportunity. In many ways, this mini-series simply wasn't big enough to tell the story it wanted. The final chapter isn't able to give The Clone Conspiracy the closure it needed.
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Only The Walking Dead could cram thousands of zombies into one issue and still find so much room for character drama. Those two elements make for an appetizing blend in this new issue, with Negan once again proving to be the book's strongest asset. And kudos to the art team, who manage to keep up with the book's breakneck shipping speed without their work suffering one bit.
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Perhaps it's just as well that Venom seems due for a major status quo upheaval so soon after its debut. The series simply isn't working in its present state, as the compelling portrayal of the symbiote itself is undercut by an aggressively boring main character. This issue also compounds the book's visual troubles by featuring two artists with wildly incompatible art styles.
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DC's handling of the Wildstorm imprint has been lackluster for many years now, but it's should come as little surprise that Warren Ellis is able to right the ship. The Wild Storm #1 serves as an accessible and promising start to this ambitious reboot. It's clearly not trying to replicate the successes of the past, but rather find new ways merging high concept superhero storytelling with the post-modern world we live in.
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Much like the issue in the original "Enemy of the State" that focused on S.H.I.E.L.D.'s efforts to de-program Wolverine, this issue hinges on the attempt to break Laura's weakness to her control scent. The difference being that Taylor frames the ordeal as an introspective, even intimate battle that hinges on the sisterly bond between Laura and Gabby. It's a firm reminder that, for all the mistakes this series can make at times, Tom Taylor really knows how to write Laura Kinney.
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This new series does so much right, but it does face a continual uphill battle when it comes to proving that every member of the Parker household really needed super-powers.
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The issue becomes a striking meditation on power, resistance and the way simple actions can have far-reaching consequences. The script is made all the more effective by its focus on a group of new characters whose fates are uncertain and not bound by any real rules.
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The series is still progressing too slowly overall, but this issue suggests that it's finding a better balance between gritty detective story and a book that dives into the rich tapestry of the Marvel U.
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The characters in this oddball world seem to draw equally from the realms of J-pop, Mad Max and The Warriors. Beneath all the colorful trappings, the series also works as a very grounded story of a woman struggling with both addiction and secrets.
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Online trolls served as one of the big villains of the most recent season of South Park, and now they're plaguing Kamala Khan's world. It's a foe uniquely suited for this teenage, gaming-obsessed heroine, and one G. Willow Wilson and Takeshi Miyazawa are using to good effect so far.
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Ryall and Gage plow through a lot of material in this issue. The script rarely lets up to allow any new developments to sink in, giving the plot a very clinical, detached sensation. That's especially problematic given how much the evolution of Rom and his friends centers around the loss of their physical humanity.
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This is certainly the most darkly entertaining Star Wars comic, but maybe not the most tightly paced one.
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If All-Star Batman were nothing more than an excuse for Scott Snyder to work with a who's who lineup of talented artists, the series would be well worth following, This issue offers a gorgeous take on the Batman/Poison Ivy dynamic courtesy of Tula Lotay. But there's plenty of depth to this story, to boot, as All-Star Batman continues to be a showcase for the enduring appeal of Batman's villains.
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Justice League of America: Rebirth #1 doesn't enjoy the strong, tightly paced debut it deserved, especially considering this isn't a twice-monthly title. This is mostly a formulaic, recruitment-focused new issue, though the strong characterization at least bodes well for this team's future. Ivan Reis' art goes a long way towards sweetening the pot, too.
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If Bullseye can have his own comic, Wilson Fisk certainly deserves one, too. Fortunately, it looks like Kingpin will do the trick. This first issue offers a quiet but captivating look at a fallen villain and the woman he chooses to tell his story. It's a solid start for Marvel's latest villain-focused comic.
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Suicide Squad's bizarre structure continues to be the series' worst enemy. With a new artist on board for this arc, it's not clear why DC is sticking to the "half and half" approach. Still, this issue boasts some quality character work and offers a strong debut for John Romita, Jr. That's to say nothing of the gorgeous artwork on display in the backup story.
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Unfortunately, while the script mostly avoids becoming too cluttered, the same can't be said for the art. Jose Holder makes many odd framing choices that make it difficult to follow the flow of battle and leave key characters relegated to the background or obscured by shadow at awkward times.
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Despite the fact that the script is basically a long series of narrative captions, the book avoids coming across like a dry summary or Wikipedia entry. Del Mundo's gorgeous, surreal artwork certainly helps with that. This issue is really a chance for del Mundo to cut loose.
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It's been clear from the beginning that there's something Amanda Conner and Jimmy Palmiotti haven't been telling us regarding the return of the Joker in this series. Rather than form the basis of a compelling mystery, however, that fact has only caused frustration. This issue finally peels back the curtain on that mystery, but not in a way that feels particularly satisfying.
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Harley may have been one of the best things about the other Injustice books, but that appeal is largely lost here.
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Sadly, the story has little to offer, coming across as little more than a mish-mash of well-trodden Justice League tropes and questionable characterization.
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At this point readers just have to accept that this series, despite its name, doesn't offer much in the way of Midnighter and Apollo actually interacting. It's a little too direct a continuation of the previous Midnighter book in that regard. But writer Steve Orlando does highlight the strong love that unite the two heroes, even if Apollo himself shares but a fraction of his lover's page time.
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I wish the script could find a little more room to explore the dynamic between Puck and Logan, but otherwise this arc is proving mighty enjoyable.
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This arc probably won't go down as one of the stronger chapters of Jason Aaron's Star Wars saga.
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No two of Tom King's Batman storylines feel the same, and that's one of this book's strongest qualities. This issue doesn't entirely play to artist David Finch's strengths, but it does offer a solid blend of Bat-meta humor and foreboding build-up to what promises to be a titanic clash between Batman and Bane.
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Bullseye #1 won't change the way you look at this bloodthirsty assassin, but it does make the most of having Daredevil's nemesis in the driver's seat. It's fun, violent and brought to life in a very creative and energetic way thanks to artist Guillermo Sanna. Bullseye lovers won't want to pass up this book.
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With so many options available to Marvel, it's disappointing to see Darth Maul playing it so safe with the character. This first issue offers little insight into the character and fails to build a compelling conflict around him. Whether the conservative approach was by design or mandated by Disney/Lucasfilm, either way fans aren't getting the Darth Maul flashback tale they deserve.
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Superman #16 is a disappointing read considering the quality of the previous two chapters of this story and the series as a whole. This issue lacks scope in terms of both the visual presentation and the way the final battle between good and evil unfolds. There are isolated character moments and images that stand out, but they aren't enough to wrap up "Multiplicity" in the way it deserves.
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"The Whisperer War" didn't reach the memorable conclusion it deserved, but at least the series is on the upswing again in issue #163. This issue kicks off an accessible new conflict that crams about as much drama and zombie carnage into every page as humanly possible. And with the price of entry being so low, there's really no reason not to give this comic a try.
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Alan Robinson succeeds in capturing the lighthearted vibe of the films, but that alone isn't enough to salvage what's shaping up to be a big missed opportunity.
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Spencer's revamped take on the first meeting between a young Steve and Dr. Erskine also makes for compelling drama.
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This latest story arc is providing a good, old-fashioned Flash Rogues storyline - no more, no less.
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Mike Mignola and friends are back with one winter-themed one-shot, one that offers another satisfying dose of Hellboy. While the three stories in this issue share the winter theme, stylistically and tonally they're all drastically different.
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It took a few issues, but this new series has succeeded in justifying both Victor von Doom's turn to good and his decision to shroud himself in Iron Man's image rather than his own. The result is a drastically different take on Doom, but one that both honors the past and plays to Brian Bendis' storytelling strengths.
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Writer Kevin Grevioux excels at capturing the mythological tone of stories like The Odyssey and The Iliad, even directly referencing Homer's prose in the opening panels. But while the omniscient narration works well during battle, the middle act of the issue would have benefited from a lighter touch.
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This issue allows Capullo to flex his horror muscle a bit more, and fans of his Spawn work will be especially pleased with the results.
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Thanos #2 set the stage for a massive battle between the Mad Titan and the Shi'ar Imperial Guard. Issue #3 delivers that battle and little else. The plot doesn't advance very far in this issue, but the spectacle is enjoyable.
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Batman '66 and Wonder Woman '77 are two great tastes that go great together. While this first issue is a bit slow, it quickly proves that writers Jeff Parker and Marc Andreyko are intent on making the most of this team-up rather than simply going through the usual crossover motions. Already the series is making a strong case for the need for an ongoing Batman '66/Wonder Woman '77 comic.
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Civil War II: The Oath isn't quite as strong as its predecessor, mainly because it focuses too much attention on setting wheels in motion. Still, it succeeds for the same reasons. It offers an emotionally charged, character-focused epilogue to an event that could have used more of both qualities.
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Deadpool #25 delivers a memorable finish to the ongoing Deadpool 2099 storyline. While longer than strictly necessary, this issue really taps into the kooky yet tragic Wilson family dynamic while celebrating the 2099 setting. As usual, this series tends to be at its best when Gerry Duggan and Scott Koblish are paired together.
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Justice League vs. Suicide Squad doesn't receive the epic finale it deserved. This final issue wraps up the conflict with Eclipso far too quickly, and places too much emphasis on setting the stage for Justice League of America. However, the battle looks great while it lasts, and the character dynamics suggest that JLA will be a series well worth following.
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The latest Star Wars story arc certainly has the novelty factor working in its favor, as it takes a break from the post-Episode IV era to explore a lost Yoda adventure. Unfortunately, this conflict has yet to show enough depth to justify such an in-depth treatment. Worse, the lackluster art is doing little to bring this flashback tale to life.
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The decision to focus so little attention on the big reunion between Peter Parker and the Stacys in The Clone Conspiracy itself is a bit odd, to say the least. And while this issue is eager to make up for that omission, it doesn't prove entirely satisfying.
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Maybe labeling this issue "giant-sized" is a bit of a stretch, but it does offer a nice, satisfying standalone story that expands on the cast of the main series.
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Artist Michael Avon Oeming and colorist Nick Filardi becomes the stars of the show even more in this latest issue. If you'll pardon the pun, Cave Carson #4 is a very eye-popping read.
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By all rights, the return of the Joker to these pages should be cause for excitement. DC has kept the villain on a short leash for so long. But reading this arc, it's difficult to walk feeling anything other than confusion or bewilderment.
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I don't know if Geoff Johns had any hand in this new round of DC Rebirth specials like he did the original batch, but there's definitely a Johns-ian quality to Steve Orlando and Stephen Byrne's revamp of The Ray. Which, needless to say, means this issue is well worth a read.
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While multiple IDW books are taking advantage of the Hasbro shared universe, Revolutionaries is the place to go for maximum crossover fun. Perhaps a little too much fun.
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Doctor Aphra is the closest thing the Star Wars franchise has to an Indiana Jones, so it's only fitting that her new solo comic strikes so many of those same notes.
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Grant Morrison tends to be a tough act to follow in any situation, but Pete Tomasi has never been shy about picking up Morrison's loose threads and running with them. And so far, "Multiplicity" is shaping up to be every bit the worthy sequel to Multiversity that "Robin Rises" was to Morrison's Batman saga.
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Just because two people love each other very much doesn't mean they're meant to be together. That's the hard lesson as Tom King and Mitch Gerads wrap up their gorgeous, moody look at the romance between the Bat and the Cat. Gerads' chameleon-like ability to switch between his own distinctive style and those of other iconic Batman artists is stunning, and together he and King are able to close the door on this chapter of the Batman/Catwoman saga.
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Justice League vs. Suicide Squad is definitely a stronger crossover in its second half. Having moved past the largely formulaic opening phase, the series is now able to get to the heart of the conflict, with Maxwell Lord orchestrating a global takeover and Batman leading the battered remnants of the Suicide Squad against him. The odds are growing bleaker by the minute, as this issue paves the way for what should be a truly epic finale.
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Venom might just be the most frustrating addition to the Marvel NOW lineup. It's close to offering a clever new take on the character, but the bland human protagonist and lackluster art both serve to hold the series back. The series clearly needs some fine-tuning, and hopefully the upcoming anniversary issue will do just that.
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WWE fans and newbies alike will find plenty to like in BOOM's new series. This first issue pays loving tribute to the source material while striving to add new depth to iconic wrestlers like Seth Rollins and Dean Ambrose. It's not as visually dynamic as the Then. Now. Forever. #1 special, but it still has its moments in that regard, too. Heck, this series is worth reading just for the lovably goofy backup storyline.
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This may not be the epic murder-fest the original "Enemy of the State" was, but maybe it doesn't need to be.
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Naturally, Stegman excels at rendering flexible spider-heroes and massive mole monsters, but the school segments show just how much he can bring to the table even with more relatively mundane material.
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With so much unfolding simultaneously, the book's overall momentum does seem to be dragging a bit. Still, there's plenty of compelling material to chew on here.
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The stage is set for a somber, character-driven Rogues story, with a healthy dose of Barry/Iris romance thrown in. That's a promising sign, as is the return of artist Carmine Di Giandomenico.
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As much as it succeeds in giving a weight and context to these events, it tends to be too little heavy-handed for its own good.
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As far as Green Lantern comics go, this one is a real feel-good read.
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This series enjoyed a strong debut, but now that the novelty of having a mature readers-oriented Jessica Jones comic has worn off a bit, the holes are starting to show through.
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The optimistic tone is a welcome counterpoint to the comparatively grim present-day storyline, and Rucka and letterer Jodi Wynne continue to convey Diana's language barrier in fun, clever ways.
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The Batman franchise really offers an embarrassment of riches these days. This issue succeeds in revitalizing a villain whose stock had plummeted in recent years, while also serving as a terrific reunion for Scott Snyder and his Detective Comics collaborators. It's just a shame Jock won't be sticking around longer.
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IvX #2 is a very simple comic on its surface, focusing mainly on violent spectacle as the two teams come to blows. But that spectacle looks great. And it helps that IvX feels so weighty and dramatic. There's a desperation to this battle, as well as a moral ambiguity that sets it apart from the many "hero vs. hero" conflicts that have come before.
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Justice League vs. Suicide Squad may never fully recapture the appeal of its opening issue, but this chapter sees the story bounce back in a big way. There's plenty of epic, blockbuster action, but also a strong emphasis on kooky character dynamics. With a cast like this, it's never a dull moment.
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With Aaron, Dauterman and Wilson at the helm, there's no chance of The Mighty Thor steering readers wrong. This issue serves as a very promising start for "The Asgard/Shi'ar War," one that keeps the focus on Jane Foster's very immediate struggles even as it opens the gates for plenty of cosmic spectacle and epic action. It's exactly the sort of balance a good Thor story needs.
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Aquaman's woes continue in this issue as Atlantis is attacked by a group of genetically modified super-soldiers calling themselves the Aquamarines. It's a memorably wacky concept that unfortunately isn't exploited to its fullest here.
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The resolution in this issue feels a bit cheap and easy considering the scope of the threat Kang and his other selves have posed, but at least it ties together the majority of the book's current loose ends.
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This issue offers deep insight into many of the Champions, but always in a way that feels natural and organic rather than forced. And Waid always maintains a balance between lighthearted banter and bickering and deeper, darker drama (much of it surrounding Viv's tragic background).
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If there's another shoe yet to drop, it needs to drop soon, because so far this arc is struggling to take advantage of this rare Harley/Joker reunion.
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The new Hawkeye series reads basically like a direct continuation of Matt Fraction and Annie Wu's Kate Bishop saga, but what better run to draw from?
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Clearly, if any creative team can carry on the Multiversity legacy, it's this one.
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More than anything, I appreciate how Bates and Weisman are willing to propel their story along at a rapid clip. They open their tale in the heart of the conflict and ensure that the issue ends with a major status quo upheaval.
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Jason Aaron has been writing Thor for over four years now, and yet the character feels fresher than ever thanks to this mini-series.
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This issue proves two things - that the Batman/Catwoman romance is one of the most powerful relationships in the DCU, and that King and Gerads absolutely need to be doing a Catwoman book together. How they're supposed to manage that feat and also keep Sheriff of Babylon going is a mystery, but hopefully we'll see much more of this creative pairing in DC Rebirth.
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After such a strong start, it's disappointing to see Justice League vs. Suicide Squad hit such a rough patch. Part of that is due to the decline in visual quality, but it's mainly the fact that the plot momentum reaches a screeching halt in this chapter. Issue #3 may introduce a few necessary plot twists and character moments, but it doesn't do nearly enough to stand out.
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If you've questioned whether the new Wasp really needs her own solo comic, this first issue might just change your mind. Nadia Pym's charming personality and her enjoyable interactions with other Marvel heroes result in a joyful, infectiously charming story. That's aided by the expressive art of Elsa Charterrier, who channels all the restless mania of a heroine free to pursue her own destiny for the first time.
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"The Whisperer War" easily ranks among the biggest and most significant Walking Dead storylines to date, which is why it's so surprising to see the final chapter take such a quiet, low-key approach. There's some strong character drama to be found here, but little in the way of action or a satisfactory wrap-up to the war between our heroes and the Whisperers.
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U.S.Avengers #1 doesn't break a lot of new ground when it comes to establishing a superhero team. But if the plot here is straightforward, the book still stands out thanks to a combination of lovable patriotic excess and its celebration of American ideals. Fans of Ewing and Medina's previous New Avengers comic should feel right at home despite the new status quo.
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Civil War II ends with what is easily one of the weakest chapters of the entire crossover. This issue is anticlimactic and fails to wring much emotion from the final battle between Captain Marvel and Iron Man. Nor does it justify the decision to expand the series. David Marquez's art helps make the book a little more palatable, but there's only so much great art can do to salvage a poorly conceived comic.
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Black Hammer #6 caps off the book's first story arc with new story wrinkles and complications that serve to make these heroes' extended "vacation" that much more unpredictable.
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It's always nice seeing Dawn artist Joseph Michael Linsner render Harley, but in general this issue lacks consistency and does little to truly take advantage of Harley's North Pole escapades.
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The series has pathos to balance out its humor and superhero spectacle. It also has a strong artist in Stefano Caselli.
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Is it too soon to label this series Marvel's best Star Wars comic? It's certainly making a strong case for itself so far.
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As with issue #12, Superman #13 isn't a particularly deep comic. It mostly just strives to be a raucous adventure about a superhero and a pair of monsters teaming up to stop a genocidal alien. And it succeeds on that front.
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Mike Deodato renders an imposing Thanos, but too often his characters and environments are stiff and lifeless. There's too much reliance on photo-reference and CG elements.
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As far as event tie-ins go, they don't get much more important than Amazing Spider-Man #22. This issue adds crucial depth to the Jackal and his motivations for creating this latest batch of clone-related melodrama. Anyone who's been following the main event would do well to check out this companion tale.
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It's not easy following up one of the best Batman comics in recent memory, so it's not surprising that Batman #13 isn't on the same level as issue #12. This "I Am Suicide" finale features a great take on the Batman/Bane rivalry, but also some predictable plot twists and relatively underwhelming visuals.
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The long wait for Gamora's solo series was worth it. This new comic offers a fascinating glimpse into Gamora's early family life, one that suggests Nebula might be the real star of the series. And with the talented Marco Checchetto bringing this story to life, Gamora is a promising addition to Marvel's cosmic stable.
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In some ways, Justice League vs. Suicide Squad is a very straightforward, traditional superhero crossover. However, several elements help it stand out, from Joshua Williamson's strong characterization to Jason Fabok's cinematic art style to the emergence of a sinister third party that promises to shake up this battle in a major way.
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The new Star-Lord series doesn't offer much in the way of cosmic spectacle. Instead, character drama is the focus as the new creative team explore a Peter Quill who finds himself marooned on Earth. It's an unusual story direction, but one that makes for a very enjoyable first issue.
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Renew Your Vows is so close to a flawlessly executed Spider-Man comic that it's almost frustrating to read because of that.
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The series continues to move slowly, focusing an odd amount of attention on the villains considering that the heroes themselves are only just starting to cross paths.
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With a $9.99 cover price and clocking in at around 80 pages, this issue is more trade paperback than standard holiday special. And while there's plenty of holiday cheer to be in this book, a leaner, meaner, cheaper experience probably would have been an easier sell.
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The finale is slightly more plot-driven than the previous chapter, which is definitely a good thing. The final battle still feels a bit anticlimactic, which may be the strongest piece of evidence suggesting a sequel is in the works. But that aside, Cullen Bunn is able to deliver a script that's both humorous and strikes at the tragedy of the symbiote.
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Joshua Williamson excels at exploring the growing bond between Barry and Wally, one built as much on humor and the love of speed as a sense of family and legacy.
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Though conceptually similar to the DC rebirth Holiday Special, Gwenpool Holiday Special: Merry Mixup proves to be the stronger of the two books. Part of that is simply due to its willingness to quit before wearing out its welcome. But more importantly, the various holiday-themed vignettes actually tie together to tell a larger story.
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This issue is structured a bit weirdly, with a pair of Brainiac-centric scenes book-ending Hal Jordan's struggle to emerge from the afterlife back into the land of the living. Tonally, not a great match, but the Hal scenes work very well on their own.
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Reborn looks great, but it needs to strive to offer a deeper, more ambitious narrative.
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At some point Marvel might want to change the name of this series. Poe Dameron might be the book's main protagonist, but Agent Terex is really its heart and soul.
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The latest team-up between Punisher and Doctor Strange is an amusing one. The plot in Magic Bullets might be straightforward to a fault, but it's largely made up for by the fun dynamic between the two characters. But as with all Infinite Comics, this story is better experienced digitally rather than in print form.
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Marvel's other big "heroes vs. heroes" event of 2016 might have been a bust, but IvX shows far more potential in its first issue. Writers Charles Soule and Jeff Lemire cleanly lay out the conflict and establish the stakes for both sides before diving into the thick of battle. That battle looks fantastic thanks to Leinil Yu and his collaborators. This series' greatest challenge will likely be maintaining its momentum with the rotating slate of artists.
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Optimus Prime is both a strong showcase for the popular hero and a decent jumping-on point for lapsed Transformers fans. John Barber keeps this issue accessible despite a dense script, and Prime's current and past struggles make for engaging reading. Kei Zama's art is equally appealing, despite the sometimes wonky coloring style.
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"The Black Vault" has had its major ups and downs over the course of eight issues, but the story reaches a mostly satisfying conclusion here. The final battle against General Zod is entertaining and marked by several great character moments. Jim Lee finishes out his run in solid form, though there is a disjointed quality to the visuals at times. And the backup feature serves as an interesting, if hardly essential, introduction for Killer Frost.
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"Enemy of the State II" has yet to really live up to its predecessor. Conceptually, it's a fitting sequel, but the scope isn't really there yet.
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The Avengers themselves are the weak link in this latest incarnation of the series. Not only is the cast small, their personalities don't make for a particularly compelling mix.
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Forced romantic drama aside, the general tone and direction series is shaping up nicely. However, Ramos' art style seems even more out of place than usual in this more real-world setting.
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In addition to the familiar problems involving wooden dialogue and characterization, this issue suffers from the forced nature of the Cyborg/Variant relationship. She's too similar to Cyborg, and the deep, immediate bond that forms between them is very sudden and unnatural. She simply doesn't come across as a natural character.
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This issue may be a bit scatterbrained in focus, with two separate dream sequences interspersed between a roller derby battle and various other set pieces, but it does the trick as far as conveying just how depressed and adrift Miss Quinn has become.
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There's really nothing wrong the execution here, but the script still feels a little too straightforward and spartan compared to what's come before. Still, there's a lot to be said for the idea of Superman battling SHADE's top enforcer. It's certainly a pairing that plays well to Doug Mahnke's storytelling strengths.
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The Clone Conspiracy is a decent Spider-Man crossover, but it's no Spider-Verse or Spider-Island. Not yet, at least.
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Between the terrific bond between the two hammer-wielders and the frightening depiction of the Collector, Aaron reminds readers once again why he ranks among the all-time great Thor writers.
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This arc hasn't been especially consistent in quality, but it's clear that Tom King's Batman work is never stronger than when he's paired with Mikel Janin. This issue marks a new high point for the series, blending violent, brilliantly choreographed action scenes with a deep, disturbing look at the man underneath Batman's cowl.
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Shockingly, another Image Comics has debuted another promising new creator-owned series. This creative team already proved themselves on Batgirl, and if anything they feel even more in sync as they begin building this high-stakes new world of underground motorcycle races. If you enjoy cyberpunk futures or stylishly rendered race sequences, Motor Crush won't steer you wrong.
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Doctor Aphra is already a worthy addition to Marvel's Star Wars lineup. It offers a funnier, quirkier take on the franchise, one bolstered by a strong cast that aren't constrained by the limitations of the movies or other Star Wars projects. Whether you followed Gillen's entire Darth Vader saga or are simply diving in fresh, this first issue has a lot to offer Star Wars fanatics.
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This chapter of "The Whisperer War" offers some of the storyline's most memorable scenes. The violent action of the Hilltop is contrasted with the once-mighty Negan mourning over the loss of his beloved Lucille. The art also impresses, with Charlie Adlard managing to give the conflict a real scope despite the very dense, intricate page layouts. However, there's also a palpable loss of momentum moving into the final chapter, with too much emphasis on what comes next rather than what's still happening right now.
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The appeal with this whole "Deadpool becomes Venom" shtick is that, goofy as the idea is, it does genuinely add something to the larger Venom mythos. And Cullen Bunn is still finding ways to use Deadpool's antics to cast classic Spider-Man stories in a new light.
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This issue serves as a fun, engaging way to lead into the final chapter of Bendis' long Guardians saga.
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These days, it's hard to know whether #0 issues are a crucial first chapter in a new series or merely an optional, new reader-friendly primer. IvX #0 is more the latter.
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That final showdown feels extremely rushed and unsatisfying, and practically begs for a few more pages to wrap up this prolonged saga on a more emotionally fitting note.
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The script follows a fairly predictable path, but it's engaging all the same.
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While this issue aims to explore Superman's struggle to connect with his new homeworld, the issue still lacks the depth seen in many issues of the main series. It's never made clear enough how Clark's outlook on life changes between the beginning and end of the issue. Still, it's charming enough, and crammed to the rafters with epic hero vs. hero action.
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Kevin Eastman and Bill Sienkiewicz make for an incredible team, capturing all the glory of the classic TMNT comics while offering a striking, surreal flair on top of it. As usual, it's just a shame the backup chapters are so short.
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I do wish the series was moving a bit more rapidly, but it's tough to complain when the book is this much fun.
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As with most anthology issues, the stories included in Batman Annual #1 are fairly uneven in quality. But there's plenty of enjoyment to be had as Batman and friends celebrate the winter season. And with everyone from Tom King to Scott Snyder to Neal Adams pitching in, it's hard to go wrong with this creative lineup.
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It's always nice to have another chance to dive into the Injustice universe, but only one of the three stories in this annual offers much to write home about. The other two fail to take advantage of their dramatic potential and strive for little more than to connect a few dots between the comic and the game.
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Marvel's Star Wars comics have been great about adding compelling new characters to the mythos, and this issue is no exception. Bash is a fun and unique Star Wars protagonist, one who pairs nicely with the smaller but no less headstrong Princess Leia. Unfortunately, this issue loses steam when it should be at its strongest, with a climax that suffers from muddled storytelling and overly preachy dialogue.
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While this arc has been fairly uneven in quality overall, this issue showcases the new Suicide Squad at its best. It features plenty of detailed action and carnage, but also an intriguingly different take on Harley Quinn. And with the Enchantress backup story ranking among the best of the series so far, there's no element of this issue that doesn't work.
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This series is often at its best when it focuses on smaller, character-driven stories rather than trying to contribute to the mess that is current X-Men continuity. Even without regular writer Dennis Hopeless on board, this issue taps into that appeal.
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This mini-series didn't exactly live up to its potential. Even at a modest four issues, the conflict between the X-Men and Inhumans has felt drawn out. That doesn't change in this final issue, but it does provide a compelling look at Cyclops at his most desperate.
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Robert Venditti creates a nice sense of scale as the resurgent Green Lanterns find themselves simultaneously liberating a planet and battling Brainiac. He's ably assisted by Rafa Sandoval, who delivers a nonstop dose of sweeping battles and powerful, dynamic figures.
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It's unfortunate that the long-awaited Bahamas vacation only amounts to one single-issue adventure, but it makes for an enjoyable read all the same.
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The scope of this story may be relatively small, but it offers a satisfying tale of suburban ghosts with a suitably dark twist.
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This issue wraps up the series' latest arc in solid fashion, as Luke and his allies make their stand against Sergeant Kreel and SCAR Squadron. That showdown plays out more like a middle chapter of a much longer saga, but there are consequences for both the rebel and Imperial sides.
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The series not only feels like a return to a more classic (and frankly better) Teen Titans era, it's also a logical next step in the saga of Damian Wayne.
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Al Ewing's script is both ambitious (building up a cosmic conflict that seems more than a little reminiscent of where DC Rebirth is headed) and adept at celebrating the unique character relationships at play.
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A.D. is every bit as compelling a comic as one would expect from a Scott Snyder/Jeff Lemire team-up. It's intensely emotional, beautifully rendered and very diverse in its presentation. It does seem like the story would have been better served as a single graphic novel, but at least readers don't have to wait long for the next chapter.
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Issue #7 is easily one of the stronger chapters of Civil War II. That doesn't say a great deal at this point, but it is still nice to see Bendis focusing on a smaller, more intimate cast here. The complications in terms of Ulysses' role in the conflict are also welcome. And it's hard to say no to a comic featuring both David Marquez and Andrea Sorrentino on art. There's hope that Civil War II can at least end on a solid note.
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This first issue takes a little while to kick into gear, but once it does it establishes Lee price as an intriguing new heir to the Venom mantle. The notion that the Venom symbiote is now the helpless victim being controlled by a ruthless host promises to shake up the old formula in a major way. Unfortunately, the art isn't strong enough to allow this new series to live up to its full potential.
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This book really is DC's answer to The Venture Bros. in many ways.
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Suffice it to say that Matt Kindt and David Rubin immediately craft a fantasy world that's both extremely inviting and wholly unique.
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The second issue of this crossover is more enjoyable than the first, partly because it makes more of an effort to actually blend the two franchises.
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This book feels very much like a continuation of International Iron Man. Not just because it features the same creative team, but also because the pacing is equally slow and laborious.
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There's a palpable sense of danger and unease in the air, particularly as mark finds himself and his family targeted for death by Thragg's children. That life-or-death struggle is the sole focus of this issue. Unfortunately, as urgent as that conflict is, this issue struggles to maintain its drive and impetus.
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The newest BOOM Box series is basically a love letter to the world of women's roller derby, so fans of the sport or the movie Whip It will feel right at home here.
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Budget-minded Clone Conspiracy readers can probably skip this issue without missing too much of importance. However, it does offer a more cohesive and satisfying read than the main event is providing at the moment. It also makes a strong case for the idea that Kaine deserves his own comic again.
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Tom King and Mikel Janin's latest Batman arc bounces back after a disappointing issue. Batman #11 delivers plenty of great Batman/Catwoman material while also fleshing out the rest of Batman's new team. And Janin's art never fails to impress, whether the focus is one mind-bending page design or more subtle forms of storytelling.
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After six issues, Suicide Squad's choppy structure is still an annoying flaw plaguing an otherwise enjoyable comic. This issue delivers plenty of violent chaos and dynamic action, along with a handful of memorable character moments amid all the carnage. The Killer Croc story ranks among the stronger backup stories to date. But at some point it would be nice to see all 20 pages devoted to the main storyline for a change.
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Thanos #1 isn't an immediate home run, but it does start the new series off on solid footing. The book boasts both strong characterization and a morally ambiguous set of protagonists, both of which help offset the sometimes heavyhanded narration. And while Mike Deodato's art style has its share of problems, the cosmic setting is a much better showcase for his storytelling strengths than other recent assignments.
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It's nice to know that some X-Men comics can still inspire excitement and anticipation.
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Needless to say, a story that already felt plenty timely is only growing more so in light of recent political developments. But this issue also has plenty of brutal, hard-hitting action to offer as Batman's physical gauntlet grows more harrowing and The Beast re-enters the fray.
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Titan's latest Assassin's Creed comic is unique both in that it's a direct adaptation of one of the games (Black Flag, to be specific) and a translated Japanese manga story. Unfortunately, there's little to recommend this version of the story over simply playing the game.
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In many ways, this arc serves as an ideal follow-up to James Tynion's first storyline and the "death" of Red Robin. It doesn't dwell on Tim's absence, but it does force the Dark Knight to acknowledge that loss and to question whether he and his allies do more harm than good to their city.
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The Young Animal line is a bold, daring alternative to that approach, and Doom Patrol is lighting the way.
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It's ironic that this series' title invokes the "Boldly go where no man has gone before" mission statement, because there's nothing bold or groundbreaking about a Star Trek tale with the Borg as the lead antagonists.
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This series took a little while to find its groove, mainly because Charles Soule and Phil Noto are fairly limited in the stories they're able to tell in this still poorly defined era of the Star Wars timeline. But despite that limitation, the duo seem to be settling in nicely.
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Lana's tenuous health has become a ticking clock that provides this book with a wonderful sense of tension and unease. Unfortunately, the series still feels a little too dense and overcrowded for its own good.
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If the current incarnation of Amazing Spider-Man isn't floating your boat, maybe Renew Your Vows can do the trick. This new series boasts a terrific creative team exploring a more classically oriented Spider-Man status quo. Luckily, the series doesn't just coast by on nostalgia, as the fact that Peter is now a loving husband and father adds crucial new layers to his story.
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Every comic should ultimately be judged on its own merits, but it's impossible not to compare Batman/TMNT Adventures to DC and IDW's previous (and very recent) crossover. Even with this book spotlighting two different universes, it doesn't do enough to stand apart from Batman/TMNT or shake up the crossover formula in general. Mostly, this first issue begs the question of why the two publishers didn't simply commission a sequel. But with Batman/TMNT taking a couple issues to find its groove, hopefully the same will be true for this book, too.
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After a rough year for Iron Man, it's good to see the franchise getting back on track with this relaunch. As much as the present-day portions of this story play out like a standard teen superhero adventure, the extensive flashbacks do a great job of exploring who Riri Williams is and what makes her tick. It's also great to see the new art team following the example set by David Marquez and Justin Ponsor, rather than what followed in later arcs.
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Now that all four titles have made their debut, it's safe to call DC's Young Animal imprint a resounding success. Mother Panic is a somewhat more traditional superhero story, but the psychedelic visual style and and surreal, fractured narrative give the book a flavor all its own. Time to add yet another Gotham-based comic to your pull list.
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If this one-shot is any indication, comic-reading WWE fans have a lot to look forward to in 2017. Then. Now. Forever. #1 manages to deliver plenty of fun and zany action, but it also enriches some of the major players and generally celebrates the magic and pageantry of professional wrestling. It's a love letter to wrestling as only comics could provide.
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For a comic titled "The Death of Hawkman," the first issue featured surprisingly little of Katar Hol. That's not a problem the second time around. Marc Andreyko is able to strike a proper balance between his two leads as he works to bring them together amid the threat of another Rann/Thanagar war.
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This issue doesn't end things on the most exciting or dramatic note, but it's enough to take in the sights as Harley explores a superhero-themed bondage club.
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If you can't have a Justice League comic drawn by Bryan Hitch, Neil Edwards is about the best substitute there is. Edwards has built his reputation delivering the same sort of detailed, cinematic style Hitch is known for, and it serves him well as he makes his debut on this relaunched Justice League comic.
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Steve Orlando packs this issue with just the right blend of humor, heart, weirdness and ultra-violence.
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No two Terry Moore comics feel remotely alike. Moore is following up the dark horror drama Rachel Rising with this much more lighthearted project, one that's equal parts comedy and science fiction. It allows Moore to showcase his sillier side without ignoring the character drama that makes his work so engrossing in the first place.
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This series is easily the most charming addition to the Rebirth catalog, and this issue only furthers that trend.
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Mark Waid's Avengers saga begins its new stage on slightly rockier ground. The team dynamic definitely suffers from the fact that the younger characters have departed to form their own team, and new recruits like Spider-Man and Hercules don't do enough to make up for that loss. But at least the Kang conflict is heating up. Plus, Del Mundo's art is incredibly striking, even if it occasionally gives the issue a more surreal tone than necessary.
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It's disappointing to see this series follow up one of its best issues with its worst. The bizarre depiction of Batman in this issue dragged down what could have been a great reunion between the dark Knight and Bane. Still, the issue looks great (weird prison chamber scene aside), and there's no reason to believe things won't pick up again in issue #11.
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This issue is nothing if not a study in contrasts and an example of both the right and wrong way to handle political satire in comics. The main Catwoman feature is a dull, lifeless, painfully unsubtle slog, while the Prez backup is a great throwback to a series that deserved much more love. Unfortunately, that backup alone can't justify the price of admission here.
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Death of X was always limited by the fact that it's taking place well before the rest of the X-Men line, and these past two issues have done little to offset that problem or build a compelling conflict between the X-Men and Inhumans. Apart from the growing Cyclops mystery and Aaron Kuder's pages, this series isn't doing much to set the stage for an exciting finale.
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The Unworthy Thor #1 is a surprisingly slow start to a comic of such modest length. But even so, the appeal of having Jason Aaron and Olivier Coipel teaming up for a new adventure starring the Odinson is undeniable. This first issue looks fantastic and features a haunting look at the fallen thunder god.
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"The Whisperer War" continues to be an exciting, unpredictable new chapter in the ongoing saga of The Walking Dead. This issue foregoes the usual faces in favor of other characters with key roles to play in the conflict. The results are satisfying to read, but the dense, cramped art often works against the scope of this conflict.
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The plot in this first arc has become a bit convoluted as Batgirl continues to bounce from one Asian city to the next. What began as a simple tale of Batgirl taking a vacation and getting in touch with her inner warrior has suddenly become an international romp involving wacky villains spawned by the horrors of cram school.
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This standalone issue operates on a terrific premise, as the Wally Wests of the pre-Flashpoint and New 52 universes team up from the first time. Seeing the older Wally mentor his younger counterpart gives this issue a ton of heart, to the point where you have to wonder if Barry really should defer to his former sidekick in this area.
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This first issue is too closely tied to the events of The Clone Conspiracy without actually adding much to the larger crossover. Writer Sean Ryan wisely hones in on Hobie's murky past and perpetual struggle to become the man he believes he can be, but that alone doesn't give the book enough impetus.
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This first issue is a fairly slow, quiet start for this new story, though there's a lot to be said for simply checking in with the various crew members and their current status quos.
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This is a solid comic that could do with some structural fine-tuning.
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Vision #12 is a terrific series finale, bringing the comic full circle and offering one last, emotionally devastating glimpse of the Vision family in the aftermath of their recent tragedies.
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Call of Duty: Zombies doesn't have much new to bring to the table when it comes to the zombie genre. But as straightforward as this first issue is, the execution is thoroughly solid. The art alone is enough to warrant a look for anyone who hasn't gotten their fill of the undead.
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Civil War II has had trouble building momentum from the beginning, and this issue does nothing to address that problem. There are some strong emotional moments here, and plenty of stunning artwork from Marquez and Ponsor, but the sluggish pace and generally listless nature of the conflict continue to frustrate.
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Jason Aaron is delivering another memorable Star Wars epic with this latest arc. It's impressive to watch Aaron shaking up his approach with each new issue, following up last month's comedy-driven chapter with this darker, almost horror-flavored story. There's danger and drama to spare in this issue, but it's a shame the exaggerated art style isn't always ideally matched to the tone of Aaron's script.
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Suicide Squad continues to be plagued by pacing issues caused by the unusual, 10-page story structure. Even so, this issue offers more great visuals, some solid team-building and hints that the series will slowly shift away from the movie-inspired approach it's taken so far. This book is entertaining, but with some fine-tuning it could be even better.
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Teen Titans #1 serves as a bit of a slow beginning for this new series, and it probably would have best if this issue were merged with last month's rebirth special. Even so, it offers a promising fresh start for a franchise that's seen plenty of hard times over the past decade. The question is how much Meyers' early departure will impact the series going forward.
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While this current arc got a fairly slow start in the previous issue, it builds steam here as Aquaman battles to save his hometown from a rampaging Shaggy Man.
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This issue manages to tell a very simple, genuine tale of a grieving family man even as it works in all manner of strange sights and situations. Those turned off by the psychedelic, stream-of-consciousness approach to Doom Patrol and Shade: The Changing Girl may find this issue a bit more approachable.
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This series is still struggling to deliver a compelling take on Vic Stone. The question of whether Vic is truly human or merely a digitized copy isn't as intriguing as it should be, with the book offering precious little reason to doubt what readers have long known to be true.
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As always, the romance between Ollie and Dinah is the driving force of the series. But it's also nice to see that Percy can dabble in the sort of social commentary that defined the Green Arrow/Green Lantern days without being so heavy-handed and while still adding a touch of the absurd.
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This issue kicks off a new story arc called "The Phantom Ring," which basically asks the question, "What if someone could harness the power of a Lantern without training and discipline?" It's an intriguing question, and one that bears immediate fruit as Sam Humphries introduces a new villain with a serious case of Green Lantern envy.
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Harley Quinn has started a punk band. That's really all you need to know about the series' current story arc. The result isn't a terribly dramatic story. There's little sense of danger or conflict. The focus is simply on Harley and her friends making awful music together and looking to punish some wrongdoers who need punishing. But that's generally enough for right now.
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The good news is that this series has improved markedly in its second story arc. Credit that to the fact that these issues pace far less emphasis on spectacle, instead using the rise of a mysterious, fear-based villain to explore several key character dynamics.
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Once again, this series offers a textbook example of how to handle Superman in the post-New 52 era.
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This new series got off to a solid start, but "I Am Suicide" seems poised to push Batman to a new level. The creative fusion between tom King and Mikel Janin is a joy to behold. This issue delivers plenty of surreal, moody imagery and strong characterization. Bane fans especially will want to keep this arc on their radar.
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At this point it's tough to recommend reading The Dark Knight III in single issue form. Between the shipping delays, the generally spartan plot and the uncertainty regarding where this story is actually heading, fans may be better off waiting until the whole series is finally released in 2017. But for hardcore Dark Knight fans, the series is recapturing much of the original's unique visual flavor.
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So far, Death of X is succeeding mainly on the appeal of having Cyclops back in the spotlight and in seeing Aaron Kuder tackle the X-men and Inhumans franchises for the first time. But are those elements enough to prop up a story that seems intent on playing out in such a straightforward and predictable fashion? The final two issues need to find ways to shake up the formula next month.
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In many ways, Infamous iron Man is exactly the sort of Iron Man comic Brian Bendis and Alex Maleev should be working on. It's dark, moody and filled with just enough twists to make Doom's journey from villain to hero unpredictable. That doesn't change the fact that this issue is a slow start for a series that needs to work harder to prove that Doom is better off taking up the mantle of another character.
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Throw in the return of a fan-favorite Batman character and an increased role for Duke, and this issue serves as a new benchmark for the still-young series.
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Over the course of 2016, this series has seemed intent on testing the limits of just how many standalone interlude issues one series can support. But as much as I'd like Deadpool to move forward into the Marvel NOW era and resume Wade's feud with Madcap, it's tough to complain about an issue with as much heart as this one
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If you like your superhero comics on the weird side, this Doom Patrol relaunch won't disappoint. Gerard Way and Nick Derington have even managed to outdo the classic Grant Morrison run in that regard.
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As much as this new series has done to reinvigorate Barry Allen and his world, it kind of dropped the ball with the reveal of Godspeed's true identity and motivations.
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It's not a bad end to the arc, though I'm not convinced this series wouldn't have been better off telling a similar story outside the confines of Civil War II.
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This series has been a solid addition to the Superman franchise, but it could be even better with a slightly less heavy-handed approach.
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Reading each new issue of The Black Monday Murders is like eating a wholesome, filling meal. Not only does each issue clock in at a meaty 50 pages, but there's so much variety to the way Jonathan Hickman and Tomm Coker tell their story.
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Greg Rucka offers a memorable look at Barbara's formative years, first as a young girl mourning the death of her mother and chafing under a stern father, and then as an idealistic archaeologist struggling to prove the existence of the Amazons.
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Reborn is every bit as enjoyable as one would expect from a creative team like this. Reborn offers an engaging high concept storyline with plenty summer blockbuster flavor. Capullo and the rest of the art team bring that engaging story to life with visuals that both epic fantasy violence and simple human emotion. Millar has worked with many talented creators over the years, but his partnership with Capullo is quickly shaping up to be one of his most fruitful.
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Darth Vader #25 serves as a terrific finale to Marvel's most consistently good Star Wars comic. There are still issues to be had with Larroca's art style, but he and Gillen prove once more that the "less is more" approach is the one to take when it comes to Vader. This issue serves as a satisfying, cohesive final chapter while offering a few hints as to what Gillen's mystery new Star Wars project might entail.
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This series' choppy structure continues to frustrate, but at least the quality rises again this this latest chapter. The main story feature memorable team banter and dynamic action, while the backup offers a lavishly illustrated look at Harley Quinn and Rick Flag. But based on the series' pattern so far, should we expect another dip in issue #5?
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The Clone Conspiracy #1 isn't quite the strong start this crossover event needed. Dan Slott and Jim Cheung deliver an emotionally charged and reasonably action-packed first issue, but the pacing feels sluggish and the script leans too heavily on exposition in spots. With only five issues total, The Clone Conspiracy needs to work more quickly and efficiently if it's going to live up to Slott's previous Spider-man events.
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Though it takes some time to find its groove, Mosaic #1 does serve as a strong debut for Marvel's newest Inhuman character. Thorne and Randolph make a great team as they find interesting ways to depict their disembodied hero and explore the many thorny questions his powers raise. This is a series with plenty of potential to stand out in the new Marvel NOW lineup.
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The original "Enemy of the State" was a watershed storyline for Wolverine, influencing many stories that followed in the years to come. The hope is that "Enemy of the State II" will do the same for the new Wolverine. So far, this arc seems to be on the right track.
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Those who feel the current status quo doesn't tap into Peter's "unlucky loser" vibe may be singing a different tune by the end. This is an emotionally hard-hitting issue that adds a great deal of weight to what's to come.
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Writers Alex Segura and Matthew Rosenberg craft a fun, charming little tale as Archie and his bandmates are whisked back to 1976 to learn about the magic of punk rock from the "in their prime" Ramones.
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This isn't really a superhero comic in the traditional sense, which is actually one of its greatest strengths. It's more a Gothic horror and romance story that happens to feature Deadman. Perhaps the highest compliment that can be paid to this book is that it would be appealing even without Deadman in the picture.
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Apart from the opening flash-forward scene, this book is almost completely focused on Adam Strange as he languishes on Earth and tries to figure out how to return to Rann. It's not a particularly flashy or exciting opening (that opening scene aside), but it does serve as a great character study of a man who simply misses his wife and the call of adventure.
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This latest transformation is part of what's shaping up to be an entertaining new mission for the character. This issue does dwell a little too long on Harley's efforts to recruit her new punk band (especially when it comes to Red Tool's weird, off-putting little subplot), but there's plenty of amusement to be had along the way.
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Orlando shows a real flair for showcasing the weird, wacky side of the DCU while simultaneously keeping the focus on Midnighter's personal struggles and relationship with Apollo.
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Seeing Brian Azzarello and Eduardo Risso's names on a comic book cover is generally a good indication that the book in question is worth a purchase. This issue certainly bears that out, as it offers an engrossing, tightly plotted introduction to their latest creator-owned saga.
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This issue offers a very surreal revamp of the already surreal Shade: The Changing Man. It takes a while for the story to truly click and reveal its hand, but by the end writer Cecil Castellucci crafts a compelling portrait of an free-spirited alien inhabiting the body of a high school girl.
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After an enjoyable but overly long opening arc, it's nice to see this series focusing on smaller, more self-contained stories for a while. This issue serves two purposes at once - thrusting Clark and Jon into a dinosaur-filled adventure and paying tribute to the late, great Darwyn Cooke and his work on DC: The New Frontier. Both goals are accomplished admirably.
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Charlie Adlard delivers some terrific human vs. human vs. zombie action in this issue, with fluid action scenes and detailed crowd shots. Adlard's temporary shift to a 16-panel grid format helps the creators cram as much story as possible into each new chapter.
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It's been a long time coming, but now that Cage! is finally here, the series doesn't disappoint. Tartakovsky offers a fun, goofy and very self-aware romp through the '70s-era Marvel Universe. His distinctive art style lends itself very well to that setting and ensures that Luke really earns the title of "Power Man."
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Ignoring the impact this issue has on one particular character, Death of X #1 doesn't disappoint. This issue doesn't offer much information that readers haven't already gleaned about this missing period, but it taps into the tragedy and and darkness surrounding the X-Men as they confront the latest threat to their existence. This issue also makes great use of its art team, proving Aaron Kuder is one of Marvel's best acquisitions in recent years.
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The comic industry has delivered a stream of great crossover stories in recent years, but so far He-Man/Thundercats isn't one of them. This first issue is too grim and straightforward for its own good, and it fails to exploit the character dynamics. This series looks like a cartoon come to life, but the story needs to pick up the pace if He-Man/Thundercats is going to live up to its promise.
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It's been a long time coming, but Jessica Jones has the solo book she deserves again. And with both Brian Bendis and Michael Gaydos back at the helm, this new series has little trouble recapturing the appeal of its predecessor. The fact that so much about Jessica's life has reverted to the old status quo isn't a drawback, but rather one of the book's main selling points.
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Champions is exactly the sort of book Marvel needs in the wake of Civil War II. Champions speaks to the need for heroes who cut through the nonsense and infighting and simply strive to make the world a better place. This first issue serves as a charming debut and showcases a strong team dynamic. It's unfortunate, though, the the artwork doesn't always hold its end of the bargain.
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This issue is very efficient at recapping Terry's origin story and laying out the basics without getting tripped up over unnecessary details. Little direct mention is made of the previous volume's events, meaning that fans of the animated series can dive in just as easily as veteran comic readers.
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This series can do better, and it needs to if it's going to stand out in DC's new lineup.
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This issue offers an eclectic assortment of Deadpool vignettes, the meatiest of which pokes fun at the classic Spider-Man and His Amazing Friends cartoon. Your mileage may vary depending on your attachment to that show, but I certainly got a kick out of watching Deadpool join forces with Iceman and Firestar and introducing coldblooded murder to this whimsical cartoon landscape.
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It's a great take on the character, and one that finally allows Deathstroke to reach his potential as a solo player again.
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So far, this latest Batman crossover isn't particularly deep, but it is entertaining.
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Though this issue isn't written by regular Doctor Strange writer Jason Aaron, it fits in nicely with the ongoing series. Kathryn Immonen crafts a charming little tale as Clea wanders back into Strange's life in the aftermath of the Empirikul conflict. Immonen does a great job of exploring their complicated romantic history while also allowing Wong to enjoy the spotlight a bit more.
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The series may not be in the most exciting place right now, but at least it still has something to offer fans of these characters.
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Star Wars #23 probably won't be every fan's cup of tea. This issue pushes the series in a sillier direction even as it maneuvers Han, Luke and Leia into conflict with the SCAR Troopers. But ultimately, the humor is a clever way of exploring the sexual tension between Han and Leia and making the most of the limitations imposed by the time period.
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The concept is great. The execution, somewhat less so. Despite the oversized format, too much time is spent establishing the world and its history and not enough on fleshing out the characters. A lighter, more subtle touch would really help.
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In terms of plot and characterization, this series is one of the best Marvel has to offer right now. Each new issues brings with it a new wave of engrossing twists and a fascinating look at a hero torn between his inner goodness and the twisted assassin Hydra would make of him. Unfortunately, the first three issues set a high standard when it came to the art, and this story arc isn't measuring up in that regard.
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There's no denying that DC's new Suicide Squad comic is an improvement over what the New 52 had to offer. This issue offers up some great art and a generally fun team dynamic. But the series is suffering from its odd structure and the fact that the plot advances little from chapter to chapter. The relatively weaker backup story in this issue doesn't help matters.
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If you thought Star Trek/Planet of the Apes was a cool crossover, you haven't seen anything yet. This book not only realizes the fun of such an obvious pop culture pairing, it manages to fuse the mythologies together in a way that's both clever and poignant. Thanks to a talented and ambitious creative team, this series is much more than a typical crossover comic.
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The plot is basic and the characters pretty standard Aliens fare, but that doesn't mean the story isn't engaging. Dan Abnett taps into the survival horror aspect while also wrapping this first issue on an intriguing note.
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This issue closes out the brief arc well enough, but it does feel fairly underwhelming in the end.
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Jeff Lemire and Dean Ormston deserve a huge amount of credit for not only finding a compelling new take on the superhero genre, but crafting what has quickly become one of the best superhero books on the stands.
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This story might not be terribly consequential, but it's cute and charming in a way we rarely see from the X-books lately.
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It's still wacky and entertaining in the series' familiar way, but the plot could have been structured much more efficiently.
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It's less a superhero comic than a high school drama with a dash of the supernatural. And it's an approach that mostly works. I wish Wolfman's script were a little more overtly humorous at times, but the decision to cast Raven as a socially awkward student struggling to suppress her powers and fit in is inspired.
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The series may have slumped a bit over the past year, but it's showing every sign of recapturing its former energy again.
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This issue serves as an instant reminder that Manapul is one of the most talented creators in DC's lineup.
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Clone Conspiracy has a tall order to fill if it's going to surpass Dan Slott's previous Spider-Man crossovers. But at least Slott is giving himself plenty of compelling material to work with as he sets the stage for that event. As much as Amazing Spider-Man #18 is weighed down by exposition at times, it also offers a compelling look at the return of an iconic Spider-Man villain.
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If you've ever wanted to see Batman and his partners battle a pack of rampaging kaiju in Gotham City, then "Night of the Monster men" is right up your alley. The first chapter succeeds on the strength of its memorable creature designs, surreal artwork and a generally entertaining script. However, this isn't shaping up to be the deepest Batman story you've ever read, and fiscally conservative readers might prefer to take a break until the series' next major storyline begins.
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Civil War II has had its moments over the past few months. And at the very least, the series has always had its gorgeous visuals to rely upon. But at this point, that's not enough. This issue fixates on an extended superhero brawl that lacks dramatic weight (or even narrative logic) before transitioning into a very disappointing twist that threatens to derail the series for good. It may be too late in the game to hope for things to turn around now.
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Any hope that Cyborg Rebirth #1 was a poor indicator of what to expect from the main series has been dashed. This new series bucks the familiar DC Rebirth trend by aiming darker instead of lighter, and it suffers as a result. The series needs an infusion of fun and a less heavy-handed approach to scripting if it's going to do justice to the character.
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Shipwreck #1 doesn't seem to care much if readers understand what's going on within its pages. And why should it? The series' dreamlike mood, unique characters and engrossing visuals are more than enough to hook readers regardless of premise. If you need an extra touch of the surreal in your reading pile, this issue won't steer you wrong.
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Between Future Quest and Revolution, it's been a great year for building new shared universes out of classic properties. Revolution #1 foregoes excessive setup in favor of delivering an action-packed, chaotic conflict that makes great use of most of the characters involved. There's a concern that this series might be biting off too much, but hopefully as the conflict expands and the tie-in books enter the fray, the many pieces will settle into place.
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This series has had plenty of ups and downs, but at its best it showcases what's possible with such an eclectic team of teenage X-Men. This issue serves as a high point for Dennis Hopeless and Mark Bagley's run so far.
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What started as a worthwhile Civil War II tie-in fails to stick the landing.
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This marks about the third issue in a row where the Civil War II banner is completely unwarranted. Instead, writer Gerry Duggan focuses on capping off this troubled phase in Wade's career and building towards his next inevitable showdown with Madcap. It's a quiet, somber issue, but somber is something Duggan has always done particularly well on this series.
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There's a lot to like about Priests's approach to the series. His writing is intelligent and witty, and he manages to blend a gritty, military-flavored approach with some of the goofier aspects of the DCU. But the frequent chronological jumps make the dense script feel too disjointed.
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It's no easy feat to stand out when both Tom King and Scott Snyder are writing ongoing Batman comics, yet somehow James Tynion succeeds with Detective Comics. This issue easily ranks as the best Batman comic of the Rebirth era so far.
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Di Giandomenico's sleek figures, coupled with FCO Plascencia's vivid colors, result in one of the best-looking comics in the Rebirth lineup. It's equally pleasing to see Joshua Williamson's saga reach a major turning point in this issue.
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This is the Green Lantern comic we needed to follow up Geoff Johns' run.
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Sorrentino and colorist Marcelo Maiolo are both on fire here. The action looks great, the colors are striking, and the two craft a wordless splash image depicting Logan's tragic past that is simply gorgeous.
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Superwoman has some growing pains to work through, but these first two issues have shown plenty of promise.
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There's a lot to be said for the oversized approach to this series. each 56-page issue is more akin to a mini-graphic novel than a monthly installment. This allows Jonathan Hickman and Tomm Coker to very quickly and cleanly build up this new universe and flesh out the main players. And with multiple story segments set at different points in time, sporadic prose segments and various bits of Hickman's trademark graphic design work, the series certainly isn't lacking in variety.
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It's intriguing to see more links develop between this flashback storyline and the present-day conflict in "The Lies."
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No matter how many great Batman comics DC publishes, Scott Snyder's work will always stand out. This issue offers a rousing road trip adventure, plenty of impeccably rendered action, dramatic foreshadowing of things to come and a dash of real world allegory to boot. All these ingredients combine to from an eclectic and very enjoyable Batman comic.
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The latest chapter of Black Panther is another winner. While the focus of the series is becoming a little choppy, issue #6 offers an engrossing look at a reluctant king fighting to hold his nation together. The combination of Coates' intelligent prose, Sprouse's elegant line-work and Martin's vivid colors results in a truly engaging reading experience.
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With Rebirth, DC has the market on traditional superhero comics cornered. Doom Patrol marks a crucial foray back into more experimental types of superhero storytelling. This new series may not be for everyone. It may not even necessarily appeal to all Doom Patrol fans. But for those who want to explore the weirder side of the DCU while connecting with some lovable but damaged characters, this series will deliver the goods.
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After a slow but promising start, the new Suicide Squad comic is beginning to realize its full potential. This issue offers a better glimpse of the new team in action and ends with a terrific twist. It also boasts some great artwork from two superstar artists and a backup story that provides a heartfelt look at a Suicide Squad mainstay. Hopefully this issue is indicative of what readers can expect from the series as a whole.
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While ostensibly a Civil War II tie-in, this issue is more a launching pad for Jeremy Whitley and Elsa Charretier's upcoming series The Unstoppable Wasp. Which is just as well, as the script tend to be at its weakest when it attempts to draw in the events of Civil War II.
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Ultimately, though, the Aquaman/Superman battle comes across as a bit forced and unnecessary. And in the end, a little pointless given Superman's peacekeeping mission. But despite that, this issue manages to bring the current conflict to a close while offering a sobering reminder of the cost if Aquaman can't balance his dual responsibilities to his kingdom and his friends on the surface.
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Unlike the previous issue, at least this one makes better use of the full cast rather than coming across like another chapter of "Deadpool and Those Other Guys." Still, this series is struggling to find its place alongside the core Deadpool comic.
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The first year of this series was an enjoyable ride, but it seems that Jason Aaron is getting to the real heart of his run in this epilogue to "Last Days of Magic."
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The conflict continues to entertain, while at the same time helping this book maintain a clear, cohesive focus that the previous book often lacked. The fact that Poison Ivy is back in the spotlight doesn't hurt, either. Once again, it's enough to make one wish Amanda Conner and Jimmy Palmiotti were writing an actual Harley & Ivy comic.
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You might think it would be difficult for a Jughead comic to both explore the character's recently confirmed asexuality and still offer a fun, breezy, all-ages adventure. But Ryan North and Derek Charm make that look easy in this latest issue.
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This series has and probably will always struggle against its limitations as a direct prequel to The Force Awakens. Does it really matter how exactly Poe and the Resistance tracked down Lor San Tekka? Probably not, but this issue reminds us that the journey can still offer a lot of entertainment.
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Perhaps more than any other comic this year, this issue solidifies the notion that the Man of Steel is in much better shape thanks to DC Rebirth.
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If there's any one problem plaguing the X-Men franchise right now, it's that the various books seem to be mostly regurgitating familiar conflicts and story beats rather than pushing the characters in new and interesting directions. This issue certainly encapsulates that dilemma.
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Who would have thought a standalone epilogue issue like this would turn out to be the best issue of the new Batman to date? Batman #6 offers some much-needed character development for Gotham Girl, offering a very effective blend of heartfelt emotion and goofy humor along the way. And who better to channel that emotion that Ivan Reis? This issue serves as a great cap to the series' first story arc and sets a high standard for new stories to come.
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Cyborg Rebirth #1 serves as a disappointing start for the new series. This bland issue focuses more on recapping the character's history than doing anything new with Vic Stone. And even the new elements feel a bit out of sync. Hopefully this is one of those cases where the Rebirth special is a poor indicator of the ongoing series' quality.
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Fables fans can breathe easy, as Everafter looks to be a worthwhile continuation of the franchise. This new series pays homage to the past while also offering its own fresh and exciting take on these characters. The only flaw holding this book back is that the art, while plenty detailed, is disappointingly plain and lacking in style. But to be fair, the original Fables took some time to find its footing in that regard, too.
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The Walking Dead has only grown more exciting thanks to "The Whisperer War." This new chapter is bloody, violent and tragic in equal measure. But as much as the shift to a more dense, methodical storytelling format has helped the series, it's also created new problems, causing this issue to bounce from one group of characters to the next with little warning. Hopefully this arc can iron out those flaws over the next few issues.
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Bennett does a great job of working in many familiar Batgirl characters and elements while also offering a very fresh spin on the character. The mix of WWI action, romance and Haunted Mansion-style supernatural horror is bizarre, but enjoyable
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This issue wraps up the second act of Jonathan Hickman and Nick Dragotta's epic saga. It does in very satisfying fashion by delivering one of the major, long-awaited moments this series has been building towards for some time.
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At this point I'm wondering if Future Quest needed a few more months to simmer before seeing the light of day. As it stands, we still haven't seen an issue drawn entirely by main artist Evan Shaner.
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With this issue, Guardians makes its belated entry into Civil War II. Given the team's ties to Carol Danvers and other earthbound heroes, there's some potential to be mined from dragging them back to earth at this point in time. But none of that makes for a particularly compelling tie-in yet.
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Whether or not this volume manages to wrap up the Jupiter's legacy saga in the remaining two issues, it's building towards a worthwhile climax.
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With a crossover like this, it would be easy for a creative team to simply throw these three franchises together and watch the blood start flying. But writer John Layman has clearly put a lot of thought and energy into making the three pillars of this crossover fit together. Enough so that you could cut the Predators and Xenomorphs out of the story entirely and still have a very enjoyable tale of Dredd and his allies hunting down a rogue, Dr. Moreau-like mad scientist.
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The emotional fallout of this issue should give the series the momentum it needs as it moves towards new settings and conflicts.
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Spider-Man represents the ideal sort of event comic tie-in, one that's able to organically weave in the crossover elements while still pursuing its own conflicts.
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As far as these character-centric Star Wars mini-series go, Han Solo is shaping up to be one of Marvel's best.
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If all you want from this issue is a fun, goofy team-up between two of Marvel's most prominent heroines, you won't leave disappointed. This comic looks great and delivers a steady stream of body-swap comedy. But given how well the main series has managed to blend humor and emotional drama, it's disappointing that the annual feels so light and inconsequential by comparison. There's too much missed potential with this crossover.
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This issue goes a long way towards building a strong foundation for Dan Slott's next Spider-Man epic. It gives Hobie Brown some much-needed attention, while at the same time offering readers a closer glimpse of the Jackal and his plans for the Marvel Universe. The art isn't quite as strong without Giuseppe Camuncoli at the helm, but this issue has plenty of strong storytelling moments regardless.
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TMNT Universe #1 probably won't win over anyone who isn't already a fan of IDW's core TMNT comic. But those who already enjoy that series will find plenty to love here. TMNT Universe is a chip off the old block, but one with its own sense of humor to boot. Unfortunately, the art isn't quite up to par in the main story, though the partnership between Kevin Eastman and Bill Sienkiewicz makes the backup tale a must-read.
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The latest chapter in the Atomic Robo saga sends our metallic hero to Japanese-occupied China to team up with the local resistance and stop the creation of a doomsday weapon. It's a solid premise that allows for plenty of the humor and Indiana Jones-style adventure the series is known for.
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Writer Keith Giffen is hardly any stranger to either incarnation of Blue Beetle, but there's something fresh and exciting about the idea of a book that pairs Ted and Jaime in a mentor/pupil relationship. The result is a book that entertains as both a teen superhero drama and an exploration of the mystical nature of the Scarab.
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The series may have hit a few roadblocks in recent months, but it's clear better days lie ahead. For readers, not for Deadpool. He's screwed.
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Unlike Action Comics opening storyline, this lengthy arc has yet to overstay its welcome.
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So far, The Hellblazer doesn't boast the most compelling conflict John Constantine has ever faced. The series is smaller in scope than its predecessor and in no real hurry to tip its hand to readers. Luckily, the strong characterization makes it an enjoyable read all the same. It doesn't hurt that Moritat's distinctive art style is such an ideal match for the series. Given time and room to grow, this book could easily become something special.
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This isn't necessarily the most memorable chapter of Invincible's current storyline.
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After a stellar debut issue, Snotgirl doesn't quite keep the mucous flowing in its second chapter. This issue feels a bit more disjointed, mainly because of the abrupt introduction of a new police detective character.
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The latest chapter of this uninspired adaptation is at least moderately more entertaining than the previous two, for whatever that's worth.
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This issue kicks off a new story arc as Splinter and his sons are pulled in several directions at once. Unfortunately, that sounds more exciting than this first chapter actually is.
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DC's Deathstroke relaunch isn't entirely without its flaws, but already this is the most enjoyable story Slade Wilson has been involved with in some time. Christopher Priest's knack for weaving complex storylines and deep characters is serving him well, and Carlo Pagulayan's slick art gives the book a very approachable feel. Regardless of your prior attachment to the character, Deathstroke will welcome you with open, blood-stained arms.
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"The Apocalypse Wars" didn't really do Extraordinary X-Men any favors, and the series is still struggling to find its footing in the immediate aftermath. The visual presentation is improved, and Lemire's characterization is generally entertaining, but the various intertwining conflicts aren't much to write home about at the moment.
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Kingsway West #1 serves as a promising debut for this new Wild West fantasy comic. It introduces an eclectic and compelling universe without bombarding readers with unnecessary details right out of the gate. Unfortunately, the bland characters don't measure up to the rich world and attractive visuals just yet. Still, there's plenty of time to address that problem as the series gets underway.
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While Jason Aaron and Jorge Molina don't seem to be in any great hurry to further the story of Sergeant Kreel and his SCAR Troopers, this issue offers plenty of the adventure and character banter that have made this series such an enjoyable read. Molina's epic space battles are a treat to behold, though his more exaggerated character designs don't quite fit in with the artists that have come before.
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All-New Wolverine's Civil War II tie-in arc is unfolding in the same way it is in so many other books. Ulysses has a vision about a specific hero, and then everybody panics. As has been the case from the start, however, it's the top-notch characterization that makes this book shine.
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This is not a comic afraid to get silly or weird, and that's one of its greatest strengths.
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This series is quickly proving that it's always possible to find a worthy new angle on the superhero genre. Black Hammer succeeds mainly because Jeff Lemire and Dean Ormston are far more concerned with exploring their characters and their respective foibles than trying to shine a spotlight on the larger universe.
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Best of all, this issue makes a very substantial leap forward in Nat's ongoing quest to clear her name. Under a lesser creative team, that sudden leap forward might have seemed abrupt and unsatisfying, but Mark Waid and Chris Samnee remain in total control of their story.
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As a tie-in to Civil War II, this series is hardly essential. But as a sequel of sorts to Amazing Spider-Man: Learning to Crawl, it's proving to be very satisfying.
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This issue does at least tease a more dramatic finale, but whether the book finally starts to live up to its potential remains to be seen.
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This series has slowly improved with time, but there's still the nagging sense that it's being limited by its proximity to the events of The Force Awakens.
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What began as a seemingly innocuous story arc bringing together many of the richest supervillains in the Marvel U. has dovetailed into a conflict as boisterous and epic as anything we've seen from Jason Aaron and Russell Dauterman's Thor run.
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The first arc of Batman wraps up on a high note as Tom King and David Finch chronicle the violent clash between the Dark Knight and the fallen hero known as Gotham. This issue looks great, and it also delivers an effective blend of humorous moments and darker drama. If you weren't sold on the new series and its status quo before, this issue might just change your mind.
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Given how cluttered and poorly paced the previous volume of Harley Quinn could be at times, there's something to be said for the more simple, straightforward approach this relaunch is taking. Issue #2 isn't particularly deep, but it offers plenty of entertainment value as Harley and friends fend off the ravenous undead. It's just a shame the series is already relying on fill-in art. Maybe the switch to the twice-monthly schedule wasn't the best move?
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Even ignoring the somewhat troubling premise, there's not a great deal to like about Spawn's latest standalone adventure. Spawn Kills Everyone #1 offers plenty of cutesy violence but very little plot or even memorable battles between heroes. Nor does the flat sense of humor do much to spice up this little misadventure.
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This Suicide Squad relaunch shows a lot of potential, but it needs to focus less on rehashing the basics and more on exploring the clash of personalities and the chaos of battle. Kicking off the ongoing series with such a short lead story really doesn't help further that goal. Still, the artwork from Jim Lee and Jason Fabok is more than enough to justify a purchase.
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Because these stories needn't be constrained by logic anything can and does happen within these pages. I only wish the various creative teams had room to get a bit more in-depth with their epic fantasy tales.
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Though the Laura/Warren romance is a major focus here, it's actually the Laura/Scott dynamic that stands out the most. The two have developed an entertaining friendship under Hopeless' hand.
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It's a little unfortunate that the Mercs for Money are feeling superfluous in their own ongoing series. The conflict Cullen Bunn has cooked up, involving Deadpool being hired to round up various radioactive-powered characters, is compelling enough, but this story could just as easily unfold without the Mercs.
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This issue is pretty blatant about telegraphing where the arc is headed, and we can only hope that Williamson has a few curve balls planned in the weeks to come.
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Red Hood and the Outlaws has become the latest in a long line of DC books to receive a boost thanks to Rebirth. The improvement isn't as dramatic as some, but it's certainly nice to see the series given a fresh start.
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The Flintstones is one of those cases where I respect a book's ambition more than truly enjoying the end result.
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Not since DC Universe Rebirth #1 has a comic hit me so profoundly in the feels region. This series, always morose even in its most lighthearted moments, becomes even more emotional in the aftermath of Vin's death.
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It just doesn't feel right not having Scott Snyder writing Batman. This series fills the void that's existed since the end of Batman Vol. 2, but more importantly, it shows that Snyder still has plenty of tricks up his sleeve when it comes to the character. Plus, this issue is worth reading solely for the gorgeous visuals provided by John Romita, Jr., Declan Shalvey and the rest of the art team. It's just a shame this is the one Batman comic that isn't twice-monthly.
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Despite suffering from some visual missteps, Darth Vader #24 serves as a memorable addition to the soon-to-be-concluded series. This issue manages to explore the impact of the Prequels and Vader's lingering attachment to his tragic past while maintaining the subtlety and cinematic weight the series is known for. And it sets the stage for what promises to be a truly epic finale.
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Superwoman is a good, solid Superman comic. Unfortunately, those qualities don't set it apart as much as they might have a year ago. It's great to see Jimenez back at DC and exploring the promising Lois Lane/Lana Lang dynamic, but the series struggles to stand out when it focuses more on superheroics than character drama. Superwoman still needs to prove that Lois is better off as a superhero than a reporter.
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This Teen Titans: Earth One sequel makes a strong case for giving Jeff Lemire and Andy MacDonald a more long-form Titans assignment. They succeed in putting a fresh coat of paint on a frequently struggling franchise, but it's hard not to wonder what could be accomplished in an ongoing series rather than a sporadic series of graphic novels.
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The Black Monday Murders looks to be another worthwhile addition to the Jonathan Hickman canon. This first issue is both dense and varied, introducing key players on both sides of the conflict and offering an intriguing glimpse into a world where magic and finance are intertwined. It's both right in line with Hickman's past work and wholly unique.
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The coloring leaves a bit to be desired, but otherwise the "Year One" story arc is delivering one of the best interpretations yet of Diana's formative years. The strong characterization, coupled with Nicola Scott's stunning depiction of Paradise Island and its inhabitants, make this story a must-read for any Wonder Woman fan.
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This series looks to be headed in a strong direction, but it's taking a while to get to that point.
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It seems nothing can slow this book's momentum, not even losing artist Otto Schmidt. Juan Ferreyra brings his own terrific sense of style to the book, a style that's very much in line with Schmidt's but also wholly unique.
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This issue packs in plenty of energetic, large-scale artwork, as well. It's unfortunate that Robson Rocha has to be joined by two other artists, but the issue manages to feel largely cohesive despite the constant back-and-forth of the art.
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The thing I've come to appreciate about the fifth and final year of Injustice is that it's not really "about" any one conflict in the way the past several volumes have been. Brian Buccellato is telling a more loose story that's concerned less with plot than with exploring the psychological states of various key characters leading up to the events of the game.
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Warren Ellis and Jason Masters are telling the sorts of James Bond stories we'll probably never see on the big screen. They don't have the scope necessary to appease those weaned on modern Bond films, but they do showcase so much of what makes the character so entertaining in print form.
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For the most part, these characters could be swapped out for any DC heroes at random with no impact on the story.
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Well-executed, to be sure, but not exactly ground-breaking.
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As bizarre as it is to see this story arc suddenly skip forward several beats, that increased sense of momentum definitely helps the series. Tom King's voice becomes more pronounced as he explores the losing battle Gotham and Gotham Girl are fighting to remain uncorrupted by their city. And in a time when few Rebirth titles are maintaining consistent art teams, this series is on;y looking better after two months.
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With everything changing in the DCU lately, Harley Quinn remains the one constant. But that's not a bad thing. Other than the annoying and overlong recap sequence midway through, this issue offers an enjoyably silly new adventure for Harley and a celebration of some of the key friendships in her life. And thanks to the art team, the new series looks every bit as snazzy as the old.
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Based on the critical response to DC's Suicide Squad movie, fans might be better off skipping the theater and picking up this comic instead. It's not exactly groundbreaking storytelling, but it does offer a clean, easy gateway and an enjoyable depiction of the Amanda Waller/Rick Flag rivalry. It suggests that better days are in store for this troubled franchise.
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Any fears that "The Whisperer War" will simply rehash the conflict of "All Out War" should be put to rest in this first chapter. Between the always unpredictable Negan and the fact that there's no longer a clear good or evil faction in this conflict, the series aims to keep readers guessing. And with the revamped storytelling approach, this war promises to be very in-depth and eventful.
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So far, this series doesn't break any new ground in terms of storytelling, but it has plenty to offer Batgirl fans.
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It's clear from reading these first four issues that Ta-Nehisi Coates and Brian Stelfreeze are every bit as passionate about their supporting cast as they are Black Panther himself.
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The "Apocalypse Wars" crossover has really fizzled out over time. This issue is ostensibly the final chapter in EXM's portion of the crossover, but there's nothing particularly final or decisive about the events within.
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Technically this issue qualifies as a series finale, even if DC is relaunching Harley Quinn in a mere seven days. But if this were the final chapter from Amanda Conner and Jimmy Palmiotti, it would serve as a satisfying conclusion.
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The first half of this issue sees Millar step aside and allow Frank Quitely free reign to render a truly dazzling superhero fight sequence. Everything in these pages, from the graceful choreography and body language to the massive sense of scope to the sheer weirdness of these superhuman combatants, serves as a reminder that Quitely is one of the best in the business.
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This issue explores Dick's new role as a globetrotting minion of the Parliament of Owls. The real success with this approach is that it allows Seeley to celebrate Dick's confident, swashbuckling side while also positioning him as a man unsure about his place in the world or the monumental task he's taken on.
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This issue provides plenty of hectic fun as Thor and Roz Solomon team up to track down Dario's hidden Roxxon base and rescue a man they'd just as soon see dead. All of this frantic chaos gives Dauterman ample room to show off his storytelling abilities.
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This new Cap series is taking the slow burn approach, and so far it's paying off handsomely. Cap's current status quo only grows more intriguing in this issue as new twists emerge and our hero finds himself torn between his friends and his new Hydra allies. It certainly doesn't hurt that artist Jesus Saiz is crafting one of marvel's most gorgeous comics every month.
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Civil War II #4 makes some clear improvements to a very flawed mini-series. The pacing is quicker in this chapter, and the dialogue problems that hindered issue #3 are mostly eliminated. And it goes without saying that the series continues to look gorgeous. Unfortunately, the series is still struggling when it comes to characterization. Civil War II is reminiscent of its predecessor in the sense that too much character development is happening in the tie-in books rather than the main series.
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The Green Lantern franchise had fallen on hard times, particularly over the course of the past year. Thankfully, this new series quickly and gracefully wipes the slate clean. This issue manages to shine a light on Hal Jordan as he begins his quest to restore the Green Lanterns, and it succeeds equally well in exploring the rise of the Sinestro Corps. Any fans who might have drifted away from Green Lantern lately would do well to give this series a look.
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International Iron Man's first story arc comes to an uneven conclusion this month. This issue is easily the strongest showcase for Alex Maleev and Paul Mounts so far, blending moody character drama with high-flying action and heroics. Unfortunately, this issue fails to wrap up the Tony/Cassandra storyline on a satisfying note or justify why so much time has been devoted to that storyline at all. The series looks to be moving into more compelling territory, but why did it take this long?
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Relax, Rom fanatics. The hero hasn't lost his touch despite being out of the limelight for so many years. This new series captures all the fun and charm of the classic '80s franchise, with just enough touches of real-world drama to give weight to Rom's never-ending battle with the Dire Wraiths.
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There are various reasons why DC's New 52 Birds of Prey comic never really connected, but one of the biggest is that it never featured the core Birds of Prey trinity - Barbara Gordon, Dinah Lance and Helena Bertinelli. This new series at least rectifies that problem. Unfortunately, the decision to portray the trio as a squabbling, dysfunctional unit does nothing to recapture the old dynamic that's been missing.
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Every issue to date has been a terrific showcase for Samnee's artistic talents and the finely honed collaboration between he and Mark Waid. Issue #5 is no exception.
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The new Justice League series is every bit as epic and massive in scope as one would expect from DC's premiere superhero team, but there's disappointingly little depth beneath the destruction porn. Especially coming off the high that was The Darkseid War, this book simply isn't measuring up to its predecessor.
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There's still quite a bit that needs to be done before this book lives up to its true promise.
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This issue officially inducts Miles Morales into the events of Civil War, but it suggests that the series would be better off remaining standalone.
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Molina immediately settles in with the Star Wars universe, offering a gritty, violent portrayal of elite soldiers waging war on guerrilla fighters.
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The end is rapidly approaching for this series, and that's very evident in the scope and tone of the conflict in this issue. Kieron Gillen and Salvaodor Larroca deliver some of their biggest and most epic moments yet in this chapter.
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Jimenez's bold character designs and hard-hitting action make a grand statement and should go a long way towards building excitement for the upcoming Super Sons series.
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The latest issue of Batman suffers from a slight sense of decompression, but there's still some food for thought as King sheds new light on the background and motivations of Gotham and Gotham Girl. Couple that with top-notch art from Finch and Bellaire, and this relaunched series remains on solid footing.
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If you think there's no room left in your life for another superhero comic, Black Hammer #1 might just prove you wrong. This series races right out of the gate, focusing on fleshing out its strong cast rather than becoming fixated on the background and history of the universe. The gloomy art style further establishes this as a very different breed of superhero book.
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Like a great many characters, John Constantine is getting back to basics for DC Rebirth. But unlike many of his colleagues, Constantine didn't necessarily need a refresh in the first place. This new series succeeds in returning to a more familiar status quo for the character, but so far there's not nearly enough about The Hellblazer that feels exciting or different.
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Snotgirl could scarcely be more different from Bryan Lee O'Malley's past comic book projects, and yet its sheer weirdness, creativity and heart will appeal to fans of Scott Pilgrim and Seconds. This first issue is a strong debut for O'Malley and artist Leslie Hung, one that suggests this series will have no problem standing out among the increasingly competitive crowd at Image Comics.
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It's unfortunate that we're barely a month into DC Rebirth and fill-in art is already becoming more common. But in this case, Tyler Kirkham's work stands out because it's so different from Patrick Zircher's rather than because it's poorly suited for the story Dan Jurgens is telling.
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At this point it's clear that this Civil War II tie-in is really the spiritual sequel to Amazing Spider-Man: Learning to Crawl. This is less a story about Peter Parker than it is Clayton Cole.
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The result is a solid Conan comic, but not a show-stopper by any means.
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While the overarching threat in this storyline isn't terribly remarkable, it offers a worthy test for this fledgling team. And that team itself is what's allowing Detective Comics to stand apart from the rest of the Batman line right now.
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If The Flash doesn't qualify as the most gorgeous-looking book in the DC Rebirth lineup, it's definitely up there in the rankings. Artist Carmine Di Giandomenico and colorist Ivan Plascencia were born to collaborate on this book. Di Giandomenico's lithe, dynamic characters and Plascencia's eye-popping colors easily make this the most visually enticing Flash comic since Francis Manapul's run.
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Carlos Magno delivers what might be the best work of his career. He brings the island and its literally larger-than-life inhabitants to life thanks to his intricate line-work and dynamic camera angles. If a King Kong story needs scope in its visuals, this book has plenty to spare.
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This issue might just offer the biggest emotional gut-punch of the entire series to date. It's very clear by the end of issue #9 that Tom King and Gabriel Hernandez Walta are approaching their endgame. This story isn't necessarily that big in scope, but in terms of tragedy and gravitas it more than delivers.
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Civil War II looks every bit as good as you'd expect from Marvel's flagship event comic. Unfortunately, this series doesn't have nearly enough to offer beneath that gorgeous exterior. There's too much dialogue and exposition and not enough progress or dramatic weight to the story. Civil War II is exploring some interesting ideas, but it's going to have to do more than that over the remaining four chapters.
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This Civil War II tie-in reads less like a crucial addition to the larger event and more like an amusing diversion. That's hardly the worst direction for the series. This issue looks great and offers ample entertainment. Still, it'll be nice to move beyond Civil War II and back into the mess that is Wade Wilson's life.
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Count the Green Lantern franchise as one more DC property that's been given a huge boost thanks to Rebirth. This one-shot helps wrap up loose ends while also allowing Robert Venditti a fresh start with the series and the chance to build a bigger, better status quo for Hal Jordan. With Van Sciver providing some dependably excellent Lantern imagery, this issue serves as a strong debut for the new series.
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While in some ways New Super-Man reads like a very standard first issue of a teen superhero comic, there's enough evidence that New Super-Man will break the mold to ease any concerns. This is shaping up to be the series we should have gotten when Yang came aboard Superman last year.
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If DC's previous attempt at restoring Dick Grayson to his status as Nightwing wasn't entirely successful, this go-round is shaping up to be much better. This issue captures the pure, unfiltered joy of Dick's superhero lifestyle and his interactions with characters like Midnighter and Damian Wayne. It also sets the stage for an intriguing new status quo for our hero, one that should showcase the important role he fills in the larger DC Universe.
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The simple fact that Daniel Acuna is back on board with this issue is cause enough for celebration. Acuna helps kick off the series' Civil War II tie-in arc in style, balancing the high-flying heroics of the Avengers with the all-too real pain and bloodshed of the war against the Americops.
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Matthew Rosenberg paints a compelling portrait of Wilson Fisk as he settles back into New York and finds a way to take advantage of the city's power vacuum while evading the all-seeing eye of Ulysses.
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With this mini-series now half over, it's becoming clear that Civil War II: X-Men isn't actually going to deliver the massive X-Men/Inhumans conflict that readers have been waiting for. It reads more like a prelude to something bigger, with a surprisingly sluggish sense of pacing for a book that numbers only four issues.
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Who would have thought that Green Arrow would be the early front-runner for the best DC Rebirth comic?
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This new sci-fi series has earned a fair amount of buzz because one of the two leads is transgender. Luckily, it handles that fact in exactly the manner it should, which is to not make a big fuss about it. Kim and Kim treats its two heroines as fully realized characters rather than bullet points on a diversity checklist, and that's one reason why this issue succeeds.
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In short, this comic proves to be a worthy appetizer for the main course to come.
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If nothing else, this Han Solo mini-series justifies its existence because it finally allows Mark Brooks to transition from drawing covers to rendering a complete Star Wars adventure.
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So there's a lot to like here, but it would be nice if the next story arc has a bit more to add to the wide-open canvas that is the pre-Force Awakens Star Wars universe.
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Mark Russell uses the Flintstones concept to provide a little social commentary on the pitfalls of civilization. But this issue never finds its focus or even seems entirely sure what kind of story it's trying to tell. It straddles the line between comedy and drama without managing either one particularly well.
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After spending so much time on the sidelines, it's great to see Mary Jane front-and-center and saving the day when Peter Parker falters. Still, this story arc never managed to build regent into a compelling villain, and this finale issue suffers as a result. Hopefully better things lie ahead as Slott shifts focus towards building to the events of The Clone Conspiracy.
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The world never got the Batman '66/Avengers TV crossover it so richly deserved, but at least DC can make up for that omission in comic book form. Even at this early stage, it's clear this new team-up series is combining the best of both franchises for a fun, retro-flavored crossover that any Bat-fan can enjoy.
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The new Batman series may not be offering the story readers were expecting, but that's hardly a bad thing. Tom King and David Finch are showing a knack for blending familiar Batman tropes with new conflicts and challenges. With a little more character growth for Gotham and Gotham Girl, this story arc could develop into something truly memorable.
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This series has lost far too much of the polish and sense of fun it boasted in the early months of All-New, All-Different Marvel. This issue delivers too little payoff to an overly long storyline, coasting by mainly on the strength of the character interaction between Tony and his fellow Avengers. Can Civil War II give Invincible Iron Man the boost it needs?
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The Walking Dead truly fired on all cylinders this month, taking full advantage of the dangerous, unpredictable dynamic between two key villains. This issue serves as a particularly apt reminder of just how memorable a character Negan is, and it also promises to shake up an already unpredictable status quo in a big way.
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This current story arc is the first to really tap into what I was hoping for from All-New, All-Different Avengers in the first place, which is a combination of fun, old-school-style Avengers threats mixed with an unpredictable "rookie vs. veteran" team dynamic.
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Three issues in, it's already clear that this series will rival the best in the history of the character.
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Hickman's script provides a nice balance between politicking and foreshadowing in the early pages and all-out chaos and bloodshed in the latter pages. Nick Dragotta's art seems a bit more rough than usual in those dialogue driven scenes (with the line-work appearing less precise and the figures unusually gaunt), but those problems quickly fade once the action heats up and Dragotta's twisted imagery comes into play.
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If not necessarily remarkable, this issue does serve as one final reminder of how vital this series was for the evolution of DC from the grim New 52 era to the more fun-loving Rebirth.
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In short, there's plenty for Spider-Gwen fans to savor here, but this issue might have worked even better with fewer, longer tales rather than the rapid-fire approach it takes.
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The character dynamics make this issue sing, especially with Pichelli's elegant, flowing art and Justin Ponsor's vivid colors. Pichelli's figures have so much vitality and energy they seem ready to leap off the page.
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If you needed reassurance that Captain America: Steve Rogers #1's big twist wasn't included merely for shock value, this follow-up issue should do the trick. It offers a comprehensive look at Steve's new status quo and how the Hydra reveal ties into Red Skull's ongoing plans. Between the strong characterization and the vibrant art, there's no reason to fear for the future of this iconic Marvel hero.
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Cryptocracy is hardly the first comic to make the mistake of prioritizing world-building and exposition over providing a clean, easy gateway for readers. Even so, this issue showcases an interesting, complex new sci-i universe, one that clearly won't be guilty of taking itself too seriously. That certainly warrants sticking with the book for now.
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The Dark Knight III is losing steam as the series begins moving towards its climax. While there's a certain appeal in seeing Batman fight back against a seemingly unstoppable foe, the story is only feeling more empty as it moves along. And with the visual quality taking a noticeable dive compared to previous chapters, the future isn't looking good for this Dark Knight Returns sequel.
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It's good to have Jupiter's Legacy back on the stands. This series might not radically reinvent superhero comics as we know them, but it does feature two talented creators weaving an exciting and visually stunning tale of villains taking the world back from the heroes that failed it. If this issue is any judge, hopefully this sequel can offer the deeper character work that the original sometimes lacked.
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Writer Nick Barber is able to strike a balance between innocent, old-school spycraft and a more grounded, real-world-influenced take on the franchise.
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Marvel fans could certainly do worse if they crave an anthology adventure, but hopefully future chapters will delve a little deeper into the main conflict.
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There's a lot of potential on display in Deadpool v Gambit #1, but the odd structure and storytelling choices prevent that core dynamic from getting the attention it deserves here. Hopefully now that the setup is more or less out of the way, this series can dig into this rivalry and give Gambit something useful to do for a change.
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Barry Allen needed a fresh start after the last couple years' worth of New 52 stories, and that's exactly what this new series is delivering. The Flash #1 focuses less on DC Rebirth fallout and more on rebuilding Barry's life and supporting cast. Between the strong characterization and the gorgeous art, there's plenty of reason to be excited for this new book.
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This issue features a particularly bizarre combination as gangsters mesh with anime-style mecha warfare. It's a story that would only work n Harley's bizarre little corner of the DCU.
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Nothing in this story is terribly essential to the larger tapestry of DC Rebirth, but it's always fun to see Lex cast as the hero of his own story.
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At a glance, this series sounds like a fairly generic mash-up of the Spawn and Hellblazer franchises. But it doesn't pay to doubt Sons of Anarchy creator Kurt Sutter or Coffin Hill writer Caitlin Kittredge. In execution, Lucas Stand #1 is actually a very compelling debut for this new supernatural-themed mini-series.
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This is quickly shaping up to be a pivotal chapter in Kamala's ongoing story.
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This series needed something unique to prevent it from coming across as "Marvel's Batman," and it seems to have found that by emphasizing the racial element of Raymond Kane's vigilante crusade.
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It's hard to say why Marvel went forward with this adaptation, other than for the sake of completion. This first issue fails to add anything new to a story many fans have experienced countless times in the past seven months. And worse, it actively diminishes that story thanks to its rushed, no-nonsense storytelling and generally bland artwork. It's both a bad adaptation on a bad comic on its own merits.
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Those hoping for the series to steer right into the heart of the War of Realms conflict might be disappointed, as this issue is more concerned with touching base with an increasingly sick Jane Foster and exploring new tensions between Dario Agger and his billionaire supervillain peers.
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It's probably too early to label Wonder Woman as one of DC's best comics when so many Rebirth titles have yet to debut. Regardless, Diana Prince is on the rise again as this talented creative team kicks off her journey of self-discovery. Even if Rucka's methodical storytelling approach isn't to your liking, the artwork alone makes this comic worth following.
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If it wasn't obvious that Mark Waid and Chris Samnee are one of the best creative teams working in comics today, this series serves as undeniable proof. Black Widow #4 is yet another showcase for what's possible when two talented creators with a close working relationship join forces.
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Given that this is technically the fourth Civil War II comic Bendis has written now, it's disappointing that the story is still in such a nascent stage. This isn't a civil war so much as "Everybody is mad at Tony Stark." Tony's characterization is sound, and the visuals in this book are downright fantastic, but those qualities aren't enough to give this Civil War sequel the spark it needs.
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If Marvel's various Civil War II tie-ins are going to consist solely of heroes having conversations with Ulysses, this whole event is going to get old quick.
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The relaunched Green Arrow has been the most pleasant surprise of DC Rebirth thus far. It's amazing how a little facial hair and left-wing diatribes can do so much to make Oliver Queen feel like his pre-New 52 self again.
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Invincible's new status quo is one of the best things to happen to the series in its long lifespan. The simple thrill and anticipation of seeing various familiar characters for the first time since Mark's five-year absence is enough to propel this story along. And this issue definitely includes some great reveals that make the most of that time shift
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The decision to pit the League against three barely connected threats gives the script a very scatterbrained quality. It's too much material to tackle in one issue, and little of it matters in terms of Robin's story anyway.
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It takes a certain suspension of disbelief to picture the monotony of the Lars homestead being broken up by so much death-defying action, but all that really matters is that Jason Aaron delivers another entertaining script
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Readers may inherently shy away from a Superman comic with darker elements, but at least that darkness is being employed for the right reasons here.
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Batman #1 offers an attractive, enjoyable but mostly straightforward beginning for the new series.
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On paper, this mini-series sounded the most promising of all the Civil War II tie-ins. Unfortunately, this opening chapter does little to realize the potential of this conflict between mutants and Inhumans. And with only three issues remaining, it's not clear if there's going to be enough room to do the conflict justice.
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The Dark Knight Returns: The Last Crusade deserved to be a full-length graphic novel. That's both high praise and a testament to its storytelling flaws. This issue offers a fascinating glimpse at a Bruce Wayne entering middle age and confronting his uncertain legacy. Thanks to John Romita's art, it also faithfully captures the look and feel of the original DKR. But there's too little room in this "not oversized enough" special to explore Jason Todd's mindset or the Joker's role in this conflict. That becomes painfully apparent during the abrupt, unsatisfying finale sequence.
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Dark Night might not be the Vertigo-branded Batman book fans have been clamoring for from DC, but it's certainly worth a read for anyone who holds the Caped Crusader near and dear to their heart. It offers a very personal and heartfelt look at how the character helped guide Dini through a terrible time in his life, and it proves all the more that both Dini and Risso are among the most talented storytellers ever to work within Gotham City.
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This issue explores what happens when Evan buddies up with the teenage En Sabah Nur and realizes that even Apocalypse himself was once an ordinary, even loving boy. It makes for an interesting reality check, but this issue doesn't do much more than reiterate Evan's shock and confusion and chronicle the ancient Egyptian equivalent of a beach trip.
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This issue serves as a good starting point, but the goal going forward should be to showcase what makes Aquaman new and different in DC Rebirth.
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The final issue of Edge of Oblivion packs in all the scope and drama one would expect from a story about a group of stranded Green Lanterns fighting against overwhelming odds while the universe dies around them.
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Last issue, this series was beginning to suffer from a serious lack of dramatic tension. That trend continues in this third chapter, with the added problem that the momentum is quickly stalling.
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Even if this series isn't much for breaking the mold, it continues to prove how well the franchise lends itself to comics.
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Mutti's art is generally adept at capturing the Alien and Prometheus aesthetic, though the murky coloring gives the issue an overly dull and washed-out feel.
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This series is rapidly moving towards its climax, and there's a definite sense of finality to the conflict as Vader makes his move against Cylo and Dr. Aphra realizes she'll never be able to escape her master's clutches.
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At times it's enough to wonder why DC didn't simply commission another Mad Max comic. But at least this series seems more self-aware and intentionally silly than Scooby Apocalypse.
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The Warcraft universe is an incredibly rich one, and Bonds of Brotherhood has plenty of great material to work with as it sets about exploring the period leading up to the events of the film. In some ways, this graphic novel makes god on that potential. Cornell is able to flesh out several key human characters and the early struggles that defined them. However, the awkward pacing and the poor visual quality outweigh whatever positive qualities Bonds of Brotherhood has to offer.
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It's good to have a classic-numbered Action Comics back on the stands. This first issue doesn't completely live up to its potential in terms of Lex Luthor's role in the series, but it does offer a fun blend of old and new Superman elements as Superman and Luthor butt heads in front of Metropolis' residents. This issue looks great, and the series shows potential to keep building on the crazy twists and turns already brought about by DC Rebirth.
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Regardless of how the main Civil War II series fares, it seems we can expect some solid tie-ins from Marvel's latest big crossover. Civil War II: Amazing Spider-Man #1 looks and reads like a logical extension of both Civil War II and the ongoing Amazing Spider-Man comic. Best of all, it works as an enjoyable Spider-Man adventure even if you have no interest in Civil War II.
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DC's new Batman comic got off to a strong start last week, but Detective Comics is in even better shape with DC Rebirth. The strong emphasis on Batwoman coupled with a generally compelling team dynamic and some excellent artwork make for a worthy addition to the Batman franchise. The series' new villain isn't much to write home about, but hopefully that will change soon enough.
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DC has had a solid track record with their Rebirth relaunches so far, and Flash is no exception. This issue manages to play on familiar tropes even as it begins building a dangerous new status quo for Barry Allen. It features some of the best art seen from the Rebirth lineup so far and even manages to expand on the events of DC Universe Rebirth in a cool way.
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Some DC Rebirth books are no-brainers because of their talented creative teams. Wonder Woman Rebirth #1 is definitely one of those cases. Greg Rucka and his collaborators waste no time in dusting off the character and setting her on a bold new path. Based on Sharp's few pages, that path is going to look absolutely gorgeous.
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This issue has a very classic Avengers feel to it, while at the same time the "young vs. old" group dynamic and the low budget approach to superhero-ing give it a flavor all its own.
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You might as well ignore the "Road to Civil War II" banner, because this comic has no tangible connection to the events of that big crossover. What it does have is plenty of wacky fun and adventure as Laura literally climbs into the belly of the beast in order to rescue Old Man Logan from being digested by Fin Fang Foom.
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Camuncoli's storytelling is as solid as ever, so at least the constant battling is allows him to strut his stuff, but it fails to satisfy on a narrative level.
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Matt Fraction and Fabio Moon generate plenty of weird, trippy sci-fi goodness in this issue, along with an unexpected but very welcome dose of horror for good measure. If anything, the Lovecraftian hospital sequence suggests that Fraction needs to turn his attention to a creator-owned horror series at some point in the near future.
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In a lot of ways, this comic is the first true test of DC Rebirth. Can a series truly feel new and different when it retains the same writer from the previous volume? In this case, the answer is a resounding yes. Ben Percy's earlier Green Arrow run was by no means bad, but this issue immediately reaches a new level of quality.
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It's a tragic but fitting conclusion to one of the great sagas of the modern comic book industry.
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It's a terrific high concept that Soule is able to introduce naturally over the course of this first issue without relying too heavily on bland exposition or impenetrable math terms. Unfortunately, the art doesn't quite match up to the writing.
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This issue makes for a moody but powerful start to the new Superman comic. And with Mahnke at the helm, it looks fantastic.
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The New 52 didn't dramatically revamp the Batman franchise, and it doesn't appear as though DC Rebirth will either. And why should it? Batman was a terrific comic under Scott Snyder and Greg Capullo, and it's shaping up to be a terrific comic under Tom Kinng, Mikel Janin and David Finch as well. This issue serves as a great showcase for the new team as well and offers a taste of the new flavor they'll be bringing to Gotham City.
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As far as Marvel events go, Civil War II is shaping up to be neither the publisher's worst nor its most impressive effort. This first issue cleanly establishes the conflict and delivers a nonstop stream of gorgeous artwork. However, it offers few surprises for those not already familiar with the basics of this crossover, and it often fails to elicit a strong emotional response in the way the first issue of Civil War did ten years ago. The excitement factor simply isn't there right now.
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This issue can easily be skipped for those readers who don't feel like paying $10 for a non-essential crossover. But for those who want to see what happens when Deadpool, Daredevil, Power Man and Iron Fist reluctantly join forces, Deadpool #13 doesn't disappoint. It offers plenty of wacky fun, with a few dramatic moments thrown in for good measure.
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This isn't the strongest recent chapter of The Walking Dead by any means, but there's a lot to savor in issue #155 as Negan forges an alliance with Alpha and Rick's fall from grace continues. This chapter makes it abundantly clear that a massive war is drawing close, and when that happens the series will surely become even more exciting than it already has been these past few months.
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While now is the logical time to bring Elektra back into Daredevil's world, this current story arc is hardly guilty of regurgitating the same old tropes. Between the fact that Elektra no longer knows Daredevil's identity and the revelation that she may apparently has a daughter somewhere in the wide world, there's a lot of compelling material to chew on in this issue.
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It's a treat just to see these characters interact with one another, particularly whenever the devious, quick-witted Archibald Chamberlain is involved. There's a constant sense that these characters are testing each other and prodding for potential weaknesses.
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This issue is at its best when Jeff Lemire focuses on the strain Storm feels in confronting an uncertain and very grim future for her people. That's when this story has the gravitas it needs.
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The comic is a must read for Thompson fanatics, but maybe seek out Top Shelf's complete hardcover instead.
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This issue serves as a terrific character study of Leia. How far is she willing to go for the Rebellion? Will she compromise her ideals when lives are on the line? Aaron explores these questions in a big way while also tying this arc back to an earlier chapter of his Star Wars saga.
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This issue wraps up a brief interlude story as Loki and Dario Agger bond in the present and Loki regales his new BFF with a tale from he and his brother's distant past. This premise makes for a fun throwback to a simpler, more raucous time in Thor's life, although it doesn't really add anything to the Thor/Loki dynamic we haven't seen many times in the past.
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All signs point to a worthy finale for a top-notch X-book.
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Captain America: Steve Rogers #1 doesn't offer the most exciting start for this new series (at least, not until the final sequence), but it does feature a talented creative team digging in with some of Marvel's most iconic characters. Spencer's depiction of the new Hydra alone is proof that this isn't just any old Cap comic. Saiz's artwork only furthers that impression. Hopefully there's nowhere to go but up as this new series moves beyond the setup phase and continues building new challenges for Captain America.
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As disappointing as it is that Geoff Johns is shifting away from writing comics, at least he's going out on an incredible high note. This issue serves as a fitting cap to both the "Darkseid War" storyline and Johns' Justice League run as a whole. It's crammed with great moments and proves yet again that Fabok is one of the true rising stars of the industry.
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At best, "The Final Days of Superman" was always a flawed crossover. Sadly, the story's flaws overwhelm its strengths in the final chapter. Too much room is devoted to the battle with the underwhelming villain and too little to Superman's rushed (but still emotional) death scene. Mikel Janin's art is also uncharacteristically weak. This isn't exactly the sendoff the New 52 Superman deserved, but at least the stage is set for a new status quo for the franchise.
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Scooby Apocalypse is not a good Scooby-Doo adaptation. It takes the source material far too seriously and builds a needlessly complicated post-apocalyptic sci-fi tale on that foundation. But even if you judge this book strictly on its own merits and not in the context of the Scooby stories that have come before, the book simply isn't very memorable. It focuses too much energy on world-building without actually offering readers a reason to become engaged with the characters.
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For all the great stories that came out of the New 52, there was always something about this version of the DC Universe that didn't sit right. DC Rebirth manages to break the fourth wall and turn that idea into a story. This one-shot is a wonderful showcase for what this universe can be when it's executed properly. It's both a fitting farewell for Johns and a worthy template for DC's new wave of comics to follow. Reading Rebirth feels like coming home again.
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Somehow this series manages to be the silliest and most entertaining of the X-Men line while simultaneously offering some of the deepest characterization.
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Apart from a final sequence that hearkens back to the very beginning of the series, this issue doesn't do much to send Aquaman off in style.
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Bizarro can sometimes be an obnoxious character when his Bizarro speak is in play, but writer Brian Bucceellato has really made the most of the villain in this series.
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International Iron Man is far from the most fast-paced superhero comic on the stands. The heavy emphasis on flashbacks ensures that the present-day conflict has barely progressed in these first three issues. But what the books lacks in terms of an exciting narrative it largely makes up for in strong characterization.
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As disappointing as it is to have a Ryan Ottley-less Invincible for the next several months, it's tough to complain too much when Walker is turning in some career-best work.
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Whether it's Dilton busting a move on the dance floor or Jughead acting out his superhero fantasies, this series has established a quirky sense of tone and style all its own.
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This first issue does have a few pacing quirks that stem from the fact that Mae was originally published as a graphic novel, but it's well worth a read for anyone who enjoys seeing fantasy and reality clash.
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This is pretty straightforward as far as Wolverine tales go. But knowing that where the Reavers go, their mistress usually isn't far behind leaves hope that Lemire will find more interesting ways to explore Logan's psychology and his connection to this unfamiliar world.
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There's a lot to like with this newest incarnation of Miles Morales' story, but the series is experiencing a few growing pains when it comes to establishing storytelling pace and balancing Miles' academic, personal and superhero lives.
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Between the lackluster FCBD Special and Marvel's general track record with major crossovers, there's plenty of reason to worry about Civil War II. But the good news is that this prologue issue makes a strong case for the upcoming event. It clearly lays out the brewing conflict and makes a strong case for both viewpoints. It also looks great, offering a brief but enjoyable reunion between Brian Bendis and Olivier Coipel. Hopefully this issue, more than the FCBD Special, is a sign of what to expect from Civil War II as a whole.
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Harley Quinn has often struggled to regain its footing in the past year, but this latest arc, while brief, has helped to put things back on track. The amusing dynamic between Harley and her new admirer is a big part of this, but it's also a matter of the series slowing down just enough to find its focus again.
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Superman: American Alien #7 may be the weakest installment of the series, but that doesn't say much considering how terrific this comic has been. While this finale may suffer from a misplaced villain and some muddled action scenes, it still caps off Clark's extended character arc and delivers the final words on the series' overarching themes. Landis can now officially enter the pantheon of great Superman writers.
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Future Quest is one of those comics where readers only need to look at the cover to know if it's the book for them. If you crave a dose of classic old-school adventure with some familiar faces and a few high-concept twists thrown in, Future Quest won't disappoint. You don't even need to have a pre-existing attachment to the characters, just a love of comic book team-ups.
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Waid plays around with time travel in small, fun ways here, but the script doesn't make enough of an effort to explain what exactly is happening with Vision or why. The script is a bit choppy as a result, but it ultimately sets the team on two divergent but equally intriguing paths.
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All-New X-Men might just be the most vital addition to the growing Apocalypse wars crossover, given the fact that one of the core team members is a teenage clone of the world's oldest and most evil mutant. At the same time, it's unfortunate that this series is covering the same ground as its sister X-books.
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As silly as this entire concept might be, Tynion and Williams offer a very touching look at a loner hero who found a new family with the heroes in a half shell.
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Brian Stelfreeze's lithe, burly interpretation of Black Panther and his captivating use of light and shadow make for one of the most visually distinctive Black Panther comics ever published.
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This series is just one more victim of the game of artistic musical chairs that's been going on at DC leading into Rebirth. Constantine: The Hellblazer has largely succeeded in marrying the gritty tone of the classic Hellblazer comic with the New 52 take on John Constantine, and much of that balance was due to the surreal art style and impeccably rendered page layouts of artists like Riley Rossmo. But as the series reaches its climax, it's sadly lost a great deal of that distinctive visual flavor.
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There appears to be a limit to how many Harley Quinns one comic can properly handle. This series was already struggling to balance the Gang of Harleys, most of whom are significantly less compelling protagonists than Harley herself. Once you factor in Harley Sinn and her own team of evil Harley-inspired assassins, the gag starts to wear out its welcome.
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If you're going to build a horror comic around a real-world location, you could do a lot worse than the massive, nonsensical Winchester House. Peter Tomasi and Ian Bertram are making the most of that inspiration, crafting a comic that's propelled by a massive sense of unease and foreboding.
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This new series effectively blends familiar tropes with an unusual setting and arrives at something unique. It certainly helps that writer Steve Horton doesn't get hung up on world building. He merely drops readers into Lily's colorful world and allows the details to form organically over the course of the issue.
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At this point "The Final Days of Superman" will go down in history as a flawed crossover at best. In some ways, it's just the shot in the arm this franchise needed. In other ways, it suffers from the same problem so many Superman crossover have in the past - poor pacing and too much exposition among them. Still, there's enough that works in this issue to suggest that Tomasi is the right creator to take over the relaunched Superman comic this summer.
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Batman #52 is a perfectly enjoyable series finale, albeit one that doesn't really measure up to issue #51 when it comes to bidding farewell to the Dark Knight. Taken on its own merits, though, this issue provides a heartwarming look at the bond between Bruce and Alfred and showcases Riley Rossmo's considerable storytelling talents.
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After a misstep in the previous issue, the "Deadpool vs. Sabretooth" storyline is able to reach a satisfying conclusion this month. Once again, the series succeeds by blending Wade Wilson's kooky antics with a dark, unflattering look at his tragic past and current misdeeds. And with the way this arc ens, it's clear his troubled life won't be getting any easier.
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Unsurprisingly, Green Lantern Corps: Edge of Oblivion isn't quite as strong in the wake of Ethan Van Sciver's departure and the visual shakeup that's occurred as a result. This issue has moments of epic visual spectacle, but also cases where the clash between art styles proves distracting. Luckily, there's still plenty to love in Tom Taylor's handling of the Lantern crew and the epic conflict they face as the end of the universe looms.
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This isn't exactly the most fast-paced chapter of the series to date, but it does offer plenty of food for thought for Darth Vader fans. It's intriguing to get a closer look at the relationship between Vader and his master at this point in the Star Wars timeline, and even more so to see Thanoth confront Vader armed with nothing more than his cunning and intellect. Whatever excitement the main story might lack is more than made up for with the entertaining backup feature.
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Whether you're a hardcore Dungeons & Dragons fanatic or simply crave an enjoyable fantasy series about a rag-tag group of heroes battling evil and accumulating treasure, IDW's latest D&D comic will fit the bill.
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This book is certainly fun in the way so many Millarworld comics are, but there's no reason it can't strive for more depth at the same time.
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Writer Ben Percy works to wrap up not just his yearlong run and the Lukos conflict, but the past five years' worth of stories. It should come as no surprise that this issue doesn't have nearly the space required to pull off something so ambitious. The ending in particular feels incredibly rushed and not terribly satisfying.
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This particular Green Lantern series has meandered quite a bit over the past year as it's explored Hal Jordan's renegade status quo. The good news is that writer Robert Venditti is able to bring that status quo to an effective conclusion in this finale issue.
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The stark underworld imagery, haunting character designs and hard-hitting action all combine to create something distinctly Hellboy.
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Whatever its storytelling flaws, this issue is a true showcase for what one creator can accomplish when they script, draw, ink and color their own book.
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Uncanny X-Men is nothing if not an inconsistently executed series, and so far that hasn't changed as the series has joined the "Apocalypse Wars" pseudo-crossover. This issue frequently drags as it slowly moves towards the heart of the conflict and dances around the Archangel mystery without ever really providing hard answers.
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This issue serves as an excellent character study of Courtney, a rich society girl who holds nothing but contempt for the vapid, celebrity-obsessed masses who swirl around her. Her tragic past and troubled personality help t balance out her more self-absorbed qualities.
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This issue serves as an enjoyable palate cleanser after the recent drama in Peter Parker's life. It makes the most of the Peter Parker/Tony Stark rivalry, even if it's annoying that the two characters are practically starting from square one. With top-notch art, a steady stream of humor and an emphasis on some long-dormant supporting characters, this issue starts off the new story arc on the right foot.
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Fans of the Daredevil/Punisher rivalry will likely be entertained by this new series. It starts with a bang and doesn't let up as the two characters go to war over a hapless prisoner. But whether this series will explore their dynamic in greater depth or can add something new to the saga of Matt Murdock and Frank castle, that remains to be seen.
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The Walking Dead continues to heat up as Robert Kirkman and Charlie Adlard dive deeper into the series' new status quo. This issue boasts plenty of strong character work, but especially where it concerns the maniacal Negan and the newest addition to the villain lineup, Beta. This chapter makes it clear that things are going to get much, much worse before there's any hope of a light at the end of this latest tunnel.
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Frank Castle is in fine form after taking a few months away from the spotlight. This new series doesn't do anything dramatically different with the franchise (not yet, at least), but it does feature a hands-off approach to the lead character and introduce some intriguing new villains to the mix. The series also proves that Steve Dillon isn't simply content to rest on his laurels after so many Punisher projects. This is a solid start to what may become a very memorable Punisher run.
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It's a shame Jim Zubnb wasn't simply tapped to launch a new Winter Soldier comic. This first issue has a lot going for it in terms of Bucky's new status quo and his relationship with Kobik, but it does little to justify the ensemble approach at all, much less reuniting the classic T-Bolts. Worse, the mismatched, Liefeld-esque art style is a poor fit for such a dark, character-driven superhero book.
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This issue manages to be silly, poignant, sweet and downright hilarious in equal measure.
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This issue continues the book's trend of offering bigger, more challenging problems worthy of an internationally focused Spider-Man. At the same time, there's plenty of humor and silliness to offset all the sweeping drama
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Nick Spencer really needs to be given the reins of more Marvel events. While Avengers Standoff became overly bloated as various Avengers and S.H.I.E.L.D.-related comics were drawn into the fray, Spencer's issues have maintained a distinctive balance between lighthearted charm and epic drama.
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This short epilogue arc isn't necessarily remarkable because of its villain (a minor footnote compared to the likes of Fugue, really), but rather in how it celebrates the ensemble cast the series has built up over the past couple years.
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Despite its flaws, this issue reads like something of a return to form for a series that's struggled to find balance in recent months.
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The Hellboy formula has never seemed in danger of growing stale, but the 1953 mini-series managed to stand out that much more thanks to their superb visual presentation.
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There's a strong sense of fatalistic doom driving this issue forward. Rather than focusing on the epic scope of the war, writer Tom King is more interested in exploring the futility and inevitability of war in general.
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Reading this issue makes it all the more disappointing that the series won't be continuing for DC Rebirth, and that Bunn won't be attached to the Green Lantern franchise any longer.
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Marvel's flagship Star Wars comic has lost none of its appeal over the last year. This issue features a winning blend of iconic heroes and new elements, with Leia's unlikely prison alliance forming the backbone of a highly enjoyable conflict. It's a fun ride with the promise of real changes to the series when the dust settles next month.
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It would be silly to expect anything less than greatness from the final chapter of Scott Snyder and Greg Capullo's Batman saga. This issue ties up all remaining loose ends while creating a fitting sense of symmetry with the beginning of the run. It sports more terrific art from Capullo, Miki and Plascencia and offers a powerful meditation on the impact Batman has had on his city. What more could readers ask for?
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The fact that The Dark Knight III is slowly falling behind schedule doesn't do anything to help the series' sluggish pacing. And it's disappointing to see what began as a story about a new generation of heroes morphing into another tale about an aging Bruce Wayne. But that's not to say that there isn't promise with this book, or that it doesn't improve on its predecessors in certain key ways. But as it reaches the halfway point, this book isn't exploring its characters to their full potential.
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"The Darkseid War" hits some weird structural issues as it nears the finish line and spends a little too much time trying to shake up an already chaotic paying field. But the same sweeping scope and great character work that have defined this story remain in full effect here. This issue is crammed full of epic moments and sets the stage for what should be a terrific finale next month.
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If you're not old enough to already be in the Micronauts loop, IDW's won't necessarily show you what all the fuss is about. This first issue introduces a perfectly decent team of space mercenary heroes, but it doesn't do enough to establish the parameters of this universe or what actually make sit special and unique. And the appeal of seeing David Baldeon run wild in that universe is slightly diminished by the inconsistent visual quality in this issue.
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Pete Tomasi's "Final Days of Superman" storyline continues to be a breath of fresh air in terms of Superman's characterization. As the Man of Steel confronts his own mortality, he suddenly feels more like classic Superman than he has in a long time. Unfortunately, that characterization isn't enough to save this issue from its various storytelling missteps.
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Whether it's a collective of Iron Man-spawned A.I. or super-evolved Inhuman monsters, this issue offers a compelling glimpse of the Marvel Universe in the far future. But maybe a little more plot momentum next time?
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The tables have turned as the Rogues join forces with the CCPD to arrest the Flash. That's not a bad status quo reversal to celebrate the series' 50th issue. It certainly makes for a dramatic anniversary issue. Unfortunately, it also feels a bit rushed despite the extended page count.
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Though Walker's facial work is occasionally wonky (mainly in the panels featuring crying characters) he quickly settles back into the universe and renders dynamic alien cityscapes and odd creatures with ease.
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Whether you've been following IDW's Trek books or this is your first, this issue should satisfy your craving for intergalactic action.
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Soule continues to do wonders for Anakin as he explores a young man in a state of psychological flux and receiving guidance from the absolute worst possible mentor. The interaction between Anakin and Palpatine is both enlightening and more than a little chilling in the context of what comes later.
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The only bad thing that can be said about this issue is that there isn't more Walking Dead coming from Vaughan and Martin. These two creators prove once again that they're capable of weaving magic in any comic book universe, new or established. This issue is a must-read fro any zombie fan, especially with the "pay what you want" model.
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Initially it seemed the series might suffer from the loss of the Tokyo setting. The blend between the Blade Runner/Akira-esque cyberpunk city and the old-fashioned samurai elements was such a huge draw in the first arc. But Remender and Murphy find new ways to distinguish this world and its colorful inhabitants.
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For all the potential that the Dark Souls franchise has in the comic book medium, this issue doesn't do much to capitalize on it. Dark Souls #1 doesn't look or feel very close to the source material, and despite her tragic background the main protagonist comes across as a generic hero on a prolonged fetch quest, Hopefully future installments can do more with the setting and the characters.
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This relaunched series has really tapped into that peculiar blend of black comedy and tragedy that makes Gerry Duggan's Deadpool so appealing. That's why it's disappointing that this issue foregoes hat approach for a more humor and action-oriented installment. And while that approach has its merits, the humor falls flat too often in these pages.
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There's a clear trend developing with this new series. Harley's team-ups with various DC heroes are entertaining, but each issue spends too much time welling on pointless detours and not enough exploring these oddball character dynamics. Even Linsner's art can't quite save this new issue from its weaker elements.
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Max Landis is still batting a thousand with this Superman mini-series. Issue #6 packs in more f that now-familiar charm, mixed with just the right amount of pathos and soul-searching as Clark continues defining himself in a world growing accustomed to his presence. Jonathan Case's art is a perfect complement to Landis' script. It's almost a shame that the series will be wrapping up next month.
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This issue serves as a transitional chapter as the books shifts from the opening conflict with The Blob and Toad to the events of "The Apocalypse Wars." Frankly, it reads more like a filler issue than an integral addition to the series.
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It's a dark issue in some ways, but one that also emphasizes Peter's resiliency. Plus, the banter between Anna Maria and The Living Brain make for a fun contrast to all the doom and gloom.
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It's ironic that it took a story about Superman confronting his imminent death for the character to finally regain the hope, optimism and decency he's so often lacked in the New 52.
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Brian Wood is returning to familiar territory with this new series. Luckily, Black Road recalls the appeal of Northlanders while offering just enough of a new approach to exploring Viking life that it doesn't read like a simple rehash.
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This new mini-series may draw inspiration from the likes of Nancy Drew and Lumberjanes, but it never reads like a mere jumble of outside influences. Instead, this first issue offers an engaging look at plucky teen heroine/aspiring detective Goldie as she works to solve a mystery in her father's hotel.
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The problem with these Jupiter's Circle books is that they haven't always felt entirely relevant to the larger saga, so it's good to see Millar addressing that flaw. Unfortunately, this issue suffers a bit in the transition from Chris Sprouse and Walden Wong's art to Ty Templeton's final few pages.
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The unique story structure of Mockingbird #1 was that book's most distinctive element. These next several issues are tasked with filling in the blanks and shedding light on Bobbi's misadventures in between her various doctor visits. Unfortunately, this issue illustrates the drawback with that approach.
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This series captures the flavor of the early '90s X-books without subjecting readers to their less desirable elements (overwrought dialogue, excessive continuity, etc.). It's simply a fun X-Men comic that simultaneously pays homage to the classics comics and animated series while trying to inject some modern sensibilities into the mix as well.
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So far, this new series isn't doing much to suggest that DC needs three simultaneous Harley Quinn comics. While it features a rock-solid portrayal of Harley herself, attractive visuals and a more focused script than can generally be found in the main series these days, the bland, one-note characterization when it comes to the Gang of Harleys is a major drag. What;s the point of an ensemble-based Harley Quinn comic if the ensemble cast doesn't measure up?
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Unless you're expecting this anniversary issue to immediately turn the Silver Surfer mythos on its head, you won't be disappointed with what the creative team deliver. It's epic, over-the-top in all the right ways and gorgeous to behold. And there are definite consequences to Surfer's actions here, which promises an interesting few months to come for the cosmic traveler.
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Star Wars Special: C-3PO is far more than a pointless tie-in comic that reveals an inconsequential secret about the Star Wars universe. It's a well-crafted story of survival, one that treats Threepio and his fellow droids as real characters with real motivations, And it offers a much different visual interpretation of the Star Wars franchise than we've seen from Marvel's other Star Wars comics.
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It's good to have Moon Knight back on the stands. This new series retains much of what made its predecessor so appealing while also shaking up the formula in a major way. Between the moody atmosphere and terrific sense of style, this issue has a lot going for it. It's just a shame the book works against itself by rushing to the big reveal rather than offering a slower and more purposeful build-up.
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It may seem like there's no more room at Marvel for goofy, lighthearted superhero fare, but The Unbelievable Gwenpool instantly finds it niche. As silly and charming as this first issue is, its real success is in contrasting Gwen's carefree spirit and devil-may-care attitude with the real, tragic consequences of her behavior. Gwen Poole isn't a role model, but she's a heck of a lot of fun to read.
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In general, Peter Bergting is a solid addition to the lineup of artists playing in the Mignola-verse sandbox, but his stark, eerie style really comes alive in this flashback to a harsh, demon-infested desert wasteland.
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After only two issues, this series is quickly establishing itself as one of Marvel's best.
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Green Arrow #50 didn't really deliver on the much-hyped clash between Green Arrow and Deathstroke. This issue picks up the slack, though it's still a bit slow in building towards the main event.
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It's becoming harder and harder to maintain interest in the current volume of Green Lantern when the book is losing steam and DC Rebirth relaunch is right around the corner.
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Invincible Iron Man has hit a significant sophomore slump with this current story arc, which stands out neither as a prologue to Civil War II nor as a simple continuation of the first story arc.
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This issue has no real earth-shattering moments to offer, just good, solid characterization as Logan meets an elderly Steve Rogers and finally comes to terms with the fact that this world is not his own. That, and plenty of gorgeous imagery from Andrea Sorrentino.
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This issue offers an entertaining glimpse at life in the Morales household as both Miles and his father struggle to adjust to this abuelita's tyrannical rule. The interaction between Miles and fellow Avenger Ms. marvel is also entertaining, if a bit more limited in scope than what the cover suggests.
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The current volume of Deadpool is even stronger than its predecessor, thanks to an increased emphasis on blending the insanity of Wade Wilson's world with tragedy and darkness. This issue allows Sabretooth to get in on some of that action, proving that this particular face-off is about much more than just mindless carnage.
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Empress is shaping up to be one of Millar's better creator-owned comics in recent memory. The book thrives on the strength of the art team, as it delivers a cohesive space fantasy universe with just enough quirks to stand out from the crowd. And this opening chapter serves as a great first issue. It starts the book off on an exciting note while also taking time to begin fleshing out the main characters and the struggle between a desperate mother and her overbearing husband.
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You can't really go wrong when a comic promises a new Harley Quinn adventure drawn by Jim Lee. This issue has that to offer, but also an equally appealing segment rendered by Sean Galloway and a generally entertaining (if somewhat disjointed) script by Rob Williams. If this is what we can expect from the new Suicide Squad comic during DC Rebirth, things are looking up for the troubled team of villains.
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The decision to keep Negan alive after the events of "All Out War" is certainly paying off. The villain is back to being his old terrible but charismatic self here, even as his nemesis Rick is dealing with the fallout of Negan's escape. The book continues to forge a compelling new status quo. But to fully take advantage of that status quo, the time has come for the newer characters to step up and take their place alongside the classics.
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Wonder Woman can be a tough character to crack, but this graphic novel does the job by embracing her Golden Age roots, bondage and all. Aside from Paquette's mesmerizing art, this book's strongest asset is Morrison's decision to downplay Diana's warrior traits in favor of her compassionate side. Whatever pacing problems this book might have as the creators navigate the limited page space available, that characterization sets this book apart.
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Poe Dameron isn't the immediate success both Star Wars and Darth Vader were last year. This series definitely boasts a competent creative team, and Soule and Noto both show a storytelling confidence as they settle in with this hotshot pilot. But for a series that ostensibly has 30 years in which to explore, it's disappointing to see this first issue acting as a small-scale prequel to The Force Awakens. There has to be more to Poe Dameron's life worth exploring, and hopefully there will be sooner or later.
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After several years of ups and downs, Black Panther finally has the solo comic he deserves again. Coates and Stelfreeze build on the many stories that have come before to weave a tale about Wakanda in its darkest hour and a king who may not be up to the task of saving it. Whether you're a hardcore fan of the character or Captain America: Civil War has you interested in learning more about T'Challa, this comic has plenty to offer.
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Not only is this issue emotionally gut-wrenching, it's also very claustrophobic and unsettling thanks to to catacomb setting and the physical suffering Cyclops endures.
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This mini-series may scratch an itch for certain Spider-Man fans who want to see Peter Parker getting back to basics and swinging around New York. But even four chapters in, it's hard to shake the notion that Spidey feels poorly matched for the conflict at hand.
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Aquaman reaching its 50th issue doesn't carry the same significance as many other DC books given how much creative turnover there's been on this book of late. But if this issue doesn't feel especially momentous, writer Dan Abnett does make use of the boosted page count to deliver and fun and occasionally dramatic look at Aquaman trying to foster relations between Atlantis and the surface world and confronting a mysterious oceanic killer.
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There's something here for pretty much any Cap lover. It's just a shame the Bucky/Sam story couldn't have offered a little more meat.
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The conflict is straightforward and the characters not especially complex. Though is that really necessary in a Godzilla book? Fialkov at least ensures that the humans are likable enough that readers don't want to see them eaten or squished, and he delivers a story that's equal parts campy and dramatic.
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The focus is very much on the soul-crushing horror of war rather than superhero spectacle. Unfortunately, the book's visual quality takes a significant dive at a critical time. Barnaby Bagenda's pencils seems noticeably looser and less refined in this chapter, to the point where readers can be forgiven for thinking another artist has come on board.
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This series has been great about showcasing the full range of Vader's Dark Side powers. That, in turn, requires Kieron Gillen to conjure up some truly awesome threats to properly challenge the Dark Lord of the Sith. This current story arc has been especially successful in that regard.
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Whether you're a fan of both books or have never read a Squirrel Girl comic in your life, this new issue is well worth a look.
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Batman and Robin Eternal's final issue doesn't quite live up to the promise the series had when it first debuted last year, mainly due to the underwhelming final bow for Mother. But as an end-cap to Harper Row and Cassandra Cain's intertwined story, this issue is very satisfying indeed. This finale does its part to get readers excited for what's to come in DC Rebirth.
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If nothing else, Power Lines #1 shows plenty of potential. This isn't merely another addition to the ever-crowded superhero market, but a book that combines many disparate elements into one ambitious package. Unfortunately, Power Lines won't achieve its full potential without a more compelling and fully realized cast of characters to anchor the conflict.
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The original Suiciders was a solid addition to Vertigo's lineup last year, and the sequel is shaping up to be even better. The addition of Vitti to the mix has only boosted the book's visual appeal. This first issue is quick to establish its cast and conflict and move forward without hesitation.
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You might think the world has no need for a darker, grittier take on the Ninja Turtles, but this comic could very well change your mind. TMNT Deviations uses the main series' continuity to craft an unsettling look at a world where things have gone wrong for the Heroes in a Half-Shell, and it makes for fine reading. It's just a shame the creative team didn't have more space to let this What If?-style tale fully breathe.
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Marvel hasn't always found success in trying to tap into the lingering nostalgia for the X-Men's '90s period. This new series is largely successful, thanks to its lighthearted tone and a storytelling approach that honors the source material while also poking fun at its many excesses. It's unfortunate that the art isn't quite up to the task of capturing that distinctive era, but hopefully that's an element of the book that will improve with time.
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Basically, it's the character drama rather than the action that distinguishes this series at the moment. That's partly because Adam Kubert's art in this issue isn't up to the book's recent standard.
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The main problem is Wendig's decision to keep the title character at a distance, instead framing the issue from the perspective of a teenage runaway named Doll. Hyperion himself becomes almost incidental to the story, which, despite a blatant Mad Max homage late in the game, doesn't really pack the scope necessary for a hero of Hyperion's stature.
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This issue is crammed full of epic monster brawls, sexy bonding between Amadeus and Lady Hellbender, and other visual treats.
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Uncanny X-Men has the foundation of a solid X-Men comic. The book's real problem at the moment is a lack of forward momentum.
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This series continues to suffer from the same woes that have plagued it since the current creative team took over in 2014. The dialogue and narration alike are excessive and overwrought
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The newest Assassin's Creed comic is already shaping up to be a worthwhile addition to the ever-growing franchise. Templars #1 stands out for several reasons, but above all because it works to humanize the Templar faction and makes great use of a very distinctive historical setting. This first issue is a solid start, and it leaves plenty of room for the book to get even better in the next four chapters.
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Assuming Batman #51 doesn't turn out to be a disaster of epic proportions, it's safe to say that Snyder and Capullo stuck the landing on their years-long Batman run. This issue is a fitting end-cap not just to "Superheavy," but all 50 issues of the series. It's gorgeously rendered and emotionally stirring, reminding us that a fictional character like Batman can shape and influence the world in very real ways.
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Harley Quinn has been a fairly frustrating read over the past year. There's a lot to love still about the character and her portrayal, but the book is constantly suffering from odd pacing and storytelling choices that serve to always make Harley feel like a character in flux.
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It's debatable whether the world needed an Independence Day comic, but at least this Resurgence prequel has something to offer readers. The characters might be bland and the artwork uneven at best, but the idea of a submarine crew waging war against alien stragglers has its definite appeal.
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The newest story arc on Star Wars is rapidly shaping up to be the best yet. Jason Aaron is making the most of Leia's time in the spotlight as he pairs her with Sana and explores the complicated nature of wartime principles. Backed up by great artwork and a humorous Han/Luke subplot, this arc is firing on all cylinders.
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This issue continues Dennis Hopeless efforts to use the Blob conflict as a means of exploring each character's state of mind. That means there's a lot of clunky, ponderous introspection and not a great deal of plot progression.
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The script slowly builds towards the next big showdown between Ollie and his Warg enemies, but even after 40 pages offers little in the way of payoff.
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For a book that started out as a simple "Superman by way of Forrest Gump" story, Huck has certainly taken some interesting turns recently.
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Writer Brian Buccellato is able to tap into that blend of humor and hard-hitting action that has so frequently made this comic entertaining. He wisely avoids resorting to traditional, convoluted Bizarro speak, instead simply writing the character as a confused, childish, but ultimately well-meaning brute.
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It's great to see Poison Ivy in her own solo series for once, but this book never seems quite sure what it wants to focus on. Ivy's efforts to start her life over often clash with her plant/animal hybrid experiments and the book's halfhearted murder mystery element.
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After two issues this is already shaping up to be a collaboration worth remembering.
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This series has only gotten better thanks to the recent relaunch and the advent of Jessica Drew's new status quo as a pregnant, semi-retired hero.
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It's sad to see Marvel ending one of the only Star Wars comics not set during the Original Trilogy era. That said, Kanan never really lived up to its potential, much less the high standard set by books like Star Wars and Darth Vader. This issue at least makes for a decent finish, even if the material set in the present-day Rebels timeline was never the book's strong suit in the first place.
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It seems a little soon to be kicking off a crossover among the three core X-Men books when all three series are still trying to establish their voice and build a compelling new status quo for the franchise. And it's not surprising that Extraordinary X-men is generally at its best when it's focusing on the team's interpersonal drama rather than the impending clash with Apocalypse. This crossover won't succeed unless it can find ways to shake up the familiar X-Men vs. Apocalypse formula.
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International Iron Man is shaping up to be a very different book from its sister series, which is mostly a good thing. It would have been nice to see a little more of Tony's present-day struggles in this first issue, not to mention an appearance from Doom, but the extended flashback illuminates a lesser-known period in the characters life and establishes a solid bond with the latest woman in his life. Fans of Bendis and Maleev's previous collaborations likely won't be disappointed.
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Legends of Tomorrow #1 won't satisfy readers looking for an extension of the TV series. That's the fault of DC's marketing department, not the creators of these stories. This book will, however, appeal to DC fans who crave a simpler, more innocent take on this superhero universe. With a lineup of classic DC writers and talented artists tackling a variety of B and C-List heroes, there's a lot of fun to go around in this issue.
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In the end, this issue accomplished exactly what the finale of an opening story arc should - it closes the door on one conflict while laying the groundwork for darker and more dramatic battles to come.
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Taylor seems to relish the opportunity to write Batman and Superman as friends rather than bitter enemies for a change, and their odd friendship is very charming to read.
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This issue amps up the drama as more of Constantine's mistakes come back to haunt him and the tension builds. Unfortunately, the book isn't quite the same without Riley Rossmo's distinctive style.
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This epilogue gives the story an added sense of context and emotional weight that should prove invaluable going forward.
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This mini-series is, like Injustice: Gods Among Us before it, a showcase for how well Taylor understands the Green Lantern franchise and can play with its many toys.
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There's some appeal in seeing Star-Lord and Kitty Pryde reunited and trying to pick up the broken pieces of their romance, but that drains away over the course of this issue. This issue focuses entirely too much on their banter and squabbling, with little tangible progress for either character.
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Even though the fact that this book is a prequel limits how much damage an be done to his heroes, Millar does create a sense of drama as they find themselves powerless and adrift in another dimension. Unfortunately, this issue doesn't quite stick the landing, as Skyfox's abrupt change of heart brings a quick and easy conclusion to the conflict.
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It's practically PG-rated in terms of dialogue and how the humans interact with their Martian overlords, but spurts of bloody violence suddenly push it into darker territory.
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It's unfortunate that such a talented creative team is forced to wrap up their Superman saga as cogs in a bigger machine, but Pak and Kuder make the most of their final issue of Action Comics. This issue is a rousing celebration of Superman and his supporting cast. The mish-mash of artists leads to a visually inconsistent issue, but Kuder's pages are worth the price of admission all on their own.
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Whatever momentum this series might have lost in the previous issue is instantly reclaimed as Dan Slott and Giuseppe Camuncoli reunite and continue Spider-Man's conflict with Zodiac. This issue is crammed with epic superhero spectacle, but it also established the new Scorpio as a credible and unpredictable threat to Peter Parker's growing global empire.
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Batman/Teenage Mutant Ninja Turtles is a story worthy of all the crazy crossover fantasies fans have cooked up over the years. Issue #4 continues building a compelling conflict for our heroes to wrestle with, but the focus remains on exploring and celebrating the unusual bond between Batman and his mutated comrades. Hopefully the same attention will be paid to their enemies before this story wraps up.
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Mockingbird's new series could have been a simple effort to cash in on the character's recent mainstream exposure. Luckily, it's something much more ambitious and unique than that. This first issue ditches convention and employs a compelling, purposely disjointed structure to offer a glimpse into Bobbi Morse's crazy life.
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The main disappointment with this first issue is that the series doesn't exploit the Peter/Cindy dynamic to very good effect. There's little to their interaction beyond Peter's excessive wisecracking and Cindy's exasperated responses. There's a lot of untapped potential there that hopefully Thompson will address in future installments.
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The art is also fairly inconsistent, as regular artist Billy tan is joined by guest artist Vicente Cifuentes and various inkers. Some of the larger splash pages look good, but too often the art looks rushed and suffers from bland, flat facial work.
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Injustice: Year Five has offered a necessary shift in focus for the long-running series. However, it's not really Batman and Superman who are benefiting so much as their allies.
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There are clearly interesting things brewing for the book, but a certain amount of momentum has been lost since the first story arc.
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Thankfully, issue #3 quickly puts the series back on track as it pairs Logan with Hawkeye.
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Anyone who complains that the Jedi of the Original Trilogy look like chumps compared to those in the Prequels need to be reading this comic. Kieron Gillen and Salvador Larroca seem to revel in throwing ever bigger and badder opponents against Vader and allowing the Dark Lord of the Sith to unleash the full power of the Force.
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Unfollow has a great hook, to be sure, but it wouldn't be enough to support an ongoing series without a great cast of characters to give the conflict weight and meaning.
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Those hoping for a deep, complex narrative may be disappointed with the first issue of Black Widow. But when a comic looks this good and takes such full advantage of the medium's storytelling possibilities, who needs pesky words? This issue will almost certainly be looked to as a teaching tool for up-and-coming comic artists. Not a bad start to this new series.
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Predator: Life and Death #1 is hardly the worst way fans of the iconic sci-fi franchise could spend $4. This issue borrows heavily from both the Predator and Alien movies, a fact which is both an asset and a drawback at times. The real questions are whether this series can bring something new to the table, and if readers really need a 17-part Alien/Predator/Prometheus crossover in the first place.
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The Walking Dead continues its shift into a compelling and uncertain future with this newest issue. It's clear that, after a period of relative peace and quiet, dark days again lie ahead for our heroes. Rick's new status quo might just be the most intriguing of all. However, the series will need to explore his questionable actions and general state of mind with more subtlety in the future.
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If you've never read a Vampirella comic, there's never been a better time to dive in. This debut issue gives the iconic character a functional makeover without ignoring the more sexually charged elements of the franchise. This issue strikes a nice balance between Vampirella's battle with celebrity and the emergence of a new supernatural threat.
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Two chapters into Avengers Standoff, it's already clear that Marvel needs to turn to Nick Spencer for event comics more often. Spencer shows a knack for blending humor and darkness in this issue as he escalates the situation in Pleasant Hill and draws the Avengers into the fray. It helps that he has a very strong partner in Jesus Saiz. This crossover is off to a great start, but can it maintain that momentum in the hands of other creative teams?
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All-New, All-Different Avengers has made some clear improvements over the course of this first story arc. The general team dynamic is stronger, and the series is in a better visual place as well. Unfortunately, this issue still caps off the arc on a fairly underwhelming note. There are still flaws that need addressing, but with the Avengers Standoff crossover coming up it's not clear how soon that will happen.
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The series also continues to thrive on the strength of David Walker's characterization. He's especially adept at capturing the playful banter between Cyborg and Shazam, to the point where this issue left me craving a team-up book featuring the duo.
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Ghostbusters International introduces a fun new status quo for IDW's long-running franchise. It's just strange that the book is so slow about taking advantage of said status quo.
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Seeley crafts a fun, action-packed new chapter this month that makes the most of the growing bond between Dick and fellow Spyral agent Tiger.
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There have been times when this mini-series seemed destined to tread the predictable, familiar path when it comes to stories of real-world schlubs gaining super-powers. But luckily, Eric Kripke and John Higgins seem intent on embracing the mature readers label and telling a story that manages to be both a hyper-violent romp and a glum character study in one.
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Karnak #2 is still very light on plot, but it at least has a stronger sense of forward momentum.
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The idea of Superman having an entire team of like-minded Kryptonians is also interesting, though this issue never makes it clear what connection Supes has to these characters or what opinion he has of their actions. The script also has a very clunky, old-fashioned feel to it, especially with Lois providing an exposition-heavy play-by-play of the conflict
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This is very much a transitional chapter for the series, as writer Tom Waltz touches on a number of characters and running plot threads without really fixating on any one element. Needless to say, some of the scenes in this issue are more compelling than others.
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While I've been a fan of the Jason Aaron/R.M. Guera partnership since the first issue of Scalped, I wasn't expecting Guera to blow me away as much as he has with this new series. Guera's art has reached an entirely new level with The Goddamned.
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The real strength of the book is its tongue-in-cheek tone and the carefree, irreverent attitude of Miss Earp. New artist Lora Innes gives this issue a lively feel thanks to her expressive character designs, though the figure work loses some of its luster during the action sequences.
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For whatever else can be said about The Dark Knight III: The Master Race #3, it's not a boring comic. This issue has its highs as it explores the bond between Bruce Wayne and Carrie Kelly and builds towards Batman's defiant stand against the Kandorians. But it also has its lows thanks to an unfocused narrative and the one-dimensional portrayal of its villains. At times The Dark Knight III doesn't even read much like a Batman story.
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Dark Horse's latest Hellboy project is already off to a terrific start. This new series builds on the foundation of Hellboy and the B.P.R.D.: 1952 as it explores the team's growing bond and builds a sinister new threat lurking in a peaceful suburban town. Paolo Rivera's art alone makes this issue worth a read.
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Even this close to the end, The Darkseid War hasn't lost its appeal. This epic story arc is delivering all the amazing art and big character moments readers could ask for, even as the already large cast grows even bigger. The villains could stand a little fine-tuning, but hopefully Mobius and Grail will return to the forefront of the conflict in the final two chapters.
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Street Fighter x G.I. Joe delivers exactly what it promises, no more and no less. This is a fun, lighthearted mashup of two venerated franchises. The plot is almost nonexistent, but the dynamic art and the appeal of seeing the two groups of fighters merge is enough to justify a purchase.
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The first issue of this new X-book won't dramatically reinvent the X-Men franchise as we know it, but it does offer a clean, accessible and engaging alternative to the rest of the franchise. Worst X-Men Ever #1 boasts a solid lead character and attractive visuals, strengths that make for a solid start to this mini-series.
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If this latest adventure is going to succeed, it's going to have to rely on more than nostalgia to do so.
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This finale offers precious little of the Wade/Nate dynamic until the end. For the most part it focuses on convoluted time-hopping, which only grows more confusing as the conflict progresses. Still, the humor is enough to offset the clunkiness in the script. Moreover, Nicieza is able to celebrate the bond between these two characters even if they rarely share the page.
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Guest artist Victor Ibanez continues to impress with his lively figure work and detailed environments, and hopefully he'll remain a fixture on the series. Unfortunately, this issue doesn't make any better use of the Weirdworld setting than the previous one did.
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The former storyline reaches a solid conclusion. In addition to a healthy dose of violent action and expressive figure work from Mike S. Miller, this chapter offers a sad, wistful look at the relationship between Batman and Catwoman.
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The book's usual charm is readily apparent, but it's clear the creative team have ambitious plans in mind for the coming months.
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This dystopian sci-fi series reads a bit like an updated version of V for Vendetta thanks to its dystopian setting, oppressive government and shrouded freedom fighter/terrorist figure. The setting is the most compelling element of Snowfall.
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Hopeless offers a powerful look at Jess' maternal side and the superhuman lengths she'll go to to protect the most important thing in the world to her. The final showdown is a thrill to read, but even that's eclipsed by the comparatively quiet but no less emotional aftermath as Captain Marvel enters the picture again.
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This comic has no business being as good as it is.
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Amazing Spider-Man #8 is the first real disappointment of the new volume. This issue looks great thanks to Matteo Buffagni's dynamic action scenes, but the conflict fizzles out and fails to provide much closure for Mister Negative's story. At this point it's just as well Peter is moving on to bigger and more challenging problems again.
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As exhausting as it is to think Marvel is already launching into a new crossover event, Avengers Standoff is showing plenty of promise at this early stage. The political nature to the conflict and the mystery behind the nature of Pleasant Hill both combine to form a compelling conflict. The real question is whether this event can sustain itself as it draws in other books and other creative teams.
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It's unfortunate that this series can't seem to shake its pacing problems, because otherwise this is one of the strongest chapters of Harley Quinn in the past year. Harley's showdown with Joker was worth the long wait, and her interaction with her supporting cast adds a lighthearted counterpoint to that dramatic reunion.
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Reading this first issue is enough to make you wonder why Marvel waited so long to bring back the Heroes for Hire. Between Greene's eye-catching artwork and Walker's compelling portrayal of the lead heroes, there's plenty to hook readers in this opening chapter.
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Whatever momentum Star Wars lost thanks to the recent crossover is instantly regained with this new story arc. As much as this series continues to capture the feel of the movies in a way few Star Wars comics ever have, it also succeeds in trying new things and contributing to the franchise in a meaningful way.
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Dark Horse's latest Tomb Raider comic boasts an impressive creative team but not the execution to match. This issue quickly loses its momentum after a solid opening sequence and never quite recaptures it. The best readers can hope for is that the book begins to deliver once the setup phase is over and Lara's new quest truly gets underway.
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The Janet/Laura team-up in this issue is fun to read (who would have ever expected Laura to don an Ant-Man suit and go cruising through a human body?), but the heartfelt bond between the new Wolverine and her sisters is where the real heart of this issues rests.
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Tim Seeley delivers two perfectly enjoyable tales that show a strong understanding of each character's psychology. Neither origin revision diverges significantly from the norm, but why fix what isn't broken.
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This issue is at least more visually cohesive than most, though neither artist quite captures the distinctive power and energy of the original Bombshells character designs.
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The latest incarnation of Injustice is feeling more in line with the first two volumes of the series, and that's a good thing.
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This issue amps up the excitement factor as Bond gets closer to uncovering the mystery of the duper-drug Vargr and the villain pulling his strings. The extended fight sequence ups the ante and provides Bond with his first real physical challenge of the series. Unfortunately, Jason Masters storytelling sometimes falters during this sequence.
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In some respects, this issue exposes the weaknesses in the current Old Man Logan status quo. Logan's quest to kill every superhuman who contributed to the downfall of his world is compelling stuff, but not if it's going to lead to a series of brief, pointless brawls between the Ol' Canucklehead and familiar Marvel icons.
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As always, Gillen is able to convey a great deal about Vader's motivations, desires and general lack of regard for others with minimal effort. And as much as Vader is an unstoppable force in this issue, his ongoing rivalry with Cylo offers a challenge Vader can't simply slice his way through. Larroca brings a terrific sense of scale to the battles in this issue, with Vader unleashing the full brunt of his powers on the hapless rebels on Shu-toran.
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This issue marks a fairly low-key start to the series, but it offers plenty of incentive to stick around.
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All-New, All-Different Avengers lacks a compelling villain right now, so it's good to see that the core team dynamic is becoming strong enough to offset that flaw. Waid's characterization of Vision alone makes this book worth reading, but the improving visual quality, the general team banter and the Ms. Marvel-centric material don't hurt either.
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Batman #49 is far from being a mere stopgap before the big finale to Superheavy next month. This issue offers a compelling look at Bruce Wayne's return to being Batman and whether the immortality of the Dark Knight is a blessing or a curse. It's a very different comic from the ones that preceded it in both look and feel, and that's part of why this issue is such a great read.
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There are far worse options when it comes to filling the gap until Deus Ex: Mankind Divided hits than reading this prequel comic. Deus Ex Universe #1 is a competent but largely unremarkable tie-in that doesn't do enough to make the reader connect with the characters. There are moments when the comics shows a warmth and emotion, however, and they offer hope that this series can become something more as it unfolds.
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Green Lantern: Edge of Oblivion has quickly established itself as the must-read title in the Green Lantern franchise. Between Taylor's top-notch characterization, Van Sciver's epic artwork and the general sense that anything can and will happen to our heroes, there's a lot to love with this mini-series.
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If you crave a little more direct interaction between Harley Quinn and the rest of the DCU, this new series fits the bill. It retains the light tone and charm of the main series while dragging various DC icons in for silly team-ups. Unfortunately, this is the second time in a row the series has ignored the opportunity to explore Harley's fragile psyche in greater depth. That sets a bad precedent going forward.
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Matteo Buffagni's style doesn't impress quite on the level of Giuseppe Camuncoli's, but there's a clear energy to his storytelling as he renders the violent clashes between Spidey and the brainwashed Cloak and Dagger.
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There's an ethereal quality to the book that speaks both to the ghostly locale and the deteriorating physical condition of both Batman and Joker.
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The most obvious improvement with this new Captain America comic over previous incarnations is the stronger emphasis on humor. Sam Wilson might be dealing with some pretty shady characters, but that doesn't mean there isn't room for social satire or some moments of pure silliness.
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Chris Bachalo's surreal visual style suits the book all the more now that the tone has grown darker and Strange's magical escapades have become that much more fraught with peril. There's a whimsical quality to the storytelling here, but also a strong sense of unease and foreboding.
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Abnett brings a lighthearted feel to the book, but there's really not much room for depth or complex characterization in between the shooting and banter.
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David Marquez dropped the mic with the first five issues of this series, and that's not an easy act to follow by any stretch. Unfortunately, the decision to bring Mike Deodato, Jr. on board for the second arc means that Invincible Iron Man looks like a fundamentally different comic
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Klaus is a very different comic compared to Grant Morrison's usual fare. The emphasis is less on high-concept storytelling or deep themes and more on weaving a charming, fairly lighthearted look at the origins of Santa Claus.
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It's always exciting when The Walking Dead kicks off a major new storyline. This issue opens on a terrific note, as a training ground quickly degenerates into another battle for survival. Those pages stand out as one of the most visually memorable Walking Dead sequences in recent memory. Unfortunately, that momentum doesn't last throughout the issue as zombie action makes way for talking heads.
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Each new chapter of this series sees Cullen Bunn making better use of the mutant team he's assembled. This issue in particular is a strong showcase for Magneto and what drives the troubled mutant leader in this era of public hysteria, Terrigen clouds and mutant massacres. Bunn also takes the chance to add several more players to the board here, all of whom help spice up the book a little more.
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What could have easily been a simple, straightforward riff on Battle Royale is developing into something much more.
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The current Batgirl conflict is building momentum as Babs teams up with an old friend and gets to the heart of her recent memory problems. This issue often struggles to find its groove as it barrels through several big scenes, but it finally settles down in time to do justice to this team-up.
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Dejah Thoris #1 may be accessible to new readers, but this relaunched series doesn't do much to convince anyone to stick around. This issue is dull, plodding, and more concerned with setting up Dejah's new status quo than actually making the reader care about her plight.
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Through its many relaunches and changes, one thing that has remained constant with Ultimate Spider-man is that it's a comic worth reading. That doesn't change now that the series has dropped the "Ultimate" moniker and shifted its setting to the Prime Marvel Universe. Miles and his supporting cast are as compelling as ever, and Pichelli and Ponsor ensure that Spider-Man ranks among Marvel's best-looking new comics.
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If you're a fan of Spurrier's distinctive voice and Kelly's artwork, this issue will hook you almost immediately.
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The latest issue of Cyborg comes across as pretty standard epilogue fare in the aftermath of David Walker's big Technosapiens storyline.
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Deadpool and Cable's string of failed attempts to fix the timeline only wind up worsening the problem, leading to a wildly entertaining Groundhog Day scenario. And the comic only gets weirder from there.
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Issue #24 ends on a high note as Hickman explores the close bond between Death and his partners and hints at monumental changes to come for this trio.
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The first issue of Ghostbusters International isn't the strongest start we've seen from IDW's various mini-series. Despite the straightforward premise, there's a seeming reluctance to dive into the new global status quo for our heroes. Even so, the book features all the humor, slick artwork and fun character dynamics we've come to expect from these comics by now.
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If you need a quick Hellboy fix, you could do far worse than picking up this one-shot anthology issue.
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Is there any contemporary artist better suited to rendering classical, Silver Age-inspired superhero tales than Chris Sprouse? Sprouse is a more than worthy fill-in for this issue as he and Millar explore new complications in the lives of Utopian and his friends.
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Bryan Hitch's Justice league epic really seems to have hits its stride as it approached the climax of the Rao conflict. That nagging sense that this story has been done before recedes as the JLA begin making their defiant stand against Rao.
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The best that can be said for Omega Men is that it makes you feel things in a way few mainstream superhero comics can manage.
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Hopefully DC plans to keep Gene Luen Yang on board Superman after this "Savage Dawn" crossover, because it would be nice to see what Yang can bring to the series when he isn't stuck participating in one crossover or another.
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All-New, All-Different Avengers is still struggling to find its footing as it transitions from its first story arc to the second. The art quality improve in this issue, and Waid's characterization of Thor is a highlight. Unfortunately, the general team dynamic hasn't come together, and little about the conflict in this series is very remarkable.
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The previous Old Man Logan comic proved to be a disappointment, but it looks like the follow-up will do justice to this troubled, grizzled version of Wolverine. The strong visual design and neo-noir tone immediately help distinguish the series, while the story finds the focus and momentum that was lacking last time around. This is a promising start for Marvel's newest X-Men comic.
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This Suicide Squad spinoff offers a decent showcase for the two characters. The Deadshot tale in particular offers plenty of action and character banter. Just don't expect much in the way of depth from either tale at this early stage. Hopefully that will change as the series unfolds.
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American Monster #1 is an intriguing debut for this gritty crime drama, if not an entirely cohesive one.
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This chapter of Batgirl takes a predictable dip in quality thanks to the absence of Babs Tarr. The book still has its moments of visual excitement, though. And between the three-way superheroine team-up, the father/daughter bonding scene and the return of a character who deserves more attention, this new storyline is quickly heating up.
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Batman and Robin Eternal is coming across as a solid story that suffers from the weekly grind.
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Once again, Gerry Duggan's Deadpool run thrives by downplaying comedy in favor of drama. What seems at first like a goofy little side-story winds up being a sobering look at the future of Wade Wilson and his loved ones in the year 2099. Bring on more Deadpool 2099!
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Remender introduces some compelling idea as he explores a world ravaged by a disease that regresses humans to a more primitive state. Unfortunately, those interesting ideas become mostly window dressing in what is basically a pretty by-the-numbers post-apocalyptic tale.
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It seems we'll have to wait another month for the "Harley Quinn in Arkham" storyline that was promised. This issue becomes distracted by a less compelling conflict that results in little more than Harley and her friends killing a bunch of mercenaries. Visually distinctive, but otherwise not particularly memorable.
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Mike S. Miller's expressive pencils make the second chapter a teat to behold, but Tom Derenick's art in the first chapter lacks the sleek, powerful quality this series is generally known for.
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After two issues I'm ready to accept that Patsy Walker AKA Hellcat just isn't the book for me. The series strives for a lighthearted, silly approach to the character, but spends too much time trying to ground Patsy in the mundane world rather than embracing her weird, outlandish side.
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The real fun in this issue is seeing the various bizarre caricatures that wander in and out of Poodwaddle's life, be they arrogant editors or listless strippers or psychotic subway panhandlers.
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With the creative team staying the same, it should come as no surprise that the new volume of Silver Surfer is every bit as fun and entertaining as the last one. This issue offers a clean gateway into the franchise and a great showcase for Mike and Laura Allred's art. The story misses some opportunity when it comes to fleshing out the title character, but it's still an enjoyable read.
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You really have to hand it to the Sinestro creative team. This current storyline has all the scope and drama of classic Green Lantern crossovers like The Sinestro Corps War, yet it's all contained within one humble little monthly comic.
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This issue winds up frustrating as often as it entertains.
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Uncanny X-Men is starting to take advantage of its great cast, splitting heroes into smaller groups and exploring the character dynamics that develop as a result. Unfortunately, the book hasn't developed a compelling conflict yet, and the art rarely stands out aside from the vibrant colors and the flashier action sequences.
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"Superheavy" seems to keep getting better as it goes along. This new issue delivers thrills and character drama in equal measure. Capullo's art shines regardless of subject matter, and Snyder again shows a firm handle on the rivalry between Batman and Joker. Best of all, this issue strongly suggests that life won't simply return to normal in Gotham once this storyline is finished.
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Captain Marvel is in good form as she kicks off her latest solo series. The new status quo is a logical extension of what's come before, and the ensemble cast injects new color into the mix. The creative team work seamlessly together to provide a clean, accessible and entertaining gateway into her world.
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Star Wars #15 offers a welcome detour from the series' ongoing threads. It sheds more light on Obi-Wan's hidden years on Tatooine, his secret bond with a young Luke Skywalker and his rivalry with Uncle Owen. The art impresses with its high level of detail, though that also causes some storytelling problems along the way. But on the whole, fans should find this issue to be a worthy detour.
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Initially this series seemed like one of the safest bets of the All-New, All-Different Marvel lineup, but even after three issues it feels like there's something important missing.
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In the end, Strange's role in this book might be fleeting, but he offers a fun change of pace for the series while also helping to reinforce the bond between these "sisters."
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Nick Spencer has a special talent for writing emotionally troubled, down-on-their-luck supervillains. While this issue is ostensibly focused on the introduction of the new Falcon, that element is quickly overshadowed by Spencer's efforts to flesh out certain members of the new Serpent Society.
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Extraordinary X-Men is somewhat less than extraordinary when it comes to plot. The series is still fighting that uphill battle to finds its voice and offer readers a fresh, exciting direction.
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The Robin War crossover wraps up in this issue pretty much as it began - full of interesting but half-baked ideas and a tone that's all over the map
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Max Landis has certainly earned the benefit of the doubt after the excellent first two chapters of this seires, but even so the premise of issue #3 was a little worrisome. Do we really need to see a comic about a 21-year-old Clark Kent partying it up on Bruce Wayne's pleasure yacht? We do, as a matter of fact.
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The Walking Dead had started to feel sluggish of late, but this issue helps kick the book back into gear. It ushers the characters into the next phase of their journey while offering several dramatic moments along the way. It may not offer the huge, shocking twist some readers were hoping for, but more shock value isn't what this series needed anyway.
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Agents of S.H.I.E.L.D. the comic doesn't do much to live up to the legacy of the TV series. The cast may be similar, but the comic has no clear sense of purpose of a compelling conflict to propel these characters forward. Hopefully that will come with time and we'll see the comic make strides as great as the show once did in its troubled early months.
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It's unfortunate that Green Lantern: the Lost Army ended so quickly, but DC's newest Lantern comic is a worthy replacement. Between the dramatic premise, Van Sciver's detailed art and Taylor's impeccable characterization, there's a lot to like about this new series.
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Whether you're a long-time fan of red Sonja or a complete newbie, this relaunched series has something to offer. It takes a more lighthearted approach to the character while also delivering a poignant look at her character and her many regrets. Sure, this issue doesn't boast the most epic conflict ever witnessed in a sword-and-sandals comic, but there's plenty of time for that element to come into play.
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If Secret Wars didn't already qualify as one of Marvel's best event comics, it clinches that title now with a pitch-perfect final issue. Secret Wars #9 manages to be both epic in scope and completely intimate, focusing more on the bitter rivalry between Reed Richards and Victor von Doom than the chaos unfolding across Battleworld. And whereas Hickman's Avengers saga was preoccupied with death, this issue is instead a celebration of life and creation. It's a fitting payoff to years of buildup.
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Anyone craving a clean, easy gateway into Wonder Woman's world could do far worse than Legend of Wonder Woman #1. This issue starts off a little dry, but once Diana herself becomes the focus it quickly finds its footing. This first issue suggests that De Liz has quite the odyssey planned for young Diana Prince in the months ahead.
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In some ways, this series has a lot going for it at the moment. Hal Jordan's already precarious status quo is given more urgency by the fact that his nephew's life now hangs in the balance. Unfortunately, this issue pretty much squanders that urgency by taking an extended detour in Gotham City.
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From a story standpoint, this issue offers a fairly underwhelming conclusion to Brian Bendis' first story arc.
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This series is a bit of an odd one in that it's a reboot of Dark Horse's 2002 re-imagining of the classic Lone Wolf and Cub manga. Unfortunately, at this point the source material has become a little too diluted. The attempt to rejigger Lone Wolf and Cub as a post-apocalyptic zombie story winds up turning this comic into something the comic industry has plenty of already - post-apocalyptic zombie stories.
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This series has become a little too prone to drawing in superhero guest stars for something that's barely half a year old, but at least writer Steve Orlando is willing to mine the less well-trodden corners of the DCU.
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Marvel's "Vader Down" crossover ends with more of a thud than a bang. The problem with this storyline all along is that the fun character confrontations and general spectacle haven't entirely made up for the lack of a deeper plot.
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This book is worth the price of admission solely for Kelley Jones' bold, dramatic, even Gothic depiction of the leafy giant.
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Together, the two creators are weaving a saga that's part Social Network, part Battle Royale and very much worthy of your attention.
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Once again, Duggan's Deadpool run succeeds by downplaying the humor of Wade Wilson's life and ramping up the character drama. This issue sets up Madcap as a worthy addition to Wade's small but growing rogues gallery and suggests that there's plenty more darkness in store for our hero in the months ahead. Bad for Deadpool, but good for readers.
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Injustice's fifth and final year gets off to a solid start in its first issue. These two chapters don't quite recapture the fun of last week's Year Four Annual, but they do succeed in centering the conflict again and highlighting the parallel struggles of Batman and Superman. There's a lot of room for this series to expand and surprise readers over the course of 2016.
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If nothing else, this issue proves that an Invader Zim comic can work under more than just one group of creators. This issue isn't necessarily superior to those that preceded it, but it at least offers a different take and a different visual interpretation on the Zim-verse. A little variety is never a bad thing.
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At this point it's probably too much to expect much story depth or earth-shattering developments from the Vader Down crossover. This issue offers more of the same, for good and for ill. But if all you crave out of a Star Wars comic is epic lightsaber battles and bloody Wookiee brawls, you'll be right at home.
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This new series is somewhat less than uncanny at the moment. The cast of characters is promising, and the idea of a proactive, X-Force-esque team is very much at home in the current climate of the X-Men franchise. Unfortunately, this issue doesn't do much to tap into the series' potential, and the art emphasizes pretty figures and flashy imagery over simple storytelling.
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The new volume of Amazing Spider-man is quickly eclipsing the previous one. Rarely has Dan Slott's Spider-Man saga felt this focused, both in terms of is visual style and the emphasis on Peter Parker's personal struggles. Having Mister Negative, Cloak and Dagger back in the picture just adds to the appeal.
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This series boasts a terrific team-up, both in terms of the characters involved and the creators bringing their misadventures to life. This first issue covers a lot of ground with ease. It offers terrific artwork, ample amounts of humor, surprisingly deep characterization and a conflict that confidently sets the stage for an ongoing Spidey/Deadpool team-up. It's everything a first issue should be. The fact that this issue crams in a reprint of the equally stellar Vision #1 on top of everything else makes it that much more of a no-brainer purchase.
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Marvel's latest Star Wars project is off to a good start. While Obi-Wan & Anakin lacks a compelling plot in its first issue, the strong characterization and stunning visuals are more than enough to make up for that. Based on this issue, the new series looks like it'll add plenty to what is currently a murky point in the Star Wars timeline.
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All-New Wolverine has the distinction of being the best of Marvel's new X-books so far. This issue continues that trend, as Tom Taylor digs deeper into the relationship between Laura and her clones and pits them against Taskmaster.
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"Batman: Europa undergoes another major stylistic overhaul with its third issue. This time Giuseppe Camucoli's layouts are finished by Diego Latorre, with the end result being a much more surreal and painterly approach to the series. That certainly has its merits, particularly when it comes to depicting the shadowy catacombs of Paris and conveying the growing madness both Batman and Joker are experiencing. Unfortunately, the book loses something when it comes to storytelling clarity.
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Captain America: White is an entertaining read as long as you're able to tune out the narrative captions.
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While Deadpool has been well-served these past few years in his ongoing series and various mini-series, some fans will always pine for the days of Cable & Deadpool. Well, that series is back in every way that matters. This mini-series not only reunites the Dynamic Duo, it also brings back writer Fabian Nicieza and artist Reilly Brown.
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These days, a superhero comic needs to do more than simply offer fun, lighthearted storytelling to stand out. That's something Drax #1 struggled with last month, but the second issue makes some progress as far as building a distinctive voice and direction for the series.
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East of West is a series that tends to change in focus and tone with just about every new issue. So after last month's bold, action-driven and almost completely text-less installment, it's not surprising to see issue #23 emphasize dialogue and character interaction over spectacle.
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Warren Ellis and Jason Masters strip much of the glamour and allure from Bond's world, instead focusing on how brutally violent and chaotic the life of an international super-spy can be. The violence is grotesquely rendered, but never does it seem like the creators are opting for mere shock value.
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Jughead continues to be a great complement to the relaunched Archie series, following the same modernized approach but veering off in its own wacky direction.
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This is a series well worth following regardless of your connection to the wrestling scene.
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Honestly, the worst thing about this comic may be the fact that it takes place within the Marvel Universe and not in its own corner. The attempts to integrate the Avengers into this story feel forced, and the fact that this issue's cliffhanger is almost identical to the last doesn't help.
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This wasn't a bad read, but hopefully Marvel's next mini-series will prove a bit more meaty.
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Whether "Savage Dawn" will ultimately succeed where previous Superman crossovers have struggled remains to be sen. But at least this storyline is of to a good start. This issue offers a compelling look at the origins of Vandal Savage and the conflict that will soon pit him against Superman.
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Much like Superman Annual #3, this oversized issue features a hefty cast of creators. Unfortunately, it lacks that issue's cohesion and its driving sense of purpose.
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If you weren't excited for the upcoming Injustice: Year Five, you very well might be after reading this annual. This issue deftly sets up that last major conflict while also delivering a fun but dramatic story centered around a very unlikely hero in the Injustice universe. He and Bruno Redondo continue to weave DC magic together, and it's a shame his return to the Injustice franchise won't last beyond this issue.
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The final leg of The Darkseid War has begun, but Justice League is still struggling to regain the momentum it had in the early chapters. This issue reads mostly like setup for bigger and better things to come, and the solid characterization can only do so much to make up for the sluggish pace. But at least the series continues to look great, with Jason Fabok delivering more of the refined, powerful work he's become known for.
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The real success with this issue, though, is how much Dan Slott focuses on Peter's new status quo as a delicate house of cards. He may be living the dream, but Peter is also dangerously overextended and starting to make bad decisions as a result. The Parker Luck seems to remain in full effect.
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Sadly, Batman and Robin don''t actually cross paths with Agents Solo and Kuryakin in this first issue. Writer Jeff Parker focuses instead on separate but parallel adventures as each Dynamic Duo battles fiendish villains and narrowly escapes death. The mash-up works very well, and Parker achieves a happy medium between spy drama and campy superhero charm.
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One of the many early successes of Charles Soule and Ron Garney's new Daredevil run is that they're building up a villain who shows strong potential to run with the greats. This issue is a proper showcase for Tenfingers, both in terms of the threat he poses to New York and the charisma he possesses that enables him to draw so many into his fold.
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Extraordinary X-Men took way too long to bring its cast together, but now that it has the series is quickly reaping the rewards. It's clear there's a lot of potential to mine in this eclectic mash-up of X-Men favorites and newer takes on iconic characters. The addition of Sinister to the mix certainly doesn't hurt. The thing that would most helps this series now is a shift in art style to something that can accommodate the quieter scenes as well as the outlandish ones.
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It's been fascinating to watch the creative relationship between Chuck Palahniuk and Cameron Stewart grow and flourish over the course of this series. Any question of why Fight Club 2 needed to be told as a graphic narrative rather than a prose novel has been answered with the last few issues.
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The second volume of Jupiter's Circle definitely feels a little more meaty than the first, and that's certainly to the book's benefit.
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The plot is fairly predictable and derivative of other JLA stories, but the time travel element remains intriguing all the same.
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Unfortunately, it's a little tough to connect with the characters and their mission in this issue. The way the script constantly jumps between time periods makes the story needlessly obtuse
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Patsy Walker A.K.A. Hellcat! is a decent option for any reader who craves more of the lighthearted silliness of Marvel books like Howard the Duck or The Unbeatable Squirrel Girl. But despite the solid supporting cast and characterization, this book doesn't really do anything those other titles don't do better. This first issue moves slowly and has its clunky moments, but hopefully a clearer and more engaging conflict will emerge over time.
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Vader Down is a crossover much more concerned with the actual crossing over of two groups of characters than the actual plot. And for the most part, that approach has worked.
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Gene Luen Yang has a lot of material to work through in this issue, as he wraps up Clark's brief tenure as a wrestler and the ongoing conflict with HORDR_ROOT while also setting the stage for the big conflict to come in the Superman books in 2016. It's a lot to work through, and it's a credit to Yang that this issue doesn't feel more crowded than it does.
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The art isn't quite as well-suited to the more dramatic scenes, though, and too often his human character look too young - even childlike. But on the whole, this is a satisfying chapter that celebrates Mikey's new status quo while also setting the stage for an intriguing new conflict featuring some other long-running villains.
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Rocketeer at War thrusts Cliff directly into the conflict between the Allied and Axis powers, but as a humble mechanic rather than a high-flying hero. That, plus the addition of some new players in his life, give this series a fresh and exciting new status quo to work with.
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In some ways, The Dark Knight III doesn't quite capture the feel of its predecessors. It's less dense and frantic, losing some of Frank miller's angry passion and opting for a more controlled pace and precise visual style. But often it's the spots where this issue breaks the mold that it stands the most. The introspective look at the relationship between Carrie Kelly and her boss is a highlight, and both the main story and the mini-comic have moments of sheer visual delight.
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Much like Harley Quinn in early 2015, Barbara Gordon is beginning to feel the pressure of juggling her personal, academic and superhero lives. The result is a fairly crowded new issue, as Cameron Stewart and Brenden Fletcher pile on new challenges from every corner. It's certainly an entertaining one, though.
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One of DC's longest-running digital-first comics comes to a close with this issue. It's a fitting finale, especially for a franchise that's never been big on continuity or long-form storytelling.
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This series has been dealing with some recurring pacing problems that persist for another month. This issue once again wraps up one conflict in its first half before shifting gears to a completely unrelated conflict in the second. Perhaps the best thing that could happen to the book is that it shift towards more of a standalone, one-and-done format while still building its ongoing plot threads.
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This "Reboot?" storyline is a perfect example of how continuity can be a boon to a comic series rather than a crutch or an obstacle. Robert Kirkman and Ryan Ottley have delivered one of the series' strongest arcs to date by going back to the beginning and charging Mark with fixing the mistakes of his past.
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The combination of the book's violent action and the utter innocence and nobility of Klaus' quest make for a memorable combination.
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Martian Manhunter has been one of the more memorable results of the DC You relaunch. Writer Rob Williams has shown no fear about shaking up what readers expect from a Martian Manhunter story and making the character more flawed and compelling than he's been in years.
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This is a somewhat darker issue than the first, but not to the point where the book loses its inherent charm.
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Everything about the world Jason Aaron and R.M. Guera are building is brutal, savage and nihilistic. Their vision of a pre-Great Flood humanity leaves a strong impression, to be sure. Guera is the real star of the show. His style has grown far more bold and striking since the days of Scalped.
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Losing a name as big as Jim Lee could be the death knell for a comic like this. But surprisingly enough, Europa actually imprvoes in its second issue. The script shows a better balance between Casali and Azzarello's voices, while Camuncoli has no trouble flying solo and delivering a stunning depiction of Batman's European adventure.
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IDW's ongoing Judge Dredd comic should have little trouble distinguishing itself from the stories that have come before. It takes a familiar hero and places him in a new setting where his usual methods will only take him so far. It's a strong premise that's executed by an equally strong creative team.
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Justice League #46 marks the weakest overall chapter of The Darkseid war. It certainly looks great thanks to Manapul's dynamic and vibrant designs. But it's also a choppy read, coming across mainly like setup for what will hopefully be a more epic and thrilling third act.
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Lucifer isn't the strongest of Vertigo's many new comics. In some ways, it doesn't measure up to the previous volume, either. But taken for what it is, this first issue proves to be an entertaining read that banks on the strained relationship between Lucifer and Gabriel and the clash between the angelic and mundane corners of the Vertigo universe.
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This one-shot issue doesn't have much to add to Kireon Gillen's larger Darth Vader saga, but it does retain much of the series' usual entertainment value. Seeing Vader dominate his enemies and his droids revel in death and torture will always have a certain appeal. This issue also shows that Leinil Yu has strong potential with the Star Wars franchise, as long as his future issues place more emphasis on fleshing out environments and background details.
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This is the first chapter of IDW's Back to the Future tie-in that fails to add much to the series' larger mythology.
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"Superheavy" is only getting better as it heads towards its climax. This issue deftly juggles all three lead characters while building up the menace of Mr. Bloom and throwing out some unexpected curve balls for good measure. The last page alone is going to make the wait for issue #48 very painful indeed.
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With too much emphasis on the Avengers and not enough on the core cast, there's little sense that the plot has advanced much since the first issue.
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Gerry Duggan's Deadpool saga has changed quite a bit with this new relaunch. And while the series still seems a little too preoccupied with the Mercs for Money team over Wade Wilson himself, this issue does at least make a significant shift in the right direction
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This issue chronicles part 3 of the "Robin War" crossover, as Duke, damian and most of their fellow Robins find themselves locked up in cages like literal birds. That doesn't do much to address one of the big problems with this crossover - that it's taken a perfectly logical conflict between Gotham's government and its teen vigilantes and made one side ridiculously, needlessly villainous.
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The final Darkseid War tie-in explores what happens when Lex Luthor becomes the new lord and master of Apokolips. Sadly, that premise sounds more interesting than what the issue actually delivers.
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Monstress certainly looks and reads like no other book on the stands. It offers a deep, fully realized realm with its own conflicts and races and mythology. And thanks to Sana takeda, it's a realm with a very distinctive style.
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This horror series blends two concepts that might not be terribly remarkable on their own (a woman suffering from horrific visions and the First Lady struggling with a public perception problem) and in the process develops a surprisingly compelling little character drama/conspiracy tale.
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The Walking Dead has hit a bit of a lull right before the big issue #150 milestone. The series is starting to dwell too long on the emotional fallout of the Whisperers' attack rather than actively moving into the next phase of the conflict. Still, the Rick/Negan scene sin this issue are a great deal of fun to read, and they could offer a taste of things to come.
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The new volume of Amazing Spider-Man is exciting in a way the previous series sometimes struggled to achieve. The new status quo is great, lending a much bigger scope to Peter's world while retaining his basic appeal as a well-meaning but unlucky hero. But as often as Slott's previous books became bogged down by too many simultaneous plot threads, it's worrying that this series might be moving in that direction as well.
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Secret Wars #8 offers more wide-scale superhero spectacle for those who felt the series was moving too slowly. This issue is crammed with great moments, some revolving around God Emperor Doom himself. There's just enough character drama mixed in between these moments to keep the series on course for a truly memorable finale in January.
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Gwenpool is arguably the least essential element of this holiday-themed anthology comic. Still, her presence is one extra dose of fun in a book that already has a lot going for it. The various stories here combine to form a charming look at how Marvel's heroes come together to celebrate the holidays.
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It's unfortunate that this new series shares so much in common with books like Doctor Strange and Moon Knight. But even taking those comics out of the equation, this first issue is too muddled and unfocused to leave a strong impression. There's great potential here to rebuild and redefine Scarlet Witch's role in the Marvel Universe, but clearly it's going to be an uphill battle.
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Pete Tomasi has found the greatest storytelling success in exploring how Bruce is confronting his own mortality and worrying about the legacy he'll leave Gotham. That's a far more interesting tale than learning exactly how Scarecrow and the Arkham Knight hooked up. Luckily, this issue focuses more on the good stuff than some recent chapters.
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Aside from the gunplay, very little about the comic actually suggests that it's a Call of Duty story. It certainly doesn't look like the games. Instead of emphasizing gritty futurism of the game, Black Ops III opts for a more exaggerated art style that feels more '90s throwback than futuristic.
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For a book that's suffered from a slow pace recently, this issue was just the jolt readers needed.
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Entertaining stuff, but the series might have been better served holding off on side-stories until its core direction was better established.
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Having a mediocre new James Bond movie in theaters isn't so bad when you have a Warren Ellis-penned Bond comic to balance the scales. Ellis and Jason Masters are doing a great job of bringing Ian Fleming's Bond to life in comic form.
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Right off the bat, Mystery Girl has a solid premise working in its favor - the notion that a girl named Trine has the gift to automatically know the answer to any mystery in the world. But what really makes this issue work is how Paul Tobin builds on that initial premise.
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If the recent status quo changes in Amazing Spider-Man have you feeling blue, consider this series your chicken soup. Spidey is a throwback to a simpler period in the webslinger's career.
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All-New X-Men #1 doesn't race right out of the gate like the previous series did in its first issue, but this is an enjoyable debut all the same. Hopeless shows a strong handle on his cast of mutant heroes, while Bagley is right at home in this corner of the Marvel U. However, the needlessly slow pace and emphasis on team-building over plot do hold this issue back.
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There's ample room for a comic that features Harley Quinn butting heads with DC's most iconic heroes. Sadly, this first issue doesn't do enough with the Harley/Wonder Woman pairing. It wastes some strong potential in favor of showcasing Harley mainly in a solo capacity. And while it's nice to see Conner drawing as well as scripting for a change, she doesn't handle the entire comic herself. This book has a ways to go before it starts living up to its potential.
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This new issue features Iron Man locked in a stylish battle with cyber-ninjas and Doctor Doom eating a bag of potato chips. Seriously, what more do you need from an Iron Man comic?
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Red Wolf isn't a bad comic, but compared to many new Marvel releases it's a pretty dull and uneventful one. The strong characterization of the lead hero and the attractive visuals don't entirely make up for the dull supporting cast and conflict. The series has the chance to turn its prospects around thanks to the twist at the end of this issue, but maybe it should have been a little quicker in getting to that point.
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There's plenty of potential with this new crossover, even if this first issue only occasionally takes advantage of it. The idea of Gotham's new army of teen vigilantes being force to account for their actions and prove their valor is sound. But between the sporadic quality of the characterization, poor framing of the conflict and the haphazard artwork, this issue makes too many missteps along the way.
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There's no harm in bringing a little extra fun and silliness into the world of Star Wars, as this comic proves. There's ample entertainment in seeing Luke, Han and Chewbacca locked in battle with Dr. Aphra and her murderous droids. Perhaps this issue is guilty of becoming a little too silly at times, but that's preferable to a comic that doesn't take chances and fails to bring anything new to the table.
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Daredevil remains in good hands as he finally passes from the previous creative team to Charles Soule and Ron Garney. The new series makes a strong first impression thanks to Garney's stylish visuals and some strong characterization from Soule. Certain elements of Matt Murdock's new status quo are a little disappointing, but it's also far too early to tell where this book is heading.
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Totally Awesome Hulk is every bit as great as you'd expect from a comic involving Greg Pak and Frank Cho chronicling the ongoing adventures of Amadeus Cho. It's light and fun without ignoring the darker aspects of Amadeus' new status quo. And it makes the most of Cho's storytelling strengths. In short, this comic really is "totally awesome."
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There's a real momentum to this series even so early into its lifespan. Taylor's pacing is quick, but not to the point where he does the characters or conflict a disservice.
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This issue finally delves into the infamous "Lipstick Incident" and just what drove former power couple Archie Andrews and Betty Cooper apart. Waid deftly blends humor and bittersweet tragedy as he sheds light on the incident.
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Genevieve Valentine and Alvaro Martinez deliver another great collaboration as they explore Dick Grayson's first encounter with Mother. Valentine's snappy dialogue makes the most of this showdown, especially when it comes to painting Mother as a sinister figure despite her relatively innocuous appearance.
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The characterization is rock-solid, but this issue doesn't have much new or interesting to say with Tim. Other than a few superficial elements, there's no reason this story couldn't be taking place in just about any incarnation of the Batman universe.
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Though the previous series experienced a lot of ups and downs over the course of its life, this relaunch seems to be working on firmer ground.
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Jacked is a series that manages to be engaging despite the overly familiar nature of its premise.
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It's nice to see this volume developing more of a recurring storyline, but the book could still use an extra dose of drama. As it is, this hardly reads like the same universe as Jupiter's Legacy at times.
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At times Moon Girl and Devil Dinosaur reads like two independent stories sandwiched together. Whether Lunella Lafayette needs to become Moon Girl to realize her potential remains to be seen, but there's no doubt that she's a fun and compelling addition to the Marvel Universe. This book has a lot going for it, but it needs to work to better integrate the classic Moon Boy and Devil Dinosaur elements into the conflict.
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Ringside is essentially an ensemble drama about a group of struggling professional wrestlers. And while that may sound like the sort of thing that would only appeal to dedicated WWE viewers, this book has plenty to offer readers of all tastes.
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Silk's hunt for the mysterious new Goblin King gives the book ample dramatic weight, though it's really the more lighthearted qualities that help it thrive. It's fun to see all the ways Thompson draws parallels between Cindy's life and the early years of Peter Parker while also shaking up the formula quite a bit.
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It seems the Vader Down crossover will be a great Star Wars storyline held back by lackluster visuals. Salvador Larroca impressed early on with this series (despite an over-reliance on photo-referencing) but over time his work has become diminished in detail and cinematic scope.
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Howard Porter brings a great deal of energy to these scenes, aided a great deal by the vibrant colors of Hi-Fi. Losing John Romita, Jr. was a blow to this book, but those two have helped lessen the impact.
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This book and its predecessor prove that it's possible to treat the Transformers franchise with utmost seriousness, as long as there's room for occasional moments of silliness and bombast.
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Venom has become the latest Guardian of the Galaxy to get a solo spinoff comic. Like those other books, Venom: Space Knight delivers plenty of action and fun but comes up a little short in terms of depth. The character is in need of a a new fundamental struggle now that his symbiote problem has been solved. Hopefully this series can eventually deliver in that regard.
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Pak strikes a balance between letting Clark's darker side come out while still respecting the fundamentally good man beneath. If anything, this reads less like "Evil Superman" and more like a weary hero finally getting the chance to cut loose and enjoy himself again.
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With the conflict heating up and a cliffhanger that promises big things to come, there's plenty of reason to be enthusiastic about this series.
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Batman: Europa #1 doesn't necessarily justify the decade-long wait, but it does offer a reasonably enjoyable adventure that takes Batman out of his usual comfort zone. The main appeal in this first issue is seeing Giuseppe Camuncoli and Jim lee jamming together. Hopefully the book won't lose too much of its charm with Lee's departure.
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There's plenty of potential for this book to develop into something special, but there are some fundamental problems in need of addressing first.
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Deadpool's unprecedented popularity makes for an entertaining new status quo. The problem right now is that the book is too fixated on his "Mercs for Money" team and not nearly enough on Wade or the usual supporting cast from the previous book
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This issue is crammed full of epic Lantern warfare, while still making room for solid character moments as the creators explore more of John Stewart's past and several big transformations. At times this issue is a little too crowded, but at least it wraps up the current conflict while setting the stage for Edge of Oblivion.
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Lately this series has shown a renewed emphasis on showcasing Harley's darker side. It's been a nice change of pace, as she's practically evolved into a full-blown heroine over the past couple years. This issue offers plenty of entertainment as an old villain resurfaces and Harley wages bloody war against a group of Russian gangsters.
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While much about Kamala Khan's life has changed in the months since Secret Wars, the quality of her comic hasn't. This series deftly picks up where the previous volume left off, building new challenges for its star heroine while doing even more to flesh out her world and the people who inhabit it.
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The only thing new about this series is the status quo. But considering how little time we got to savor Dennis Hopeless and Javier Rodriguez's Spider-Woman before Secret Wars cut things short, and changes to the creative team would be a disappointment. This first issue makes the most of the book's core character dynamics as Jessica grapples with her new life as a superhero mother-to-be. This issue even opens up her world to bigger and crazier conflicts again, promising an exciting road ahead for Spider-Woman.
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This series sure knows how to scratch that fanboy crossover itch. Even if the story were nonexistent, the sheer thrill of seeing Federation, Klingon and Romulan starships all locked in an epic space battle with Lantern constructs out the wazoo would be enough to justify this book's existence.
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At this point it's not entirely clear what the driving conflict of the series is, but right now the characters and setting are more than enough to propel it along.
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Extraordinary X-Men has a ways to go before it lives up to that title. Too much about the book feels familiar and played-out in light of past X-Men stories. The plodding pace and unnecessary focus on rebuilding the team don't help. However, Lemire's characterization is strong enough that there's hope the series will find its way once it moves beyond these initial conflicts and into something more exciting and unpredictable.
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Marvel's flagship Star Wars comic continues to fire on all cylinders. It's over-the-top in the best way possible, as Aaron is never afraid to take chances and make the most of this pivotal point in the Star Wars timeline. Meanwhile, Immonen continues to deliver page after page of top-notch action and adventure. It'll be sad to see him move on, but like John Cassaday, there's always hope we'll see more from the artist in this franchise.
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In terms of story, Vader Down #1 offers a solid start to Marvel's first Star Wars crossover. It's exciting and crammed full of scenes of Vader laying wastes to his puny foes, while also hinting at bigger things to come for both Skywalkers. Unfortunately, the visuals in this issue generally don't do justice to the script, suffering from stiff figure work, too much reliance on photo-reference and battle scenes that look cramped rather than epic. In that sense, hopefully things can get back to normal as the crossover extends into the ongoing Star Wars and Darth Vader comics.
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Thor is the last character that need sprucing up for the All-New, All-Different Marvel relaunch, so it's nice to see that Marvel didn't attempt to fix what wasn't broken. This issue offers an easy gateway into Aaron's ongoing saga, but it also dives right into the myriad conflicts that were left dangling prior to Secret Wars. Even in this first issue, this is a series that captures both the epic scope and intimate drama that make a good Thor comic.
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Despite the fact that this mini-series focuses on shorter vignettes over a full-length story, it adds a surprising amount of depth to the characters and events of the original BttF trilogy.
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The Superheavy storyline continues to move into interesting and unexpected places as Mr. Bloom makes his presence known across Gotham. This issue has its problems, but it offers a great showcase for the three core players in this storyline and the promise of more surprises and drama to come.
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DC could do a lot worse than to build a new series on the foundation established here.
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This issue might not be the most essential of the Darkseid War tie-ins in terms of its impact on the larger plot, but it's a must-read for any GL fan.
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Spencer is especially skilled at exploring the psychology of his new protagonist (a respected firefighter with a few skeletons in her closet) and the almost romantic fascination she has for fire. But in this case, quality characterization goes hand in hand with a solid premise.
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This issue wraps up Kieron Gillen and Salvador Larroca's second story arc while also transitioning into the upcoming "Vader Down" crossover. Unfortunately, for several reason this issue serves as a fairly disappointing climax.
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If this first issue is any indication, Superman: American Alien will have plenty to add to the now-familiar tale of Superman's origin. This issue doesn't try to cover too much ground, instead offering an engrossing look at a young Clark Kent's early brushes with flight. Between the compelling characterization and the gorgeous art, the series is off to a great start.
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This new series reunites the minds behind Scalped for a series so brutal and depressing it makes that book look positively cheery by comparison.
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It's tough to get over the novelty of seeing Gilbert Hernandez and Darwyn Cooke' collaborating on a comic. The pairing has yet to disappoint, as Twilight Children has quickly established itself as the best of a strong crop of new Vertigo titles.
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It's no bold prediction to say that something bad is going to happen in The Walking Dead, but this issue adds to the growing sense of dread permeating the book in the lead-up to issue #150. With more unrest in Alexandria and an increasingly complex villain, the series has all the rights ingredients in play right now.
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This series should appeal to fans of Jonathan Hickman's recent Avengers run. It's more sci-fi flavored and focused on high-concept storytelling. The mission statement, after all, is "Ultimate solutions for ultimate problems."
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The Spider-Verse Secret Wars mini-series offered a solid foundation for an ongoing team book. This series builds on that foundation and adds in a new art style that's much more suited to a team full of lithe, athletic Spider-heroes.
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The Wolverine franchise has finally found its bearing, and all it took was a completely new character underneath that distinctive mask. This first issue is lean and fast-paced, tossing readers right into the heat of battle and proving the former X-23 worthy of inheriting the mantle of Wolverine.
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If you've felt that Secret Wars has been lacking in action so far, issue #7 will be just what the doctor ordered. This issue takes full advantage of the fun and spectacle that comes from pitting all the heroes and villains of Battleworld against one another. The series is suffering from some pacing troubles and plot elements that are glossed over, but this issue certainly deliver when it comes to sheer entertainment value.
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This issue manages to both take advantage of Peter's new status quo while honoring his more humble roots, and that's exactly the sort of balance this series needs to achieve.
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The characters are pretty generic and forgettable outside their witty banter and one-liners. This really hinders the book when the body count starts rising and the book struggles to elicit an emotional response.
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If all you want from Marvel's new Drax comic is a fun, lighthearted adventure full of violence and space tomfoolery, this debut issue delivers the goods. The execution is made that much better by Scott Hepburn's amazingly dynamic art. However, the book doesn't show much ambition when it comes to dramatic storytelling. There's potential in exploring the darker aspects of Drax's life and personality, and hopefully we'll see this series delve into those areas.
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This issue wraps up most loose threads as Hal forms an impromptu alliance with Relic in order to neutralize Black Hand's out-of-control abilities. The conflict isn't anywhere near as epic or action-packed as the cover would suggest, but Robert Venditti handles the mistrustful relationship between Relic and Hal very well.
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Dynamite picked the right creative team to kick off their new James Bond comic. Ellis and Masters open this issue with an exciting, dynamic showdown between trained killers and then keep readers hooked through strong dialogue and character dynamics. This series may lack some of the flash of the Bond movies, but that's really the whole point.
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From what we've seen of the transformed Justice League members thus far, Superman's transformation into the New God of Strength is the least earth-shattering. The end result is basically all the power and none of the moral compass. But it's always fun to read a good "Jerk Superman" story, and that's pretty much what this tie-in delivers.
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While this issue does offer a deeper glimpse into Barry's present state of mind, it might have worked better as a short backup tale than a full-length comic.
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This is not at all the type of book you might be expecting as marvel works to capitalize on the character's cinematic debut. Less a superhero adventure than a tale of suburban malaise and family strife, this issue sees Vision and his newly constructed family trying to find their place in an illogical human world.
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It's odd that a story about the origins of Santa Claus would number among Grant Morrison's most straightforward comics, but that's Klaus for you. This first issue is very much "Santa Claus: Year One" in its structure. It's the beautiful art and the unusual blend of grim medieval setting and whimsical fairy tale elements that truly distinguish this tale. Hopefully Klaus will only grow more strange from here.
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There's nothing inherently wrong with the idea of a quiet, low-key conclusion to Brian Bendis' multi-year X-Men saga, as long as there's enough quality character work to go around. Unfortunately, that character work only comes in spurts as this issue touches base with various mutant heroes and welcomes a smorgasbord of talented artists to have one last hurrah with the X-Men. The main storyline is dull, uneventful and plagued by bland, interchangeable dialogue. This issue doesn't accomplish what it needed to in terms of bidding farewell to one X-Men era and ushering in the next.
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This first issue serves as a fairly easy gateway into the saga of Angela and her partner/friend/lover Sera. It deftly summarizes what's transpired now without losing focus on Angela's new status quo. The relationship between Angela and Sera is very much the heart of the book.
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This series could use a change in pace or focus, but this issue didn't deliver in that regard.
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The newest Vertigo series is certainly a visual showcase. It also boasts a clever concept. But with too much focus on exposition and setup (despite the lingering questions about this universe) and a lack of any truly compelling characters, this first issue isn't the strong debut Arts Ops needed.
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What should be the big selling point of this issue is actually the weakest element. As nice as it is to see Dick Grayson and Barbara Gordon reunited, this issue doesn't do much with the team-up or even justify Dick's presence in the first place. It falls on the stylish art and the emotional wedding scene to make up for that disappointing team-up, which they mostly do.
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The scope of this book is far more down to Earth than Acuna's recent Marvel work. And while that approach doesn't necessarily suit his style as well, Acuna is able to deftly move between big action scenes and quiet character moments without missing a beat.
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The series' visual quality takes an unfortunate hit. Ivan Reis only provides layouts this month, with Felipe Watanabe handling finishes. This at least helps the issue maintain cohesion in terms of page construction and general style. However, many of the finer details that characterize Reis' work - the intricate line-work, the subtle use of emotional and facial work - are greatly diminished.
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This issue strikes a nice balance between humor and drama. There's fun to be had as Deadpool makes googly eyes at Death and further antagonizes Thanos. There's even a pretty darned good "That's what she said joke" here. But Tim Seeley isn't afraid to get deep as he further fleshes out the unlikely connections between the two leads and waxes philosophical on the importance of death to the course of life.
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This series has grown quite a bit over the past few months, evolving from an engaging but fairly redundant sequel to the original story to a book that expands the mythology in interesting ways and takes full advantage of the comic book medium.
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The real fun in this issue is gaining more insight into Professor Bruttenholm's past and his relationship with Hellboy. It's just a shame "The Kelpie," which flashes further back into Bruttenholm's formative years isn't a bit longer or more in-depth.
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This Darkseid War tie-in sets a good standard for the rest of the mini-series to follow. It serves as a logical extension of the main storyline, filling in gaps and delving deeper into Batman's new status quo. It does such a good job of replicating the tone and look of the main series that it could just as easily be a chapter of The Darkseid War proper. Don't skip this issue just because it's a tie-in.
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The fact that this series is transitioning directly from the recent Lobo crossover to a new team-up between Sinestro and Black Adam could be cause for concern, but really, who doesn't want to read more of this pairing in the wake of Forever Evil?
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This series continues to be the weak link in Marvel's otherwise solid lineup of Star Wars comics. Perhaps the book's biggest flaw is that there's no real sense of direction or driving purpose.
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The whole thing comes across as an interesting but half-baked idea that would be better suited to its own Superman adventure
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Batman and Robin Eternal is a much different beast from its predecessor, and that's a good thing. The series feels much more focused, with the cast (for now, at least) all united and pursuing similar goals. And despite the fairly heavy subject matter and dark conspiracies at play, the emphasis on humor and banter among the various Robins is a welcome change of pace.
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DC has plenty of characters who can fill the Spider-Man mold, but right now it's the new Doctor Fate that's getting the job done. This series continues to offer a compelling look at an ordinary young man caught up in circumstances far bigger than he could have imagined.
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Readers should know the drill by now. This dialogue-free issue features copious amounts of kaiju carnage as Godzilla battles Ghidorah and Destoroyah in what basically amounts to the giant monster version of Valhalla.
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It's depressing to think that we've already arrived at the penultimate issue of this series. But at least Cullen Bunn and Jesus Saiz look to be going out with a bang.
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Rarely have I been more eager to get my hands on the next issue of this series.
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Given the quality of his recent Marvel work, it's disappointing that Karnak #1 isn't a complete success. This first issue moves too slowly and aimlessly for its own good. Even so, Ellis is clearly working with a promising foundation here, as he gives Karnak a fun revamp and ensures that the newest Inhumans comic is entirely unlike any other.
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Kieron Gillen has cooked up an unusual and fascinating conflict for Vader, one that can't simply be slashed or Force Choked into submission. If this comic were The Shield, Vader would be Vic Mackey, the tough guy protagonists struggling to keep his web of lies and deceit from collapsing around him.
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This new take on the original patriotic superhero has more in common with the Assassin's Creed franchise than any superhero comic. That idea of a modern heroine wrestling with memories of forgotten exploits and military campaigns goes a long way towards distinguishing this book.
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It's not an easily approachable book, but one that teases some big things for the Teen Titans franchise. Regardless of what universe this book might be taking place in, it boasts solid characterization and does play on relationships that have been sorely absent in recent years.
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This new series may not be the full-fledged sequel some Back to the Future fans were hoping for, but it certainly does the trick as far as capturing the look and feel of the original trilogy and telling fun new stories set in that universe. The first story in particular shows how much potential there is in exploring the back-story of these characters and fleshing out the key relationships in the films.
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Invincible Iron Man's first issue was slightly disappointing, which is why it's good to see the new series quickly building steam in its second chapter. While this issue focuses a little too much on dialogue, it builds a clear sense of tension and explores the relationships between Tony, Doom and Madame Masque well. And Marquez's art shines regardless of location or characters.
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Justice League slows down a bit as it enters the second act of The Darkseid War, but there's still plenty to like in this new issue. Francis Manapul's striking designs and vibrant colors alone are worth the price of entry. And with a deeper look at how the Justice League's respective transformations are affecting them, this conflict is only growing more interesting and unpredictable.
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Assassin's Creed has a surprisingly strong track record when it comes to comic book tie-ins. So far, it doesn't appear that this new series is going to break that trend.
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This latest issue puts Jim Gordon back in the spotlight, and the results are very enjoyable. Between last month's flashback issue and now this chapter, the tone and direction of Superheavy is beginning to solidify. It makes for a very different type of Batman comic, and certainly an exciting one to read.
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For a comic based on a series of statues, this comic is quickly building up a fascinating and complex take on the DC Universe.
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In some ways there's a predictable, almost textbook quality to Ran's origin as she encounters adversity and rises above. However, Wood includes enough flourishes to give the book its own flavor.
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This issue is somewhat more entertaining than reading a Wikipedia entry, but in terms of building excitement for Cobra World Order, it's a dud.
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This issue makes for a fun read as it reacquaints fans with the team eight months after Secret Wars. Ben Grimm makes for a fitting addition to the team, though it's really Kitty Pryde as the new Star-Lord (Star-Lady?) and Peter Quill as the horribly bored new ruler of Spartax that give this issue its drive.
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This issue makes for a great way to cap off one era in Kamala's life and set the stage for something new.
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Of the many incarnations of New Avengers, this volume is the weakest right out of the gate. It's not that the book lacks a sense of purpose. It even features some strong characterization. But neither the team as a whole nor the threat they face are particularly compelling. The muddy, over-exaggerated visuals certainly don't help.
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The first issue of this new mini-series doesn't stand out as much as some of Marvel's Star Wars projects, but there's still a lot to like. Rather than try to get into Chewie's head, the creators take advantage of his peculiar speech and the unlikely pairing with a new teen heroine. Even better, this issue promises a deeper and more dramatic storyline to come.
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The book leaves a huge impact on the strength of its visuals alone. Every page in this issue reads like a Norman Rockwell painting come to life, though tinged with sinister undertones that befit a story where racial tensions are boiling over and a storm is raging.
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While Lois and Clark doesn't offer a full return of Superman's pre-New 52 world, it does recapture the feeling of reading an early 2000's Superman comic. The dynamic between Lois and Clark is endearing, and the addition of a child to the mix only makes it better. Plus, Weeks' art gives the series a sentimental feel while also highlighting the danger and uncertainty facing this couple. Despite some niggling flaws in this first issue, the series is off to a good start.
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The story has just the right blend of fantasy, tragedy and sex appeal to take advantage of Cooke's talents and weave a story that reads like nothing else on the stands.
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The third What If: Infinity one-shot explores a universe where the X-Men fled Earth after it was ravaged by the Builders. This issue skips over the truly compelling part of that premise (the war between Thanos and the Builders) but Joshua Williamson's decision to pick up years after the fact results in a far more tightly paced issue than the previous two.
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Marvel had a good thing going with Uncanny Avengers these past couple years. And while there's plenty of room for this new volume to grow and improve, right now it's a significant step down from what's come before. The scope is smaller, the art is less engaging and the team is far less interesting.
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The new Amazing Spider-Man has the distinction of feeling both fresh and comfortably familiar at the same time. This series boasts an exciting new status quo for Peter Parker, but one that still feels like a natural extension of Slott's previous work. This is shaping up to be the book the previous volume of ASM should have been.
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While DC didn't necessarily need another Batman comic (much less a weekly one), Batman and Robin Eternal makes a strong case for itself in its first issue. While some aspects of this new series are as dark as its predecessor, the series also boasts a welcome dose of fun and adventure thanks to Dick Grayson's starring role. How well this six-month-long mystery will shape up remains to be seen, but this opening chapter starts off the series on the right note.
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This is the strange sort of Batman comic where the quieter, out-of-costume moments are more compelling than Batman's superhero exploits.
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It's high time Doctor Strange had his own comic again, and this new series certainly doesn't disappoint. It lends a touch of fun and adventure to Strange's world even as it begins building a massive new threat for the Sorcerer Supreme to contend with. It's plenty accessible to all readers, and it boasts a terrifically surreal art style courtesy of Chris Bachalo. Hopefully this book is a sign of things to come for Marvel's relaunch.
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This series' lack of focus has come back to bite it in a major way even as it should be laying out the climax of the war between Superman's regime and the Greek gods.
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There's every reason to hope that Invincible Iron Man will grow into something special given Bendis and Marquez's work on Ultimate Spider-Man. There's certainly plenty of potential to work with here. But while this first issue was decent enough, it lacked the spark or sense of originality that Iron Man needs as this new era of Marvel begins. There's a lot of work to be done yet in giving Tony Stark the overhaul he needs.
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This series needs to develop a much stronger hook in issue #2.
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Most of the characters feel superfluous in these chapters, and it's only really the conflict between Havik and Takeda and Scorpion's battle with his own demons that gives this issue any weight. This series really would have benefited from a smaller cast and more Scorpion-focused approach.
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Little by little, more light is shed on what makes these strange characters tick and the goodness that lurks beneath their sometimes questionable actions. There's also a nice sense of tension driving this issue as a threat looms ever closer for the team.
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As ever, Secret Wars is well worth the wait. This issue gives the series a kick in the pants as far as the plot is concerned. It provides a grim but compelling view of the declining state of Battleworld while also delivering a number of great character moments along the way. Thankfully, Marvel hasn't saddled the book with filler art, so this issue is every bit the visual showcase its predecessors are.
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Vader largely takes a backseat role in this issue as his new allies (or frenemy, in the case of Inspector Thannoth), do most of the heavy lifting. But given how strong the book's supporting cast has become, this is hardly an issue.
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If this series proves anything, it's that Marvel needs to give Soule an ongoing Star Wars project sooner rather than later.
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The TMNT team certainly went all-out for their 50th issue. This oversized chapter features a nonstop barrage of high-intensity, emotionally charged art from Santolouco and Smith and a dramatic conflict that pays off on year's of TMNT comics. Unfortunately, the high cover price and the fact that one scene in particular doesn't quite work prevents this issue from reaching its full potential.
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While some elements of Convergence may have warranted a spinoff series, the rivalry between Telos and Brainiac certainly isn't among them. Unsurprisingly, Telos doesn't make for a particularly compelling protagonist as his search for his family continues.
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Like too many contemporary What If? comics, this issue comes across as half-baked and overly compressed.
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This issue explores an alternate universe where Thanos enslaved the Earth during the course of Infinity and forced Black Bolt to bend the knee. There are a few interesting ideas at play here, but not enough to coalesce into a fully realized story.
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The result is an issue that somehow feels dull and upsetting at the same time.
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Captain America: White has found its niche by offering a classing, lighthearted (well, relatively lighthearted) take on Cap's WWII days.
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This series is suffering from a case of diminishing returns. It's understandable, really, as there's only so much you can do with the concept of Godzilla stomping and smashing his way through Hell in an almost silent narrative before it starts getting old.
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The series is back to its old habits when it comes to clunky, overwritten dialogue, plodding exposition from talking head characters and a generally overwrought, melodramatic tone.
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Yang's script is at its strongest when it focuses on the breakdown in Clark's relationship with the Daily Planet staff. Geoff Johns previous work in that area pays off here. But when it comes to the villains, this issue struggles.
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This oversized issue collects five chapters of the digital series comprising three different stories. Though Marc Andreyko scripts every story, he brings a welcome sense of variety to the book while also adapting several familiar DC faces into the Wonder Woman '77 universe.
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Batman Annual #4 has some compelling elements as it ties into the larger Superheavy conflict. It taps into the potential of Bruce Wayne's amnesic state in a way the main Batman comic couldn't. Unfortunately, this issue loses steam once the focus shifts to a battle between Bruce and his old rogues gallery.
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If nothing else, DC's various Arkham Knight prequel comics have been helpful as far as fleshing out the titular villain and his rivalry with Batman. This annual issue continues that trend. The catch is that the story is too light and straightforward to really justify the length (and therefore the cover price).
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This issue is a disturbing, violent but darkly entertaining look at Nimble Jack as he bounces between worlds and wreaks all manner of havoc on innocent civilians.
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From Under Mountains #1 is a promising debut for this new comic, and one that doesn't require any familiarity with the other 8house comics. While the split focus makes it tougher to latch onto the characters right away, the issue quickly finds its groove and builds up an intriguing fantasy realm.
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The Darkseid War keeps delivering the goods month after month. This storyline started big and has only grown bigger still thanks to an epic supervillain showdown, fantastic visuals and a series of cool twists for the Justice League. It's going to be tough waiting for Fabok to make his grand return in December.
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Especially after the relative disappointment that was Before Watchmen, there was a real fear that Sandman: Overture would fail to live up to the legendary standard of the original series. Instead, thanks to Gaiman's sweeping storytelling and Williams' lush, imaginative visuals, Overture has proven to be one of the finest additions to the Sandman mythos yet. Only a handful of issues If this is the last we see of Morpheus and his family, Overture is the parting gift they deserve.
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Most of the plot twists can be seen coming a mile away as the downtrodden heroes of Timely begin rising up against Mayor Fisk and his bloodthirsty agents. Even so, there's a lot of enjoyment to be had in seeing Gerry Duggan's Wild West re-imagining of iconic Marvel characters, especially as characters like Carol Danvers join the fray.
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Though this issue of Batgirl is marred by some some overly expository dialogue and weird pacing, the fundamental appeal of the series is as strong as ever. Stewart and Fletcher continue to put the supporting cast to great use, building a storyline that offers compelling drama, lighthearted fun and charming romance in equal measure. Even the absence of Babs Tarr this month does nothing to diminish the book.
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This issue offers a new take on Bane, one that gives the fearsome villain a campy, luchador-inspired makeover. It works surprisingly well, especially with all the nods to previous Bane stories (the cameos by Bird, Trogg and Zombie are an especially neat touch).
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As neat as it is to see Deathstroke operating on such a big scale, this also speaks to one of the book's fundamental problems. It's too concerned with drawing in outside characters and conflicts and not enough with building up Slade's own world.
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Finally, the series feels like it has something new to say with these characters.
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The wacky, lighthearted approach to Harley Quinn & Power Girl stands out all the more now that the main series is venturing into darker territory. The book is a lot of fun, but also takes the time to explore its three leads in a bit more depth. That said, the plot is a little too thin at this point, and the art quality isn't quite up to par with earlier issues.
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It may be some time before we see the next chapter of the series, but the wait is always well worth it.
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In one sense, this series doesn't really justify the "Runaways" moniker, as it only features one major character from past incarnations of the team. But in terms of spotlighting a quirky group of teen heroes making their stand against authority, this book is worthy of the Runaways moniker.
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The issue perhaps spends too much time in flashbacks (both in the pre-apocalypse and a more recent conflict), leaving little room to explore the immediate fallout of the violent showdown in the present. Even so, this issue delivers a hard-hitting battle and more emotion than you'd expect from a book about woodland creatures slaughtering each other in open combat.
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Deadpool and Thanos isn't just a fun comic, it also has a decent helping of drama to back up the fun of seeing these two bitter rivals sharing the page again. However, the book doesn't completely shift into gear in this second issue thanks to a pointless Guardians appearance and a weird plot shift in the final pages.
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There's a lot of untapped potential when it comes to exploring the relationship between the aging Nick Fury and his up-and-coming S.H.I.E.L.D. agent son. This issue taps into that potential, but it doesn't handle the racial elements of the conflict with much depth or nuance.
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Star Wars: Kanan continues to lag behind Marvel's various other Star Wars projects. There's plenty of potential with the concept, but this issue struggles to make anything of Kanan's return to Kaller or offer an effective transition into the second story arc. The art is at least consistent with previous issues, but not up to Larraz's storytelling standard.
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It's always nice to see Peggy Carter given the spotlight in Marvel's comics, but this issue didn't do much to further her story or take advantage of the team-up with Lady Sif. The underwhelming conflict, and especially its poor resolution, take the wind out of this book's sails.
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Arkham Knight: Genesis continues to be a worthy companion to the game. It fleshes out a relationship that probably should have been more of a focus in the first place, while tossing in a healthy blend of superhero action for good measure.
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Captain America: White doesn't offer a dramatic reinvention of the character or his mythology. This series is more about paying homage to an older, simpler time in Cap's career and exploring the brotherly bond between Steve and Bucky. If you enjoyed Loeb and Sale's previous Marvel projects, you'll find a lot to like with this collaboration.
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The "DC You" relaunch has been particularly kind to John Constantine, with this relaunched series bringing back some of the grit, darkness and pathos of the Hellblazer era.
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The plot certainly picks up the pace in this issue as more is revealed about the Lost Lanterns' plight and the fate of other missing characters, but Bunn doesn't allow the conflict to get ahead of itself.
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Guardians of Knowhere is a frustratingly paced comic. The series was slow to get underway, and even in its final chapter hasn't quite built up the compelling conflict it needed.
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This new arc is shaping up to be just the change of pace this series needed.
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The series is building to a dramatic new conflict as Mark and Oliver help the Coalition hunt down General Thragg. That said, this issue doesn't play out at all like you might expect. But that's a good thing.
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If nothing else, this Secret Wars tie-in serves as a solid blueprint from writer Mike Costa ongoing Web Warriors comic.
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Star Wars is achieving that delicate balance of channeling the look and feel of the source material while also blazing new ground. The series looks better than ever thanks to the new art team. It's excelling at showcasing Luke's rocky journey in understanding the Jedi, despite the limitations imposed by the movies. If only the Han/Leia/Sana subplot had more momentum, this book would really be firing on all cylinders.
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Soule deserves credit for fleshing out all the members of the cast, not just Lando himself. The clone warriors Aleksin and Pavol stand out especially in this issue as their odd relationship is elaborated upon and tragedy sets in.
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The book doesn't strive to be a complete parody or mean-spirited deconstruction of the superhero genre. It just aims to be funny, and it succeeds.
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Pak is great about exploring Clark's new status quo and his unflappable optimism in the face of one defeat after another. But as far as molding Wrath into a compelling villain? Not so much.
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Renew Your Vows doesn't quite live up to the promise it showed in earlier issues. It's fun seeing the entire Parker family united in battling evil, but said evil is still a bland, unremarkable villain. This finale issue doesn't pack enough of a punch, and it offers no indication of what elements might cross over into the relaunched Amazing Spider-Man.
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The cover to this issue offers a pretty good clue as to the state of both Robo and the members of Tesladyne at the moment. But fear not, Atomic Robo hasn't veered so far into darkness that it loses sight of the fun, adventurous charm that made the series stand out in the first place
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Though this may be an interlude issue, it's not a filler chapter by and stretch. Batman #44 features two talented Batman writers working in sync alongside a very stylish artist, resulting in a very cohesive collaboration. This issue is less about the murder mystery or the origins of Mr. Bloom and more about challenging Batman's world view and place in his own city. In other words, it's a perfect companion to Snyder's ongoing storyline.
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The common thread with all the Superman books involved in the "Truth" storyline right now seems to be that they feature great characetrization but are held back by lackluster villains or conflicts. That's certainly the case with Superman/Batman, which features a mess of a story involving Atlantean rebels and portable suns and some fairly inconsistent artwork divided among three pencillers.
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As if all the historical quotes and allusions to ancient Rome didn't make it clear, Genevieve Valentine's Catwoman run is a real Shakespearean tragedy in the works.
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It's a struggle for this new Earth 2 series to gain any real momentum when each issue focuses on a small handful of characters and spends most of its time locked in the past.
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This latest Harley Quinn spinoff is more of the same in terms of offering a fun, breezy adventure that doesn't quite live up to the standard of the main series. What's most disappointing is that the writers had an opportunity to explore Harley's past and her family life in greater depth, but they never fully capitalize on it. Maybe next summer.
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Mirror's Edge fans looking for something to pass the time until Catalyst's release could do far worse than this prequel comic. Exordium #1 offers a clean gateway into this free-running-driven sci-fi universe and an engaging portrayal of Faith. The visuals don't quite channel the unique vibe of the source material, unfortunately, but Exordium is far from the worst-looking video game comic ever published.
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The wait for a proper team-up between Kamala Khan and Carol Danvers was long, but well worth it in the end.
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This series is worth a read solely for the recurring homages to '80s music videos like A-Ha's "Take On Me" and Michael Jackson's Thriller.
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This series boasts a great concept but a somewhat mixed execution (mainly due to the ridiculously one-note, Bucky-obsessed portrayal of Steve Rogers).
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This series continues to make the most of its wacky premise, with more familair DC players emerging in the Star Trek universe to guide their new recruits.
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As the first entry in IDW's new creator-owned imprint, Tet sets a high bar for all future Comics Experience projects. This series uses the Vietnam War setting to weave an engrossing noir tale about a compelling and tragically doomed trio of characters. If a little rough around the edges in terms of its visual presentation, Tet is nonetheless a must-read for fans of crime noir or war comics.
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This issue of The Walking Dead gets off o a slow start as the series continues hammering home the tragedy of the recent massacre. Luckily, once it does get going the plot offers a compelling look at Rick's latest leadership crisis and a clash between two series mainstays.
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Unfortunately, after all this build-up the climax is too abrupt for its own good. This issue really could have used a couple extra pages to help give the conflict the finish it deserved.
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As much as I wanted to leave everything connected to The New 52: Futures End in the past, this series does have its appeal as it chronicles the ongoing battle between Tim and Brother Eye. There's a real sense of scope and drama to the conflict.
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With this issue, Midnighter has his first real superhero team-up since his new series began. And who better to watch his back than super-spy Dick Grayson? This issue does a great job of building on the slightly abrasive, slightly flirtatious dynamic that's started to develop between the two characters.
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Perhaps no new DC You series has been a more pelasant surprise than this one. Writer Tom King has taken an obscure super-team and reinvented them in a bold, exciting way.
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Any fears that this series would suffer from being dragged into Secret Wars are turning out to be unfounded. With a few modifications, this "Last Days" storyline could just as easily be its own, independent conflict.
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Unfortunately, the series is rushing to the finish line a bit too quickly, with some of the developments in this issue not receiving the full attention they deserve. It doesn't help that the Spider-Woman backup feature isn't holding up its end as it slides into overwrought melodrama.
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The idea of telling a cop drama comprised almost solely of Thor characters sounds ridiculous. And it pretty much is, but that's part of what makes Thors so entertaining.
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The idea of Vampirella battling Xenomorphs is definitely enticing, but this first issue does little to capitalize on the potential of this crossover. The best we can hope for is that the series will veer away from formulaic Alien tropes and make better use of its heroine in future installments.
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This final issue has a few too many villains for its own good, which calls into question whether Kingpin should have been brought into the picture in the first place. But all that really matters is whether Waid and Samnee are able to wrap up the long, sad saga of Matt Murdock in a way that does justice to the character and remains true to the core of their run. And this issue doesn't disappoint in that regard.
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This series is making the most of its limited source material, crafting a fun, compelling new take on the DCU and its iconic female heroes. It offers a little of the familiar (Wonder Woman's origin) and the new (Supergirl and Starfire). While this issue doesn't quite measure up to the first in terms of its visuals, it still has plenty to offer.
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This issue marks a promising start for Deadpool's latest mini-series. While Seeley spends too much time setting up the reluctant team-up between the two title characters, he does show a firm grasp on both their voices and the unusual interplay they share. Backed up by solid visuals, issue #1 should easily hook fans of either Deadpool or Thanos.
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Aquaman didn't really need a status quo shake-up, but the series got one anyway thanks to DC You. The book's new direction is unfolding well enough under Cullen Bunn's hand, with a renewed emphasis on Arthur as a loner and the divide between he and Mera.
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This new issue of Batgirl manages to be a lot of fun even as it explores the increasingly hectic and dangerous landscape of Barbara's life. The diverse visuals and the increased emphasis on the supporting cast don't hurt either.
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Cyborg not only has the solo series he's long deserved, but a creative team able to do his story justice. The book is well worth reading solely for Ivan Reis' art.
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This series has proven somewhat disappointing so far in its reluctance to move beyond the tropes and trappings of the original Fight Club. And while issue #4 is still guilty of resurrecting familiar beats and characters, it also makes some important steps towards becoming its own story.
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This is one of those weird transitional issues that attempts to both wrap up the current conflict and set the stage for the next big storyline, not really doing justice to either in the end.
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Any issue illustrated by Mignola is a visual treat, but this one is all the more striking because of the unusual variety to the pages. Mignola and colorist Dave Stewart render Hellboy's visions in a lush, painterly style that contrasts with the somber, colorless scenes of Hell and the more traditional supernatural antics later in the book.
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More and more, this is becoming a comic that hinges on the strength of Hitch's epic, widescreen storytelling. Inconsistent facial work notwithstanding, the art is pretty breathtaking. But is that really enough?
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Visually, Robson Rocha is very much making the series his own. Between the impressive levels of detail, the bold layouts and the powerful displays of Yellow Lantern might, this book is easily one of the more stunning in DC's lineup.
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All told, this issue is actually one of the best Marvel has published across all of their Star Wars titles this year.
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While Stringers shares some obvious, superficial similarities to Nightcrawler, this first issue has no trouble establishing its own tone and voice. The series juggles drama of the mundane and larger-than-life varieties and banks on the well-written dynamic between the two main characters. This first issue marks a promising debut, and one that doesn't read like any Guggenheim comic before it.
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Writer Lee Bermejo successfully highlights the nervousness and tension that comes as these untested heroes put their lives on the line. What this series hasn't really managed to do, however, is flesh out its young cast to an acceptable degree.
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So far, Arkham Knight - Genesis is both a worthy addition to the mythology of the game and a solid character study of Jason Todd. This prequel comic also benefits from a more focused approach than its sister series. Hopefully the lack of emotional ties between Bruce and Jason now won't impact the book as the story grows darker.
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Drive #1 marks another successful attempt at adapting the novel into a more visually oriented medium. While this series doesn't really break new ground, it does strike a balance between respecting the source material and taking advantage of the new format.Fans of comic book crime noir will definitely want to give this first issue a try.
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It's frustrating that this series can simultaneously do so much right yet make so many fundamental mistakes along the way. Yang's generally strong characterization and Romita's art don't entirely make up for a bland villain and rushed pace in this issue.
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There's more solid character work here (even if Bruce seems unusually chatty with Tim), but the series seems to be lacking a clear and compelling conflict right now.
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There's a lot about this series that feels familiar. This issue is the obligatory "rookie teen hero struggles to come to grip with his powers and save his city for the first time" chapter in Khalid's budding superhero career. But even if this issue doesn't break much new ground, it's executed deftly enough to succeed regardless.
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For all that Guardians of Knowhere has improved, though, it needs a clearer and more compelling conflict as the book heads toward its climax.
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The creative team behind this Harley Quinn spinoff are laboring under no delusions about this being a story-driven comic. The goal is clearly to have as much fun with the Harley/Power Girl team-up as possible over the course of six issues, and it's definitely succeeding.
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This series channels all of the show's bizarre, spastic humor as it renews the endless feud between Dib and Zim. Even better than that rivalry is the banter between Dib and his ship and the constant comedic relief/philosophical musings of GIR.
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This issue mainly offers another interlude tale as the Graysons continue trying to adjust to their bizarre new lifestyle. However, the sporadic focus on General Thragg and his army-building efforts hints at darker things to come for our heroes. The result is a nice blend of comedic hijinks, baby woes and foreboding drama.
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If you crave some good, simple, all-ages fun in your comic diet, you could do far worse than this Plants vs. Zombies tie-in.
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Mike Costa is showing an increasingly strong grasp on the characters, whether it's Gwen Stacy's team-up with a de-powered Peter Parker or Anya and Peter Porker bonding over a mutual dislike of science-y techno-babble.
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While the arc as a whole experienced a rocky journey, Weisman is able to wrap it up in a more satisfying and cohesive fashion.
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This series is quickly shaping up to be something special, though I worry four issues isn't enough to completely do the concept justice.
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This new issue is fairly disappointing given the quality of the previous chapters of Renew Your Vows. It fails to keep the book's momentum going, and the visual quality is a noticeable step down. On the other hand, the renewed focus on young May is welcome, and there's little reason to expect the quality won't pick up when the finale hits.
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House of M doesn't start off on a great note, as this issue struggles to define itself outside the shadow of the original crossover. Luckily, a clearer direction does develop by the end, suggesting that the new House of M will only get better over time.
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The Darkseid War is further proof that Geoff Johns does event-worthy storytelling better than just about anyone. This issue further ramps up the excitement and attention while showcasing Jason Fabok's phenomenal storytelling skills.
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It seems Marvel hasn't entirely forgotten how to publish a good romance comic. This issue offers a fun diversion from the usual drama of Secret Wars as it spotlights various relationships both familiar and new. And really, your pull list isn't complete without at least one comic featuring Squirrel Girl individually naming each one of Thor's abs.
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This issue offers a rousing conclusion to the current conflict, one that plays well on Clark's more vulnerable state and the way he continues to inspire those around him. Aaron Kuder's expressive yet down-to-earth style seems to suit the book more than ever given all these changes. Unfortunately, the story loses some of its punch as this issue wears on.
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John McCrea's art shines once again, contrasting the high-minded heroism of Martian Manhunter with the gritty, grimy, downright filthy world that this team occupies. But now that we're halfway through this comic, maybe it's time to get the plot in gear?
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Spiral was a solid read over the past few months, but in its final issue it comes across as less a compelling Spider-man conflict and more a means of bridging the gap between volumes of the main series.
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It's a poignant character study that simultaneously emphasizes the chaos that holds sway over Earth 2 as its people struggle to build a new world from the ashes of the old.
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There's ample potential in this latest Gods and Monsters prequel, but this first issue doesn't do nearly enough to realize it. Good characterization is offset by a lukewarm conflict, and the art doesn't capture the vibrant energy of Bruce Timm's animation style.
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This isn't a comic that plays to the familiar martial arts stereotypes, nor does it come across as a cheap imitation of series like The Immortal Iron Fist or Master of Kung Fu.
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This series faces an uphill battle in maintaining momentum so long after the release of the game. At the moment, it's losing that fight. This issue is heavy on action and bloodshed but light on characterization or compelling drama.
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This Secret Wars tie-in is a rousing success in some ways and a disappointment in others.
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After devoting quite a bit of time to The Wicked + The Divine, Kieron Gillen and Jamie McKelvie have finally returned to their other creator owned for a third (and apparently final) volume. This issue is as good a place as any to dive into the franchise. There are obvious connections to previous stories, but the focus shifts to a new character named both Emily and Claire (it's complicated).
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This isn't the strongest issue of Secret Wars given the lack of plot progression and slowed momentum. Even so, many of the strengths that define this epic event are still readily apparent, and fans of Hickman's Doom will find plenty to love in this chapter.
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But while this book has some kinks to iron out, it's doing a fine job of capitalizing on such a wild crossover concept.
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What's interesting about this issue is that it's a lightly modified version of the Top Cow Pilot Season one-shot from 2011. It should be interesting to see how much the creative team's storytelling approach will have changed after four years when the next issue hits.
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This might not be the most exciting or fast-paced chapter of The Walking Dead, but that's not what the series needs at the moment. This issue successfully explores the emotional fallout of last month's tragedy while continuing to play up Alpha and the Whisperers as not just a great band name, but a real, compelling threat to our heroes.
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This issue of Batman doesn't come together as cohesively as most, nor does it place the spotlight on Gordon as much as he deserves. However, there's plenty of good material on tap in issue #43. Capullo's work is as strong as ever, and Snyder's refined dialogue results in a number of standout scenes and moments for heroes and villains alike.
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It's a shame Regent isn't a strong or better realized villain, because that's the only element preventing this mini-series from rivaling the best of Dan Slott's Spider-man work. The art is terrific
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Like the original story, Civil War is a great idea that isn't entirely successful in its execution. The new series doesn't do nearly enough to flesh out its world or move the plot forward. Even so, the appeal of seeing the Avengers split by a philosophical divide is as strong as ever.
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Crime comics aren't hard to come by at Image these days. What sets Dark Corridor apart is the fact that it features two running stories and blends the structure and ensemble cast of a Tarantino film with a more down-to-earth, even whimsical storytelling sensibility. For the most part it works.
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This series needed a change of pace after years of crossovers, and that's what Robert Venditti has delivered with this post-Convergence status quo upheaval. Unfortunately, the book's new direction is already losing steam thanks to a sluggish pace and a lackluster supporting cast.
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Unfortunately, this series has been hit by the unfortunate departure of Wilfredo Torres. Gianfelice's art seems rushed in comparison. His normally lyrical style is replaced by heavy, simple lines and sometimes sketchy details. The flat coloring does little to enhance those pencils either.
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While it doesn't offer a tremendous amount of new insight into the character, this issue does pack in many of the elements fans crave from his adventures.
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There's plenty of hard-hitting action and villains receiving much-deserved pummelings. There's also an intriguing look at Midnighter's troubled psychology and the breakup of his formerly rock-solid romance with Apollo.
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This issue achieves a proper balance between humorous and whimsical elements on one hand and respecting the dire scope of the "Last Days" conflict on the other. G. Willow Wilson writes a great dynamic between the two heroes, culminating in a touching scene as Kamala grapples with the fact that she can't save everyone.
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This issue combines action, intrigue, characterization and stylish visuals into one cohesive and extremely satisfying whole, and it sets up a very promising future for the fledgling series.
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Darth Vader is delivering an exciting Star Wars epic that avoids predictable territory in favor of a complex tale of deception and betrayal. This is the comic the Dark Lord of the Sith deserves.
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The premise is unique, and the humor is 100% Cornell. The art is also great at achieving a Bronze Age effect, with plenty of trippy imagery and faded colors making this comic look like something you'd pull out of a quarter bin at a flea market (in a good way). Sadly, the mockumentary approach keeps the characters at too much of a distance.
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Injustice: Year Four is finally delivering the epic brawl between superheroes and gods we've been waiting for. This issue has a few clunky elements, but it offers a lot of spectacle and a decent amount of character drama to boot.
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Compared to the previous two Gods and Monsters one-shots, Wodner Woman #1 is a bit of a letdown. This issue rarely achieves its potential in terms of fleshing out Bekka's tragic past, and it doesn't do much to justify the "Wonder Woman" moniker in the first place.
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This issue certainly establishes the stakes, though it spends a little too much time exploring the history of Salvation's defenders and poking fun at Hank Pym's "Aw, shucks!" shtick than fleshing out either Ultron's faction or the Marvel Zombies.
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There's a sense of the surreal and otherworldly to this story that very much works in its favor. Alongside his penchant for big, weird ideas, Matt Fraction writing stands out because of its economy. Fraction never includes a word balloon or caption that doesn't serve the story in some way. It's a refreshing change of pace after some of the comics I've read this week.
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This annual serves as a solid companion piece to the main Flash series, exploring the origins of this new team of villains and the shared tragedy that unites them. Unfortunately, the subpar visual quality holds the story back.
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This annual issue continues the trend of diminishing visual returns. There's plenty of shadow, but not nearly as much mood or sense of style.
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The series is clearly building towards exciting things, but this chapter does too little to usher it along that path.
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The second of DC's Gods and Monsters prequels is an all-around stronger effort. It offers a moody, compelling look at the development of a troubled Superman, while relying on the narration of his adopted sister to offset some of the darkness in the script.
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The plot is fairly formulaic, with Lobo being hired to take down the mighty Sinestro and running afoul of his Corps. There's plenty of action, and a fun showdown between the two characters as DC's top intergalactic killer squares off with its most egomaniacal ring-slinger. It all looks great, too.
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After Spawn #253 seemed to put the series and its new status quo on the right track, issue #254 left me feeling a bit more lukewarm. It's not that anything about this chapter is overtly bad, but more that it takes to long to accomplish what it sets out to do.
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Superman #41 suggested there was good reason for the series to linger behind the rest of DC's Superman books. Now that's looking less likely. Yang and Romita are clearly well-suited to Superman's world, but the bland villain and general predictability are harming their first collaboration.
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Short of James Stokoe's Godzilla comics, you won't find a better-looking comic from IDW right now.
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The long wait between new issues of Sabrina is always well worth it. The series is really coming into its own as it achieves a compelling blend of supernatural horror and teenage emotional struggles. The visuals alone are doing their part to set this series apart from the crowd.
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All told, this is a very disappointing spinoff, especially considering the $7.99 price tag.
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There's ample potential when it comes to exploring the new Gordon family dynamic, and so far this series is doing a great job. This issue is fun and lighthearted, but also uses the complicated history between Jim and Barbara to great effect. Livewire's role in the story is pretty generic, but this issue is less about the villain than the Batgirl/Batman team-up.
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Deadpool's Secret Secret Wars accomplishes what it sets out to do - offering a fun, Deadpool-centric new spin on a classic storyline. It even succeeds in tossing in a little dramatic ambition for good measure. this issue's script grows too choppy for its own good at times, but it's still well worth reading for Deadpool lovers.
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Fables #150 wraps up the series about as well as can be expected given how unfocused it's been of late. The main story is hindered by the handling of the final Rose Red/Snow White showdown and the fact that the former's motivations are never entirely clear. However, that story still includes a number of memorable moments along the way. Moreover, it's accompanied by a wide array of backup tales that both enrich the main story and provide proper farewells for a host of characters. It's not perfect, but this issue offers a bittersweet farewell to a Vertigo mainstay.
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This issue offers something Fight Club fans have no doubt been waiting for since this sequel was announced - the reunion between Sebastian and Tyler Durden. That reunion comes as Sebastian languishes outside Project Mayhem headquarters and waits to be re-inducted into the group. While the issue is a bit sluggish and slow-moving overall, their interaction is easily among the most compelling material in the series so far.
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Harley Quinn & Power Girl is every bit the fun romp you'd expect from such an unlikely team-up. The series proves that Harley can work in just about any setting or context.
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This first issue is a good start, though a little slow to get the ball rolling and flesh out the rest of the main cast considering this is only a six-issue comic.
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If you combined the political wheeling and dealing of Steven Spielberg's Lincoln with the kooky, near future landscape of Transmetropolitan, you'd arrive at Prez #2.
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The book gains a an even greater sense of impetus now, which is further enhanced by the compelling character drama and intrigue in this issue.
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Kanan is failing to keep pace with the other Star Wars comics right now. It certainly looks great, but the series seems content to spin in circles as it explores Caleb Dume's early evolution from Jedi to smuggler. Hopefully the next issue can offer a change of direction and finally restore this book's momentum.
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Jason Aaron and Mike Del Mundo do plenty of justice to the barbarian hero Arkon with this book. Like the first, issue #2 is crammed full of outlandish sights and bloody action.
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The series has grown strangely dull since the conclusion of Meredith and David Finch's first story arc. This chapter does little more than showcase Diana dancing in a nightclub and flesh out the origin of her new nemesis, Aegeus.
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Cyborg was long overdue for a solo series, but at least DC assembled the right creative team for this book. With some of DC's top artists bringing Cyborg to life and a promising writer delving into both Cyborg's superhero exploits and his search for his own lingering humanity, this first issue is a satisfying read that showcases plenty of potential ahead.
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Much like the current Batgirl run, this take on Black Canary is so dramatically different from what's come before that she could just as easily be a new character with the same name. But Black Canary needed a shake-up, and this series more than delivers in that regard
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Paul Levitz is developing a charming new take on the mythos, one that blends the realm of gods and supernatural magic with a very ordinary, relatable young hero.
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This issue packs in a lot of great moments for several characters, serving as a reminder that Invincible is about more than just its title hero these days. Ryan Ottley's dynamic art work is always a draw as well. That said, the coloring could do more in terms of lending depth to his pencils.
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I'm not always a fan of stories predicated on the notion of "Everything you thought you knew about this character was a lie," but so far Martian Manhunter is making a strong case for its complete overhaul of the character's nature and origins.
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It was difficult to know how to feel about the idea of Batman and Robin artist Patrick Gleason pulling double duty on this follow-up series. It's quickly become apparent, however, that Gleason is no slouch as a writer in addition to being a very talented visual storyteller.
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Siege #1 manages to be both entertaining and dramatic, but the visuals don't always live up to the writing.
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The downside to involving every Superman book in the "Truth" storyline is that some series are going to stand out more than others. Unfortunately for Superman/Wonder Woman, it doesn't have a great deal to add to the ongoing conflict of Superman struggling with his diminished powers and exposed identity.
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But for now, it works. Stokoe's art makes sure of that. He was pretty much born to draw a Godzilla comic. His style is slightly cartoonish (capturing that campy Godzilla charm) but also amazingly detailed and intricate. The sheer amount of effort put into rendering all the scales and ridges and individual tiny figures in these panels is practically mind-boggling. Equally impressive is the sense of motion and energy in his panels. This comic plays very much like a classic Godzilla movie, albeit it with monsters on a far bigger and more elaborate scale. Even if this comic never develops a deeper conflict than what we see in this first issue, it'll be worth following just to see what new and twisted designs Stokoe can conjure.
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The book also benefits from a talented artist. It's a little strange seeing Jesus Saiz exploring the cosmos after so much of his previous DC work was devoted to more grounded heroes (as in Checkmate) or horror (as in Swamp Thing). Saiz certainly shakes up his style, inking and even coloring his own work. While his work lacks a bit of the shadowy definition it had in Swamp Thing, Saiz's storytelling is as clean and refined as ever.
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Mike Deodato's art is impressive, at least. Compared to his previous big cosmic epic (last year's Original Sin), Deodato devotes more attention to his backgrounds and ensuring that figures and environments fit together in a natural way. The few wide shots of Knowhere the script permits are breathtaking. And the Drax/Angela fight, while dull from a storytelling standpoint, puts Deodato's flair for big superhero action to good use.
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This issue showcases more of the potential in the idea of Harley Quinn leading a team of sidekicks. While the script sputters in spots, it continues the series' emphasis on zany adventures with a healthy dose of character drama to balance things out.
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The second chapter of The Darkseid War proves a bit frustrating, as there's clearly more material to explore than the limited page space allows. Still, Johns delivers another thrilling script as he builds towards the big Darkseid/Anti-Monitor conflict and begins shaking up his familiar cast in profound ways. Through it all, Fabok proves to be a perfect collaborator when it comes to conveying the spectacle, darkness and raw emotion of this tale.
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John McCrea's art is great at channeling and enhancing the humor of Ennis' script. His pages are full of gritty, grimy charm and dynamic, almost Tex Avery-esque storytelling. But beneath all of the goofiness, there's not much of a story to be had with this book.
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This book stands out because of the ways it examines the familiar "power and responsibility" struggle from new angles.
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The book reads like a bad parody of early '90s superhero excess. The characters are all (extremely) thinly veiled riffs of familiar heroes like Deadpool and Cable. The violence, sexual humor and profanity give the book a very juvenile quality, and that's to say nothing of the grotesquely exaggerated, implausible anatomy.
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This series works as the most cerebral and subdued member of the Batman family. David Messina's art helps offset that subdued quality with dynamic fight scenes and an overall high sense of energy.
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There's nothing fundamentally wrong with the direction of this series right now. The idea of the Squad being tasked with infiltrating a League of Assassins splinter group is sound, as is the notion that some members find their new life preferable to the old. But in many ways, the execution isn't where it needs to be.
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As ever, Hercules is the star of the book, and his affection for Valkyrie and disdain for Roman the Sub-Mariner are among the highlights. If anything, the problem is that the Defenders frequently overshadow the Avengers.
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As with many Secret Wars tie-ins, this series explores a world where the Spider-Island status quo never ended. In theory that sounds like excellent story fodder. In practice, Spider-Island plays out a little too much like a standard zombie story.
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Andre Araujo's art is proving less than ideal for this book. For such athletic, aerodynamic heroes, the Spiders look decidedly flat and chunky throughout this issue. Araujo is far better at rendering ordinary civilian characters than larger-than-life heroes.
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This series makes for a light, breezy addition to DC's new lineup.
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This new mini-series boasts both a superstar creative team and an intriguing premise that blends a Jim Crow-era Mississippi setting, the destructive 1927 flood and a racially charged spin on the Superman mythos. All of these elements blend to create a memorable debut, albeit a flawed one.
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After such a big, loud, epic conflict involving the Joker, this series really needed a chance to slow down and take in the changing landscape of Gotham City. That's exactly what "Superheavy" is accomplishing right now. Snyder and Capullo are doing a great job of exploring what makes Gordon a different breed of Batman, but also why he's the only one that could have been the new Batman in the first place. Now if only the limited Bruce Wayne material were so successful.
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While the first issue was a promising start, Bryan Hitch's Justice League of America falters in its second issue. The book downplays the conflicts in issue #1 in favor of a meditation on superheroes and gods that's been done elsewhere (and better). Hitch's art is the only element that saves this chapter from true disappointment.
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Mad Max #1 is the first of DC's Fury Road tie-ins to do more than blandly fill in gaps in the film's mythology. Instead, it offers an engaging look at Max after the events of the movies as his long struggle for survival and redemption continues.
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While this first issue doesn't attempt to shake up the familair crossover formula, it takes advantage of the common ground these two franchises share. Theoretically, there's nowehere to go but up now that the foundation has been laid.
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I do wish this storyline had a more consistent roster of villains rather than a rotating lineup (especially as Conway was doing a great job of salvaging Black Cat last month), but the focus on the two lead heroes is enough to offset that problem.
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The main problem with this first issue is that none of the characters really stand out apart from Barb and her brother. Most are simply one-note caricatures.
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As with issue #1, the writing is plenty humorous and entertaining, just not possessed of a great amount of depth.
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Steve Orlando delviers plenty of cool action in this issue as Midnighter clashes with another superhuman vigilante. But often, it's the quieter characetr work that stands out the most.
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This Mortal Kombat X prequel is gains some steam as the second major storyline wraps up and several characters reach a big turning point. At this point, the book's success depends almost entirely on how focused each individual chapter is and how many characters Kittelsen is forced to juggle at once.
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The Omega Men isn't one of the more immediately approachable DC books, what between the less recognizable cast, outer space setting and quirky storytelling approach that doesn't burden readers with any more exposition or back-story than absolutely necessary. The series is defintiely carving a niche for itself, though. It's stylish ad exciting as the build-up to the Omega Men's next mission continues.
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On paper, the idea of the writer of Zombies vs. Robots teaming with the artist of Locke & Key for a new futuristic sci-fi comic sounds appealing. In execution, Onyx doesn't do nearly enough to stand out from the crowd.
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The group dynamic is entertaining, a fact which proves unfortunate when it becomes clear that most of the characters are disposal. Still, the idea of a book focused on Magneto and Red Skull practically sells itself.
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If you crave two meaty, standalone tales set in the landscape Battleworld, this issue will more than satisfy.
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Despite a somewhat rocky journey, Princess Leia ultimately reaches a satisfying conclusion in its final chapter. This issue boasts both strong character dynamics and a rousing space battle. What more can Star Wars fans ask for?
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Even by this series' usual standard, this is one bizarre issue.
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The series continues to befuddle when it comes to basic questions like "Are these characters the real deal or merely copies of the ones we know?". With the evidence more and more pointing to the latter, it's difficult to become invested in this series as the proverbial "final Ultimate Universe tale."
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For all that this Secret Wars tie-in calls back to a specific X-Men crossover, it also shows a clear love for all things X-Men.
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This series seemed the most promising of the various X-men-themed Secret Wars tie-ins, which is why it's so unfortunate the book hasn't lived up to its potential so far.
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Secret Wars only seems to be getting better as it goes along. The book's visual quirks have been toned down, resulting in one of the most dynamic and epic comics you'll find on the stands. And for all the spectacle, the series really boils down to the complex psychology of Doom and the one man that can overturn his perfect new world. This issue sets the stage for a very promising second half.
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What initially seemed like a fairly by-the-numbers (for Grant Morrison, anyway) tale of meta-science fiction has grown steadily more ambitious and mind-bending over time. This finale is wonderfully weird and emotionally satisfying, while managing to veer away from becoming overly sappy or sentimental in the final pages.
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All told, there's a fair amount of content here for the $3.99 cover price, but those interested in learning more about the character are better served looking elsewhere.
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Bunn's new status quo is intriguing, as is the frequent intercutting between past and present. But as much as this series has dealt with Aquaman's struggles for acceptance in Atlantis, in some ways it feels as though the book is retreading old ground.
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This issue makes excellent use of the format, from the opening page modeled after in-flight safety cards to the constant juxtaposition of Sebastian and Marla's points of view to the recurring visual motifs like prescription pills blocking captions and word balloons. The book is very cleverly designed, but the story is still coming together.
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Even as dialogue-driven and setup-focused as this issue is, it immediately ramps up the tension and paves the way for an exciting showdown. There's a cat-and-mouse quality to the conflict, wand I found myself rooting for both sides at different intervals. Unfortunately, as is too often the case with this book, the art isn't up to par with the writing.
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Together, these first two issues offer a solid foundation on which the creators have the opportunity to build something truly strange and wonderful.
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If this issue is a sign of what to expect from the series going forward, there may be hope for Spawn yet.
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This tale fleshes out the background of the twins from issue #1 nicely, while also offering very different from the main series in both tone and visual style.
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This series succeeds in shining a light on one of the more compelling regions of Battleworld and those unlucky few who call the Deadlands their home. However, this first issue is unfocused and doesn't offer a clear sense of what the book's core struggle will be.
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Superman #41 suffers from a couple storytelling flaws, but on the whole this issue marks a strong debut for new writer Gene Luen Yang. Yang is able to inject a more grounded, socially conscious sensibility into Superman's world without ignoring the excitement and spectacle a good Superman tale needs. Even if we already know the end destination (more or less), "Before Truth" is shaping up to be a memorable Superman tale.
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Though somewhat looser than his current style, Adlard's work in these pages is still plenty imrpessive. The retro '50s setting suits his style especially well. All the book really needs is an ink wash to give the stark black and white lines some added depth. Unfortunately, while Adlard's art is impressive, the story is too jumbled to leave a good impression.
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This new series introduces a character called Reiser who undergoes a Hulk-like transformation and becomes the new Doomsday. Perhaps not the most clever premise ever to grace the printed page, but writer Scott Lobdell largely makes up for that fact with a surprisingly charming first issue.
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Ultimately, while certain elements in this issue feel rushed, the overall emotional payoff is strong. Better still, there's the promise of more Ei8ht to come in the future. This series ceertainly warrants a sequel.
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If one were to combine Blade Runner, Ghost in the Shell and a few Raymond Chandler novels in a blender, the end result might be something like Empty Zones. Even with all the sci-fi comics Image is currently publishing, this new book has little trouble standing out from the crowd.
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It's a testament to how "outside the box" IDW has been with the Ghostbusters franchise that the notion of the movie Ghostbusters meeting their animated selves from The Real Ghostbusters is not the strangest thing to happen. It's a solid premise, regardless, and one Erik Burnham and Dan Schoening exploit to great effect in this first issue.
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I was a little wary of the idea of this series tying into Secret Wars. Isn't Ms. Marvel better off left to its own devices? Luckily, this "Last Days" storyline meshes nicely with the general direction of the book. G. Willow Wilson has essentially reached the climax of Ms. Marvel Year 1.
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This is a goofy book in some ways, but it has something valid to say without being preachy or carrying a hidden agenda.
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Brad Walker proves a capable fit for the series. While his facial work ranges from solid to weirdly distorted, he gives the book an appreciable sense of scale and depicts the Sinestro/Soranik battle on an epic scale.
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It's not exactly deep, but DC's new Harley Quinn spinoff is plenty entertaining. This issue proves there's more mileage to be had with this unusual pairing of heroines. However, the series needs to delve deeper into their dynamic if the formula if the series wants to maintain its momentum for six issues.
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With this first issue, Bryan Hitch proves he's no slouch as a writer in addition to being a talented visual storyteller. Justice League of America offers an immediately engaging storyline free from any worries about continuity or timelines. And despite some visual flaws, Hitch's detailed take on the DCU is enough to justify a purchase on its own. This isn't a perfect first issue by an means, but it's a solid start for this ambitious addition to DC's Justice League franchise.
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Visually, the comic has little in common with the film either. There's no carefully choreographed action to be had here, just talking heads and partially obscured sexual violence. Artists Tristan Jones and Szymon Kudranski aren't given much to do in this issue besides recreate the memorable character designs and locations from the film (which admittedly has some appeal. Mark Tristan's framing sequence pages offer a stronger sense of style, but they only count for two of the book's 40 pages.
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As great as it is to see Old Man Logan back in action, this series isn't exactly taking advantage of the character right now. Removing him from his signature world seems to have diminished the character and his tragic aura. While this series boasts a terrific visual sensibility, that isn't enough to make up for such a barren story.
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Artist Ron Chan and colorist Matthew J. Rainwater does an excellent job of capturing the bright, cheery art style of the PvZ games and generally creating an energetic, vibrant cartoon landscape. This is a comic that isn't afraid to think outside the box as far as the source material is concerned. But even more impressive are the backup strips from Dustin Nguyen. Nguyen offers a a similar "chibi watercolor" style as that seen in his Li'l Gotham comics, which ends up fitting this franchise surprisingly well. It sets a high bar for future backup artists to match.
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The only area where the book doesn't completely shine is the visuals. Carlos Pacheco is certainly a talented artist, but his style is best suited for more traditional superhero storytelling. The script has a certain darkness to it that isn't conveyed through Pacheco's visuals. This has as much to do with Frank Martin's colors as Pacheco's pencils, however. The book really needs a grittier texture to ensure that the tone of the script and the art line up. At the very least, the Squadron members could do with more contemporary costume designs. Mind you, Pacheco's storytelling really shines in the action sequences (particularly the nighttime raid later in the issue), but he may not have been the best fit for this series overall.
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This issue won't be especially welcoming to newcomers, what with its vast web of criminal conspiracies and the fact that Selina KYle is semi-retired as Catwoman. However, for those who have been following the book since Genevieve Valentine's run began last fall, you'll find the book hasn't lost its appeal during the two-month hiatus.
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If you've fallen away from John Constantine since his Vertigo days ended, this book might pull you back in.
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This series offers a welcome change of pace for the characters and a more streamlined story after all the flash and pizzazz of Earth 2: World's End.
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. The book is as much a chance for Dennis Hopeless to reconnect with characters from his X-Force work as anything else, which is probably why the characterization is so appealing.
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Ellis is clearly revealing only as much as he absolutely has to about the nature of these characters and their supernaturally-charged world, but what e does illuminate is pretty fascinating. It's equal parts X-Files and Bourne Identity, with an extra helping of weirdness for good measure.
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This book may not have many direct ties to the recent big crossover, but it maintains the same wacky team-up appeal. That said, it wold be nice to have a clearer sense of the book's overarching conflict, rather than simply seeing these heroes pitted against one Spider-Man rogue after another.
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This is the first chapter of any of Marvel's new Star Wars books that left me cold, which I suppose speaks highly for the quality of the line as a whole. But after two solid issues detailing young Caleb Dume's downfall, the series loses a great deal of momentum in issue #3.
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Starfire had a less than auspicious New 52 debut, to put it mildly. But much as they previously restored Harley Quinn's luster, Amanda Conner and Jimmy Palmiotti have been tapped to give Starfire a fundamental makeover. If you've been enjoying their Harley Quinn series, you'll probably like this comic as well. It's very simialr in both tone and premise, as Starfire heads to a new city and starts a new life for herself free from all old baggage.
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Consider this one more Secret Wars tie-in to add to the reading pile.
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Artist John McCrea doesn't miss a beat with these characters. His vision of the Cauldron is both outlandishly cartoony and slathered in grime and grit. It's a very unique visual sensibility relative to the rest of DC's comics. McCrea crams in various visual gags as well, with the standout example being several homages to classic Batman artists like Neal Adams and Kelley Jones. It appears these homages were directly lifted from the old comics in question rather than recreated, but they're integrated in an effective and hilarious way.
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For the most part, this series is a fun ride (pun intended). But there are elements that can certainly be improved as the next race unfolds.
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Harley Quinn has come a long way from her early New 52 appearances. This series continues to emphasize her as a likable (if still demented) heroine with a real desire to help her community and build a new life for herself. Unfortunately, it's a struggle just to cover all the elements of Harley's life, much less flesh out her new team of helper Harleys. Hopefully the series can find a better balance as this new story arc unfolds.
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In many ways, the new volume of Injustice is as strong as its predecessors. There's plenty of sleek artwork and strong characterization to keep the book humming along as the next big conflict takes shape. However, the various pieces don't combine to form a cohesive whole, as this issue awkwardly transitions from lighthearted moments to scenes of darker drama and back. The book needs a clearer sense of progression.
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Even with so much hope and progress, there's always the looming danger of everything being torn away. On that front, Kirkman briefly addresses last issue's incredible cliffhanger, but it's clear that door isn't yet closed. It's some terrific story seeding, and promises that this status quo still has a way to go.
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Conway has been delivering a perfectly enjoyable tale with "Spiral," a storyline that feels right at home alongside Dan Slott and Christos Gage's recent ASM work. Conway does the writers one better in this issue, offering a more nuanced and less annoying Black Cat than we've seen since the post-Superior Spider-Man relaunch
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This issue is no more or less than a lighthearted celebration of the franchise. Pretty much every Riverdale favorite turns out to help Archie through his latest crisis, with the comic reaching a predictably happy ending.
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If not a total home run, this opening chapter offers a very solid foundation on which to build an ongoing series.
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You have to respect the ambition of this series as it tries to juggle so many moving pieces and set the stage for the game's storyline. Unfortunately, it just doesn't manage that task very elegantly, and many characters and beats feel slighted as a result. This series simply lacks the clean, elegant approach of DC's Injustice comic.
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The 8-page preview (available for free digitally) is a more satisfying introduction and is essential in terms of fully appreciating writer Tom King's story. But for those willing to wrestle with the spartan storytelling and off-kilter approach to dialogue, there's a lot to like here.
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Writer Dennis Hopeless brings the conflict to a satisfying conclusion.
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If you need proof that Jason Aaron is willing to try new things and subvert expectations with this new series, look no further than this issue. Even as Aaron mines the rocky relationship between Han and Leia for all its worth, he introduces a significant new wrinkle that promises to really shake things up.
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The script jumps between the two plotlines at random and feels disjointed as a result. Hopefully the fifth and final issue can tie everything together in a more satisfying manner.
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Liefeld is surprisingly restrained in this opening chapter, focusing less on action and more on exploring the world and the rival Hebrew and Philistine factions. Unfortunately, that approach results in a generally dull comic.
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This prequel comic continues to offer an enjoyable lead-up to the game, one that's distinguished more by its characterization and exploration of the wider Bat family than its action or spectacle. It focuses on Batman stories that wouldn't be suited for the games as much as those that would.
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The Darkseid War is quickly shaping up to be one of Geoff Johns finest Justice league storylines. It feels more event-worthy than many actual event comics, between the dramatic plot twists, epic confrontations and truly cinematic art. And best of all, it doesn't come across as just another Darkseid conflict. This is something bigger and more unpredictable.
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This series deserved to stay on the stands far longer than it actually did. In that sense it's no different form its source material. The good news is that this issue wraps up the saga of Samurai Jack in a way that the show was never allowed to. While still open-ended, this issue celebrates the life and legacy of the hero and delivers an excellent cap to an excellent comic.
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Secret Wars is delivering the goods. It's as epic as anyone could want from a big Marvel event comic, yet expertly paced and as concerned with characterization as it is action and spectacle. Jonathan Hickman once again proves he can write Doom like no other. Unfortunately, the series' generally bedazzling art is marred by poor facial work. That flaw has become increasingly prevalent over the course of these issues, and we can only hope the trend doesn't continue.
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If you've been craving a comic featuring a married Peter Parker, Renew Your Vows won't disappoint. Maybe it doesn't take place in the traditional Marvel Universe, but this issue effectively established the Parker family dynamic and then quickly builds a sense of danger and dread. Couple that with great visuals from Adam Kubert and the series has most of the right ingredients in place. Only a bland, unremarkable villain hold Renew Your Vows back a little.
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This series has proven to be one of the more pleasant surprises of the Convergence lineup. If anything, Blue Beetle only gets better in its second issue now that Scott Lobdell has moved past the formulaic setup phase and can focus on the battle for the fate of Hub City.
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Convergence: Booster Gold isn't a bad story when it focuses on the title character and his relationship with Blue Beetle. Unfortunately, that isn't always the case. Too often Dan Jurgens busies himself with tying this issue into previous Booster-centric material or setting the stage for certain events in Convergence #8.
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Though this series features one of the more promising creative teams among the Convergence lineup, it hasn't really lived up to its potential.
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Jeff Parker offers a fun battle between Captain Marvel and Gotham by Gaslight's Batman, one that quickly turns into an unlikely team-up as the two heroes confront their true foe. This pairing works well precisely because the two characters and their cities contrast so deeply.
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Indestructible fans will want to give this issue a look, but newcomers are better off gravitating towards the main series first.
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This is easily one of the sillier Secret Wars books released so far. It's also very violent, allowing M.O.D.O.K. to exercise his penchant for killing in a way that wouldn't really be possible in a more traditional setting.
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Nova is one of many series wrapping up to make way for Secret Wars. The good news is that the series reaches a very natural stopping point with issue #31. Gerry Duggan is able to tie up loose ends and give Sam's battle with the Chitauri slavers the finish it deserves.
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A fantastical yet intimate story and incredible visuals make Sandman: Overture #5 well worth the wait.
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Where Monsters Dwell #1 has little connection to Secret Wars, but plenty of fun, adventure and dinosaurs.
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Convergence had been picking up steam in recent issues, so it's disappointing to see the series stumble again at the finish line. This issue wastes too much energy on dialogue and exposition and neglects to actually show readers the imminent danger threatening the multiverse. The good news is that it does offer a happy ending for the various characters involved, while leaving the door open for what will hopefully be a more varied and cohesive DC Universe.
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This issue also suffers from the fact that it doesn't reach a satisfying conclusion. It merely sets the stage for the characters to appear in the core Convergence mini-series and ends abruptly. Had this book maintained a clearer focus and a more standalone storyline, it could have been something special.
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After a solid first issue, it's disappointing to see this new series makes some missteps in its sophomore installment. However, most of the issue stem from an awkward story structure, and there's no reason the book can't get back on track quickly.
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A little word vomit aside, the change of venue and tone has been a huge boon for the series. And those craving a little fisticuffs should be equally satisfied with this issue's beginning and what the brilliant cliffhanger promises for issues still to come.
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Sliney has grown comfortable working in the 2099 setting. The city of Nueva York is as much a character as the Avengers themselves, and Sliney reflects that by emphasizing environmental details as much as figures. The coloring is key in bringing this neon-soaked future landscape to life. At times the perspective becomes a little wonky, but nothing that dampens the book's visual appeal too badly.
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It's nice to see Convergence actually picking up steam this late in the game. The lack of a good villain is dampening the book's appeal, but at least the scale of the conflict and the cast of characters is where it needed to be all along. Lopresti also delivers a solid set of pages for this issue, albeit some riddled with art and continuity errors.
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This story starts off well enough but loses steam as it reaches a murky conclusion. At the very least, I would have liked to see a little more from the framing story - something that could have tied the whole issue together a little more. Still, this issue is well worth a read for fans of the current volume or more classic DD adventures.
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Artist Rafael Albuquerque continues to fire on all cylinders as the story spans millions of years and tackles everything from Nazi super-science to flying dinosaur jailbreak scenes. For his part, writer Mike Johnson keeps the script fast-paced and engaging.
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This Mad Max: Fury Road prequel fills in some interesting gaps but doesn't quite capture the film's sense of style.
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The series has definitely taken on a stronger horror vibe of late, bringing Moon Knight back to his roots in a way.
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Humphries delivers a straightforward but engaging opening issue that clearly establishes the conflict and the stakes for Steve's quest. Artist Marc laming expertly brings this segment of Battleworld to life with bold character designs and confident line-work befitting a superhero gladiator tale.
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Every Marvel event has at least one anthology comic that tells smaller stories set during the new status quo, and that's basically what this series is. The two stories in this issue don't add much to the larger Secret Wars conflict, but they're both reasonably entertaining.
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This book really just needs to take advantage of the new creative team and focus on combining the traditional supernatural elements with Paul Jenkins' more nuanced storytelling touch. This half-baked political nonsense just gets in the way.
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Costa is great at giving each character a distinct voice and personality. In some ways the story flows more naturally than his caption-heavy Scarlet Spiders mini-series.
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This series is benefiting from the gradual transition to Episode V territory. The romantic tension between Han and Leia is as entertaining now as it was in that movie. Luke, meanwhile, ventures into uncharted territory even as he returns to his home planet. Apart from some inconsistent facial work, this series continues to do a fine job of recreating the Original Trilogy look. It's a shame that Cassaday only has one issue left.
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All told, this issue delivers a successful done-in-one adventure that wraps up several loose ends. Its only real weakness is a fairly abrupt ending that essentially just points readers towards issue #600, a comic that now won't be hitting stores for another five months.
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The artwork alone has made it difficult to invest in the book. While this issue is certainly a step above last week's barely comprehensible installment, it still suffers from a slightly murky look, washed-out colors and poorly defined characters.
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While certain details regarding the nature of this team and their connection to the old marvel Universe remain unclear, A-Force #1 marks a worthy debut for Marvel's newest team book. It's fun and fast-paced, but also features great characterization and clear ties to the larger framework of Secret Wars. Marvel picked a solid creative team for this series, and it's already paying off.
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Having Marc Guggenheim at the reins of this book has been a major boon. Guggenheim's role on the show and his prior comics experience means that this series is a very faithful extension of the source material. And in many ways, Huntress is a more enjoyable character in this issue than she's ever been on the show.
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This series seems to have hit its stride in terms of blending Arkham-worthy action with the character moments and humor Tomasi excels at. This issue doesn't add a huge amount to the unfolding narrative, but it certainly entertains.
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Among the many series finales at Marvel these past few weeks, this easily ranks among the best.
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Leave it to Mark Millar and Sean Murphy to make time travel fun and exciting again.
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Convergence #6 finally shows the series living up to its potential in terms of offering a big, loud, superhero epic. The inconsistent artwork is a drag at times, but now there's hope this book can at least finish strong after a weak first half.
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The script is frequently amusing, though there's a sense of darkness that grows over time and as Babylon inches closer to becoming the dangerous man fate demands of him. This issue ranks among Nick Dragotta's best.
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The series makes a weirdly abrupt transition from the previous Genosha storyline into a "Last Days" prelude to Secret Wars
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Mortal Kombat X #6 certainly delivers the bloody action the franchise is known for. The book has developed a greater sense of excitement in these new chapters, but it still struggles to maintain an element of surprise given the prequel setting. Moreover, the series' larger narrative is disjointed as the book juggles so many separate story threads.
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This issue reaches a fittingly bittersweet conclusion, emphasizing both Kamala's heartbreak and the crucial bond she shares with Bruno. As always, elements like that are what truly distinguish this series.
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Now that this series has proved it can capture the look and feel of the movies, it's setting about the more difficult task of adding new and different elements to the Star Wars universe. And so far, it's succeeding very well.
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The series also goes out with a bang visually. Even though the art duties are divided between Victor Ibanez and Neil Edwards, the issue remains pretty consistent throughout. The two artists capture the spectacle of Pak's script while always emphasizing the emotional core of the story. Even Kenji, for all his grotesque transformations, conveys a strong sense of emotion. This is a creative team that could continue to do well for the X-men franchise after Secret Wars.
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On the whole, this new series has been a welcome return to form after the slump that was AXIS, but some cracks are beginning to show.
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This series serves as a reminder of the perils weekly comics and their strict deadlines can cause.
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Fight Club 2 is a success in some ways. Palahniuk transitions smoothly from prose to comics, and he's found a great team of artists to help visualize this world. This first issue is very impressive on a technical level and sometimes very amusing. However, it also reads a little too much like the original story, and the violent anarchist Tyler Durden doesn't have the same appeal he did back in 1996. Hopefully this series can grow beyond the boundaries of the book and find new ways to satirize the modern world.
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After all of Year Three's magical tomfoolery, it's nice to see this series get back to basics. Despite a clunky opening, this issue takes a character-first approach and begins building a compelling new foundation for the penultimate chapter of this prequel saga.
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Secret Wars #2 is a much more accessible gateway into Marvel's latest event. While certain elements remain unclear, this issue does a lot to lay out the nature and makeup of Battleworld without simply bogging the story down with exposition. Hickman and Ribic paint a stunning picture of Battleworld and build a strong foundation on which this series and its numerous tie-ins can build.
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Though the battle with the Destroyer ends on an anticlimactic note, this issue offers plenty of spectacle and cements the new Thor's role within the new Marvel U. The saga of this heroine promises to only grow more interesting from here.
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The ending is a little abrupt, but this issue marks a promising start to this new adventure.
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This issue practically sells itself on the strength of its premise alone. Who doesn't want to read about a team-up between Rocket Raccoon and the Pet Avengers? The results are every bit as wacky and entertaining as you'd expect.
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This prequel to Jupiter's Legacy may lack that book's generational element, but it's still very interested in the gulf between how things once were and how they are now.
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In the end, Bunn and Virella are able to deliver proper closure to this adventure while leaving the door open for a third zombie spoof should the mood strike.
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The Spider-Gwen universe has its clever twists to a familiar formula, but it wouldn't succeed on the level it does without such a distinctive art style.
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It should come as no surprise that hiring Greg Weisman to script a comic book spinoff to Star Wars: rebels would result in one more solid entry in Marvel's Star Wars lineup.
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Wolverines enters its final month with this issue. The series has pretty much come full circle now that the team is locked in another confrontation with Sinister. At least there's a sense that things are finally happening again.
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While this issue doesn't really make a case for an ongoing Wonder Woman '77 comic, it certainly offers a fun detour for fans.
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Amazing Spider-Man hasn't been firing on all cylinders in recent months, and this finale issue does nothing to reverse that trend. While Ghost makes for a good villain, the rushed pacing and divided focus are a drag on both stories.
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Batman: Earth One Vol. 2 is a showcase for the potential this graphic novel imprint still holds. It's not simply about streamlining the character, but making his world more reflective of our own and tracing Bruce Wayne's long, painful road towards truly becoming the Dark Knight. Geoff Johns' writing is adept at fleshing out that journey, while Gary Frank brings this Gotham City to life like only he can.
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Convergence continues to suffer from the same flaws that have dogged the series from the beginning. And while the art boost is appreciated and the ending holds new potential, there's little hope that things will truly improve in the final few weeks of this event.
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It's just unfortunate that the issue can't transition back into Harley's personal life more smoothly. By the time Harley's battle with Captain Carrot is over, there's precious little time to wrap up her doomed romance and tie up loose ends. The transition is awkward and the ending abrupt. Even so, there's a sense of tragedy to the way things play out that is appreciated. And even if the script can't quite blend these two elements together, artist Phil Winslade offers a sense of unity. He channels all the hyper-kinetic vibe of Harley's fight while also nailing the more subtle emotions at work in the quieter scenes. Had this series been given more than two meager issues to grow and flourish, it really could have been something.
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Ryan Stegman's art isn't always an ideal fit for this book. There are times when a less stylized and more elegant approach to the character might work better, particularly with characters like Medusa. On the other hand, he crams this book with great action scenes (with Karnak making a spectacular entrance in one particular panel). And Stegman proves he's no slouch with emotional scenes either. The final, silent panel is a very effective way to close out the book.
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And as per usual, the comic is very adept at capturing the look and feel of the show. Christine Larsen lends a dynamic look to every page and channels all the weird sights and oddball character designs that define Genndy Tartakovsky's work. Jack's facial work sometimes seems a bit off (too rounded, perhaps), but otherwise the book's familiar aesthetic remains firmly in place.
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Only time will tell how well newer Marvel readers respond to this comic. But anyone who has been following Hickman's Avengers work to date should get a kick out of what is basically the first chapter in an epic climax to that run. It's got plenty of spectacle, but more than enough emotion and foreboding to balance it out. Plus, it's great to see Hickman and Ribic jamming together once more.
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Like most Convergence tie-ins, this issue suffers from the need to tie into the main event and all the formulaic drudgery that results, but fans of these characters should still seek out this issue.
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Perhaps it's time to go back to the drawing board with this franchise.
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The actual story is enjoyable enough, if a bit ungainly at times. Al Ewing's attempts to call back to various past Avengers storylines reek of pointless exposition. This issue is much better off when Ewing simply focuses on the characters and their dynamics.
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Any comic that involves the villain introducing a clone army called Sinister's Six is doing something right. Through it all, Marco Failla's dynamic artwork gives the book a sense of energy and whimsical charm (though some of his characters have mysteriously developed a case of shrunken head syndrome) Kalan puts the extra pages in this finale to good use, capping off the story and reinforcing the bonds these characters have established over the past six months.
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Waid's portrayal of Leia is solid, and her new partner Evaan is becoming more endearing with each issue. This issue is a little more action-oriented, as the two women travel to Sullust and are forced to fend off an Imperial attack. The action helps offset some of the book's visuals problems (the female characters with similar physical features, the poorly defined backgrounds), and Terry Dodson definitely captures the feel of classic Star Wars in these scenes.
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If all you want is a Superman comic that celebrates the Justice League camaraderie and explores what happens when Superman gets drunk, this comic is for you. Yes, the dialogue could have used some fine-tuning, and the coloring sometimes gets in the way of the art, but this issue serves as a fun palate cleanser before the next era begins for Superman.
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It's disappointing to see this issue backpedal, though this month's cliffhanger at least suggests the book will continue pursuing unexpected angles.
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This series seems to be getting back on track after spending far too long on detours and side-stories.
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The Avengers #44 caps off Hickman's saga in grand fashion while also setting the stage for Secret Wars. This issue is full of epic drama, but often it's the character moments that shine the most. It's a shame that two artists with such clashing styles were called upon to finish out the series, but Caselli's pages never fail to impress.
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Batman #40 is a satisfying conclusion to Snyder and Capullo's second Joker epic. While the early scenes focused on Batman's other villains and sidekicks are under-cooked, the bulk of the issue and its focus on the Batman/Joker rivalry is an enthralling read. The creators paint an unsettling, bloody and very dramatic picture of two old enemies locked in one last, desperate battle for the fate of Gotham. And the best part is that this issue, rather than merely acting as a finale to one story, only opens the door for new conflicts to come.
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Convergence isn't seeing much in the way of net gain as it reaches the halfway mark. This issue picks up the pace and fleshes out the lead villain, but the series is still mired in poor dialogue and characterization. Meanwhile, the visual quality only worsens with so many inkers handling one issue. Things aren't looking bright for the series in Month 2.
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There's no telling how long Marvel will go before publishing a new Fantastic Four comic. But at the very least, the current series was sent out with style and grace. The FF received the happy ending they needed after being put through the wringer for so long.
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Unfortunately, while the quality of the main Injustice comic has remained pretty consistent, the same can't really be said for the annual issues. This comic has some interesting elements, but it fails to add much to the larger Injustice universe. Worse, the poor characterization of Superman in the second story derails what could have been a terrific examination of the Clark/Conner dynamic.
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While not a comprehensive or encompassing series finale, this issue does a solid job of laying more ground for Secret Wars and showcasing Doctor Doom at his most awe-inspiring and compelling.
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All-New X-Men #40 offers an intriguing epilogue to Black Vortex, but the series needs more momentum now.
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It's been nice to see writer Chris Yost play with the usual conventions of an X-Men vs. Juggernaut story over the course of this story arc. Unfortunately, this final issue retreads more familiar territory as Colossus makes his desperate stand against an even more powerful Cain Marko.
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This prequel saga is definitely picking up steam as Tomasi draws more villains into the conflict and complicates Bruce Wayne's plan to save Gotham City. This issue offers the best balance so far of action, intrigue, and character dynamics, and it bodes well for the series going forward.
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Convergence is getting worse, not better, as it continues trudging along. There's ample potential in this story, particularly in its focus on the Thomas Wayne/Dick Grayson dynamic, but that potential is rarely fulfilled. The series suffers from both clunky dialogue and a general lack of excitement. Now even the art quality isn't a strength. Is there any hope at this point that this series can rebound?
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Carlos D'Anda was a bit of a strange choice to illustrate this comic. It's not that he does a bad job by any means. His bombastic style brings a palpable sense of energy to what ends up being one of the quieter Convergence tie-ins. It's just that nothing about this issue's art style recalls the Outsiders in their pre-Crisis era (wacky costumes notwithstanding). Visually, this could just as easily be set in the contemporary DCU.
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Hawkman #1 is a gem among this week's decidedly mixed crop of Convergence comics. Parker is able to capture all the charm and adventure of the hero's pre-Crisis past
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It's pretty rare to see ChrisCross tackle a new DC project, so his art is also a selling point in this issue. Between his bold, detailed figures and dynamic angles, he brings a very slick look to this series. The fight scene with the Secret Six really pops. And unlike Carlos D'Anda's work in Batman and the Outsiders, it's not a style that works against the retro throwback era. That said, some of ChrisCross' facial work can get pretty wonky, especially when the use of photo-reference becomes more noticeable. Zatanna's "I just swallowed a lemon" face is an especially blatant example.
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But again, Jones' art is a real treat. As always, he brings a real Gothic horror vibe to every page, with exaggerated, almost grotesque figures and heavy shadows blanketing everything. He proves he still has the right touch when it comes to offering vampirized renditions of Batman's villains as well. Issue 32 is shaping up to be even better as the battle really gets underway.
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This issue showcases Wonder Woman from one of the more unusual stages of her career, when she was a powerless secret agent in a slick white jumpsuit. Unfortunately, it does little to really capitalize on that era and its trappings.
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This arc is shaping up to be the most effective Escalation has delivered so far.
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It's a satisfyingly epic showdown on a grand scale. Not only does Mark Bagley's art capture all the ferocity and brutality of this showdown, Gerry Duggan includes humorous little asides that show various other characters across the continent reacting to the seismic shifting caused by the brawl
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This issue captures the same core appeal the series has always managed. It's fun. It's slightly bizarre in that familiar Samurai Jack fashion. It's very easy on the eyes.
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Star Wars got off to a solid start, but this new story arc shows the potential for the series to expand in new and interesting directions. It's just a shame so much of this issue is dominated by material so similar to what we've seen in the Darth Vader series.
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Perhaps a comic where Galactus describes Thanos as "half Goth, half hipster" isn't for everyone, but it certainly scratches an itch when it comes to oddball superhero comedy.
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This issue is pretty much more of the same, as Daken and X-23 continue their team-up with Blade and battle the energy-draining siphon and a horde of vampires. Blade and the vampires still feel pretty much shoehorned in, but it's not an unamusing team-up.
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Generally Matt Wagner writes this book in the same style as his other Zorro comics, but occasionally Django's dialogue will recall a bit more of Quentin Tarantino's fiery style. If only the two sensibilities blended more evenly.
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The script this month is a bit inelegantly paced, starting out slow and then cramming several key developments into teh final pages. But the overall effect is strong, as Albuquerque and Mike Johnson continue to build a fascinating world with its fair share of twists and surprises.
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It's been a while since IDW's Cobra comics have wowed me in the same way the intial Chuckles saga did several years back, but this series is making a strong case for itself.
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The Black Vortex crossover has been far longer and more drawn out than it needed to be. But the good news is that things finally seem to be moving along at a faster clip now that this storyline has reached its penultimate chapter.
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The series reads like more of a horror book than a superhero one at this point, which suits Magneto and his present state of mind quite well. It also suits Gabriel Walta's subdued art style.
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If you crave fun in your X-Men comics above all else, Spider-Man and the X-Men continues to deliver.
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This series could still stand to take a more even-handed approach with this newer, more ruthless Tony (one more akin to what we've been seeing in Jonathan Hickman's Avengers comics), but it's slowly getting there.
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It's becoming tough to remember a time when this series even had a sense of purpose.
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Convergence is finally picking up some steam in its third chapter, but this event still has a ways to go before it truly satisfies. Despite Pagulayan's eye-pleasing visuals and the generally improved pacing, this issue stumbles through a lot of pointless narration and an underwhelming first battle with Telos. King really needs to take a "less is more" approach if this book is going to live up to its potential.
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My only concern is the way this issue begins to tie in more heavily with the larger Inhumans franchise. The story takes a fairly abrupt tonal shift in the final pages, and one of the characters makes an equally abrupt shift in personality. Hopefully the final chapter of this arc will justify the about face and avoid spending two much time wading outside of Kamala's own little sphere.
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Spawn may have an accessible new direction, but the execution of this status quo is lacking. The appeal of seeing Jenkins tackle this long-running franchise is diluted by the clunky, overwrought scripting approach and political elements that feel tacked on. The vibrant new art style is a definite plus, but that alone isn't enough to salvage this book.
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Hack brings a great aesthetic to this book, slathering Sabrina's world in texture and surreal line-work. The '60s-era setting is very apparent, but it's combined with a distinctly grindhouse horror tone. I just wish there was more consistency in Hack's figure work. Sabrina and other characters suffer from changing physical features and even age at times.
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The only real problem with the approach to this issue is that it comes so close to the series finale. There's still a lot of unfinished business to tackle, and a light, breezy issue like this doesn't do much to move the characters closer to the finish line.
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Nick Spencer really seems to have found his niche writing oddball heroes and villains who struggle for success and acceptance. This particular issue takes a slightly more ensemble focus as Scott Lang adds to his growing crew of reformed, D-List villains in a desperate bid to rescue his daughter. Even as the book becomes more urgent and dramatic, it also taps into the same lovable loser vibe that made Superior Foes of Spider-Man such a blast to read.
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This series continues to succeed in its mission of telling stories that flesh out and enhance the world of the TV show. In certain ways (particularly when it comes to spotlighting Roy), it does the show one better.
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Two weeks in, and Convergence is still struggling to move past the setup phase and develop a compelling conflict. This is a story where the characters and the combinations of alternate worlds are the driving force rather than plot. The early scenes in this issue are proof enough of that. Hopefully this event will capitalize more on that quality as it moves forward.
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The plot is fairly sparse, the dialogue somewhat uneven in its execution, and Duggan becomes a little preoccupied with Deadpool even after the character's importance to the story is through. This issue is more a chance for Mark Bagley to strut his stuff.
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While Bendis will continue Miles' exploits in the Ultimate End mini-series, this book deserved a more complete and cohesive sendoff.
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If you enjoyed Brian Wood's work on Northlanders, this series will be very much up your alley. Wood takes a conflict that has been mythologized over the centuries and re-examines it from a more grounded perspective.
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Waid delivers another fun addition to this series, though not one that capitalizes much on the Sue/Coulson dynamic. Nor does this chapter contribute much to Waid's overarching narrative. The upside is that Agent Simmons is given more room to shine as she coaches Sue through a particularly tricky bomb defusion.
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Even if you're not a fan of the redesigned costume, it's tough not to be impressed by Rodriguez's energetic characters and dynamic layouts. He's just a natural fit for the Spider-person corner of the Marvel Universe.
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This might be the penultimate issue of the series, but there's not a great deal of excitement leading up to the finale.
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The second issue of DC's Arkham Knight comic isn't quite up to the standard of the first, mainly due to an underwhelming first chapter. However, the book picks up as the cast of villains grows, and this prequel saga promises to only grow more interesting from here.
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The good news is that Phil Winslade's art is a good match for the story. Winslade channels the zany energy of Harley's antics and the various colorful hallucinations that plague her troubled mind. At the same time, there's a very down-to-earth, subdued quality to these pages that plays well with the more low-key approach to story. However, the action becomes a little stiff once Catwoman and Ivy enter the fray, and that does nothing to help the disappointment that comes when the story shifts gears.
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Vicente Cifuentes' art is solid as well. Certain smaller panels and background figures are a bit lacking in detail, but for the most part Cifuentes brings a vibrant and expressive look to the heroines and their surroundings. The fact that the characters spend most of this issue in civilian attire does nothing to diminish the book's energy.
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Duggan and Posehn have done some great work with Deadpool over the past few years. This issue serves as a worthy finale to their long run. In their two stories, the writers showcase Wade Wilson at his most serious and his most comical. This issue doesn't wrap up every loose end, unfortunately, and the high cover price is a bit hard to stomach considering that many of the backup stories are pretty forgettable. Even so, Deadpool fans will want to tune in to see the end of an era.
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Moore is too well established at this point to label this issue career-making work. But it definitely elevates him to a new level as an artist, and it bodes well for this last chapter in the Luther Strode saga.
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Humberto Ramos illustrates both story segments. My usual problems with his exaggerated style and use of perspective remain, especially during the early scenes that focus more on dialogue and character interaction than superheroics. Things do pick up once the focus shifts to Parker Industries. Ramos draws a great Ghost, rendering him as lithe, deadly, and more than a little creepy.
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Unfortunately, the art isn't always up to par in this chapter. Mike Mayhew's work is at its best when it focuses on the space battle and general spectacle rather than the human figures. Outside of those scenes, many characters suffer from wonky facial work and stiff poses. It's a shame these two Avengers titles can't offer a greater level of visual consistency during "Time Runs Out."
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Andreyko does the best he can with the limited space available here, and to an extent this issue leaves Kate in a better place than she has been in recent months. The best thing to do now is let the character rest for a while and come back stronger.
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Convergence #0 isn't quite the epic start this event needed. Visually, this issue definitely does the trick, allowing Van Sciver to tackle classical DC heroes and settings for a change. But apart from the neat depiction of Brainiac, the story in this issue simply isn't that engaging. Superman stands out like a sore thumb, and the script doesn't even establish the premise as well as DC's various marketing materials did. Hopefully this issue isn't too indicative of what to expect from the main series.
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This issue again sees Chad Hardin and John Timms share art duties. Both artists have really defined the look of New 52 Harley and her world by now, injecting each page with style and zany charm. Their styles are just different enough to clash a bit, though. Whereas issue #15 divided their pages in a pretty natural way, this issue just abruptly switches from Hardin to Timms. Ideally, the two-month hiatus will allow the art crew to get a head start on Harley's next big adventure.
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With this final issue, the creative team wrap up their look at Hellboy's very first mission. And never let it be said they didn't do justice to such a key moment in the hero's storied career. The focus in this finale is largely on action, but still there's the sense that Hellboy has matured and grown as an adventurer as he grows comfortable punching Nazi monstrosities.
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Mitch Gerads' art always impresses thanks to its gritty military vibe and dynamic storytelling, but Brent Schoonover's pages don't disappoint either. Schoonover's work hearkens back to the days of Punisher MAX and that more brutal, grounded Punisher.
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Deadpool always works best when you mix a little bit of tragedy in with his nonstop barrage of comedy and pop culture references. This issue is a good reminder of that fact.
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It's depressing stuff, but all the more captivating for the fact that it stars talking animals rather than humans.
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The writing is basic, but fairly true to the tone of the show. The art needs to match that.
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Artist Daniel Acuna continues to shine in his return to the series. He really brings the eclectic landscape of Counter-Earth and its many bizarre inhabitants to life. Remender has cooked up a story that makes perfect use of Acuna's talent for sci-fi weirdness and spectacle. Acuna also nails the aforementioned action scene, using the combination of speed and magic to deliver some cool effects and convey how a character with Luminous' abilities perceives the world around her.
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Wolverines has only seven issues left, and the book really needs to get moving again.
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This series has struggled a lot since the new creative team took over. However, it's important to give credit where it's due, and this issue does seem to make a concerted effort to address some of the book's lingering problems.
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Marvel is batting 1.000 so far with their Star Wars comics. This latest series takes a much-needed break from the original Trilogy era and begins shedding interesting light on the origins of Kanan Jarrus. This first issue is great at developing the bond between master and apprentice, which will only pay off when tragedy inevitably strikes. This is a series that should appeal to fans of rebels in particular or just Star Wars in general.
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If you've been missing Black Bolt in the pages of Inhuman, you'll be pleased to see the former king of Attilan become the star of the show in Uncanny Inhuman #0. This series offers an intriguing look at what drives the character and the conflicts that will shape this franchise both during and after Secret Wars. It promises another winning collaboration between Soule and McNiven. Let's just hope the wait for issue #1 won't be too long.
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All-New Ghost Rider is another All-New Marvel NOW title reaching a premature end. To his credit, writer/co-artist Felipe Smith doesn't try to close the book on Robbie Reyes or wrap up every single loose end in these 20 pages. This issue reads more like the end of an arc than a series finale.
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Jeff Parker has proven a more capable replacement for Geoff Johns on this book than anyone could have hoped for, so it's disappointing to have to bid him farewell with this issue.
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Last week's issue revealed the ultimate mastermind behind this yearlong plot against Gotham's heroes, and it wasn't the villain you'd might expect. With that in mind, you can forgive the villain for devoting so much time to monologuing and explaining how their master plan came to fruition. It all plays to one of the early themes of Scott Snyder's Batman run - that Batman doesn't know his city quite as well as he'd like to believe.
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This series has vastly improved under new writer Genevieve Valentine. Sure, it's a bit dry at times with its constant references to historical figures and the way it describes the unfolding gang war in Gotham more than it actually showcases said war. But this book has been great about exploring Selina Kyle's delicate new position in Gotham's underworld and the many challenges and sacrifices she's forced to make as she wars with Black Mask.
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Even with all the good will Mark Waid has engendered with his Daredevil run, this issue might draw the ire of some readers. Matt's quest to be true to himself and live a life without secrecy is taken to a new extreme here as he dresses in a flamboyant red business suit and begins merging his activities as vigilante and lawyer.
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The series is more accessible than ever now that the focus is shifting away from Earth and into the stars as Mark and Eve try to start a new life with their infant daughter. It's something different for the series, and in this case different is largely good.
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I wish I could say I'm sorry to see this series ending as DC's preps their big relaunch, but it's been a while since Justice League Dark has ranked among DC's more memorable titles. The current arc basically limps to a finish here, with no real sense of danger or excitement despite the conflict involving the entire universe being consumed by the void.
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J. Calafiore's harsh, jagged style is less suited for ordinary human characters like Guy's sister than it is for the more outlandish Red Lanterns. Calafiore seems to tone down that style a bit in the final page or two, but perhaps he should have applied that approach on a wider scale.
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More than ever, there's a sense that the larger world is coming alive again, even as new challenges emerge for our heroes.
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Above all, I wanted this arc to do something different with the Juggernaut mythos rather than resorting to the same old tropes. Yost has largely succeeded in that regard. Even if the final pages seem to indicate a return to more familiar territory, I'm confident the writer still has some tricks up his sleeve for the finale.
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You could argue that the creative team could have done more with the idea of Damian Wayne having super-powers. But in the end, all that really matters is that they wrap up their long run on this series with the right blend of fun and emotional heart. It's the ending Bruce and his son deserved after the past three years.
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In better news, this issue manages to be surprisingly consistent in terms of visuals despite the large crew of pencillers and inkers. Much of the credit goes to Scott McDaniel, who provided breakdowns and helped ensure that everyone attacked the script from a similar point of view. The shifts between pencillers aren't nearly as jarring as they might be, and the issue feels more consistent and cohesive as a result.
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After a slow-moving issue #31, New Avengers bounces back with a more exciting follow-up. This chapter has spectacle and drama to spare, and it certainly heightens the sense of danger as the Beyonders begin making their move and Hickman's endgame draws closer.
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Generally, this first issue is fun to read and has a snappy look. Where it falters is in introducing the core cast of heroes. The cover has little blurbs describing each character, and often these blurbs are more informative than anything in the actual script. Their personality traits and relationships definitely need more fleshing out in issue #2. A comic can only get so far without strong, memorable characters serving as the backbone.
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Dialogue-driven issues aren't generally artist Chris Bachalo's forte, as we saw at times in the previous arc. However, Bachalo handles this script well. His stylized approach does its part to keep the energy level high despite the somber tone of the story.
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If you need proof that Rick Remender is aware of the criticisms lobbied against Sam Wilson becoming Captain America, the first page of this issue will do the trick. Remender continues to demonstrate Sam's worthiness both in word and deed.
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Greg Pak's arc culminates with a knock-down, drag-out battle with Superman and Supergirl facing their brainwashed relatives. Supergirl's struggle actually proves the more compelling of the two, with brief, frequent flashbacks alluding to her past in Kandor. But either way, it's a nicely personal way to cap off Superman's recent gauntlet.
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Georges Jeanty's pencils are generally effective in this issue, especially when it comes to facial work and emotion. Some of the more esoteric monster characters suffer a bit, though, especially when Jeanty chooses to pull back from his subjects and leave them small and diminished.
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As a character study, this issue is one of Edmondson's most successful. The art is predictably fantastic as well.
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The book has both wit and grandeur, and it continues to carve out a niche for itself in Marvel's lineup.
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This is a fast-paced chapter with a number of key developments, but also a healthy amount of levity along the way. Not only does artist Mark Bagley pack in some top-notch action scenes, he establishes himself as one of the few artists to convincingly portray Steve Rogers as an old man.
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It's silly, slightly melodramatic, and a heck of a lot of fun.
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This issue offers a refreshing change of pace from the darker drama Storm has faced of late.
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Whatever purpose or momentum this series might have had at one point is gone.
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Andrea Sorrentino's distinctive style may put him at odds with the rest of the artists working on this crossover, but on his own merits he's a great fit for this sort of cosmic drama. His dynamic layouts shine best during the scenes of carnage and destruction. During the more emotionally charged scenes, he brings a subtler touch that emphasizes body language and emotion. A lot is conveyed in simple looks between Kitty and Star-Lord or Cyclops and Jean.
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The new Batgirl team are able to give their first story arc the big finale it deserved. This issue offers an exciting, tense finale that pits Barbara Gordon against her own troubled past. This issue's biggest accomplishment is putting that past to rest and setting the stage for Barbara and her new friends to embrace a brighter, more unpredictable future.
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As slow-moving as Batman Eternal has been in the past, this final month is finally paying off on all that setup. This issue includes a number of memorable moments featuring our heroes triumphing over evil. It also sets the stage for the final confrontation between Batman and the architect of Gotham's misery. Even the art contributes to a sensation of Batman being run ragged. With two issues remaining, hopefully Eternal will be able to stick the landing.
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Despite this being a finale issue, Jordan's script is more focused on what lays ahead. There are new developments that beg to be followed up, and a general open-ended sense of excitement about it all. Maybe New Guardians doesn't immediately have a successor lined up, but this issue certainly proves the need for such a book.
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Unfortunately, this isn't Romita's strongest issue. His pencils (as well as Klaus Janson's inks) seem a bit looser and blockier, which hinders the scenes that hinge on dialogue and facial work (i.e. - most of the book). The general storytelling is as fluid as ever, but the execution isn't quite there. I'm looking forward to the Convergence hiatus giving Romita a bit more breathing room and allowing him to come back strong with the book's new writer.
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Brian Bendis uses this issue to explore one of the more oft-ignored character dynamics in his X-men run - Emma Frost and young Jean Grey. And even if this chapter does little to advance the larger plot, it's worth a read for that element alone.
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In addition to being a fun, accessible gateway into the world of Ant-Man, this series continues to fill the void left by The Superior Foes of Spider-Man. It taps into a similarly fun, blue collar superhero vibe as Scott Lang struggles to make a name for himself in a new city and maintain a relationship with his daughter.
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It remains to be seen if we'll ever actually get that third Bill and Ted movie Hollywood keeps promising. But at the very least, this comic does a most competent job of continuing the adventures of Ted "Theodore Logan" and Bill S. Preston, Esq.
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There's not a great deal of humor on display, and what is there is mainly limited to easy pop culture references.
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There's little point in complaining about a slow-paced issue of East of West. That's just the approach Jonathan Hickman has chosen to take with this series. Issue #18 is a fairly quiet addition to the series, but an interesting one all the same.
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This issue doesn't lack for excitement or spectacle. Leonard Kirk has somehow achieved a new level of visual flair with his refined, larger-than-life pencils. He's definitely helping the series go out with a bang.
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It's unfortunate that this series dwelled so long on the opening story arc that brought Norman Osborn back into the picture. We've now arrived at the penultimate issue of the book (if not USM as a whole), and there's simply no way all of Brian Bendis' loose ends will be resolved by issue #12.
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Most of the woes that have plagued this comic from the start are still apparent in issue #4. However, the overall quality is definitely on the rise, and a Scorpion-centric approach only helps this latest installment.
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The best I can say for this issue is that the romantic angle proved engrossing enough that I honestly didn't care if Wilson ever transitioned back into superheroics. But she does, and those scenes offer a nice balance to the romantic elements as Kamala continues learning the ropes and making mistakes.
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This series has no trouble standing out amid the crowd of Spider-books. But it could stand to to offer readers a better sense of what struggles Gwen will face over the long haul.
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This series has struggled in several areas, but perhaps its most fundamental flaw is the lack of any real sympathetic qualities to this inverted Tony Stark. A 100% evil Tony is just pointless. Issue #5 made some inroads in that area. This chapter continues the trend by placing the frayed Tony/Pepper relationship in the spotlight.
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Spider-Verse was always going to be a tough act to follow. Even so, there's definite potential in this new conflict, as the writers emphasize Peter's personal and professional woes over his costumed antics. Unfortunately, there's precious little time for the series to build momentum before the main story is interrupted by a pointless backup tale.
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Despite a few early hurdles, DC's Arkham Knight prequel gets off to a solid start. Tomasi is able to take advantage of the medium and deliver a tale that focuses more on humor and character drama without ignoring the brutal action the games are known for. There's enough meat to this story that it should appeal even to Bat-fans who don't care about this video game universe.
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Visually, New Avengers has begun to lag behind its sister series. Kev Walker doesn't really tap into the surreal vibe needed to properly bring the library or its inhabitants to life. This is a disappointingly plain-looking installment, and even the big magical fight scene is hindered by flat, stiff figure work.
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If you've been itching to dive into Spawn, you won't find a smoother entry point than this one-shot. Unfortunately, as much as this issue looks snazzy and succeeds in giving Al Simmons new motivation for taking back the mantle, there's little memorable about the larger conflicts or the tired angel vs. demon angle. The hamfisted political elements don't help. Hopefully this series will develop a stronger and more unique voice as the new creators settle in. Right now, there's not a huge amount of incentive to stick around.
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It continues to amaze me that a G.I. Joe comic can have so much talk and so little action. It's not that the franchise can't blend political drama and more serious elements with the more familiar Joe elements. G.I. Joe: Cobra and it successors have done that well over the years. The problem is that too rarely does this even read like a G.I. Joe comic.
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With one issue left, this book looks to be adding something significant to the characters history even as it continues tapping into the good, simple charm of Hellboy fighting monsters and Nazis.
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The issue spends too much time setting up their team-up with Hulk and not enough time actually reveling in it. Still, this book has plenty of momentum as Duggan and Bagley continue pushing forward.
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Unfortunately, after reading these two issues, I don't feel that I have any real insight into the Hank Pym of the Marvel Cinematic Universe or what makes him unique.
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This issue banks on the idea that the only thing better than one Deadpool is a whole train full of Deadpools. And for the most part, it's correct.
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The writers deliver on the promise of the cover, showcasing iconic sci-fi heroes Captain Kirk and George Taylor locked in combat. Sure, it's textbook crossover formula for the two heroes to fight before coming to a mutual understanding, but can you complain when the execution is this fun?
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Even after six issues, The Flash: Season Zero doesn't seem to have much to add to the mythology of the TV series.
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At this point in G. Willow WIlson's X-Men story, the characterization is proving much more compelling than the plot. This issue sets up a promising connection to the Inhumans, but it winds up mostly being a red herring that does little to actually advance the conflict.
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This issue does make me wish Hickman had focused more on Cyclops and his mutant nation in recent months. Many key plot developments occurred off panel in the eight month gap that set up "Time Runs Out." Unfortunately, this is the oe that most needed fleshing out considering how little the X-Men have factored into Hickman's work before now. The Cyclops-centric scenes lack some of the impact they might have had because here's been so little build-up.
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As for the visuals, there are no complaints to be had. This remains one of the best-looking superhero comics from any publisher. Manapul's dynamic layouts and fantastic depiction of Batman combine the best elements of J.H. Williams' Batwoman with Bruce Timm's Batman: the Animated Series designs. There's a fluidity to every page, whether it's full of violent conflict or quietly focused on a small group of characters. Meanwhile, Buccellato's colors give this book a very unique tone among the Bat books, one that gives Gotham a haunting, ethereal glow.
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Reading this issue has me less excited for the finale of World's End and more looking ahead to June, when the upcoming Earth 2: The Society series will hopefully even things out for this increasingly hectic franchise.
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These scenes create a bit of a visual problem, though. John Timms steps in to illustrate some, but not all of these side-stories. The shift between Chard Hardin and Timms' pages is often jarring. Hardin does great work with his expressive, vibrant pages, but it's a shame this issue couldn't have been a little more visually cohesive.
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Marvel's Star Wars hot streak continues with the release of Princess Leia #1. This newest series fills an important hole in the Star Wars timeline and gives Leia the starring vehicle she deserves. While a few flaws drag this debut issue down a bit (the Luke/Leia scene, uneven facial work), it's still a solid addition to Marvel's growing lineup. But maybe give one of the leads a different haircut next time?
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Parker continues to strike a balance between delivering fun, rollicking adventure, emotional family drama and expanding and enriching the mythology of Atlantis. Paul Pelletier's art also remains in top form despite being five months into this storyline now.
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This issue is actually pretty charming in its exploration of the Matt Murdock/Kirsten McDuffie romance and the latter's insistence on living her own life and not being pegged simply as "Daredevil's Girlfriend."
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Between the big character moments and the always impressive visuals from Leonard Kirk, "The End is Fourever" is becoming quite a satisfying read.
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This series is struggling to capture the appeal of the original film.
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This arc just isn't engaging anymore, and with only one issue left before Justice League dark wraps up, there's little hope of anything changing for the better.
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This issue combines the iconic with the obscure as Agent Coulson teams with Spider-Man and Mister Rasputin to liberate Doctor Strange's Sanctum Sanctorum from magical burglars. It's a fun concept that makes the most of this unusual pairing of heroes and villains. The burglars themselves are practically a nonentity in the story - more a plot device than actual characters - but there's only so much writer Mark Waid can do with the standalone format.
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The problem, as before, is that the series still shows little sign of more dramatic ambition. The humor can only carry it so far. Nor does the X-Men's sudden and pronounced disdain for Spider-Man seem warranted.
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More interesting is the way this story brings out a different side of Tony. Previous issues didn't do much to endear Tony's newly abrasive personality to readers, but Tom Taylor is able show that there is still humanity underneath that shiny new armor.
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While light on actual Avengers, Uncanny Avengers #2 boasts fantastic art and a darkly compelling villain.
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But again, at least the art impresses. This issue does stand out in the sense that previous Black Vortex chapters did a solid job of adhering to the aesthetic laid out by Ed McGuinness in the Alpha issue. Andrea Sorrentino's style is a far cry from McGuinness'. That's a flaw in the greater context of the crossover, but on its own merits this issue really shines in the visual department. Sorrentino does cosmic spectacle every bit as well as gritty superhero drama. The transformed heroes especially stand out thanks to Sorrentino's striking figure work and the general surreal tone he generates. Brian Bendis may well have found his next great collaborator in Sorrentino.
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Spider-Verse has been a great event comic over all, but some of the structural choices have really come back to bite Amazing Spider-Man in the butt. Issue #14 was the official conclusion to Spider-Verse. Unfortunately, its heavy emphasis on action prevented any real resolution to the story. Thus, it falls on Amazing Spider-Man #15's epilogue story to wrap up all loose threads and give this event the proper conclusion it needed. If only it were a little more successful in that regard.
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If anything drags this issue down, it's the focus on Shiklah and her kingdom. These characters don't really add anything to the story. The marriage plot thread has been so ignored for so long that it's enough to wonder why it was even introduced in the first place.
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Unfortunately, the art in this issue rarely does the writing any favors. Dalibor Talajic seems a bit out of his element among all the spectacle and grandeur of this story. He delivers a more workman-like quality that goes against the tone of the book. Epic cosmic battles don't necessarily look epic, and there's a definite disconnect between the imagery Hickman's writing conjures and what is actually rendered on the page. It's a shame the two Avengers books can't achieve a more consistent and cohesive visual style with this revolving door of artists at work.
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If you were captivated by Spider-Gwen's debut last year, you'll definitely want to check out this first issue. More than ever, Latour succeeds in establishing this heroine as a compelling character distinct from any other Spider-Man, Woman, Girl, or Animal. The books psychedelic, graffiti-influenced visuals also go a long way towards making this comic stand out. There isn't a clear, overarching conflict that emerges in this first chapter, but the art, characterization, and clever subversions of familiar Marvel characters are more than enough to make this comic worthwhile.
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Rick Remender was wise to throw Sam into the deep end with this united Hydra enemy. It's allowed the hero to shine and stand well apart from the other characters to wield the shield.
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The art does sometimes hinder the story, as the rotating inkers bring different textures to Ardian Syaf's pencils and create an inconsistent and sometimes rough look.
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This issue mainly involves wrapping up loose ends, both mundane and superheroic. The result is an eclectic, busy and largely satisfying farewell to Earth.
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This issue delivers an effective blend of humor, personal conflicts and bigger drama as Miles deals with his feelings for Katie Bishop and his first exposure to the menace that is Hydra.
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This series has begun to emphasize superhero team-ups a bit more than I'd like, but at least G. Willow Wilson is able to handle the various guest stars with both class and humor.
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This series has been falling somewhere in the middle of the pack since the new creative team came on board. Pete Tomasi handles Superman well enough, but his WW is portrayed as overly brusque and even vicious at times. That problem strikes once again in this issue, and too rarely do we get a sense of the love uniting these two heroes.
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There are some memorable moments to be had as the full team assembles and fights to prevent New York from literally being erased. Unfortunately, this series too rarely emphasizes the characters and their relationships.
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The larger direction of the book is becoming more clear, though not necessarily quick enough for a series that we now know is ending in May.
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This issue's cover is a little too indicative of the problems with the current portrayal of Wonder Woman. She's portrayed as too weak in both body and mind - a far cry from the capable princess, heroine, and goddess of war she's meant to be.
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The overall effect on this personal and professional drama is to ramp up the tension in her life and set the stage for the big twist. This issue becomes progressively more engrossing as Babs gets closer to the truth behind the supposed "real Batgirl" plaguing her life. This issue proves that Babs Tarr's slick and expressive art style can handle emotional drama as easily as it can flamboyant superheroics and scenes of 20-somethings partying it up. And when the big twist hits, it's impossible not to be excited for this books future. It's tough to say how far the creative team are going with the revelation, but here's hoping they have something bold and dramatic in store for next month's installment.
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Unsurprisingly, Albuquerque's art emerges as the main selling point here. Ei8ht has a fairly different aesthetic from Albuquerque's recent DC work. The line-work is a bit looser, but not necessarily less detailed. Albuquerque shows a greater range of facial work and emotional expression in this issue, and that goes a long way towards building tone and making characters like Joshua feel like fully realized people despite their aura of mystery. meanwhile, there's a clever use of color driving this book. Most panels feature only one or two hues, with each color denoting a certain time period or locale. The effect is like a more robust version of Casanova (back in the days when that series relied on monochrome art rather than full color). This series' distinctive visual style sets it apart as much as anything.
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This issue managed to address one flaw of "The Amazo Virus" (the lack of focus on the other team members) while diminishing one of its bigger selling points (the fun twists on the usual Amazo formula). But with Jason Fabok's art continuing to be the glue that holds this story together, the end result was still an entertaining superhero epic with a healthy dose of zombie horror thrown in. Hopefully this is a collaboration that'll last.
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The challenge for Secret Identities is proving that this book has legs beyond simply airing these characters' dirty laundry. Can the conspiracy to discredit these heroes serve as a long-term driving force? Will the busy ensemble focus allow readers to truly connect with any one character? That's what we'll have to see in the months ahead.
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It's unfortunate this book never found the audience some of its contemporaries have, but at least Soule was able to wrap up his original 12-issue storyline as intended. This issue provides a fitting cap to the mystery of the Blue File and this stage in Jen Walter's career. Unfortunately, the final sequence loses a lot of its emotional punch as the book halfheartedly sets up another case for our heroes that will never play out in these pages. Still, this is a worthy sendoff for the big green heroine.
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All that being said, it's tough to ignore the fact that the events of issue #31 render so much of the previous months null and void. Given how this arc wraps up, what was the point of so much build-up? Why pointlessly kill off so many characters when the effect is temporary? Why introduce the notion of Xavier secretly marrying Mystique if that plot point is never going to be addressed again? The best thing Uncanny can do now is simply move forward and make the most of these last remaining months. Maybe actually explore the story suggested by this issue's cover.
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The dynamic between Robbie Reyes and his younger brother has become far more compelling thanks to the latter's recent personality shift. Couple that with dark new revelations about Robbie's ghostly partner and its plans for the two brothers, and the drama is really mounting.
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I continue to be impressed with just how much the dialogue, the plotting, and the general tone of this comic recreate the feel of the TV series. That's the benefit of keeping Marc Guggenheim and Keto Shimizu so closely invovled.
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Haun's work is fairly loose and haphazard compared to recent DC efforts, though the way he visualizes Constantine and Darkseid's war of wills is very effective.
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This interplay of seedy drama and charming fairy tale tropes defines Fables, and it's good to see that it persists even in this prequel. Fans of the franchise really won't want to miss this comic.
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The scale is certainly epic, with Hulk smashing his way through armies of bugs and even bringing down entire buildings on his nemesis. Unfortunately, the writing becomes clunky whenever Blastaar's narrative captions come into play.
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Once again, poor art quality is really working against this series.
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So far, G. Willow Wilson's X-Men arc doesn't show the same unique voice and flair of her Ms. Marvel series, but she fits in perfectly well alongside previous writers like Brian Wood and Marc Guggenheim.
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There's a sense that Bendis is offering the Ultimate X-Men one final moment of triumph before Secret Wars swoops in and upends their world for good. Speaking of which, a number of teases in this issue call to question just how directly this arc is setting up the events of Secret Wars. But more intriguing is a development at the very end that looks to dictate the course of this series in its final months.
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Unfortunately, the Spider-Verse saga ends on a relative low note. Amazing Spider-Man #14 packs in a lot of cool moments, but too often the fast pace and action-heavy approach steamrolls right past the big developments. Meanwhile, Coipel's normally stellar art is prone to weak spots, despite only drawing about half the issue. Hopefully issue #15 will be able to better wrap up this saga with a bow and address the problems of this finale.
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Any fan of the ongoing Harley Quinn series would do well to pick up this latest special. Not only does it offer the series' first real interaction between Harley and the Dark Knight, it delivers a wacky romp of a story that consistently entertains and makes great use of the rotating team of artists.
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Visually, this series is fine in a very grim-and-gritty, '90s-era sort of way. That suits the franchise well enough. However, it would be nice to see more clarity to Dexter Soy's pencils, as well as more emotive facial work. And in general, the color palette could use some brightening. Here again, the third chapter in this issue is somewhat better in that regard.
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The various mini-series were fairly sporadic in terms of visual quality. However, artist Agustin Alessio ends the crossover on the right note. His painterly art not only gives the book a cinematic feel, it hearkens back to H.R. Giger's iconic designs in a way few Alien-related comics have managed. Particularly late in this issue, Alessio's renderings become stunningly Giger-esque. These cinematic qualities more than make up for the fact that lead protagonist Angela is depicted as the spitting image of Lara Croft.
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Marvel's second Star Wars comic of 2015 is off to a great start. Darth Vader #1 achieves a delicate balance between showcasing the titular villain at his most fearsome while also acknowledging the complex history and motivations driving Vader. Gillen's approach to writing Vader is subtle and effective. And despite some storytelling troubles in one scene, Larroca's art is key in bringing this vision of the Dark Lord of the Sith to life.
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Action Comics #39 caps off Pak's post-Doomed story arc in very satisfying fashion. It has less to do with the horror elements or Pak's new take on Ultra-Humanite at this point. The emotional core of this issue is what makes it thrive.
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The strong writing keeps the story moving, even as the art and wonky perspective threaten to slow it down again. Visually, this comic can't really measure up to the core All-New Captain America book.
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There's a sense that Robert Venditti is striving to return the series to some semblance of normalcy and end the nonstop stream of crossovers, which is certainly welcome. However, this issue winds up being a little too uneventful.
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Rat God has American Indian horror, early 20th Century Appalachian horror, and a hefty dose of Lovecraft thrown in for good measure. The result is a fairly jumbled but still intriguing debut issue.
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If you're a lapsed Spawn reader, issue #250 probably isn't the Spawn comic you're looking for. There's nothing wrong with wrapping up loose ends, but this comic is a mess of melodramatic writing, pointless story developments, and an underwhelming showdown between man and suit. Kudranksi's art is solid, but that hardly justifies the $6 price tag. Hopefully the franchise has nowhere to go but up as the new creative team comes on board.
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It's a dark issue, but little elements like the quirky pop culture references of A Calculus help keep things balanced. And needless to say, Jesus Saiz offers another visually bedazzling effort.
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This series may go down in history as the most visually jumbled and inconsistent comic ever published.
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If I have any complaint about this chapter, it's that Mike Deodato does nothing to vary his style and strive to distinguish the Earth-616 and Earth-1610 settings. His bold, powerful figures serve the issue well despite the focus on dialogue, but the Ultimate and regular Marvel scenes might as well be taking place on the same world.
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This is the first chapter in a much larger crossover. That means there's ample time for improvement, but readers really need to be given incentive now to keep sticking around.
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Miguel Sepulveda's art has its ups and downs in this issue. Sepulveda is generally good at rendering the action scenes, as Pym shrinks and evades danger and puts his new suit to the test. There's an overall sense of clarity and firm line-work bolstering most pages. Certain panels appear distorted, however, thanks to Sepulveda's odd perspective choices. The facial work can also be a little wonky, and none of the familiar characters resemble their movie selves at all. It's tricky, as this comic falls in a weird in-between state and unfolds in a late Cold War setting. But are we supposed to believe this Hank Pym will eventually grow up to be Michael Douglas?
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Previous artist Ramon Rosanas has moved onto other gigs, but new artist Nik Virella proves to be a capable replacement. Virella brings this horror world to life with expressive characters and well-defined landscapes. The unique coloring motif also helps distinguish this series like it did its predecessor. Apart from the Deadpools, every character and element is rendered in grayscale. It both pays homage to classic zombie films and highlights Deadpool as "the other" in this ravaged world.
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Superman #38 is a satisfying conclusion to a generally solid first arc for Johns and Romita. Though the new superpower and new costume aren't quite as exciting as they were made out to be, the combination of epic action and satisfying character moments serve this issue well. Romita's art shines this month, and Johns has the opportunity to write that great Daily Planet dynamic. What's not to love?
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Like the previous two volumes, Superman: Earth One is a very flawed experience. The self-contained graphic novel format results in a very compressed story that comes up sorely lacking in characterization. The decision to include both the Luthors and Zod as central protagonists only worsens this problem. At the same time, Starczynski's handling of Superman himself is able to redeem the book to an extent. This reads like a true finale to the trilogy, capping off plot threads and completing Clark's journey towards becoming Superman. If you've made it this far into the series, there's no reason to stop now.
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Black Hood #1 is a slow debut for the new series, but that approach allows the creative team to really dig into the psychology of the new hero and build his world. This comic doesn't make the mistake of doing dark and gritty for the sake of being dark and gritty. Swierczynski and Gaydos craft a compelling character study and crime drama here. Whether the book will or even should evolve into a true superhero tale remains to be seen.
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This issue suffers from flat, lifeless characters and facial expressions that do little to convey emotions or drama. Hopefully the latter two issues of this arc can pick up the pace and do justice to the mighty Juggernaut.
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Unfortunately, this series still doesn't live up to the source material visually. The trademark Halo Weapons, costumes, and architecture are all there, but the figures are flat and the action scenes fairly lifeless. Still, fans of the increasingly complex Halo mythology will want to give this current storyline a look.
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Issue #2 is very action-oriented. There's just something cool about seeing He-Man lead a vast force of Snake-Men in battle against Hordak's troops.
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What this book really needs right now is a tighter pacing and a fresh conflict to inject new life into these pages.
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This series is down to its final few issues. Unfortunately, the now-Marvel exclusive Charles Soule isn't on board to cap off the series and finish his ongoing plot threads.
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This issue in particular adds little to the larger picture as Peter David explores the continued adventures of Miguel and Lady Spider. However, the dynamic between the two still makes this issue worth reading, as does David's focus on fleshing out May's world and her rivalry with the Six Men of Sinestry.
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Wolverines #3 was a showcase for what this series can accomplish when it narrows its focus and offers readers a great visual take on the late Wolverine's world. Unfortunately, issue #4 backslides in pretty much every aspect.
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It's great to see Salva Espin on board for this story as well. Espin really impressed with his work on various Deadpool mini-series, and he's equally well-suited for the core Deadpool comic. His style is energetic and expressive without being overly cartoonish. That suits both the zany action scenes and the dialogue-driven scenes equally well. Like any good Deadpool artist, Espin doesn't let the fact that Waid wears a mask prevent the character from emoting.
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That being said, it is interesting to see the writers explore different facets of Harley's character throughout the issue. She isn't just her typical goofball self. We see a sentimental side as she defends an innocent woman from thieves. We even see her revert to a completely normal and lucid state as she rises to the challenge in her new job. You have to wonder if moments like that are building to something bigger for Harley. Using Marvel's current Deadpool comic as a gauge, there could be real potential in exploring Harley's serious side and the resulting tension that arises in her fractured mind.
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Unfortunately, this issue suffers a bit on the visual front. In general, Kev Walker's work on this series hasn't impressed on the level of previous Marvel assignments like Thunderbolts and Avengers Arena. I blame this largely on the fact that he isn't paired with the right inker and colorist and his traditional, heavily textured artwork is diminished. Case in point, here Scott Hanna struggles to bring Walker's pencils to life. The facial work is plagued by unnecessary lines that make the characters look like cracked statues. Generally, the non organic elements in this issue fare better, though.
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Marco Failla impresses again with his vibrant, energetic artwork. He's expertly suited to match Kalan's goofy approach with his visuals, injecting the book with plenty of sight gags and keeping the story humming along.
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The new volume of Uncanny Avengers should help readers wash away the bad taste of AXIS. Even though much of the cast has changed, this new volume retains the same strengths as the old. This is a fun debut issue that wastes no time on setup and allows each team member a chance to shine. It also looks fantastic. There's a bright future ahead for the Unity Squad, assuming Secret Wars doesn't blow it all up.
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Chris Bachalo's art remains an imperfect fit for such a dialogue-driven story. His style is too surreal and exaggerated to handle the more subtle moments. His works shines best when Malloy tests his growing abilities and warps the world around him. But even there, one sequence suffers from surprisingly poor storytelling. An encounter between Malloy and one of the X-Men is rendered almost incomprehensible because of the way Bachalo frames the scene and zooms in so close.
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Extraordinary X-Men had a rocky start in its first few months, but things are looking up for the series as it begins its second story arc. Jeff Lemire is beginning to dig deeper into his cast of characters and push them in interesting new directions. The change in artist also helps the book's prospects. Hopefully this upward trend will continue as the new arc unfolds.
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Spider-Verse is building steam as it nears its big finale. This issue doesn't suffer as much as previous chapters when it comes to setting up or interacting with the various tie-in comics, although there are still some problems on that front. But for the most part, Slott and Camuncoli deliver a clean, attractive comic that allows many characters their moment in the spotlight and sets the stage for a very memorable final battle.
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The result is a comic that's funny and sad in equal measure. Unfortunately, this books visual woes continue unabated. This simply isn't how a Borderlands comic should look, either in terms of character design and architecture or in terms of coloring.
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At least the pointless fighting looks spiffy thanks to Leonard Kirk's art. Kirk delivers some of his strongest work on the series so far, with clean, refined figures and emotionally charged facial work. Based on the setup in this issue, it seems that Robinson will be giving his collaborator plenty of eye-catching material to work with over the next few months.
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If Snake Eyes is a man of few words, at least this issue allows him to express himself through the art of killing. Paolo Villanelli's art doesn't necessarily shine when it comes to fine details or facial work, but he really captures the dynamic, graceful quality of Snake Eyes' swordplay. Hopefully this series will take advantage of that talent by giving the ninja ample amounts of enemies to slice.
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Ryan Ottley's art shines, as always. He sprinkles in several gorgeous splash pages of Battle Beast and Thragg's epic brawl, just to ensure this issue has a little action to offer. His dialogue-driven scenes offer plenty of visual energy of their own. Meanwhile, Beaulieu is quickly settling in. His colors give the series the vibrant tone and clearly defined color contrast that had been diminished in the wake of FCO Plascencia's departure.
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Writer Brian Wood conjures up a compelling prison drama as Spector faces isolation and the prodding of faceless wardens bent on breaking his will. This series has shown a wonderful trend of trying new styles of storytelling with each issue, and that trend continues here.
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Whether or not this arc becomes as important or dramatic as the last, it definitely has plenty of entertainment value.
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Mike Costa wraps up this Spider-Verse tie-in with an epic showdown between the Scarlet Spiders and Jennix the immortal clone-master. The stakes are high throughout, which only makes the conclusion all the more powerful.
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This issue contains one plot twist that I'm surprised wasn't saved for the core Spider-Verse storyline. So it definitely has that in its favor. Unfortunately, neither team-up story contained in this issue rivals the better Spider-Verse material.
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Unfortunately, this issue has a tendency to get bogged down in pointless exposition as the writers rehash the nature of Ape society, Starfleet politics and the prime Directive, and all sorts of background information that most people reading this comic are probably already plenty familiar with.
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There's plenty of potential to be had with this concept, but even after four issues the creative team have yet to really begin tapping into it.
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There's not as much forward momentum when it comes to the series' overarching plot. Most of the other main characters don't appear, and there's no mention of Mister Sinister and his experiments on Wolverine's corpse. But that's par for the course with weekly comics. Some chapters are going to be more eventful than others. I'm just happy to see the writers focus more on character-building than plot setup.
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This issue is rounded out by a lengthier backup tale from writer Steve Niles and artist Val Mayerik. This dialogue-light story focuses a bit more on the human side of the zombie/robot conflict. Mayerik really shines here. Although the art style is far less reminiscent of Wood's work, Mayerik does a great job of injecting the story with expressive emotion and lending this world a bit of a Wild West feel.
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The plot in this series has progressed to the point where I find myself wishing it would actually be turned into an episode of the show.
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Jeremy Haun's art helps in this regard as well. Haun brings an angular, gritty vibe to the series that emphasizes the seedy, supernatural side of Constantine's struggles.
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Quitely again reminds us why he's one of the best storytellers in the business. His use of posture and body language is second to none, and he makes every page of this book feel vibrant and alive. It's probably going to be a very, very long time before this series returns for Book 2, but as long as Quitely returns, I'll be there.
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This is a quick, largely uneventful read that only succeeds on the strength of the visuals. Hopefully issue #9 can offer a more well-rounded chapter.
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While these two issues didn't turn out to be the huge game-changers they were hyped to be, they've been instrumental in fleshing out Jefferson's past and his relationship to Miles.
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Overall, there's just enough content in this issue to justify the $4.99 cover price.
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With haphazard visuals and a troubling depiction of Wonder Woman, this issue is a major disappointment.
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Obviously the pace has to pick up at some point as this book inches towards the finish line, but it hasn't happened yet.
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This book still has its issues to work out, particularly in the need to divide the large cast into smaller, more manageable groups. But it's heartening to see this weekly series make so many strides so quickly.
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But to his credit, Fiffe caps off a solid character arc for Bombshell. Lana has emerged a stronger and more fully realized character thanks to this series. The decision to frame this arc from her viewpoint was an inspired one. The final few pages focus on Lana and the rest of the team bonding as a family unit, and they reinforce the great dynamic uniting these heroes. It's a shame the book never built a more engaging conflict around that dynamic, and that this may be the last we see of this particular incarnation of the Ultimates.
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Unfortunately, the art is a significant problem at times. Jorges Fornes delivers a very rough, harsh style that would be better suited to an old-school X-Force comic than a contemporary X-Men series. Fornes also doesn't do enough to distinguish among his characters physically. Colossus hardly has more muscle mass than iceman in most panels. The storytelling suffers from a lack of dynamic perspective. Characters are generally rendered either head-on or form the side and show little energy during the minimal action sequences.
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Frequent Hickman collaborator Stefano Caselli steps in to tackle the art this month. While the shift from Mike Deodato to Caselli does nothing to help this book's wildly inconsistent visual style, it's tough to complain about the final product. Caselli has a real talent for combining sleek superhero physiques with dynamic body language and expressive facial work. All of those qualities are integral to this issue's storytelling success. If only we could see him settle down on one series for a while.
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Scott Koblish furthers the illusion that this issue is a kid's coloring book by drawing and coloring it as such. The art features bold lines and relatively simple character designs that are actually colored in with a crude crayon effect. The joke kind of wears out its welcome when it comes to the coloring specifically, but you have to admire the creative team's commitment to their farce. An especially nice touch is the interlude section, which packs in all manner of mazes and puzzles for the kiddies.
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With the core Fables series ending in a matter of weeks, it's good to know we'll have at least one quality Fables comic on the stands for the foreseeable future. The Wolf Among Us is an enjoyable look back at a simpler time in the series' timeline. It combines familiar elements with a strong noir approach. And even if the art has its issues, the rotating team of pencillers keep the script humming along. Fans of the franchise should definitely give this comic a look.
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The latest chapter of Spider-Verse is somewhat disappointing compared to the previous three, but that hardly means there's no entertainment to be had. Dan Slott manages to ramp up the drama without losing sight of the inherent fun of this concept. Giuseppe Camuncoli, meanwhile, fills in for Olivier Coipel as well as anyone could hope. It's mainly the lack of forward momentum in this issue that disappoints. With only two chapters remaining, this storyline needs to kick into high gear.
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It's been a long time since any hero calling themselves Ant-Man has had a solo comic to call their own. Luckily, this new series shows plenty of staying power. It's funny, emotionally engaging, and easily accessible regardless of your familiarity with the character. This debut issue presents a cohesive, standalone adventure that sets up the hero's new status quo and provides a foundation for the creative team to tell bigger and more unusual stories. Chalk this up as another successful addition to Marvel's growing lineup of quirky, character-driven comics.
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This finale issue offers no real surprises given that we've already seen the aftermath play out in other books. But one element the book does have in its favor is its handling of Sharp as he completes his transformation into Shogun.
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Not that the book was in bad hands during their absence, but it's good to have Francis Manapul and Brian Buccellato back on Detective Comcis. The series has returned to being one of the finest visual showpieces in the entire New 52 lineup.
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This isn't the most successful chapter of Earth 2 since the current status quo began, but it's not an uninteresting read either.
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There's a terrific sense of foreboding to this issue, enhanced significantly by Alex Maleev's moody visuals. Maleev captures the spirit of Mike Mignbola's art even as he adheres to his own style and approach to page construction.
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Gerry Duggan continues to hit all the right notes with his Hulk run. Doc Green's quest to eliminate all Hulks puts him in the path of Red Hulk, resulting in his fiercest challenge yet. It's a showdown long in the making, and Duggan doesn't disappoint as he explores the deepseated, years-long rivalry between the two Hulks.
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Hopefully IXth Generation has nowhere to go but up now that this first issue has set the stage and the conflict has begun.
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The art isn't bad either. Artist Rich Ellis and colorist Jordan Boyd capture the period setting and its nostalgic, sepia tones. Ellis' character designs have a loose but charming quality. There's even a B-movie quality that begins to develop as the conflict takes a slightly weirder turn. It should be interesting to see how the artists tackle the visual challenges ahead of them as this mission grows stranger still.
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Greg Pak remains mostly focused on the mystery behind Storm betrayal and her seemingly unkillable foe. It makes for a perfectly decent X-Men story given the heavy supporting role the rest of ehr team play. It's just not the most interesting path this arc could have taken.
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The series has little to offer in terms of enhancing the TV series or just offering an enjoyable Flash adventure. Hopefully a shift in focus in upcoming chapters will give the creative team a fresh start.
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There's plenty of potential in a weekly series that takes a unified, sweeping look at how the various members of the Wolverine family move forward after the hero's death. Unfortunately, not nearly enough of that potential is realized in this first issue. Too many characters are thrust into the spotlight all at once, and the dynamics between these various characters don't always work. Furthermore, the exaggerated art style doesn't mesh well with the more serious tone of the story. Hopefully as the book opens up and the characters begin pursuing their own agendas, Wolverines will become the weekly comic X-Men fans deserve.
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There's nothing especially remarkable about this arc so far, but it's shaping up to be a solid gateway into the franchise for Wilson.
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Marvel's latest attempt at a S.H.I.E.L.D. comic may not appeal much to those craving an old school Nick Fury: Agent of SHIELD revival, but this first issue does a fine job of drawing elements from the TV series and merging them with the traditional Marvel Universe. Coulson himself makes for a strong lead, and is depicted in a far more likable manner than he generally has in his brief comic book existence. The art doesn't always live up to the quality of the writing, but Waid and Pacheco still succeed in giving us a S.H.I.E.L.D. tale we'd probably never see on TV.
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Basically, if you enjoyed Uncanny X-Men Annual #1 earlier this month, you'll get a kick out of this one, too. It remains a treat to see Andrea Sorrentino working his magic on the Marvel Universe.
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Artist Roge Antonio brings the right touch to this issue - slightly understated but still very shadowy and unsettling. He depicts Gotham as it is for the average man on the ground, while still casting Joker as a larger-than-life figure who seems to be operating on a different plane than everyone else.
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Hopefully all of this setup is leading to better things, because this mini-series wasn't a great follow-up to Death of Wolverines.
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You have to respect the courage in releasing any sort of vampire-themed comic in today's undead-saturated market. And even if Graveyard Shift doesn't reveal any particular new insights to vamprie storytelling, this debut issue is charming enough to warrant a look.
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It's a solid finale that concerns itself more with the characters and conflicts at hand rather than trying to set up future storylines. If only more event comics were like that.
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This issue has been billed as an ideal jumping-on point for new readers and the start of a major new storyline that builds towards Halo 5. It doesn't disappoint in that regard.
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The Eternity War has all the scope you'd hope for from such a moniker. He-Man and She-Ra lead a ragtag band of Masters and Snake-Men against the seemingly unstoppable Hordak. Unfortunately, this issue doesn't do enough to build from that initial setup.
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Lack of surprise notwithstanding, it's nice to have the character back, and nice to see something positive happen in Bruce's life for a change. There's also the previously spoiled new status quo change for Damian. While this status quo might be problematic if it's intended as a permanent development, it should be an interesting change of pace for a few few months.
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You know something's amiss when you have a series called "Superior Iron Man" and it seems more intersted in Matt Murdock than Tony Stark.
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It's impossible not to admire all the intricate details that go into depicting the Great World and its strange cityscapes. And when everything begins going to hell? Even better. Romita's art helps offset the growing story problems.
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As usual, it's the more dialogue-driven scenes that his stylized pencils are less equipped to handle.
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Mahmud Asrar has some stiff competition with this book, coming on the heels of greats like Stuart Immonen and David Marquez. But he's also coming into his own as a Marvel artist. Some of Asrar's pages are dynamic and detailed enough that it's almost tough to tell Immonen ever left. The Iceman scenes in particular showcase Asrar's storytelling abilities. Other pages never hit that level, though, and at times his facial work is too muddy and simplistic to keep up with Bendis' dialogue-heavy approach.
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Greg Pak's Batman/Superman work hasn't been as consistent as his Action Comics run, which is perhaps to be expected when you have such a disparate lineup of artists on board. Pak seems to be settling into a deeper groove with this new arc, however.
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Georges Jeanty's work isn't flashy or angular enough, and the two inkers on this issue lead to highly inconsistent detail and an overall underwhelming look.
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This is easily one of the series' most gorgeous installments. Noto's economical, expressive line-work merges with his lush colors for a breathtaking end result. As for the story? It's fine? This has always been a series whose primary selling point is the art.
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This issue begins a new arc for the series, but doesn't really do much to address its fundamental flaws.
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There's still an appeal to this unusual pairing of Wild West heroes, but so far the series hasn't done nearly enough to capitalize on it.
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This issue's main accomplishment is in establishing how great a Charles Soule/Ryan Stegman-helmed Spider-Man book would be. Unfortunately, Spidey is a small and fairly pointless player in this issue.
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Geoff Johns and Jason Fabok continue to deliver a strong Justice League storyline anchored by a clever new take on Amazo and the unknown quantity that is Lex Luthor. While issue #37 does disappoint in its overuse of big splash images and a limited cast, it still offers plenty of excitement and strong character work.
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This is more gritty crime drama than superhero yarn. But Bendis certainly knows his crime stories, and the change of pace is refreshing after the drawn-out previous arc.
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Moon Knight may be writer Brian Wood's strongest Marvel work to date, so it's a shame that he'll be leaving after issue #12. This chapter is another winner, as Wood and artist Greg Smallwood explore the fallout of Khonshu bestowing his gift on another.
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I'm really not a fan of the convoluted shared mythology Dark Horse created to link these various Fire and Stone mini-series. And this issue's weakest moments come as elements from the other books are drawn in. Luckily, there's still a huge appeal in witnessing the growing bond between the swashbuckling anti-hero Galgo and the Ahab Predator.
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Squarriors looks gorgeous (aside from some questionable word balloon placement) and it presents a clear and identifiable struggle right away. What the series needs to improve on is distinguishing its large cast. We only begin to get a sense for the various players and how they fit into the Tin Kin hierarchy. Part of the problem is that the animals, though very methodically drawn, often lack clear, distinguishing features. Still, an impressive and professional-looking debut for a series that began life as a Kickstarter project.
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The long wait is worthwhile for Williams' art alone. Williams has taken his talent for crafting intricate collages and combining a myriad of artistic styles and dialed it up to 11 for Overture. Never has his storytelling approach been more appropriate. He captures the sensation of being inside a dream. Figures are constantly evolving and changing. The eye is drawn all over the page. But far from being messy and disjointed, Williams' work is haunting and evocative. Dave Stewart's colors only further enrich the story. This art team was born to illustrate a Sandman comic.
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To her credit, Meredith Finch's writing makes some improvements compared to issue #36. The overwrought narration is toned down, and the book is no longer crammed with so many pointless DC cameos. On the other hand, the pacing is choppy as the issue bounces between conflicts. And again, Finch's depiction of Diana needs a serious overhaul. This issue does boast a pretty swell cliffhanger, so hopefully that's a sign of better things to come.
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Spidey fans are better off devoting their money to the various Spider-Verse-related comics this week.
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Withthe focus more on action than plot progression, this issue isn't necessarily the most compelling to come out of this "Time Runs Out" storyline. Still, Hickman defintiely gives Mike Deodato plenty of great material to work with, especially the shots of Jim Rhodes' War Machine army or Captain Marvel battling Hulk.
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The series isn't really living up to its potential, but at least it looks good.
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By and large, this issue is a sourcebook for the sprawling world of East of West, breaking down the various nation states and the timeline of events that have shaped the series. It's a handy resource consdieirng how dense the series can be and how many different characetrs and factions there are. But this is the sort of material that's better suited as supplemental pages in a trade paperback collection rather than a standalone product.
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Most of the appeal comes from seeing this team interact with a '70s-era Nick Fury and company. However, there is a poignant quality to the story, too, as Bendis frames the tale from Carol Danver's point of view and focuses on her homesickness.
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New Suicide Squad #5 has its moments, but rushed, haphazard art ruins the entire package.
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This issue wraps up the extended "Samurai Jack and the Quest of the Broken Blade" story arc, which was seen the series rise up and achieve its true potential. The finale doesn't disappoint as it depicts the latest fateful clash between Jack and Aku.
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If you;re looking for a comic that showcases the younger members of the X-men and sees Peter Parker return to his old role as an educator of surly teenagers, Spider-Man and the X-Men is the comic for you. But if you're looking for a comic that focuses on the dynamic between Spidey and the core X-Men, or one that shows much dramatic ambition, you won't find it here.
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The art is a little wonky in its proportions, but on the whole this issue offers a satisfying Spider-package.
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Even if it's not clear how thiss tory will imapct Bendis' larger run, it's fascinating character-building material for Eva. It's also gorgeous.
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Spider-Verse is rapidly shaping up to be Marvel's best event comic of 2014. Even though it occasionally gets bogged down in setting up tie-in books, ASM #10 is a tremendously fun read that delivers the Peter Parker/Otto Octavius showdown we've been waiting for. It also looks great and further builds up the threat of the Inheritors. It's nice to have an event that actually lives up to the hype.
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Finally, Conner and Palmiotti team with the legendary Darwyn Cooke for a New Years-themed tale as Harley freaks out over a gray hair and searches for father Time. Not the actual DC character, but rather a hapless old man in a nursing home she mistakenly believes is the source of her current woes. This is Harley at her most ditzy and entertaining. And it goes without saying that Cooke's art is gorgeous. His style is a bit looser and more spartan than usual, but he still makes this strip pop[ with style and flair.
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Moments in comics like these don't come often, and issue 200 is a good a time as any to jump on the Savage Dragon train. It's fun. You'll like it.
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It's also nice to have artist Aaron Kuder back in the saddle. This may just be Kuder's best issue of Action Comics to date. The sheer amount of visual variety alone makes this a blast to read. Kuder's typically expressive characters are in full effect, but he also has the chance to cut loose and design some really horrific and hyper-detailed monsters. On top of that, a brief flashback to Clark and Lana's childhood allows Kuder to tap into a different art style. It's like a blend between Kuder's cartoony approach and the sentimental paintings of Norman Rockwell.
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Larry Watts brings a dynamic energy to the book with his art. His Ash is instantly recognizable as Bruce Campbell, and he handles the nonstop barrage of zombie gore and free-floating combat very well. The coloring also helps the storytelling a great deal. It's brighter and more flamboyant than you might expect from an Evil Dead comic, but that's appropriate given the unusual setting.
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All in all, there's plenty of value for the $8 cover price, and this issue serves as a perfectly decent primer for the upcoming TV series.
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It's great to see Van Sciver tackling Sinestro again in light of his previous work with the character. he brings a bold, cinematic flair to this chapter, though Sinestro's proportions could stand to be more consistent.
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Don't expect much depth from this series, or even more than a basic thread connecting each issue, but there's something to be said for a book that can offer all-ages fun like this.
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This series really needs a fresh storytelling and a revamped approach if it's going to find any real success.
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Phil Jimenez handles art duties on the main story, while Stephanie Hans tackles the interlude segment. Of the two, Hans stands out more thanks to the ethereal watercolor approach that goes hand in hand with the storybook quality. Jimenez renders some solid action, but otherwise his work doesn't quite capture the otherworldly vibe of the characters and setting.
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Those who crave a traditional, action-oriented Hellboy comic may be a little disappointed with this issue. That said, there's a lot to be said for the character-focused approach Mignola and Arcudi take as they begin exploring Hellboy's first mission. Pair that with Alex Maleev's haunting art and you have all the makings of another classic Hellboy story.
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While the plot progression and increased drama in this second issue are both appreciated, there is one weird quirk to the storytelling in that there's a lack of consistency to the apparent age of Penny and her friend Elizabeth. Physically, they shift in height and body proportions throughout the issue. Even their vocabulary level has a tendency to bounce back and forth. None of this significantly harms the issue, but hopefully we'll see a bit more consistency in tehse areas as the series progresses.
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Jesus Saiz pencils this issue, so it goes without saying that it's one of the most impressive-looking comics of the week. Saiz continues bringing an elegant and refined look to Swamp Thing's world, blending detailed, organic elements with cold, efficient robotics. The standout sequence this month comes early on as Saiz renders a silent but grotesque look at Lady Weeds' transformation into the Machine Queen. It's enough to make you wonder if Swamp Thing suddenly became a Vertigo comic again.
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You have to hand it to Jim Starlin - his stories are always distinctly his own. This first issue isn't as strong a start as it could have been, what with the excessive exposition and surprising lack of interaction between the title characters. Still, the story showcases Starlin doing what he does best and exploring Marvel's cosmic landscape in a way only he can.
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This series continues struggling to regain its footing with a new creative team steering the ship. As with issue #11, this arc suffers from a no-nonsense approach to storytelling that allows for plenty of action but not much in the way of character development.
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This special might not appeal to the uninitiated, but if you're a devout fan of Madman or Allred's art in general, you'll definitely want to grab your red and blue glasses and give this comic a gander.
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Kudranski's style suits the sinister, otherworldly quality of the Black Priests. But when focused on the more human and recognizable characters, his art tends to be stiff and lifeless.
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Let it never be said Fraction isn't trying new things and exploring new genres in his post-Marvel career phase. ODY-C #1 is one of the writer's more impressive debuts. It makes an old story feel fresh and new thanks to a combination of dazzling visuals and clever updates and overhauls. And the best part is that this is merely the first step in a long, epic journey.
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This is another solid chapter in the Godhead crossover, as long as you don't mind the fact that the contents don't match up with DC's original solicitation.
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With its straightforward plot and lighter tone, Scarlet Spiders doesn't emerge as an especially necessary tie-in to Spider-Verse. And the over-reliance on wordy narrative captions can be a major bummer. Even so, this issue is a fun romp that should appeal to fans of any of these three heroes.
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Aside from the occasional bout of bad leg anatomy, Sliney is in top form as he renders this futuristic world and highlights the emotional roller coaster Miguel experiences upon returning home.
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It's only fitting that Steve Lieber is on board for this finale, as his art has been as vital in establishing the unique tone and storytelling sensibilities of this series as anything. This is a more subdued issue in many ways. The scope is generally smaller, and many scenes take place in a dimly lit bar as Boomerang wraps up his long-winded story. But through it all, Lieber gives the issue a spark of life and a sense of visual playfulness. It's heartening to know that, even though this series is done, Spencer and Lieber will continue their collaboration on a new project.
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This is still a perfectly enjoyable comic, but hopefully issue #37 will kick things back into gear.
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This issue is easily one of the most outlandish in this book's history, as mutant fighters of every shape, size, and breed come together to battle the rampaging villains.
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This issue serves as the major launching point for the various tie-ins and spinoffs Marvel has in the wings. On one hand, it's nice to see Slott find time for so many alternate Spider-Men and Women to shine as numerous characters are shifted along the board. Many old favorites are given their due, while a handful of new players leave an impression as well (particularly Spider-Punk). Even with the scope as big and dire as it is, Slott finds room for humor and banter. The interaction between Spider-Monkey and Spider-Ham is priceless. On the other hand, the final pages are a nonstop barrage of exit scenes and editor's captions directing readers to this tie-in or that tie-in. Hopefully this issue has taken care of all that editorial business and the core Spider-Verse conflict can resume its normal course in the next chapter.
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This remains the rare Grant Morrison comic where the art outshines the writing. Mind you, Morrison is delivering a perfectly enjoyable tale of reality and fictional worlds bleeding together and influencing one another. The interplay between writer Ray Spass and his creation Max Nomax is a lot of fun. But compared to a lot of Morrison's work, it all seems surprisingly straightforward.
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And visually, this series is the clear winner. Stefano Caselli gives the comic an impressively bold and dynamic quality. His figures are sharply defined and vibrant, and the book takes on a larger-than -life tone that meshes well with the increasingly epic climax Hickman is building towards.
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This story is well worth a read for Batman '66 fans as a glimpse of how Two-Face might have fared on the show had things worked out differently. Unfortunately, the $9.99 price tag is a tough pill to swallow. Less than half of the issue is even devoted to the story itself. DC padded out the issue by reprinting every one of Garcia-Lopez's pages in raw pencil form, and then reprinting Ellison's story treatment in its entirety. Both sections will be of interest to some readers, but I'm sure most would rather just pay a far more reasonable $4 or $5 for the main event alone.
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Mike Hawthorne delivers another engaging set of pages with this issue. His work isn't as detailed as some Deadpool artists, but it is energetic, expressive, and cleanly laid out. The writers give Hawthorne plenty of good material to work with, especially as Wade enters the X-Men's Danger Room and waltzes into a Wild West setting.
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The art in this issue is cleverly divided, with regular artist Chad Hardin tackling the bookend scenes set on Earth and John Timms handling the many pages in between. Timms has established himself as more than capable of handling Harley's zany life, and he has no trouble capturing the whimsical, stream-of-0-consciousness quality to Harley's misadventures here.
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It's visually stunning stuff, but pretty light on story. This makes for a very quick read by the series' usual standards. Few of the regular cast members appear at all. That makes the long wait that much more unfortunate.
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"The Amazo Virus" is off to a promising start. While this first chapter does get a little mired in exposition at times, it offers a clever new take on the Amazo concept and a conflict that hits Lex Luthor on a personal level. Jason Fabok continues Justice League's high visual standard with clean, detailed, emotional pencils that perfectly capture the sinister vibe of the story. This looks to be a very fun ride.
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The Doom material is another reminder of how great the villain fares under Jonathan Hickman's hand, both in terms of his personal menace and his oddly endearing relationship with Valeria Richards.
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This mini-series is emerging as the best read of Dark Horse's convoluted, four-pillar Fire & Stone saga. Predator: Fire & Stone keeps things simple
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Mix Buffy the Vampire Slayer with a dash of Sex Criminals and you pretty much have Sinergy. This new horror series from Michael Avon Oeming and Taki Soma distinguishes itself by emphasizing comedy and teenage drama over scares.
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After a string of solid but haphazard Justice League issues, Mahnke is back in top form. His pages brim with energy regardless of whether the focus is on superhuman combat or intimate relationship scenes.
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DC's Earth One line has been a rocky road so far, but Teen Titans: Earth One is a largely successful addition. Yes, it's frustrating that the standalone OGN format limits the scope of Lemire's story and his ability to flesh out the team. Even so, the book offers a clever, cohesive overhaul of the franchise and is the first Titans comic in a while to try new and interesting things. Dodson's art also helps bring these revamped heroes to life and give the book a unique look and feel. Let's hope a sequel isn't too far down the road.
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This is the first issue to explore why readers should really care about this new character and what he represents for the franchise. Needless to say, it marks a major improvement for the arc.
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Unfortunately, Wonder Woman has quickly transitioned from being one of DC's finest monthly comics to one of its weaker titles. While the material focused on Diana's fellow Amazons is intriguing, the pointless focus on other DC characters and the generally poor depiction of the title character bog down this issue. Hopefully the quality of this series can improve as the new creative team settle in and better establish Diana's voice and look.
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The second chapter in this issue spends a bit too much time on flashback material and revisiting familiar scenes from Season 2, though it is fun to see more connections form.
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The best thing that can be said about this AXIS tie-in is that it channels the same vibe as Superior Foes of Spider-Man. Kevin Shinick weaves a fun, goofy little tale about Roderick Kingsley trying to shift his franchising empire towards good and Phil Urich bristling at this perversion of Hobgoblin's bad name. The first issue's problems with exposition have been smoothed out, resulting in a more cohesive overall story.
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The result is an almost meta approach to characterizing the villain and his clash with the Vault Hunters as Nine-Toes muses on the nature of climaxes in fiction. An interesting approach, but one that downplays the action almost too much in the end.
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The narration can be a bit heavy-handed at times, but Bennett manages to cast Deathstrike as both a sympathetic and terrifying figure. The script also makes great use of artist Juan Doe's flair for vibrant, larger-than-life storytelling.
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The story improves now that Jeff Lemire is able to move past the exposition overload of the first chapter and focus more on the elements that work - epic action and memorable character dynamics.
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This is a solid start for Van Lente's latest project. Hopefully it won't be long before more of the core cast are fleshed out and the resurrectionist concept is explored in greater depth.
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As with pretty much any story arc in these "Savage" titles, the art is the primary draw at the end of the day. It's great to see Hardman tackling the Hulk again. His style channels Hulk's Silver Age monster roots and the character's Bronze Age period in equal measure. The resulting effect is moody and very much unlike any Hulk-centric story you'll find on the stands these days.
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This issue is engaging enough to make the pain of She-Hulk's imminent cancellation felt all over again.
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This is a series where literally anything can (and usually does) happen, and Marvel really couldn't have selected a better artist to pair with Slott's Doctor Who-influenced storytelling approach.
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Spider-Verse #1 doesn't deviate from the format of previous tie-ins. It doesn't even contribute much to the larger Spider-Verse conflict. But it does offer a fun selection of stories that play with the familiar Spider-man mythology in new and interesting ways. The three core features are balanced out with some delightfully twisted short stories from Slott, leading to a well-rounded Spider-package.
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Marvel's latest Captain America relaunch is off to a successful start. Remender and Immonen waste no time before diving in the action and showcasing Sam Wilson in action. This issue looks great, and the dynamic between Sam and his new partner help give the series some extra flavor. The Hydra conflict may be pretty basic for now, but there's every reason to expect this new series to develop into something special.
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Luke Ross immediately proves himself to be a great fit for the tone of this Avengers book. Ross is able to channel the more grounded, street-level sensibility of Ewing's writing without losing sight of the larger-than-life elements of these characters. If most elements with the relaunch are business as usual, the visuals certainly seem to be on stronger footing.
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Still, this action-heavy approach does little to further the storyline. And the result is that Bendis doesn't have enough room to satisfyingly wrap up Peter's current character arc. There are some key emotional developments towards the end that really needed more room to breathe. Not to mention that the sudden reappearance of Katie Bishop is very abrupt relative to the rest of this issue. But at the very least, Bendis puts some threads to rest and finally begins moving the series towards new conflicts and back to a status quo that emphasizes Miles first and foremost. Hopefully the next issue will refresh things put this book back on track.
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Though Marvel picked the ideal writer to chronicle Iron Man's descent into sexy villainy, Superior Iron Man isn't an immediate success. There's too much left unclear regarding the fallout of AXIS, and too little depth or complexity to balance out Tony's bad behavior. Hopefully subsequent issues can offer a better sense of what is driving the former hero and where Taylor is headed with this book.
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The main appeal with this issue is seeing Aaron Kuder back on board as artist. Kuder's expressive style has been as integral to this series' newfound success as Pak's writing. And despite the generally cartoonish quality of Kuder's art style, he's able to perfectly match the darker tone of this story. This arc could be a showcase for Kuder's superhero versatility.
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With this series due for cancellation in a couple months, it's good to see that Peter David isn't letting this AXIS tie-in derail the book's momentum or the focus on character relationships.
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After weeks of memorable build-up, Spider-Verse hits the ground running. This event loses none of the appeal of Slott's ongoing Spider-Man work, managing to balance humor and drama and make the most of a concept that brings all the Spider-Men together for one grand adventure. And with Coipel making Peter Parker and his world look better than ever, there's a lot to love in Marvel's latest event storyline.
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Geoff Johns' introduction of the Others showed what potential there was for this team to thrive on its own apart from Aquaman himself. Unfortunately, this series can't seem to move beyond the obligatory Aquaman guest appearances or focus the attention that needs to be devoted towards fleshing out the regular cast members.
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At this point the writers have no trouble investing readers in David's plight. The problem is simply that the dialogue and narration can be too clunky and drawn out for their own good.
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The main point of interest in this first issue is the protagonist, Sharp. Soule makes a point of shrouding the character and his past in mystery, to the point where we don't even see his face. Depending what direction this series heads in, Sharp could develop into a compelling protagonist. There's potential with The Weapon X Program, but little of its is being realized so far.
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In some ways Earth 2 remains superior to its weekly cousin, as it manages to stay more focused and more visually engaging.
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Coupled with the constantly shifting art styles and generally loose quality to most of the pages, the execution of this book still leaves something to be desired at times. Still, there's a definite momentum even this early into World's End.
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For a series that started out on the wrong note earlier this year, Duggan has really turned things around.
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Clearly, DC's decision to overhaul Lobo from the ground up was a controversial one. I've been in support of the idea, but there comes a point where a character is altered so much they just aren't the same character at all. That's the danger this new series is running into.
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Coming so soon after the end of the second Burn the Orphanage mini-series, it's funny to see Grace take such a 180 in terms of subject matter. This is no satirical, hyper-violent video game homage. Grace's style is toned down just enough to suit the more ordinary protagonists and family-friendly subject matter while still retaining a sense of whimsy. Tamra Bonvillain's colors also help lend a softer edge to Grace's work. This is a book that could easily develop into something special.
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As the cover suggests, Soule also tackles the long-awaited reunion between Swamp Thing and Abigail Arcane. Here the issue takes on a new level of emotional resonance. Here are two lovers doomed by fate and circumstance to forever remain apart. Soule does a great job of capturing their emotional bond and the sadness that comes from their newfound distance. The blend of fantastical action and mystery with very grounded, human drama gives Swamp Thing its core appeal, and it's something Soule is so frequently able to tap into.
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The art is also a significant problem, as it does little to capture the look or feel of the TV series. None of the characters resemble their real-world counterparts much. Particularly in the first chapter, the severe lack of detail ensures that the characters are barely loose sketches of their usual selves. The detail picks up a bit in the second half, but the core problem remains. This neither looks nor reads like a proper extension of the TV series.
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This issue offers a satisfying blend of sub vs. plane warfare, spycraft and mystery, and even a chase sequence for good measure. It makes for an engaging read, and the mystery of the fabled island of Koji Ra takes another step closer to being revealed.
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There's a distinctive lack of excitement or danger to this current story arc. Part of that may be due to the fact that writer Marc Guggenheim is departing shortly. But regardless, a storyline that sees the X-Men trapped in space, with two members mortally wounded and battling Shi'ar and other alien foes, should have a stronger sense of danger about it
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Oddly enough, this comic is at its least successful when it comes to channeling the tone and horror of the Alien franchise. Between the outdoor jungle setting and the sudden segueways from character interaction to Xenomorph attacks, there isn't room for the sort of creeping, claustrophobic tension you find in the movies.
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Give Charles Soule the chance to tell a standalone Swamp Thing adventure, and he'll never disappoint. This annual issue serves as the end-cap to the saga of Capucine, as the immortal warrior faces the end of her 1000-year existence and the return of Etrigan.
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German Peralta's art is solid, if not entirely suited to a character as visually dynamic and extreme as Carnage. Kasady is a looking a little plain here. But Peralta visualizes the new Sin Eater well, bringing a creepy vibe to his many scenes.
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The second story reunites the X-men Legacy team of writer Simon Spurrier and artist Tan Eg Huat. This tale focuses on Doctor Strange, who unlike Spider-Man is very much afflicted by an excess of hate. This allows Spurrier to pour his trademark sense of snarky humor into Strange without it feeling out of character. The loopy premise also plays well into Huat's style, which sometimes struggles to mesh with the Marvel Universe. Strange's attempts to rectify the situation and avoid magically obliterating everyone he encounters makes for an entertaining read. It also makes you wonder if the character might not benefit from a harder, more caustic edge in general. Food for thought as Marvel begins spotlighting the character again.
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The one benefit of the Genesis sequences is that they bring a lush, mythical quality to the book that stands out far more than the plain, unremarkable style employed for the real-world scenes. It enhances the sensation of the mundane colliding with the larger-than-life, and this juxtaposition could be key in helping this series to find its voice.
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Perkins' art is every bit as essential to the success of this new book as Edmondson's writing. Just as he did on Ed Brubaker's Captain America, Perkins is able to merge the gritty realm of war and espionage with the more outlandish elements of the Marvel Universe. The art transitions nicely between the scenes' of Hayes' quiet home life and the carnage that unfolds on the battlefield. Even Deathlok's costume design succeeds in honoring the source material while blending it with a more grounded aesthetic.
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There's no harm in DC churning out extra Harley Quinn comics as long as they're worth reading, and this issue most certainly is. It offers plenty of entertainment value, but also celebrates the Harley/Ivy relationship in a big way. The issue and its hallucination sequences also makes great use of the rotating artists. The "Rub n' Smell" technology is pretty gimmicky (as well as pointless for digital readers), but it certainly doesn't harm the book in any way.
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Evan Stanley brings a clean, expressive look to the series that is very much in keeping with the aesthetic of the games. At this point Archie has the look of the Sonic games down pat with their various comic adaptations, so there's little to complain about apart from the goofy, pseudo-hipster character designs. Sonic's scarf is ridiculous (a fact the characters at least acknowledge in the short backup strip) and Knuckles looks like he's occupying an oversized costume of himself.
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Between the dull, muted colors, the scratchy figure work, and the vehicle designs that look nothing like those of the game, none of Borderlands' distinctive aesthetic is replicated here.
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Losing Greg Rucka and Russell Dautermann is a blow, but John Layman and Javier Garron do a perfectly decent job of picking up where they left off.
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This is easily among IDW's best-looking Joe books. But that alone isn't enough. This series needs to cut the chatter and ramp up the action soon.
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Visually, this series takes the Locke & Key approach with its stylized, vaguely cartoony character designs. It's an interesting look that does more than anything else to distinguish Goners right now.
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Unfortunately, Escalations starts to backslide into old habits as the new team transitions in. The story is less of a focus than the action, as two new Spartan IVs named Ray and Thorne take the spotlight.
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The tone of this issue is a little weird. It's more storybook fantasy than the sort of supernatural horror you''d expect, though this seems to be intentional on DeMatteis' part.
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The chronology of Dark Horse's various Fire and Stone mini-series is more convoluted than it should be. Luckily, Predator is not the most complicated sci--fi franchise out there, so this debut issue is pretty accessible despite being sandwiched in the middle of other comics.
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An actual TV continuation would be hard-pressed to outdo this comic.
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It's good to have Johns and Romita back on Superman after the month-long hiatus. This isn't their strongest issue, as the underwhelming resolution to the previous chapter's cliffhanger and a fairly rushed approach to Ulysses' character arc are problematic. But there's still a great blend of character dynamics and epic action to be found. And through it all, Johns shows an ability and a willingness to delve into the heart of who Superman is.
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The backup feature, as with last month's story, manages to intrigue and upset in how it takes a fairly lighthearted character (in this case, Mayday Parker), and engulfs her world in darkness and bloodshed. At least this Spider-Girl now has genuine stakes in the Spider-Verse conflict, but is it necessary to keep putting these characters through the wringer in each and every backup? We already have a good grasp on how terrible Morlun's family is and how dire the situation has become.
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Unfortunately, visual consistency just isn't this book's forte. Mike Deodato steps in as artist this month, giving the series a much darker and more foreboding vibe than it had in the previous two chapters. In general, that suits the setting and the tone of Hickman's writing. On the other hand, one flaw from Original Sin rears its head again in terms of figures standing out in stark contrast from the backgrounds. Some scenes also suffer from the lack of distinction between female characters or Deodato's tendency to draw frail, elderly Steve Rogers as a fairly robust character.
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Even if you're not a fan of AXIS, this issue is probably worth checking out on the strength of the visuals and its celebration of Spider-Man's goblin-themed enemies.
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Mike Hawthorne returns to the series for this new storyline. Generally among the stronger artists this series has seen, Hawthorne does a fine job of following the script from location to location and making Wade's adventures as dynamic and visually diverse as possible.
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This issue is easily one of the most entertaining and amusing chapters of Harley Quinn to date. That said, with Power Girl apparently sticking around for a bit, I do hope to see the writing veer into more dramatic territory eventually. Harley's is a great character because of the undercurrent of sadness about her, and it could be fascinating to explore her sudden motivation for wanting to be accepted and validated as a superhero.
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The constant shift between art styles in these pages distracts from an otherwise entertaining story
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Waid's revamped take on Purple Man and his family is great too. But the real stars of the show, as usual, are artist Chris Samnee and colorist Matthew Wilson.
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Unfortunately, the final chapter of Death of Wolverine doesn't quite reach the highs of the previous issues. While the slightly odd choice of final villain can be overlooked, it's harder to ignore the awkward build-up to Logan's death. McNiven's art is great, and he and Soule hit a lot of emotionally resonant beats here, but a deeper glimpse into Logan's mindset could have given this issue the extra punch it needed.
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The art proves to be the biggest drawback, however. Granted, it was never going to be an easy transition going from Steve McNiven's work on Death of Wolverine to these fallout comics. Even so, these pages can be pretty rough with their overly heavy blacks and bizarre facial work. Too often facial expressions are completely mismatched with the dialogue or events in the script. In one or two cases it's not even clear what exactly happens between one panel and the next.
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The art could stand to be more consistent, and I wish World's End had the "one artist per issue" policy of Futures End and Batman Eternal. But even so, this latest weekly book from DC is quickly establishing itself as one worth reading.
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This series has generally picked up in quality over recent, but this month sees it backslide for a variety of reasons.
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With Jason Fabok set to take over the series next month, Ivan Reis and Doug Mahnke team up for one last hurrah with the League. The Reis/Joe Prado combo make the opening pages sparkle. Mahnke's work suffers, however, from the rotating team of inkers cycling through his pages. Rarely do the inks capture the precise, dramatic quality of Mahnke's pencils, and the overall effect is fairly sloppy.
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Kamala's hectic life continues in this issue as she fends off an attack on her school, learns about her Inhuman heritage, deals with her overbearing parents, and tries to take the fight to the Inventor. G. Willow Wilson is able to blend these elements together fairly cohesively, though the transition into the final part of the story is a little abrupt.
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Kev Walker is back on art this week after a stellar showing from Valerio Schiti last month. Walker's work has varied in quality on this series, sometimes seeming rushed and often suffering from flat coloring. While Walker's faces are a little angular and distorted to meet the tone oft he script, in general his work boasts more life and energy than we've seen lately.
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It's tough not to get fed up with the structure of Dark Horse's various Fire and Stone mini-series, with all four books tying into each other and creating a needlessly convoluted, overarching mythology. So far, Prometheus is doing a decent job of standing on its own and blending the trappings of the move with more traditional Alien elements. But the book still suffers from two primary flaws - wooden characters and excessive amounts of exposition.
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This relaunched series had its problems starting out, but as the new creative team settle in the book is showing steady improvement. Like the revamped Batgirl, this book is helping to cast the New 52 is a more fun and carefree light.
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There's plenty of potential with this book now that the trinity are reunited and The Question is more of a focus. But this first issue doesn't do enough to realize that potential.
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Hopefully things will pick up in the next issue as the direction shifts again, but this series really needs a more consistent and cohesive visual style again.
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All in all, this is an eventful and entertaining issue, but the Spider-Man/Ms. Marvel team-up might have benefited from being published on its own in a completed form.
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The idea of real and fictional worlds colliding has bee explored before in Morrison's stories, and with more subtlety and nuance to boot. It's still great to see these two creators working together again, but Morrison's past work casts a long shadow over this new story.
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It remains to be seen how well the overall conflict will develop, though. These chapters smoothly pick up where the show left off in terms of Detective Lance's illness, the crumbling Queen Consolidated empire, and so forth. But Guggenheim's decision to revisit Brother Blood in a new form is a little worrisome. As adept as this comic is at respecting the source material, I'd hate to see it retread familiar ground when the possibilities are practically endless.
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This issue also proves more visually cohesive now that Stefano Caselli illustrates the entire story. Caselli and Hickman have formed a great team dating all the way back to Secret Warriors. Caselli's expressive art captures both the massive scale of the story and the very real, emotional drama.
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This issue offers an enjoyable espionage adventure with ample gunplay and action but only a touch of the larger-than-life premise that distinguishes the book. Hopefully that won't be a problem beyond this first issue.
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If you enjoyed the previous two volumes of Injustice, there's no reason you won't be engaged by Year Three. The circumstances and cast of characters have changed, but the core appeal of the series remains very much in effect. The extra dose of humor certainly doesn't hurt either. Hopefully Year Three will prove to be just as epic a ride as Year Two was.
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On the whole, this issue provides a necessary showcase for the book's less defined characters. It's just a shame the spotlight didn't remain more on them.
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This series at least looks to be offering something different, but that in itself isn't enough.
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The October Faction is basically Steve Niles and Damien Worm's take on The Addams Family. Unfortunately, the series isn't quite as amazing as that pitch makes it sound.
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This is a bizarre but very amusing book. Like the similarly bizarre God Hates Astronauts, this series threatens to wear out its welcome at times. But the way Fialkov divides the story helps keep the humor fresh for a bit longer.
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It would have been ncie to see Soule remain on the series and tell more contained stories for a while, but there are far worse ways to end a run than this.
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Marco Rudy's vibrant, surreal art style is a perfect fit for such a trippy book. Rudy delivers page after page of mind-bending imagery and intricate panel layouts. It's the sort of style that requires a more methodical read in order to follow the flow of the story, but it's a rewarding read. Only towards the end of the issue does Rudy's work begin to falter. The final couple pages are a little confusing in terms of what Kot and Rudy are trying to convey. But hopefully this is a partnership that will only grow and thrive with time.
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Sina Grace and Daniel Freedman deliver the goods as they explore the final clash between Rock's gang and Mannheim's robots. Even as the drama mounts and the body count rises, the duo find time for the sort of silly humor and pop culture homages the series is known for.
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With some great Zola moments and strong visuals, this series ends in a way that builds excitement for what comes next. However, due to a heavy-handed transition and little focus on the man who will be the new Captain America, this issue is just good instead of great.
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Cutter features a lot of trappings of the slasher genre in general and movies like I Know What You Did Last Summer in particular. Unfortunately, there's not a lot of depth to the story beyond that.
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The extra few weeks of waiting were well worth it, as Death of Wolverine #3 maintains the quality of the previous two issues. Despite some awkward exposition and the high cover price, Soule and McNiven do justice to Wolverine's final sojourn to Japan and his last team-up with Kitty Pryde. Now the creators just need to stick the landing.
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I like to think of God Hates Astronauts as the adults-only version of Axe Cop. It has the same stream-of-consciousness storytelling and endlessly bizarre plot twists and characters, just with a lot more violence and cursing.
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The second tale is far more successful overall. Here, Taylor and Bennett focus on the Hal Jordan/Sinestro dynamic as the two former partners are dispatched to track down a Qwardian super-weapon. Taylor certainly handled Sinestro well in the main series, but this story taps into elements of the character we didn't see there. Sinestro was clearly playing the villain and manipulator in Year Two. Here, we get a better sense of Sinestro the man, one who has a genuine desire to seek the greater good (as he sees it, at least) and has a strong affection for Hal. And with Jheremy Raapack handling the entire story, this segment is far more visually cohesive than the first.
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While a somewhat slower issue, Justice League #34 is a nice character-centric chapter that gives each team member a chance to shine.
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This is a very strong sophomore effort from the new team, and it bodes very well for this book's continued health.
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As much as it would be nice to have a Spider-Man 2099 book actually set in 2099, Peter David is doing a fine job of taking advantage of Miguel O'Hara's current status quo.
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Some of DC's TV and video game tie-ins are a great addition to the larger mythology (i.e., Injustice). But so far The Flash: Season Zero isn't. This debut issue doesn't do much to capture the tone or the charm of the TV series. Nor does it serve as a great introduction to this universe for those who haven't seen the first episode.
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We can only hope Remender has continued plans for these characters, as AXIS alone clearly won't be enough to wrap up every dangling thread left from the past two years. But for now, this issue serves as a solid lead-in to the latest and most high-profile segment of the Uncanny Avengers saga.
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The new volume of Thor faces an uphill battle as it works to escape the shadow of God of Thunder. This first issue doesn't entirely replicate the sense of awesome grandeur of Aaron and Ribic's work and its three-pronged focus on Thor. It's different stylistically, but very much a continuation thematically. Hopefully as the series unfolds, Aaron and Dauterman mesh as storytellers, and we see more of the new female protagonist, this volume of Thor will grow to reach the heights of its predecessor.
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The dialogue can be clunky at times, but there's still a strng team dynamic anchoring the story and a moving scene as one of the Otehrs passes their mantle to another character. All of this dovetails with Aquaman's struggle as he again confornts King Atlan and tries to unite his people.
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This issue offers a glimpse of Selina Kyle's new status quo ahead of the imminent revamp of the main Catwoman series. While it's certainly interesting to see Selina trading in her catsuit for business attire and rule the Gotham underworld, the execution leaves a lot to be desired.
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This issue opens with a brief but effective flashback to John's past before resuming the seemingly unwinnable battle with the Didact. This has developed into a conflict that would have been worthy of a game. I wish the art was more adept at channeling the games, though, as it tends to feature flat perspectives and washed out colors.
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The book has gotten better about balancing the NuHuman characters like Dante and Jason with old Inhuman favorites like Queen Medusa. However, the conflict still comes up a bit lacking.
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The Justice League Dark live up to their name in this issue. The team are darker and more brooding than ever. Unfortunately, there's not a lot of context for readers to go on in terms of why everyone is so troubled.
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Low is a very different breed of sci-fi comic from Rick Remender, both in terms of premise and the emphasis on hope and optimism over Remender's typically grungy, self-interested protagonists. That's given Low a hook, but only with this third issue does the series really seem to find its groove.
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This may just be the best issue of Samurai Jack yet.
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M.O.D.O.K. has really been the standout character in this volume of Secret Avengers.His... "unique" personality gels with writer Ales' Kot's quirky sensibilities. So of course a M.O.D.O.K.-centric issue of the series is worth a read.
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But if this issue is guilty of focusing too much on Peter himself, that's an understandable sin. Slott's script delivers where it matters most in terms of tracing Peter's final steps towards true heroism. The final splash page alone is a terrific cap to the series and an homage to decades of Spider-Man history. Never has Ramon Perez's Ditko-esque art style stood out so much. There's also a more subdued but no less memorable scene between Peter and Aunt May. Just as it seems Slott's writing is veering into sappy territory, he throws a majorly unexpected curve ball. It's nice to see that a flashback story like this can offer its share of surprises.
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Mike Hawthorne returns in this issue, giving the pages that right balance between physical comedy and sad introspection. Hawthorne makes a strong partner with colorist Jordie Bellaire. Given how much the series suffered visually during Original Sin, it's great to see it rebound on that front.
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Chad Hardin returns to the series, giving it a nice visual boost in the process. Hardin's expressive facial work and semi-cartoony figures have always suited the series well, and only more so now that Harley's surroundings have become that much weirder.
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Tom Taylor continues to prove what a vast, unpredictable universe Injustice has to offer as he wraps up the second act of his prequel saga. Though a little compressed in spots, this finale issue offers all the character drama and bloody spectacle fans could hope for. And with Bruno Redondo back for the big finale, this is easily one of the series' strongest issues.
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While Hickman's other Avengers book still has some hurdles to cross as it explores the new Marvel landscape, New Avengers is already back to firing on all cylinders.
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Even with an absent Superman, this comic captures much of the appeal of the main series.
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This is a comic that makes me hope Futures End isn't actually the eventual future of the DCU. It has its charms as a superhero horror romp, but it does too much damage to Kate as a character fr it to be a worthy continuation of her journey.
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Though an unseen presence for much of the issue, Kyle is an interestign character study. Has he been corrupted by absolute power, or is he still worthy to wield the White Light? Unfortunately, the protagonist of this issue, a stubborn woman named Saysoran, doesn't benefit from the same depth
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Scott Lobdell uses this Futures End special to explore Jason's actions as a solo player five years later. There's a kernel of an interesting story here as Lobdell loosely parallels the original appearance of Joker (Red Hood publicly targets high profile businessmen and executes them despite their many precautions). Had the issue focused more on that element, it might have worked. But Lobdell meanders far too much with his script and burdens most pages with a pointless and overwrought series of narrative captions.
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Emanuela Lupacchino's art functions fairly well, though the softer character designs don't really play well with the stark, angular look Cyborg Superman and his ilk have taken on in the New 52.
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Giuseppe Camuncoli further cements his status as the best and most suited of the Superior artists. He captures the sinister vibe of this multiverse-spanning adventure, while giving every panel a sense of energy and vitality. These two issues rival any of his previous work on the Spider-man franchise. Miguel Sepulveda's work on the backup feature is more subdued, but also suited to that story's more downbeat tone.
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Don't bother reading this issue without having read Charles Soule's Wonder Woman: Futures End #1 first. Or maybe don't bother reading this one anyway. The Wonder Woman issue offered a great little tale that fell apart as soon as it transitioned into this second part instead of just ending. Sadly, little in this chapter justifies the continuation.
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This issue seemed intriguing based on the fact that the cover showcases a drastically different group of Titans. Unfortunately, the roster in this issue is so different and so removed from Will Pfeifer's ongoing run that the story begins to feel pointless.
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While Pandora hasn't generally been one of DC's stronger titles, it definitely goes out on a high note.
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This issue starts off strong but ultimately falters at what should have been the finish line.
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In some ways, "Time Runs Out" is exactly what this series needed. It kicks the book into drive as the focus shifts ahead to a darker and more unpredictable Marvel Universe. But the time shift creates its own problems, and this issue is never entirely consistent in tone or visual style. But hopefully things can only improve as Hickman delves deeper into this new status quo.
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The sluggish shipping hasn't done this book and its pacing any favors, but the wait always proves worthwhile when it comes to the visuals. David Marquez delivers another winner with his latest issue. Marquez's clean, expressive style benefits from the addition of more texture and shadow. Miles' world has only grown darker since the events of cataclysm, and Marquez's art reflects that without losing any of the qualities that made it so vibrant and engaging in the first place.
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While this issue doesn't further the overarching plot of Multiversity in any tangible way, it serves as a very satisfying showcase for the Society of Super-Heroes. Morrison and Sprouse offer a cohesive, action-packed story that more than justifies the $4.99 cover price. The worst that can be said is that the cliffhanger leaves the reader craving more of a story that may or may not continue elsewhere in the series.
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Unfortunately, not all aspects of this issue are as strong. In general, the build-up towards AXIS comes across as rushed. This issue shifts into a confrontation with Red Skull and the S-Men fairly abruptly. Making matters worse is that the series suddenly crosses paths with Cullen Bunn's Magneto comic, offering little explanation for why Magneto is suddenly a player in the story. It definitely seems as though Uncanny could have used another issue or two to build towards AXIS more elegantly. Not that the revelations in this issue aren't interesting. But after focusing on the Apocalypse Twins and Kang for so long, the series has made a hard 180 in the last two months.
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Two other flaws drag down this issue, however. One is that the story awkwardly segues into a scene involving the rest of Cyclops' team as they train in their Danger Room. While Bendis effectively explores their own growing doubts and concerns, the transition is jarring and even confusing. It's also frustrating to see that the pencilling duties have shifted back to Kris Anka after one issue of Chris Bachalo's work. Not that Anka's work is bad by any stretch. It's sleek and expressive and well-suited for the drama at hand. But the drastic back-and-forth in visual tone with this arc is a real bummer, and will surely weigh the story down when it's read all in one sitting.
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Even though this issue doesn't stick the landing, it's a decently enjoyable and well illustrated read and a thematically fitting send-off to the series as a whole.
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The Deadpool team offer up another "lost" issue here, this time set in Marvel's radical '90s era. Everything in the art, from the gimmicky 3D cover to the over-the-top Rob Liefeld-esque stylings, is a pitch-perfect sendup of the period.
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The story is well structured and executed, except for the opening segment focused on Xiaolin, which feels out of place in this context. But between Hickman's bold storytelling and Nick Dragotta's rich, imaginative, and occasionally grotesque art, there's plenty to love in this latest chapter.
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I feared this issue would fall flat because the ongoing Infinity Man series has only been around for a couple months. Why should we care what happens to these characters five years in the future? But Dan DiDio and Keith Giffen brush past those concerns easily enough, offering a somber, even tragic look at the fate of the Forever People after wars and tragedies have torn them apart.
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Other than an annoyingly vague final page, this is a terrific start to the series' latest story arc.
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There are a few interesting ideas at play, but on the whole the story reads less like an extension of Futures End and more like a What If? plot where each character is transformed in some silly and pointless way.
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This issue isn't the best jumping-on point. It hinges pretty heavily on the relationship between sleuthing heroine Dex and her brother Ansel, and holds more weight if you have familiarity with the two characters. But seasoned readers will find plenty to like here, as Rucka takes an ordinary soccer match and uses it to slowly ramp up a sense of unease and tension leading towards Dex's next big case - one with a more personal touch.
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The art quality isn't the best we've seen from Futures End, as Scot Eaton's usually flair for clean, precise superhero storytelling becomes somewhat muddled. Weekly books rarely tend to bring out the best in artists.
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This particular Futures End tie-in suffers from a lack of ambition more than anything.
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In general, this issue suffers from a common problem in that it feels disjointed and rushed in many spots. Slott is constantly juggling plot points and characters and setting things up for the future. Often all that prep work can have a detrimental effect on the story being told in the present. Hopefully Spider-Verse itself will be more streamlined and focused.
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Tigh Walker returns to finish out the series. Of the book's various artists, he's the most adept at replicating Kev Walker's distinctive style. Tigh's work is a bit more angular and stylized than before, but adept at conveying the tension and emotion and elation of the story as the battle races to its climax.
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Charles Soule and Steve McNiven deliver another winner with Death of Wolverine #2. While this issue has its problems in terms of cover price and poor introduction scenes, it thrives on the strength of Soule's characterization and McNiven's bold, detailed take on Wolverine's final adventure.
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Unfortunately, this issue actually suffers from being a Spider-Verse tie-in. There's a hefty amount of exposition in the script as the writers work to establish the cast, set up the showdown between Spider-Man and Mysterio, and eventually connect the dots to Spider-Verse. In the end, the conflict is left hanging so that Noir Spidey can deal with the Morlun situation. This comic leaves you wanting more, which is both good and bad in this case.
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The final segment suffers somewhat because it offers such an abrupt change of tone and focus. While it's nice to finally see the book's missing players brought back into the fold, this sequence also results in an overload of exposition as Snyder sets up the last leg of the conflict. The final issue looks to be a memorable one, but the road there hasn't been without its bumps.
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This is the last issue of Rick Remender's Cap run before the big shake-up. And it's likely that the final page cliffhanger will annoy a lot of readers given what Marvel has revealed about issue #25. But I actually appreciated what Remender did with the cliffhanger and this issue in general.
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Moon Knight may have a mostly different creative team, but this new chapter doesn't offer a drastic shift in tone or style from the previous six issues.
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Original Sin certainly had its moments early on, but eventually this series collapsed under the weight of its drawn-out murder mystery. The answers in this issue don't satisfy, and too much of what made the series work initially is downplayed. Hopefully the books that spin out of Original Sin will fare better than Original Sin itself.
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With last year's Villains Month, Charles Soule's Swamp Thing issue was easily the best of the bunch. And he may very well repeat that achievement this year. Swamp Thing: Futures End #1 is definitely the standout issue in this first week's batch, at any rate.
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The Death-Defying Dr, Mirage #1 is a great example of how to launch a new series. Writer Jen Van Meter doesn't bog her script down with unnecessary setup or exposition regarding her tragic heroine. Instead, we learn about Dr. Mirage and the tragedy of her dead husband as we go.
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Uncanny X-Men's Original Sin tie-in succeeds more because of character drama than the dark secrets being explored.
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On the whole, this uplifting story is a nice change of pace from the generally darker world of Futures End.
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It's definitely intriguing to see so many running conflicts come to a head five years in the future. But Jurgens' handling of the characters isn't quite on par with Jeff Parker's work on the main series. There's an overabundance of dialogue in places where less would be more.
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This issue is less a direct Futures End tie-in and more a follow-up to writer Brian Buccellato's recent Detective Comics Annual #3, as Batman and Riddler team up to battle a resurgent Calendar Man.
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The good news is that this issue succeeds better than many Futures End one-shots when it comes to the art. Eddy Barrows handled the entire issue, and he brings a sense of power and grim foreboding to every page. That said, could any of the blame for the choppy pacing be blamed on his page layouts?
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I do wish the story in this one-shot were more self-contained. Lemire's script wraps on a very open-ended note, directing readers to check out an upcoming issue of Futures End for further resolution. But if nothing else, that serves as a reminder that Lemire will still have a hand in the future of Green Arrow, even if he's no longer writing Ollie's solo series.
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The best that can be said for this issue is that it was the first Futures End tie-in to leave me craving more of the story.
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Unfortunately, this issue doesn't do so well by the Doom Patrol. On the whole, Forever Evil and this arc have served as a solid reintroduction for the team. But the characters practically drop out of the story before the end of this issue, leaving sense of anticlimax and disappointment. Hopefully there are brighter days ahead for these troubled heroes.
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But while this comic feels authentically Silent Hill-y, the story isn't necessarily gripping enough to justify the mini-series treatment. While it's nice to see glimpses into Anne's past, on the whole this first issue doesn't add much of substance to Downpour's storyline. Maybe that will change in subsequent chapters, but Anne's Story just doesn't come across as terribly vital or necessary.
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The Death of Wolverine is off to a great start so far. This first issue is easily accessible to Wolverine fans of all kinds. It offers a clean, straightforward beginning to Logan's last adventure, but doesn't skimp on the bloodshed or drama. McNiven proves that he's still a giant among Wolverine artists, while Soule's approach to writing the hero instantly sets him apart from the crowd. It's actually kind of a shame that Soule is getting his start with the character by killing him off.
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This definitely reads like a rushed issue as the series races to its finish, but an enjoyable one all the same.
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IDW's Borderlands comics would be better off focusing more on the visual presentation and on telling stories unique to this medium.
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This is probably my favorite issue of James Robinson's Fantastic Four run so far. And not for any one, particular reason. The series has reached a point where the characters are still embroiled in the darkness of this massive anti-FF conspiracy, but there's also hope on the horizon and a sense of new possibilities being explored.
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Dark Horse's new Halo series didn't get off to a great start in its first story arc. But things have certainly turned around for Escalation in recent issues. Now that it revolves directly around Master Chief and the Didact in the aftermath of Halo 4, Escalation is both more relevant and more exciting that it's ever been.
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Justice League Dark has the bones of a good Deadman story with this story arc. But where this issue stumbles is in the execution.
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Star-Spangled War Stories is almost nothing like what you'd expect it to be based on the cover art. It's less military shoot-em-up and more undercover crime drama with a dose of zombie carnage. It makes for a very unique addition to the New 52 lineup, one that would almost be more at home in Vertigo's catalog given the maturity level.
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This is one of the most ridiculous comics on the stands, and I mean that in the best possible way.
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Mahmud Asrar makes the jump from Wolverine and the X-Men to illustrate this arc. It's a bit of a thankless job considering the impossibly high standard artists like Stuart Immonen and Sara Pichelli have set. Asrar's art isn't on that level in terms of energy or refinement, but he does a respectable job of maintaining the series' aesthetic. Some pages look great and feature bold action, while others suffer from loose details or reused panels.
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Needless to say, the resolution satisfies. And Hex's adventures have never looked better thanks to the Cooke/Stewart team-up. Cooke is a master storyteller, and his clean, elegant line-work is every bit as home in the Wild West as it is rendering DC's heroic age or the seedy crime drama of the Parker graphic novels. If this series had to go, at least it was able to go out on a tremendous high note.
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Slott is able to build up the drama in this penultimate issue so that the odds are stacked against Peter in a typically Spider-Man-ish way. If anything, he actually oversells the drama in the final pages as literally every part of Peter's world goes to hell in front of him. The book doesn't need quite that much darkness as Peter continues to wrestle with the notion of power and responsibility. But regardless, the creators have set the stage for a fitting conclusion to this previously untold tale of a young, inexperienced Spider-Man.
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Chad Hardin is absent again, with another Harley Quinn Invades SDCC artist in the form of Marco Failla, Failla is adept at channeling Hardin's style and retaining the book's bright, airy style of presentation. Hoeever, his work suffers during the roller derby scenes, As the crowds and background details fade away, so does the sense of motion and perspective. Failla's rendition of Harley's oversized roller derby opponent is also a bit underwhelming. She looks less like a giant powerhouse of a player and more like a stick-thin fashion model who happens to be 12-feet-tall. But the art picks up as the story shifts to other locales and other antics.
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Some readers may find the pacing on Superman too slow and plodding right now. Perhaps this book will read better in collected form. But it offers plenty of enjoyment already despite the methodical storytelling approach. Johns is succeeding in molding Ulysses into a worthy Superman ally, and it looks as though he'll be able to do the same for The Machinist.
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The one area this issue makes a significant misstep in is its portrayal of Rogue. Remender has basically reverted Rogue to the state she was in 25 years ago. She's permanently absorbed another hero's memories and powers. Her own powers are out of control, and she's emotionally volatile as a result. It just seems depressingly circular to see her more recent character growth essentially wiped away. It would be like Cyclops abandoning his current status as mutant pariah so he could go back to being the do-gooder stick-in-the-mud always barking at the other X-Men to train in the Danger Room. Certainly, Remender deserves some benefit of the doubt, but I'm concerned about Rogue's future after this issue.
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Wolverine #12 suffers from many of the same flaws this series has from the beginning. But it delivers in the areas that count most, offering readers one last, satisfying clash between Wolverine and Sabretooth before The Death of Wolverine. But with no apparent ties to that forthcoming mini-series, casual readers can just as easily skip this storyline.
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I really wish I could enjoy this series, based both on Michael Fiffe's pedigree and the great work that was done setting up this team on the previous volume of Ultimate Spider-Man. But All-New Ultimates continues to disappoint after six issues.
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As much as All-New X-Factor has read like a clean break for the team from David's past work, this material really bridges the gap between the old and the new and furthers Pietro along the path to redemption. It's a rewarding read after a decade of seeing Pietro stumble and fall.
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G. Willow Wilson exploits the dynamic between the young, starstruck Kamala and the world-weary Logan to full effect. This is a fairly lighthearted issue, all told, but it still has its fair share of emotion and heart.
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This Original Sin tie-in arc turned out to be a real mixed bag. On one hand, it's been great fun to see Sam Alexander team up with Rocket Raccoon. And the addition of Cosmo in this issue only sweetens the deal. But the quest for truth about Sam's father amounted to a lot of noise about nothing.
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The core Original Sin series isn't doing so hot at this point, but at least Original Sins goes out on a high note this week. All three of the story segments entertain in their own ways.
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Even if you haven't been reading this series month-to-month, Jack fans will definitely want to check out this issue.
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It's a dark time, what with Hawkeye and Superior Foes of Spider-Man due for the chopping block soon. At least Secret Avengers has emerged as the heir to the throne of hip, irreverent superhero adventure.
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It's a perfectly fine read, but it's still not clear what this series can offer over the long-term taht various other X-books can't.
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Despite its flaws, Wolverine Annual #1 is a solid coda to the Wolverine/Jubilee friendship.
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Felipe Smith's second story arc sees Robbie settling into his role as a supernatural avenger. And everything is coming up Robbie lately. He's making good money by using his Ghost Rider powers to win races. He's able to spend more time with his brother. The only one not happy in this equation is his spectral partner Eli. Above all, this issue is great at building a sense of dread. Everything in Robbie's life is so positive that it's obviously going to collapse on him sooner rather than later. The question is how badly. Robbie is still very early in his hero's journey, and he has yet to learn the important lesson about power and responsibility (something Smith acknowledges in a very direct way here). The conflict Smith begins building isn't all that memorable aside from a purely visual standpoint, but clearly bigger things are brewing underneath.
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Despite the character-heavy focus in this issue, the thick does plotten quite a bit by the end. Hickman wraps up this issue with a really cool twist that hearkens back to the early days of New Avengers and promises big things to come.
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It's always nice to have more Wonder Woman comics, especially comics that can showcase a more classical take on the heroine. And bringing back Gail Simone to write Diana's adventures isn't a bad way to kick off this new series. But fans may be better off saving some of their money and merely buying the first two digital chapters instead. And the larger question is how long this series can maintain its appeal without a consistent creative team or larger sense of direction.
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Luckily, there is a short backup tale from writer Louise Simonson and artist Derek Charm that ties into the main event more directly. There's just enough here to justify a purchase, and Billy and Mandy fans can rest easy knowing this franchise can function well as a comic.
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There's also the issue of price to consider. Clocking in at well over 40 pages, this is a pretty lengthy story as far as individual TMNT comics go. But $7.99 still seems a bit much to ask.
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It still smarts to know that Avengers Undercover is ending with issue #10. But the good news is that Dennis Hopeless is transitioning towards his big finale much more smoothly than might have been expected.
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What's not to love about this comic?
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After starting out on a weaker note, this arc is building some serious momentum.
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This issue didn't pack in quite as much drama as I was hoping for. The resolution to the conflict is a little too smooth and simple, particularly as a couple of guest stars arrive out of the blue to help Wade with his problems.
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It's bizarre to see the Avengers battling Sue Storm after all their history and shared adventures, but in general this issue is effective in piling on the despair and further maneuvering the team to their breaking point.
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The artwork is certainly interesting, and the heavy use of shadows suits the tone of the book. But at time the figures are too exaggerated and stand out too much from the backgrounds.
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As Original Sin nears its conclusion, the books various laws have really started to overtake it. The pacing is choppy, the mystery feels artificially stretched out, and even the characterization is suffering. It's good that Deodato's art is event-worthy, because that's about the only element that's still functioning in this book.
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It's not the finale this series necessarily deserved, but it's satisfying enough given the limited space the creative team had to work with.
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Starlight is easily Mark Millar's best Millarworld title, and issue #5 is a perfect example of why that is.
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Tense and action-packed in equal measure, this issue does a fine job of setting up the ongoing rivalry between these two bands of villains.
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It's a little strange that this comic is one issue away from its finale and Wolverine and Nick Fury still find room to have a lengthy discussion about the anime series Samurai 7. That bizarre conversation is one of several moments that just flat-out don't work in this penultimate chapter.
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It's unfortunate that the ending sequence has to come along and kill the groove the issue had achieved. Bendis finishes the story with a rehash of a scene from Uncanny X-Men #23. It feels out of place and not terribly relevant to the other story segments.
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Despite never having been the biggest fan of Humberto Ramos' style, I've been impressed with his work on this new series so far. Ramos' tendency to exaggerate facial features and body proportions seems toned down slightly. Meanwhile, his Silk design and his Black Cat redesign both look great. The book has a vibrant sense of energy that really begins to heat up as the two heroes and two villains begin to clash.
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It's easy to be disappointed at the prospect of a Batman issue without Scott Snyder and Greg Capullo at the helm. And while this issue doesn't always read like the Batman we know, it doesn't come across as a pointless filler issue either. Between the unique new villain and Scalera's gorgeous imagery, this is still a worthwhile addition to Snyder's overarching saga.
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The focus in this story is a bit scatterbrained. And while maybe that's appropriate given the star of the series, it is a little annoying to see the writers jump from a stage performance to a Psycho spoof to another roller derby match before the issue abruptly ends. I would have liked to see the middle element remain the sole focus of the issue. But regardless, there's plenty of fun to be had here, as well as a more intimate look inside Harley's troubled mind. And best of all, we only have to wait two weeks for the next issue.
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Dan Parent's art is very much what we've come to expect from the book - clean, simple, and as lighthearted as the story itself. Unfortunately, it doesn't excel when it comes to portraying superhero-worthy action. Kevin's battle with the mugger suffers from a series of weird panel transitions. Often it seems as though Kevin is fighting more than one villain with the way his opponent will be shown knocked down or falling into a dumpster in one panel and suddenly running into the distance in the next. Hopefully the storytelling can improve as the Equalizers adventures continue.
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Hopefully this series can move onto more interesting territory with this issue's cliffhanger.
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"Icarus" has been a great debut for the new Detective Comics creative team. Unfortunately, they don't quite stick the landing with issue #34. All sense of subtlety gets thrown out the window as Batman dons his mech suit and the conflict devolves into a punch-fest.
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The cover art is not at all representative of the inner contents, and in this case that's a good thing. The interior art isn't so pointlessly sexualized. Afua Richardson opts for a slightly surreal style, full of dynamic angles and exaggerated characters. The approach works for the most part, though people and objects tend to stand out from the vaguely defined backgrounds like paper dolls. Here again, the book veers away from the Top Cow norm, and that's not a bad thing.
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But this is a fitting finale in many ways. It completes a full, cohesive character arc for Dave (less so for Mindy, who hasn't really evolved in the same way). It calls back to the very first issue of Kick-Ass in a satisfying way. And for a book so entrenched in gory, ludicrous violence and shock value, there's also an unusual sense of optimism to Millar's writing. Millar's work in general has become less cynical and grim of late, and there's a definite sense that he's using this issue to signify a sea change across the entire Millarworld line. Ironically, I'd be more interested in reading Kick-Ass comics in a post-Kick-Ass Millarworld landscape.
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The emphasis is more on action than story here, which is understandable when you have an artist of David Marquez's caliber. Marquez's newfound focus on detail and finer line-work really shines. Rarely has Ultimate Green Goblin looked so massive or imposing. The action is kinetic, and the emotions of various characters as they react to the carnage are raw and powerful. Marquez's art alone is enough to make this book worth reading.
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Unfortunately, the art doesn't work terribly well with Jonathan Hickman's epic scripting. Frank Martin's pencils seem rushed, with flat, lifeless characters and very little variety in facial expressions. A little more visual consistency would do this series a world of good.
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Whether you view this issue as the end of a simple mini-series or the finale to Kieron Gillen's Iron Man run as a whole, it's a bit anticlimactic.
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Hopefully this crossover has a few good twists in store for the final two issues, because it's not finding much success so far.
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Perhaps what frustrates most with this issue is the way it seems to circle right back around and leave Frank in a similar position to where he was when he started.
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This issue teams She-Hulk and Hellcat with Hank Pym for what basically amounts to a Marvel version of Honey, I Shrunk the Kids. The end result isn't quite as entertaining as that sounds.
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The series continues to amuse and fire on all cylinders, even if it rarely seems to be in much of a hurry.
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It's great to have Superior Spider-Man back again, if only for a short time. This issue serves as a reminder of what made the series so successful, and it also manages to set the stage for Spider-Verse in a major way.
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Javier Pina isn't the strongest of Soule's usual collaborators (that honors goes to Jesus Saiz), but he still delivers excellent work in this issue. Pina's figures are clean, refined, and brimming with emotion in an emotional showdown. The storytelling suffers a bit during a brief clash between Swamp Thing and the Wolf in a hospital - this sequence doesn't have quite the scale or energy I was hoping for - but luckily that's only a relatively minor element of the book.
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Futures End definitely feels like it's moving somewhere now, but certain plot threads are dragging more than others.
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Ellis, Shalvey, and Bellaire have done a great job revamping Moon Knight for All-New Marvel NOW. It's just a shame that their run never showed the ambition to move beyond the done-in-one format and tell deeper, more long-form stories. This issue offers a pretty satisfying conclusion, problems with the premise notwithstanding, but it's tough not to wonder how much more this team could have accomplished with the franchise.
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All-New Ghost Rider's first story arc wraps up with a finale that focuses more on action and spectacle than providing firm answers or explaining the new hero's true connection to the Ghost Rider mantle. But with an artist like Tradd Moore rendering the book, would you want something different?
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Super-Secret Crisis Wars is proving to be every bit as entertaining as you'd expect from a mash-up of all the big Cartoon Network franchises.
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It can be tough for a vampire-themed comic to distinguish itself these days, but each new issue of Day Men succeeds a little bit more in establishing a unique tone and approach to the vampire concept.
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The latest Detective Comics Annual tells a side-story of sorts to Francis Manapul and Brian Buccellato's "Icarus" storyline. But with Manapul out of the equation, a lot of that storyline's appeal is lost.
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As much as this series can frustrate when it goes months on end without focusing on certain characters, this issue suggests that maybe the self-contained approach is better. As Jonathan Hickman transitions between recent key developments and towards a massive war between the Seven Nations, this issue manages to feel pretty disjointed.
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Even if the humor misfires or the plot lingers too long, Hardin's art keeps Harley full of energy and excitement.
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Matt Kindt took an interesting approach with this Star Wars mini-series by focusing each issue on a different Original Trilogy icon but framing everything from the point of view of more ordinary observers. It's not an approach that worked out perfectly. At times the narration feels almost irrelevant to the events at hand, turning the narrator into a disembodied ghost with little real story presence. But in some ways, this treatment also gives the story a flavor it might have lacked otherwise.
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I'd like a clearer sense of where Jonathan Hickman is heading right now, but this is certainly never a dull read.
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This issue wraps up the series' first story arc. And while the cover is sadly misleading, it still proves to be a satisfying finale chapter.
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It would be one thing if a quick resolution allowed Wood to give his characters a proper goodbye. But the final pages shift into another mini-conflict that starts and wraps even more abruptly. Nor does this issue send off the book on a visual high note. Two more artists - Phil Briones and Paco Diaz - are brought in to cap off "Bloodline." Their work is fine, but not as flashy or eye-catching as the action demands. Everything in this issue comes across as rushed, and Wood's overarching Arkea storyline ends with a whimper rather than a bang.
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Regardless of whether or not they've been following the rest of Marvel's 100th Anniversary Specials, Guardians of the Galaxy lovers will want to give this comic a look. It's entertaining and oddly engrossing for what is really just an alternate universe story at the end of the day. If we can't have more Dan Abnett/Andy Lanning Guardians comics, the Lanning/Marz team is a good substitute.
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As much as it feels like Justice League is beginning to lag behind the rest of the New 52, in many ways the series is better than it has been since last year's Throne of Atlantis crossover. Caulder aside, Johns is performing great character work as he fleshes out the Doom Patrol, the new Power Ring, and prepares for a Luthor-iffic takeover of the Justice League. With Mahnke at his side, Johns is building on the momentum of Forever Evil.
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Mark Bagley's recent Marvel projects haven't ranked among his better work, reflecting his rushed schedule as he bounced between books like Fantastic Four and Cataclysm. But Bagley seems to have slowed down a little since coming on board Hulk, and the results are noticeable. Bagley renders some great Hulk vs. Iron Man action in this issue, and keeps the emotion thick and heavy as the Stark brothers make their desperate stand against their super-strong, super-smart opponent.
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Gaiman has found an ideal collaborator in J.H. Williams III. Williams' storytelling imagination blends seamlessly with Gaiman's resulting in one lush, intricately rendered page after another. Williams' talent for switching art styles on the fly comes in especially handy. This issue constantly shifts between traditional page layouts, storybook sequences, and ethereal dream structures, with Williams deploying all manner of tricks and different media to achieve the best effect. Coupled with Dave Stewart's lush colors, and the Sandman universe has never looked better.
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On one hand, this finale issue is a bit disappointing in the sense that there's not a huge amount of finality to the conflict. Many plot elements are more shuffled to the side rather than definitively dealt with. But on the other hand, there are real, tangible consequences for many team members to deal with in the aftermath of the battle. Maybe time travel wiped away some of the character deaths we saw earlier in the series, but Remender replaces those twists with new and certainly better developments. Death is far less interesting than the troubles facing our heroes in the aftermath of "Avenger the Earth." And because of that, as well as the lack of finality in the conflict, I sincerely hope this series will have a life beyond AXIS this fall. There's too much juicy material to stop the Uncanny Avengers train now.
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It would be nice to see this arc pick up the pace a bit. After two issues, the story only just reaches the point where Xavier's will can actually be read. This results in a nice (if not entirely unexpected) twist. Hopefully that twist will be the spark for bigger things to come. These two issues have been solid reads, but they've also felt like extended setup material for something more exciting.
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Needless to say, the book remains as entertaining as ever. And it's great to see Milligan making use of his old X-Statix cast as well. There's even a tease at a possible X-Statix revival. But it does feel like this book has lost sight of its original conceit - exploring how Doop appeared 'in the margins' of Battle of the Atom. Not that this change in direction is even a bad one, but the book does feel unfocused.
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I really wish this story arc featured stronger, more consistent visuals, because it's really beginning to tap into that slightly humorous, mostly somber vibe that made 'The Good, the Bad, and the Ugly' so special.
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Aragones is in his usual fine form, visually, but the issue is actually most impressive when his characters intersect with Conan's world and Aragones' style bumps into Tom Yeates' more traditional Conan imagery. I really look forward to see how much Aragones and Yeates can push the envelope when these two barbarians actually meet.
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Fans of the classic series really owe it to themselves to check out this new take on an old favorite.
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On the whole, this isn't one of the more compelling chapters of Futures End. The opening segment featuring Frankenstein, Amethyst, and Hawkman battling robots is reasonably entertaining. It's also a rare occasion where Brian Azzarello's writing voice stands out among the crowd. But the book grows comparatively more dull as it switches to other characters and loses its sense of momentum.
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Ted McKeever's work tends to be pretty divisive, and I'm sure The Superannuated Man will prove no exception. But one could never accuse the book of not having a distinct voice.
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This is a great start to a new chapter of a great book.
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You've probably heard the phrase 'too many cooks in the kitchen.' That definitely applies to this issue, which features no less than five artists across 20 pages.
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Wonder Woman is fast becoming my most anticipated and most dreaded New 52 title. Each month brings us closer to the grand finale of Brian Azzarello and Cliff Chiang's saga. It's tough to picture a New 52 without these two chronicling the adventures of Diana Prince. But at least issue #33 suggests that they'll be giving her the sendoff she deserves.
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I also appreciated the fact that, for all this comic's weirdness, Stokoe doesn't remain fixated on the humorous elements. This is not a self-deprecating or cynical comic. Quite the opposite. This clash between good and evil leads to a surprisingly heartfelt conclusion. In some ways, it's more like an Avengers comic of a bygone era than it is a product of some crazy future.
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By the end, I found myself very eager to see more of the Peter/Cindy connection and how it'll play into Black Cat's ongoing vendetta. As for why Electro is relevant to this storyline? Who knows?
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Unfortunately, the book loses a bit of its charm without Redondo providing the art. Xermanico's work is perfectly fine, but not quite as sleek or cinematic. As much as I enjoy reading this comic, I would be perfectly willing to keep Injustice on a biweekly release schedule if it meant a more consistent visual presentation.
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Geoff Johns' Superman run is still off to a slow start, and this may be one of many cases where reading the series in collected format is more rewarding than month-by-month. But there's plenty to enjoy in this sophomore issue as Johns begins world-building and Romita flexes his muscles on characters both familiar and new.
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This comic may not be what fans expected from a G.I. Joe/Transformers crossover. But I think that's why it works. Sometimes you just have to embrace the ridiculous nature of a concept and run with it.
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Batwoman has more villains than she can properly handle in this story arc. As fun as it is to see her clash with an honest-to-goodness vampire queen, the addition of a third party and multiple costumed villains makes this portion of the story a little too crowded.
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Agustin Padilla's tenure with the G.I. Joe franchise made him a natural fit for such a wacky, violent, gun and gadget--filled comic. Padilla is able to capture the general look and feel of the Borderlands universe. However, while the art is certainly gritty and grimy enough, the colors and inking don't do enough to replicate the distinctive bright, cel-shaded style of the games. It's a simple element that would have gone a long way towards making this comic feel more authentic.
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The combination of fun and drama and old-school gaming charm is something you won't find anywhere else.
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Whether this comic will make full use of its premise remains to be seen.
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Original Sin #6 is an improvement over the previous chapter, but it's still too slow-moving and exposition-laden given how close to the finale we are. This issue works best when it focuses on Nick Fury's questionable morality and battle against his own approaching death. Hopefully the fact that all the players are rapidly coming together means that the final two issues will offer a more exciting and fast-paced conclusion to this event.
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As much as I wish Kieron Gillen and Jamie McKelvie were delivering a third Phonogram series right now, The Wicked + The Divine isn't a bad substitute. It's more plot-driven than Phonogram, which is a plus.
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On the whole, it appears Wood's run will be ending as strong as it began last year.
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Like Harley Quinn #0, Harley Quinn Invades Comic-Con features a varied assortment of artists, though not nearly as many as the former. Other than Paul Pope's opening page, this isn't a "one artist per page" story, but one where the pages are haphazardly divided among several artists. All generally capture Chad Hardin's expressive, wacky style, though never with as much flair. Strangely, Comic-Con itself isn't rendered that well, coming across less like the mammoth gathering of geeks that it is and more like a typical, cluttered small-town convention. There's little sense of scale to Harley's surroundings. The standout visual sequence comes when Conner herself steps in to illustrate "Hurl Girl," the comic within a comic. I'd pay money to read a Hurl Girl mini-series if Conner illustrated it.
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That said, the fact that I can mourn the death of Archie Andrews knowing full well the teenage version will live on says a lot about the execution of this comic.
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Robin Rises: Omega #1 is a solid start to this storyline, though not as clean and accessible as it should be.
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Kris Anka takes point with this arc, offering a lighter touch compared to Chris Bachalo's distinctive style. Anka's facial work and emotion play well with Bendis' script. However, the colors are a little garish at times, and some panels are too loose and vaguely defined in terms of character details.
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For this series' Original Sin tie-in, James Robinson has revealed that the Invaders failed to stop the dropping of the atomic bombs that ended WWII. That premise is a lot more interesting than what is actually delivered in issue #7.
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Slott and Ramon Perez's collaboration serves as a true love letter to Silver Age Spidey without being too old-fashioned.
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While it seems hard to imagine Avengers Undercover reaching a satisfying conclusion by issue #10, at least this chapter doesn't linger or dawdle.
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It's a testament to Mark Waid and Chris Samnee's storytelling abilities that a comic involving Ant-Man zapping cancer cells and D-List villains chasing our heroes in giant, armored suits never loses sight of the simple, enduring friendship between Matt and Foggy.
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With J.H. Williams no longer illustrating Batwoman, the franchise needed a new visual stunner in its ranks. Luckily, Francis Manapul is delivering the goods with Detective Comics. Each page is a sight to behold.
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Brian Wood opts for a smaller, more intimate story with this new arc, which is just what the series needed after the troubled marriage storyline that just wrapped up.
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For a storyline subtitled 'The Last Wolverine Story,' there's definitely a sense of importance and gravitas missing here.
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Issue #29 also serves as Stuart Immonen's swan song on the book, unfortunately. His vibrant, dynamic art will be sorely missed. This issue does show a few rough edges in terms of loose facial details and such, but that's to be expected considering how many pages Immonen has tackled in recent months. He still brings an awesome sense of scale and drama to every page, and the interplay between the real world and the psychic plane helps distinguish this issue even further.
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The art, unfortunately, is weirdly inconsistent in this issue. At times Leinil Yu's pencils and Gerry Alanguilan's inks merge in a scratchy, haphazard assortment of lines. But at other times, Alanguilan's inks smooth out and Sunny Gho's colors become more vibrant. Here the issue is at its best, and there are some definite shots of beauty as Franklin's garden blooms and he gives the Avengers a tour of the universe as it exists thousands of years from now.
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The book continues to suffer from lackluster art, however. It's not that John Lucas' storytelling is at fault, necessarily. His action scenes are fun and violent. But Lucas' facial work is distracting at times. It's needlessly exaggerated and often fails to match the emotion in any given scene. And given how much emotion is becoming a factor in this book again, that's a problem.
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Death Vigil #1 clocks in at 40 story pages for $3.99, which isn't too shabby at all. It's ample room to introduce the core cast, their worlds, and their ongoing struggle. eji is able to dance around the usual first issue formula by diving into the action first and deferring the setup and exposition until the Calara character enters the picture. The dialogue could use some fine-tuning at times, as certain conversations come across as a little clunky and inelegant (especially during mid-battle bravado). Regardless, this is a solid start for Top Cow's newest series.
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While it's not quite the same without the 2099 setting, it's still great to have Peter David writing a Spider-Man 2099 comic again. David instantly settles back in with his creation and delivers an engaging first issue that sets up a great rivalry between Miguel O'Hara and Liz Allan. With a little world building and some improvements to the visual presentation, this series could easily stand out as one of Marvel's stronger Spider-Man comics.
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"Doomed" is always at its best whenever it passes through Action Comics. It's almost a shame it's not confined solely to this title.
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The current X-Factor storyline has definitely picked up the pace, though not quite to the point where it proves detrimental to the plot like it did last month.
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Decent filler, but whether it has any consequence in the grand scheme of things remains to be seen. The art has a rushed quality to it, especially in regards to the facial work and its often bizarre proportions and angles
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The writing gets a little sappy as Dexter reaches his profound realization. But there's enough humor and zaniness to offset the sappy stuff.
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This time Hickman finally returns to Death and his minions after leaving them hanging in issue #10. The result is a very violent, exciting, and action-packed script. However, the more mystical material involving Wolf and Crow gets bogged down by an overabundance of dialogue in what should be a more visually-oriented sequence.
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David Marquez's altered style suits the tone of the story well as he opts for a less clean and more textured approach.
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Moon Knight #5 is basically Warren Ellis and Declan Shalvey's homage to The Raid: Redemption, one of the best action movies in recent memory. It's no more or less than 20 pages of Mr. Knight ascending an apartment building and beating the holy bejeezus out of every punk, thug, and psycho who crosses his path.
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Charles Soule seems to use this issue to set up the latest attempt by a villain to destroy Alec Holland and take over the Green, but there's a welcome twist late in the game that throws the usual formula for a loop.
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It may be heavy on character drama and light on bloodshed, but this issue reminds us why that can be a good thing, even in a Thor comic.
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Again, Remender seems to be building the foundation of an interesting story here. But the execution in this issue is underwhelming, and we need to see why this instance of Steve Rogers losing his powers is different from the others.
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Taylor also deserves credit for addressing a lingering flaw of the book by bringing characters like Alan Scott and Jay Garrick back to the forefront. For a while it seemed as though Earth 2 was becoming yet another Batman/Superman/Wonder Woman-centric comic, but this issue offers a more even focus and big moments for just about every major cast member. More and more, Taylor is finding his footing with Earth 2, while Nicola Scott's art remains as dependably expressive and cinematic as ever. A winning combination, in other words.
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Andrea Sorrentino's art is as strong as ever, full of striking design work and energetic choreography. But this issue is also a great showcase for Marcelo Maiolo's colors. Maiolo's deftly transitions the issue between past and present by alternating warm hues and heavy shadows. And his trademark use of washed-out, mono-chromatic panels to highlight key action beats works especially well during the battle sequences this month.
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Original Sin #5 is a bit of a disappointment considering the wow factor of issue #4's cliffhanger. Jason Aaron is obviously looking to subvert much of what we thought we knew about Marvel's master spy. However, the revelations in this issue don't justify the decision to focus an entire issue on flashback material. Hopefully the big twists, surprises, and fun character dynamics will return as this event returns to the present day in issue #6.
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Delays or not, it's worth getting reacquainted with Superman Unchained. Issue #7 offers the most action-packed and viscerally satisfying installment yet, as well as a far different but no less enjoyable take on Batman from Snyder. Lee's art quality remains steady, which in itself justifies the long wait.
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There are some satisfying reveals and teases to be had here. Terry McGinnis finally shows up again and moves closer to a good, old-fashioned Batman and Robin team-up. meanwhile, there's a cool twist early on that sheds far more light on the fallout of the Earth-1/Earth-2 war everyone keeps alluding to. Suddenly, I find myself that much more interested in reading Earth 2: Worlds End thanks to this issue.
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t's unfortunate to see David LaFuente joined by a fill-in artist in this issue, but the good news is that Jacopo Camagni is able to adhere to LaFuente's distinctive aesthetic and slip in and out of the issue with a minimum of fuss.
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It's easy to ridicule this new take on Ghost Rider based on the hyper-stylized art and the fact that he doesn't drive a motorcycle, but the series is coming along nicely. Tradd Moore's art is easily the biggest draw still, packing enough energy and expressive character design to fill three or four normal comics.
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The book becomes more cohesive in the aftermath of the Swamp Thing crossover. And the fact that Paul Pelletier is able to pencil the entire issue for a change doesn't hurt this story either.
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The real problem, however, is that we now know this series is ending with issue #10. There seems little chance of Undercover reaching a satisfying conclusion by then.
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The main appeal with this issue is in seeing Leonard Kirk's somber, moody visuals transition to Dean Haspiel's Silver Age throwback style. At least we can expect more of that as this arc progresses.
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But while the storyline is improving, the art quality continues to suffer. The shifts from Nick Bradshaw to David Marquez to Jason Masters are jarring, and Marquez's work here is a far cry from his smooth, vibrant style on Ultimate Spider-Man.
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That clash between the Illuminati and the Great Society Marvel has been teasing for the past couple months? It finally takes place in this issue. So if you've been craving Jonathan Hickman's take on what happens when Black Panther and "Batman" get into a fight, this action-oriented issue will satisfy.
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There's a lot of competition out there these days for best horror comic. But Rachel Rising clinches the honor again and again with its trademark blend of simple, effective character dynamics, unsettling imagery, and twisted evil lurking just beneath the surface of mundane small town life.
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Visually, Jim Calafiore proves so adept at mimicking Alessandro Vitti's dark, scratchy style that you may not even notice Vitti's absence.
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Like Savage Wolverine, this is a continuity-light series that emphasizes artists over writers. And Marvel certainly found the right man to kick off this new series in Alan Davis.
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A year ago, Geoff Johns and John Romita, Jr. taking over Superman would have been a welcome relief. It's still great to see these two creators paired up, but the competition in this franchise is fiercer now. So far Johns is delivering a methodical, character-focused story that makes great use of Romita's storytelling skills. This issue is a great read, but time will tell how much this run can stand apart from the rest of the pack.
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Paul Cornell's Wolverine saga has really picked up steam with the advent of Three Months to Die. This issue continues Logan's palaver with Death, whose sly, manipulative personality provides an interesting contrast to the Death that appeared in Cornell's Action Comics run.
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As usual, Humberto Ramos' art works better during the action scenes than it does the quieter, character-driven moments. Some of his facial work is wonky in this issue (wonkier than usual, anyway), but there's also plenty of energy to the clash between Spidey and Black Cat or JJJ's latest vitriolic rampage.
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Though predictable in some ways, New Avengers Annual #1 offers a satisfyingly trippy Doctor Strange adventure.
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But again, while this issue is jam-packed with memorable material, it feels a little too packed at times. There are scenes that really could have used a bit more page time, and developments that Remender charges through. This issue also suffers a bit in the visual department compared to others in this arc. Daniel Acuna's art is bold and cinematic, but not quite as detailed or consistent as usual. On the whole, this is a rock solid issue of Uncanny Avengers, but not the best these two creators have crafted.
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It's all typically hilarious Axe Cop fun. However, this issue does get a little wonky towards the end as the Nicolle brothers introduce and seemingly abandon a big plot twist.
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New Guardians #32 makes another strong case for why this series is the top dog. The horror movie approach Justin Jordan takes to this new arc is a welcome shift.
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I wouldn't mind if Harley Quinn took a page from Deadpool and injected a bit more drama into these comedic misadventures, but at least the book remains enjoyable.
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But between the lack of dialogue and pretty straightforward conflict, this issue is a pretty spartan affair. Expect to be finished within a couple minutes. Great art or not, that's a hard pill to swallow for a $3.99 comic.
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The subject matter here is so far afield that it barely reads like Manhattan Projects at all. It's a decent enough story, just not one that seemed necessary to devote an entire issue towards.
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Thunderbolts undergoes another creative team change in this issue, with Ben Acker and Ben Blacker taking over from previous writer Charles Soule. The new writers do a competent job with a book whose premise I've never quite connected with.
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This 'Uncanny X-Men vs. S.H.I.E.L.D.' storyline has been a high point for Brian Bendis run so far. Unfortunately, the finale issue proves fairly anticlimactic.
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There's potential with V-Wars, but the series isn't coming together as a cohesive whole yet.
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Anyone who feels this series has been moving too slowly of late will be pleased by the way Azzarello blends character drama with big action.
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Little has changed in terms of the art in this issue. Leinil Yu does a great jb of bringing this futuristic Earth to life, but the lack of clarity to his pencils and Gerry Alanguilan's inks is frustrating at times. Especially since there are a handful of pages here that do show the artists at their best and brim with cinematic detail.
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But it's Kate's civilian struggles that are the focus in this opening chapter. Andreyko's decision to pull Maggie out of Gotham and force her to deal with a heated child custody battle is definitely an interesting wrinkle in her relationship with Kate. As such, I found it a little disappointing that Andreyko also chooses to introduce an old flame of Kate's from her military academy days. It's a pretty stereotypical development for an engagement to be tested by the sudden appearance of an ex-lover. Still, this new character does have potential as far as bringing Kate's military background into the forefront for a while. Hopefully this arc justifies her inclusion.
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While Original Sin #4 slows down the pace of the series just as it was picking up, it includes enough enjoyable character interaction and brooding to make this ongoing murder mystery enjoyable. The twist in this issue alone should be enough to keep readers coming back to see what else Aaron has in store for Marvel's troubled heroes.
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Make no mistake, it's Mike and Laura Allred who really tie this book together. As with their FF run, the Allred tap into that vibrant, old-school Jack Kirby vibe while also blazing new territory and delivering a book wholly unlike anything else at Marvel. The sheer amount of time that must have gone into rendering each wide shot of the Impericon is staggering. So if this issue was a little late in arriving, the Allreds can certainly be forgiven.
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The City on the Edge of Forever provides an intriguing new take on a classic Star Trek episode.
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The future storyline satisfies for different reasons, but no less completely. Here is where Thor: God of Thunder's lives up to its reputation as a heavy metal album cover brought to life. What could be more thrilling than seeing King Thor claim All-Black the Necro-Sword and using it to stab the bejeezus out of Galactus? Not only does this tie the arc in with the God-Butcher material, it's just damned cool. Esad Ribic's art is phenomenal throughout this issue, but it's never more cinematic or epic as when it showcases the full power of a Skyfather waging war against the Devourer of Worlds.
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This 'Learning to Crawl' mini-series would be worth reading if for no other reason than because Ramon Perez perfectly marries the Steve Ditjo era of ASM with more modern storytelling sensibilities.
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Tan Eng Huat's style is too distorted and inconsistent to do this tale justice. Huat's work deteriorates from issue #1, with a poor use of perspective throughout this chapter.
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There are goofy Deadpool stories and serious Deadpool stories, and with this Original Sin tie-in, Gerry Duggan and Brian Posehn are trying to tell both at once. The resulting blend suits Deadpool better than it would most Marvel heroes.
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Not counting the upcoming Original Sin crossover, this issue essentially serves as the finale to Mark Waid's Hulk run. And it serves as about as satisfying a conclusion as you might expect considering that this series and status quo are only four issues old.
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Ales Kot's brief tenure on Suicide Squad made him an excellent candidate to take over Secret Avengers. And thus far, Kot hasn't disappointed. He maintains the spy-ops focus of the previous volume while bringing back some of the humor and weirdness of Rick Remender's run.
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After struggling early on with a whiny Luke Skywalker and others woes, the current arc of Brian Wood's Star Wars has picked up steam.
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More than any attachment to stories like Flash Gordon and the Barsoom novels that this series draws so heavily from, it's the sense of wonderment and complete lack of cynicism to Starlight that I find appealing.
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The final leg of Paul Cornell's Wolverine saga begins with the ominously titled 'Three Months to Die.' And this issue does no less than put Logan in the path of Death herself. Shang Chi and Iron Fist also tag along for the ride, resulting in a dark but fun little martial arts romp.
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And once again, Stuart Immonen is at the top of his game. His work takes on a slightly darker tone than usual with this arc, especially in the shadowy future scenes as the Brotherhood plot and scheme. The constant back-and-forth in the script helps keep the story humming along, and Immonen's shadowy scenes frequently open up into widescreen displays of psychic fury. That Immonen can keep up this level f detail and craft coming right on the heels of the "Trial of Jean Grey" crossover is very impressive.
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As much as I wish Kev Walker's pencils were still paired with Frank Martin's colors, Walker brings a lot to the table in this issue. He's great at conveying the seedy, surreal, even hellish nature of Bagalia, but also at giving life and expression to the heroes and making them seem like living, breathing characters.
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McKone's art, meanwhile, continues to suffer from an overly cramped sensation as his panels become too small and too clogged with dialogue balloons. The coloring is also problematic, particularly whenever Marcelo Maiolo employs the same washed-out highlighting effect that works so much better in Green Arrow. The bigger panels and page spreads are a great showcase for McKone's clean, cinematic style, but those don't appear often enough.
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The net story progress in this issue might be pretty small, but the methodical build-up and strong character dynamics more than make up for it. All the same, let's hope there's more punching and smashing and spearing in issue #20.
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66 watching now var wtcRenderDomain = 'http://widgets.ign.com'; var wtcTitle = "Trending Videos"; var wtcLayout = "thumbnails"; var wtcSections = "videos"; var wtcCount = 8; var wtcUpdateFrequency = 10; The Verdict
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Mark Dos Santos' art is able to bring that setting to life well enough. The heavy blacks and distinctive character designs help give the book a distinct look and feel. On the down side, the figures can be a little stiff during the action scenes. I also think the book might benefit from more of a neo-noir aesthetic, with some bright lights and a dash of Blade Runner to spice up the Martian cityscapes.
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Uncanny X-Men Special #1 isn't a bad way to kick off Marvel's latest three-part crossover storyline. If a bit lacking in terms of conflict or danger, this chapter allows Ryan and Ackins to have fun with the X-men and further flesh out the younger team members. Hopefully the remaining two chapters will do a better job of emphasizing the other two pillars of the crossover.
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Unfortunately, Aaron Kuder doesn't pencil this issue, instead making way for Scott Kolins. Kolins proves to be a perfectly decent replacement, however. His slightly cartoony style offers a similar vibe. Kolins renders the big action scenes well, though his facial work isn't quite as expressive and varied as Kuder's tends to be. Still, it's a vast improvement over Superman #31's rapid-fire switching between artists.
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While the story quickly heats up this month, the pacing does seem almost too fast for its own good (especially considering the pointless opening sequence). But between David's characterization and Carmine Di Giandomenico's expressive art, there's plenty to like here.
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Aquaman and the Others may not be at the level of its sister series, but it's slowly getting there.
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The latest issue of Black Widow pays homage to the good old days of Natasha Romanov and Matt Murdock hanging out in sunny San Francisco. Unfortunately, neither the change in scenery nor the guest appearance by Daredevil do much to shake up what is increasingly becoming a formulaic series.
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Burn the Orphanage has changed for the better with the shift to a more traditional mini-series structure. However, issue #2 loses a bit of the drive and focus from the first as the characters rest up and plan for their next assault on Mann-Corp.
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Despite these strengths, Dream Police still struggles to find its overall voice. It's hard to tell whether Straczynski is actively trying to spoof detective noir tales, but a lot of the tropes and dialogue in this series are familiar to the point of being quaint. And in some ways, the Dreamscape still comes across as a lesser version of concepts like the Matrix or Inception's dream worlds. Hopefully over time, Straczynski can refine his characterization and better establish the unique qualities of this series.
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Somehow, Andrea Sorrentino still manages to keep up with the monthly grind and deliver his typical gorgeous, striking superhero imagery. His style definitely suits the dank, rain-soaked alleys of Seattle and Ollie's frantic battle with the Longbow Hunters. However, there were a couple instances where Sorrentino's use of silhouetted figures made it difficult to tell which character was featured in the panel. On the plus side, Sorrentino takes the opportunity here to shake up his usual style for the Richard Dragon-centric flashback scenes. The colorful, textured imagery is a great counterpoint to the stark, washed-out images of the present-day scenes.
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Magneto #4 read like a bit of a filler issue. But this new chapter gets the wheels turning again as regular artist Gabriel Hernandez Walta returns and Cullen Bunn ventures into his next big story arc.
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One element that is becoming less memorable about this run is the focus on done-in-one stories. With Ellis introducing conflicts and wrapping them up each month, there hasn't been a great deal of time for Spector's character development. The character is in the same place now he was in issue #1. And this issue in particular ends so abruptly you would be forgiven for thinking you had picked up a copy of Optic Nerve instead. This slow, methodical focus wouldn't be such a problem if it wasn't for the fact that Ellis and Shalvey are leaving after two more issues. Ellis built a great new foundation for Moon Knight with this book, but he isn't showing the ambition to move beyond that foundation.
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Slow start notwithstanding, Original Sin really begins to kick into gear with its third issue. This chapter offers plenty of twists and new developments as the hunt for the watcher's killer intensifies. And it also entertains thanks to the brilliant combination of Doctor Strange and Punisher and the various other eclectic character team-ups. If the series can continue building steam in the coming weeks, this could really become something special by the end.
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This easily ranks among the funniest and most entertaining chapters so far as the gang take the fight to Chameleon and Hammerhead struggles to avoid his mafia movie stereotype past.
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All of this fits quite naturally into Soule's ongoing plans for the book. Swamp Thing is forced to confront the consequences of his recent actions in destroying the Parliament of Trees, of which this watery foe is but one. Where exactly Soule's saga is heading isn't exactly clear. But if even a seemingly random crossover like this can prove so entertaining, there's no reason not to be excited for what's coming down the pipeline.
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The first month of Futures End was all downhill after two solid opening issues. Luckily, the series rebounds to a certain extent as it begins its second month. The general quality of the dialogue and characterization seems better and more cohesive, though I'm still not thrilled with the newly fame-hungry Mister Terrific (who becomes the New 52's answer to Steve Jobs in this issue).
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Parker doesn't neglect his other brewing plot threads despite the brief crossover. There's continued momentum on the Mera front s she investigates her own attempted assassination. Parker provides a compelling new glimpse of Atlantean society and its social stratas here.And there's more mystery and horror aboard Triton Base to balance out the book. The issue does feel a bit choppy in that the three segments don't really have any interplay and read more like three separate stories. But Aquaman is never guilty of failing to entertain.
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It's a promising start for this story, though the art leaves something to be desired. The facial work is muddled and often poorly matched to the tone and emotion of the script. Good thing Wade himself doesn't have to worry about that.
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If you're looking for an all-ages-oriented Spider-Man comic that offers a lot of bang for the buck and can also serve as a primer for Spidey's Silver Age history, you could do a lot worse than this Giant-Size special.
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Not a bad issue all in all, but I'm ready for this conflict to move to the next stage.
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Fans of this current storyline will be pleased, as writer Chris Schlerf references the events of Halo Wars and the mystery of the Spirit of Fire's disappearance.
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Certainly, Madureira's bold style and figure work remains a selling point, though the amount of times he relies on simple, silhouetted figures in his panels here is frustrating. But in a larger sense, Inhuman disappoints because it isn't aiming big enough or making the most of its premise. The cast and scope remain annoyingly limited.
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In some ways it's a shame that Nightwing's series finale is less concerned with wrapping up the series and more with setting up Dick Grayson's next book. But at least this issue shows plenty of promise in Dick's new status quo. Tim Seeley and Tom King tap into a less well explored corner of the Batman universe and start the process of building a new kind of Bat book. The fact that only two of the three chapters in this issue are well-executed is cause for concern, but hopefully their collaboration will grow more consistent with time.
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And it's also fun to see more interaction between Guy and Atrocitus' Lantern factions in this issue. Obviously their inevitable showdown is a key moment Soule is building to, but even in the lead-up to that material there's some great banter and tension to be had. Soule paints Guy as a man close to the end of his rope in this issue and desperate to maintain a grip on the only family he has left in the universe. And there's the key - family. That word could never have been used to describe this violent group of rage-mongers before, but they've grown nicely under Soule's capable hand.
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This finale issue lays the groundwork for the new volume and Sean Ryan's take on the franchise. Some elements work well, particularly all of the material involving Black Manta and his search for purpose. But the more political elements fall flat, as does this newly weak and ineffectual Amanda Waller.
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This issue also offers a brief reunion between Starlin and artist Ron Lim. Their collaboration retains its appeal after all these years. Lim's cosmic characters and landscapes may not be as flashy as some artists, but he brings all the usual scope and imagination to his pages.
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Issue #4 is a bit of an improvement of the previous one. Seeing Amethyst in her new role as an agent of S.H.A.D.E. is fun, as is the increased focus on the older, more world-weary Tim Drake.
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Cornell makes some interesting insights into Wolverine's character and present state of mind. And he plays well on the relationships built up between Logan, Pinch, and the rest of his new squad. But the narration is overwrought, and the idea of Logan fighting an army of alternate versions of himself is never properly explored.
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X-Men: No More Humans is a solid graphic novel that succeeds more in terms of characterization and art than story.
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Bruno Redondo continues the maintain the grueling pace this series demands, illustrating both chapters with his clean, expressive style. As the action heats up, this comic becomes more cinematic and movie-worthy than ever before. I can only hope Redondo is able to keep up this pace for as long as this conflict rages.
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As much as I was disappointed that this arc didn't showcase more of life on Planet X and the romance that grew between Havok and Wasp during those five years, this issue does at least make the most of their evolved relationship and the question of what happens to their daughter if this future is undone. Perhaps what this issue showcases more than anything is that there are consequences to this extended conflict. Perhaps the Avengers will succeed in travelling back, saving their dead comrades, and avenging the Earth. But even with reality going back to normal, there will be consequences for these characters. That sense of consequence is a tough thing to achieve in time travel-oriented stories.
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As with issue #1, the main weak point with this new story arc is Electro. Max Dillon feels very much like a shoehorned villain, and this issue shows that his role could have been filled by several other Spidey rogues easily enough. Whereas Slott delivered a great Lizard-centric storyline to coincide with the first Amazing Spider-Man movie, this Electro appearance seems to do little else but tick off those boxes on the movie tie-in checklist.
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The stream-of-consciousness approach and hyper-violence are great, and the comic is genuinely funny, not just silly. The idea of a world called Captain Planet where all the captains of pop culture dwell is particularly inspired. Bring on more Axe Cop!
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Deadpool Annual #2 offers a completely standalone Deadpool advebture with a completely different creative team from the main book. All you really need to know is that writer Christopher Hastings capitalizes on the comedic potential of the Spider-Man/Deadpool team-up.
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East of West seemed to gain some momentum in issue #11, and that trend only accelerates in issue #12. Aside from a brief flashback designed to flesh out another figurehead, Jonathan Hickman focuses his full attention on the gathering of nations this month.
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The art in this issue is again divided among multiple pencillers - Eddy Barrows, Tom Derenick, and Diogenes Neves. And as usual, the various art styles don't entirely mesh together. Barrows offers his usual brand of powerful superhero action, though his big splash page is odd in how it depicts the a completely different Forever Evil climax than the one that actually transpired in Forever Evil #7. Derenick and Neves' pages blend better, focusing less on action and more on facial work and subtle interaction.
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The $7.99 cover price is a bit much given the total length of the issue, but TMNT lovers should be satisfied by the contents.
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There are still points of interest in this issue as more teases are dropped and Lois Lane's investigation unfolds, but Futures End has some more fundamental storytelling issues that need addressing right now.
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Bolstered by some gorgeous, striking, often haunting visuals courtesy of Esad Ribic, and this series continues to fire on every cylinder available to the god of thunder.
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Between the flat, scratchy, and at times abstract figure work and the horrendous costume designs, this series could really use a visual overhaul.
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If your excitement for this series has waned at all in recent months, it's hard to imagine Uncanny X-Men #21 not reinvigorating it.
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V-Wars remains, for now, a series with some interesting ideas but a haphazard execution.
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As much as Forever Evil has been an example of how to do event comics properly, it's disappointing that the series couldn't end on a higher note. But despite the oddity of Luthor's final scene and the excess amount of setup in the closing pages, there's plenty of material to enjoy in this finale. Johns has once again weaved his magic with DC's villains and molded Luthor into a more complex and morally unpredictable figure than ever before. Hopefully what comes next will be just as compelling.
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In some ways, Jason Aaron is writing the ideal sort of event comic. Original Sin has a good sense of scope and is beginning to ramp up the action and spectacle without losing sight of the series' core appeal - the oddball, delightful character pairings. The problem is that this murder mystery isn't moving quickly enough. The series still seems mired in setup right now, and there hasn't been enough plot progression after two issues. But hopefully the ending to this issue means the sluggish pace will soon be at an end.
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Pak offers a satisfying blend of introspection, JLA dynamics, and good old superhero action in this chapter.
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It's a busy, eclectic issue. And as with the previous three chapters, it shines best when Dennis Hopeless focuses on the character dynamics both among the team and with their friends and family (kudos on the Runaways reunion).
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The issue has a cool, creepy vibe to it, though the art isn't always 100% successful at channeling it. Ray Fawkes also takes the opportunity to flesh out John's New 52 origin a bit more.
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Issue #28 is a wacky little standalone issue that sees Wade and his new bride venture to Japan as part of their honeymoon.
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John Byrne again uses the fumetti comic approach to craft a sequel to a classic Trek episode, in this case "Mirror, Mirror." Perhaps the novelty has worn off since the annual, or maybe it's just that the pacing of this story is all over the map, but this issue doesn't prove very satisfying.
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That material is a solid showcase for how Wonder Woman interacts with the rest of Clark's circle of friends, but it also seems pointless in the context of the larger story. Meanwhile, Charles Soule's depiction of the brain-addled Clark varies between haunting and comical.
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It's a mostly positive issue designed to wipe away the darkness of "All Out War" and embrace the more optimistic future Rick foresaw. That's not to say Robert Kirkman doesn't find time for some classic zombie carnage.
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And Gerardo Sandoval's art remains unsatisfying. It pushes the book's already '90s-fueled aesthetic too far, becoming almost an extreme, gritty parody of a Wolverine comic.
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Worlds' Finest is a book that simultaneously succeeds because of its peppy dialogue and smart characterization and falters because of its perpetually sluggish plotting.
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All-New X-Men is always at its best with Stuart Immonen providing the art. This issue allows Immonen to tackle a wide range of material, from a dramatic birthing scene to dimly lit, underground battles to neon-drenched scenes of the future Marvel U. Maybe none of the material is quite as epic as what we saw in the "Trial of Jean Grey" crossover, but who knows where this arc will venture before the end?
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This issue also sees Leinil Yu return to the series for the first time since the Infinity tie-in storyline. He's a perfect fit for the grim, foreboding tone of the tale, which culminates in a big battle between Avengers and iron Man drones worthy of a an action-oriented storyteller like Yu. The inking sometimes obscures the figures and the facial work unnecessarily, but not to the point that it derails the story.
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Again, the art is the real sticking point. It's not so much that tan Eng Huat lacks the storytelling ability and choreography necessary for a good martial arts romp. Its that his figure work is wildly inconsistent. At times our the figures will be rendered fairly realistically and in great detail, but at others they become wildly distorted caricatures. Given Huat's past Marvel work, there's little reason to expect the problem to improve over time.
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Bernard Chang continues to prove himself as one of the more capable artists working in the GL franchise. His work is smoother and more refined than the scratchy pencils and inks seen in Green Lantern #31, and his characters far more expressive.
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As with any Mignola-illustrated comic, the artwork is the main draw. Mignola didn't draw the original story, "Hellboy and the Vampire of Prague." So it's a treat to see him tackle the villain himself. And as always, Mignola is able to use darkness and shadow better than just about any artist in the industry. His Hell is a far cry from traditional depictions of the realm, more dilapidated and isolated and sad than fire and torment. Couple all that with inspired use of snake and bird imagery to depict the suffering souls, and you have another issue showcasing Mignola at the top of his storytelling game.
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So far the newest Justice League comic is off to a pretty good start. The underwhelming new take on Adam Strange is certainly disappointing, as is the fact that we've seen better work from McKone in recent years. Still, the series offers a lot of fun character pairings and an overall more freewheeling, adventurous tone that sets it apart from the previous Justice League books of the New 52.
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Aquaman and the Others #1 was a decent, if cluttered offshoot of the main series. Issue #2 makes some further missteps and proves a little less satisfying than the first.
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This is one series where the visuals have always been the prime selling point, and that doesn't change with issue #6.
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Cullen Bunn continues to find comedic mileage out of Wade Wilson's latest superpower - the ability to find nonsensical signs all around him and somehow wind up tracking his prey.
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Compared to the stronger work done with the character in recent years, this take just feels generic.
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Real Heroes is taking an awfully long time to get to the point for a comic that's essentially the superhero version of Galaxy Quest.
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She-Hulk #4 is less of a standalone issue than the previous three have been, focusing on Jen's efforts to rescue Kristoff Vernard from the clutches of his despotic father. That material proves entertaining, offering a nice mix of Hulk-y action and family humor.
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One of the many strengths of Charles Soule's Swamp Thing run is the sense that Soule is blazing new paths and expanding Swamp Thing's world without returning to the same old wells.
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This is quickly shaping up to be Dark Horse's best series, and one of the better and more inventive indie comics on the market right now.
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A retread this is not. Learning to Crawl avoids rehashing a story readers have seen countless times, instead opting to explore Peter's slow, painful evolution into the hero he is today. It's definitely a worthy companion to Slott's core Spider-Man series.
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This series hasn't been able to offer much in the way of visual cohesion so far, and this issue is certainly a huge shift from Jae Lee's Gothic visuals. The storytelling from both artists is solid enough, though the figures and character designs are fairly plain. It would have been nice if only one penciller tackled the issue, but multiple artists is practically the norm for this series.
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The potential downside to all of this is that Reign of Terror doesn't welcome new readers as much as you might expect from a #1 issue. Granted, this isn't exactly the most deep or labyrinthine storyline on the stands. But readers are better off starting from the beginning to get a sense for the character relationships and the scope of the franchise in tone and setting. Grace and Freedman continue pushing their characters forward and exploring relationships built in the preceding three issues. There's a depth to the characters that isn't immediately apparent from the '90s video game aesthetic and giant robots. Meanwhile, Grace's art and storytelling keeps improving with each new issue, suggesting that Reign of Terror will only get better as it goes along.
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In the end, there's a sense that everything wraps up a little too neatly with this finale issue. Many of the newer characters introduced over the last year are left in a sort of limbo state, and it's unclear how much impact this entire storyline will really have on the book moving forward. This issue is more successful at building excitement for the upcoming clash with Richard Dragon than it is in giving Ollie's quest a completely satisfying resolution. But at least we do have that gang war to look forward to when Ollie returns to Seattle.
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My one real concern with the direction of this new series is how much it lingers on Peter Parker himself. Peter's influence can be a storytelling boon, as in the scene where Miles reconnects with Mary Jane. But anyone who read USM #200 knows that the actual, physical return of Peter is being teased. This issue deals fairly heavily with that development and related threads. As much as Bendis has done to establish Miles as a worthy heir to the Spider-Man mantle, the worst thing this book could do is force him to play second fiddle to Peter. Hopefully, the fact that Miles' name is now part of the title means that won't be happening.
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In some ways, Original Sin #1 isn't so different from other event comic first issues. There's a lot of setup at work, and not a lot of surprises in light of everything Marvel has revealed about this storyline so far. But Aaron's impeccable character work and entertaining pairings bring life and even levity to a generally dark comic. And if this script doesn't always play well to Deodato's, hopefully that will change as the conflict heats up. Original Sin shows every sign of getting better over time rather than worse, and that alone may set it apart from most of these projects.
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So far, Futures End is off to a decent start. It's got a talented crew of writers at the helm, and it's quickly proving to be a haven for characters who have struggled to find purpose and an audience in the New 52. The addition of Batman Beyond doesn't hurt either. But 52 weekly issues is a big commitment to ask of readers, and so far this story doesn't seem to justify such an expansive treatment. On the other hand, with 51 more chapters to go, there's ample time for this story to get bigger and develop more clear ties to the present-day New 52.
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Amazing Spider-Man #1 offers a solid, enjoyable look at Peter Parker's return to the Marvel Universe. Not every element in this first issue is a home run, but Slott and Ramos succeed at bringing back the fun and excitement of classic Spider-Man while still building on the events of Superior Spider-Man. This issue might have been better off forfeiting some of the less compelling backup material and lowering the cover price accordingly. But regardless, there's plenty of reason to be excited for Spider-Man's future with Peter back in the saddle.
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It all makes for a fun read that has ramifications for more than one of Hickman's Avengers titles. And hopefully it's a sign that the series' recent doldrums are receding.
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Artistically, Avengers World remains the most satisfyingly consistent of Jonathan Hickman's Avengers crop. Issue #5 features more gorgeously vibrant and dynamic work from Stefano Caselli. But the series does begin to frustrate at times with the way it skips between conflicts.
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Art issues aside, this is a solid little comic that shows Simone doing what she does best in the DCU.
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The art is also disappointing in that Trevor McCarthy only handles portions of the issue. The rest is tackled by Moritat, whose work is very spartan and straightforward compared to McCarthy's heavy shadows and more ambitious page layouts. It's just a shame, because such a great run deserved a stronger, more consistent finale. At least Andreyko can get back to his own story next month.
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The storytelling flaws here are frustrating, because occasionally it seems like Tomasi does have a great handle on Bane. This issue is at its best early on, when Bane is patrolling his city, dealing with looters the Old Testament way, and meting out his peculiar version of justice and mercy. Both this issue and Arkham War could have been great with a more introspective and cerebral approach.
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As usual, both chapters are cleanly and expertly illustrated by Bruno Redondo. Now if only this war would finally get started.
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Much like Avengers #28, New Avengers #17 is able to move past the series' recent woes with a much tighter and more gripping script. The focus hasn't changed from the previous issue, but the way Hickman blends scenes of the latest parallel Earth with those of the Illuminati is far more satisfying.
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Origin II has been mostly downhill from issue #1, and it reaches its low point in this final issue.
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Marco Castiello's art certainly does a good job of conveying the grit and grime of the Star Wars universe. The facial work outside of Han is fairly muddled and indistinct (though again, this could be intentional to an extent). Like many Star Wars comics, there's a certain inconsistency to how well Castiello renders familiar costumes and technology. It looks like authentic Star Wars in some ways, but less so in others.
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Uncanny Avengers Annual #1 offers a welcome change of pace for the series, tossing readers a few rays of sunshine and levity to balance out the crushing darkness of the main series. The script is a ton of fun, with meta-commentary on the absurdity entertainment industry in general and comics in particular. And the art proves to be a solid fit for Remender's goofy side-story. Hopefully the Avengers of the Supernatural concept will be able to find some footing elsewhere in the Marvel universe.
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As far as Marvel's recent forays into What If? go, this series has been one of the more eclectic and interesting. But next time around, maybe a little less focus on one single story?
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Gerardo Sandoval steps in for Ryan Stegman in this issue, pushing the new emphasis on Logan as a squat, hairy, ugly brawler even further. It's an approach that suits Sandoval's style well, though the civilian fashions in this issue tend to be overly garish and ridiculous. At times, Wolverine looks more like he's decked out to star in a '90s rap video parody than go drinking and butt heads with an Avenger.
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The prospect of a Fantomex-heavy issue of X-Force was not a welcome one given how poorly the character has fared in this series. But luckily, Si Spurrier makes some solid strides in his portrayal of the goofy, faux-French thief.
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Hercules makes for a fine antagonist in another winning chapter of Jeff Parker's Aquaman run.
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Only the art holds this issue back from being an early high point for the series. Cluttered panels and haphazard scene transitions don't do full justice to the tightly plotted, darkly humorous story being told.
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Long-term readers should have little trouble transitioning into the new series, while newcomers will find this an easy gateway into Conan's world.
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Unfortunately, the series lacks that certain special quality to really set it above the various past efforts to give Rhodey his own solo title.
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But between that haphazard approach and a steady stream of awkward dialogue where characters speak and narrate exactly how they're feeling, this issue proves almost as disappointing as the last.
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But this series wouldn't achieve its storytelling heights without the assistance of Michael Lark and colorist Santi Arcas. Lark's noir-tinged art is a perfect fit for Rucka's writing despite the heavy sci-fi elements. That's where Arcas' colors come in, bathing the technology in a haunting glow and depicting the stark, washed-out quality of the decaying Colorado wilderness. Lark's depiction of Forever's virtual reality training session in the flashback stands as one of the most engaging action sequences in the series so far. This series is a prime showcase for what a great creative team can accomplish with the freedom that comes from independent comics.
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Jim Cheung and Paco Medina share pencilling duties on this issue. And while it's disappointing that Cheung isn't flying solo as originally solicited, at least the various inkers involved are able to downplay the shifts between pencillers and keep up a high standard of cinematic flair. There are several splash pages in this issue that stand out as very event-worthy.
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It's a perfectly solid ending to the series, but one that proves a little too predictable and without surprise in the end.
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This final arc has done a decent job of fleshing out the rivalry between Otto and Norman Osborn, striking a distinctly old-school feel to reflect the fact that writer Kevin Shinick is touching on older Spider-Man stories.
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Superman #30 offers yet another prelude to the imminent Doomed crossover. Unfortunately, this issue seems more interested in setting up plot points than telling a cohesive story, and it jumps from beat to beat with little in the way of transitions or grace.
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Santolouco's art was one of the highlights of the "City Fall" arc. While this script is relatively quieter and doesn't really push his action-based storytelling to the same degree, his moody environments and expressive, stylish character designs are as eye-catching as ever. It's very good to have Santolouco back in the saddle even as the Turtles return to their home turf.
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Humor has always been the defining element that distinguishes The Manhattan Projects from the rest of Jonathan Hickman's heady, sci-fi-driven independent work. And humor is something that is very much in play with this issue.
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But at least the art team finish out this arc as strongly as they began. Bringing inker Stefano Gaudiano on board has been a boon to the series, helping Charlie Adlard and Cliff Rathburn maintain the grueling pace while also adding an extra layer of darkness and texture to the book. It's almost disappointing to think that things will be reverting to normal, as the series has rarely looked as good as it has these past six months.
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But that aside, issue #19 offers a rollicking good time, bolstered by more stellar visuals from Daniel Acuna. He really has become the definitive Uncanny Avengers artist, lending just the right sense of otherworldly scope and drama to this unique Avengers conflict.
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This series is every bit as fun and wacky as a book predicated on pairing the two craziest killers in the Marvel Universe together should be
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The series has definitely overcome a lot of the hurdles it faced early on. Rather than regurgitate the straightforward, shooty-shooty conflicts of the games, the book is now exploring more organic story material and paying heavy attention to the search by characters like Mega Man and Breakman for their own humanity.
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At least the art remains in good form, making up what it lacks in background detail with refined emotion and exciting displays of spy-ops action.
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It's a melancholy finale that nicely caps off Hock's arc and showcases Vader at his darkest and most imposing. Gabriel Guzman's art is clean and cinematic, though his rendition of Vader tends to vary in quality and proportion from panel to panel.
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The Mercenary Sea keeps moving along at a fast pace, offering a variety of WWII-era naval intrigue and a healthy dose of pulp adventure to counterbalance it.
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The series is back to hitting the same highs it did during its delightful first year.
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Uncanny X-Men continues to pick up steam after several months of meandering between characters and storylines. Though less action-oriented than issue #19, this chapter offers some terrific character interaction between the X-Men and Maria Hill as Cyclops confronts Hill on her home turf.
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Goran Sudzuka takes over art duties from Cliff Chiang for this issue. Sudzuka has generally been a good fill-in for Chiang, capturing his clean, economical style well, if not channeling quite the sense of energy and grace in his panels. But his pages flow well, and he certainly does his part in terms of conveying the horrific nature of the First Born. The one real visual misstep this issue makes is in framing Diana'a pivotal speech to her Amazonian sisters with Diana atop a high balcony. The nature of her speech practically demands her to be on ground level with her sisters. But it's hardly a deal-breaker for this latest enjoyable installment of Azzarello's run.
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It's a solid character-building issue with a refreshing horror movie tone, capably assisted by Clay Mann's dark, fluid visuals.
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Amazing X-Men #6 serves as a generally effective way of welcoming Nightcrawler back into the fold and celebrating his many relationships. It's not a wholly satisfying as a cap to Aaron's X-Men saga, but it's not exactly fair to judge it as such. And that last page is pretty great.
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This issue is at its strongest when Tomasi's script veers into introspection mode. There's a great scene where Diana pays tribute to her petrified mother, and another where Batman reflects on the path Damian's life took. These scenes, coupled with the fact that this issue doesn't offer a great deal of plot progression, highlight the sense of disappointment that Tomasi didn't focus more on the relationship between Bruce and Diana. It's a good comic that could have been better.
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Dale Eaglesham gives the book the visual force it needs to stand out. His work is dark, richly detailed, and very adept at conveying the power of fear and Sinestro's intense suffering. In particular, the way Eaglesham visualizes Lyssa's replacement for the Book of Parallax is very eye-catching. My only complaint is that Eaglesham's tendency to draw all of his protagonists as if they were modeled after the Brawny Paper Towel mascot really doesn't mesh with Sinestro. He's supposed to be tall and lean, not squat and barrel-chested.
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Superior Spider-Man #31 isn't a perfect ending to the series. Slott and Gage's handling of the Green Goblin reveal is underwhelming, and the backup story is largely disappointing outside a few key scenes. But flaws aside, this finale packs in some of the best moments of Slott's entire Spider-Man run. It's a thrill to have Peter Parker back in action, and this issue nicely sets the stage for the next phase of this ongoing saga.
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There's potential for a hip, groundbreaking FF saga here, but there will definitely be some growing pains along the way.
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Depending what you're looking for in All-New Ultimates #1, you may walk away disappointed. This is less a replacement for the classic Ultimates team and more an extension of Ultimate Spider-Man. But while this first issue is held back by some strange storytelling choices and a generally choppy script, at least it tries new things and doesn't come across as just another in a long line of teen superhero comics. It adheres to the promise of the Ultimate Universe being a home for new and unexpected kinds of stories.
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The series may be slow to build towards its ongoing status quo, but the benefit to this approach is a methodical, believable examination of how Niko, Chase, Cullen, and the rest could actually be tempted by villainy.
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Like the other DC Dark books, this series benefits from venturing out on its own again.
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East of West sometimes reads like Jonathan Hickman's answer to Game of Thrones, what with the copious lineup of characters and the constant back-stabbery and power plays. And while the sheer visual and conceptual imagination at work in this series is usually enough to keep things afloat even when the story begins to trudge, it does seem as if the book is gaining momentum again
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The Scotsman was always one of my favorite supporting characters from Samurai Jack, so it's been a nice treat to see Jim Zub's series devote two issues to another Jack/Scotsman team-up.
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Shotgun Wedding #1 featured a fun premise, but it didn't do enough to distance itself from similar stories like Mr. and Mrs. Smith. Luckily, issue #2 makes some strides. The romantic history between secret agents Mike and Chloe is fleshed out, allowing both to feel more like characters and less like cardboard cutouts
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This arc still reads like a chore compared to past stories, but at least it's improving and moving at a brisk pace.
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Brace yourselves for another filler issue without the regular Superior Foes team at the helm. As with issue #10, this standalone issue and its vignettes retain the same general appeal of the series and its focus on lovable, D-List villains.
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The final scene in this issue rings a little false in a way that's difficult to explain without getting spoiler-y. But the good news is that it leads right into one of the most satisfying and hard-won cliffhanger images in the book's history.
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As I was reading this issue, I did worry the premise would leave Doop marginalized within his own story too much. Do we really need five issues of him toying around behind the scenes of a completely different X-Men storyline? Luckily, the final pages deliver a major shake-up and promise that the mini-series will be shifting in a different direction. This is shaping up to be a very enjoyable and stylish addition to the X-Men franchise.
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And the varied artwork helps a great deal. I don't know that this is "the greatest artist roster ever assembled" as the cover proclaims, but it's a mighty fine assortment either way. The issue features a nice mix of classic X-Men pencillers (Art Adams, Paul Smith) and artists you wouldn't normally expect to see on a Marvel book (Bruce Timm, Jill Thompson). These artists contribute a variety of splash pages and more traditional sequential work scattered in among David Marquez's framing sequence, with the overall flow and effect working better than the similarly focused Ultimate Spider-Man #200 from last week.
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The remaining three-quarters of the issue are comprised of the backup tales, bringing back everyone from Joe Kelly to Gail Simone to Christopher Priest to write the Merc With a Mouth. Luckily, there's a unifying theme running throughout these tales that ensures that remain at least somewhat relevant to the larger picture. In most cases, the writers and artists deliver a story very much rooted in the style, voice, and character lineup of the projects they worked on previously. So these tales feel like a blast from the past in the best possible way.
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This has the potential to be one of Claremont's best contemporary projects. Unfortunately, this issue has its problems beyond the excess dialogue and narration. The story loses a bit of its punch once Nightcrawler ditches the X-Men to visit his old girlfriend, Amanda. I'm pretty sure the normal reaction upon learning your late superhero boyfriend is alive again isn't "Yay! Let's have sex!" But maybe people in the Marvel Universe really are that apathetic towards death by now. It also seems strange that Claremont never acknowledges Kurt's new existential crisis - the fact that he was reborn in a new body without his soul. It seems Claremont's intent is to deliver a brighter, more happy-go-lucky alternative to the darker X-Men titles on the stands. And while there's something to be said for that approach, that plot point is far too integral to the core of who Kurt Wagner is for it to be ignored.
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Amazing Spider-Man: Family Business should have a pretty broad appeal. It caters to casual readers who want a self-contained, accessible Spidey adventure. It appeals to those who crave a tale with Peter back in the saddle. And even those who crave a different sort of Spider-man adventure will find plenty to love here. It's a solid effort from all the creators. Unfortunately, it's not as long or well-paced a story as it could have been, and the lack of more permanent, obvious repercussions on Peter's life is disappointing. This OGN is definitely worth a look, but maybe not at the current $25 price tag.
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Aquaman and the Others #1 isn't an entirely successful first issue. It's certainly accommodating for newcomers and Aquaman neophytes, but at the expense of building momentum and really establishing the series among the New 52. But the building blocks are definitely there, and this issue has no trouble capturing the most important elements of Geoff Johns and John Ostrander's Aquaman work. Assuming Aquaman and the Others can build and maintain an audience, we could be in store for something special here.
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The art in this issue is also easy on the eyes, despite the fact that Aaron Kuder doesn't illustrate every page. Kuder's work is as expressive and dynamic as ever, but guest artist Karl Kerschl also manages to impress with some intricate, jaw-droppingly gorgeous underwater scenes. Where can we sign up for more of that?
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Regardless of setting, Matteo Scalera and Dean White keep this book looking awesome. Scalera's work is endlessly dynamic and expressive, offering a grungy sci-fi aesthetic with the hints of darkness and horror inherent to his work. And White seals the deal with his colors, giving every panel a sense of life and vitality amid the grunge and heavy texture of Scalera's pencils. These two are fast becoming one of the more effective art teams in the industry.
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Artist Salva Espin is back with Bunn for another Deadpool collaboration, and his pencils ave lost none of their appeal. Espin brings a bright, energetic feel to the series, like a Looney Tunes short with a few buckets of blood and hand grenades thrown in for good measure. And Espin spices up his pages with plenty of visual gags and background cameos. As far as Deadpool tales go, this one isn't very deep. But apart from the annoying villain, it has plenty of entertainment value.
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After waiting so many months for Inhuman #1 to finally ship, it's disappointing to see such a slow, quiet start to Marvel's much-hyped revival of the Inhumans franchise. The scope isn't there, and so far only one of the new characters stand out. But it is easy to see the potential with this new book, and Joe Mad's art goes a long way towards making the slow burn approach easier to tolerate.
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The flashback-oriented approach also plays nicely to Gabriel Hernandez Walta's artistic strengths. Walta isn't really a traditional superhero artist, but nor is this a traditional superhero book. His muted, slightly ethereal art really captures the vibe of Magneto's unhappy mission and especially the terrible tragedy of his childhood. I hope the creators continue to mine that period of Magneto's life for more material.
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This issue is divided between regular artist Fernando Blanco and guest artist Norm Breyfogle. I wish DC had just let Breyfogle handle the entire thing himself. It would prevent the odd jumps in visual style, and Breyfogle proves that he still has the right stuff on every one of his pages. Blanco's art is as moody and striking as ever. It's just that the combination of the two isn't ideal.
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At the same time, the series does feel a bit predictable and safe because of Millar's storytelling choices. Nothing has unfolded in these first two issues that I've found surprising or unexpected. Duke himself has no real discernible character flaws. He's kindhearted, honest, hard-working, and faithful to his wife until the end. Can a comic remain interesting over the long term with such a squeaky clean lead? But to be fair, Millar is still in the process of ushering Duke back to Tantalus and really getting his conflict underway. There's still a lot we don't know about the direction and flavor of this series.
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Overall, this is far from the worst What If? comic to be published in recent years. Unlike many of these books, Keatinge seemed to have just the right length to tell his story. And the fact that these issues seem to use the Age of Ultron concept as a loose guideline more than a firm origin point may help keep this mini-series interesting. Still, What If? Age of Ultron could quickly grow tedious over the next few weeks.
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Time will tell if All-New Ghost Rider can find more sales traction than the previous book. But at least the new creative team are off on the right foot. All-New Ghost Rider offers an engaging, accessible entry point into the franchise that doesn't trip over itself trying to introduce the new hero. And in the tradition of new series like She-Hulk and Moon Knight, the unique visual style immediately sets this Ghost Rider apart from the ones that have come before. Hopefully this series can only get better as the creators work through the origin story and further establish Robbie's world.
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Still, there's plenty of pirate-y action to round out the story. Ed McGuinness remains in top form as he renders cutesy Bamf battles and X-Men all geared up and ready to wage pirate war. His visuals alone are enough to distinguish the series, with its clean, sleek lines and classical superhero imagery. So at least if Aaron is nearly out the door, we can count on more from McGuinness in the near future.
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With this arc over and with Original Sin fast approaching, hopefully Avengers can regain the momentum it had just a few months ago.
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This final issue is anticlimactic in some ways, with the trial seeming like little more than an afterthought in the end. But Bendis crams in plenty of entertaining character banter and sets a number of balls rolling as the two books move their separate ways again. And the big takeaway from the crossover is that the X-Men and Guardians have built an ongoing relationship, promising more crossover between the two titles and Greg Rucka's upcoming Cyclops spinoff. Given how much fun the pairing was here, that's definitely a good thing.
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Injustice: Year Two is moving a bit slowly for a series that now only comes out twice a month. But between the engaging character work and visuals that continue to remain far more presentable and consistent than in the first book, there's plenty to love with this comic.
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The art is also fairly rough in this issue, with regular penciller Vicente Cifuentes collaborating with Tom Derenick (the real pinch-hitter of Forever Evil at this point). While the storytelling is fine, the series loses some of its texture and surreal tone. Unfortunately, the loss of Mikel Janin continues to hit Justice League Dark pretty hard. But hopefully issue #30 will offer readers and the characters a fresh start as it moves beyond this bloated crossover.
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Still, this really is more of the same. More alternate universes taking precedent over our main cast. More spinning in place as the Illuminati continue to plan their next move. It's frustrating to see so little of our heroes, especially with all the potential a Black Panther/Namor reunion allowed. Rags Morales' art is at least one novel addition to the book. He provides a more sound basis in terms of facial work and character interaction than Simone Bianchi's stylized imagery, but at the expense of that otherworldly, surreal tone Bianchi was able to bring to the book. The Black Priests don't have the same sense of wonder or menace they do under Bianchi's hand.
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Superior Spider-Man has one final issue left before transitioning back to Amazing Spider-Man. And while there's certainly enough story material for Slott to work through before the end, Superior has already reached the emotional climax it needed. Issue #30 is one of Slott's best in a run that has spanned from Brand New Day to Big Time to Spider-Island. In other words, well worth the wait.
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Joe Quinones' art is necessarily helpful either. Quinones has a very expressive style, but it's also too cartoony and exaggerated to create a somber tone. His line-work also fails to mesh with Rain Beredo's colors, giving the characters and faces an unusually jumbled feel. All that said, the art is fairly successful in the scene involving Sue Storm and Reed Richards, suggesting that a heavier, more shadowed approach through the issue could have helped a great deal.
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Newcomers will find pletny to enjoy in Uncanny Avengers #18.NOW, though they'll be missing out on a lot of great material if they don't start from the beginning. This issue keeps the series' momentum going but finally offers readers a light at the end of the tunnel and hope that the Unity Squad can finally live up to its name. As much as the brisk pace glosses over points of interest, it also promises that big, exciting things are fast approaching.
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The delays aren't doing this series any favors, especially with certain key characters remaining absent for another month. But the wait proved worth it, as Snyder and Lee were able to deliver some memorable Superman moments and shine the spotlight on Lois Lane and Batman in fun and unexpected ways. With three issues remaining, it's really a question of where the story goes from here and how well Snyder can tie all these threads together in the home stretch.
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Luke Ross takes over art duties for this arc. While his depiction of the Iron Man armor is a little stiff and clunky, Ross delivers excellent figure work and blends the mystical trappings with the real world characters and scenes well. The fusion of those elements is already allowing Ross to stretch his muscles in ways we haven't seen on books like Secret Avengers.
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Next month comes the series finale, where we'll see if DC can properly put this era of the Squad to rest and, hopefully, whether this issue is truly building towards a lasting future for the team.
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The backup feature, unfortunately, is far less memorable. Gage's brief look at Sajani, Carlie, and Yuri Wantabe inside Parker Industries lacks the introspective character drama of the main feature. It reads mainly like a necessary means to an end as far as continuing a couple plot threads from the main storyline.
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Not having been particularly excited about this project beforehand, I'm definitely eager to read issue #2. And Dark Horse further cements itself as the publisher to turn to for well-executed comics based on video games.
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The art isn't always so successful however. As much as Chris Bachalo has defined the look and feel of this darker X-book, sometimes it can become too muddled and murky for its own good. That's the case during this issue's big action scenes. The clash between the X-Men and Sentinels is too jumbled, and it's hard to tell what's even happening in the final panel where the final Sentinel vanishes from the scene of battle. The more dialogue-driven scenes flow much better (particularly the Dazzler/Mystique/Sabretooth material), but this definitely isn't Bachalo's strongest work on the series.
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For better or worse, Mahmud Asrar's muted style suits the tone of the series well. The previous series had a certain visual energy that remained no matter the penciller, and that's more subdued here. But Asrar is still able to inject some fun into his pages thanks to the Bamfs and their antics, and the later pages open up a bit as Asrar dives into the series' first big action sequence.
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But issue #12 is a definite visual showcase. In the main story, Kris Anka is at his dynamic, fluid best as he renders the frenetic ninja battle between Typhoid Mary and Psylocke and the brutal and rather one-sided slugfest between Amora and Monet. In the backup feature, Clay Mann renders the final clash with the Sentinels in glorious, intricately detailed fashion. This series has seen quite a few artists cycle through in its short shelf life, but both Anka and Mann would be great fits for a more long-term presence on the book.
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The issue manages to function on a deeper level thanks to Stuart Immonen's art. Immonen has been on his A-game all throughout this crossover. He's able to convey a great deal about Jean's emotional turmoil through his bold page layouts and nuanced facial work. Similarly, Immonen is able to convey a great deal about Oracle and her conflicted role in the story simply through facial work.
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Avengers Undercover will serve as a smooth transition for fans of Avengers Arena. It has a familiar (if reduced) cast and the same creative team. And right away, this series capitalizes on the drama that comes from surviving a hellish gauntlet and returning to the real world. However, this issue doesn't do enough to establish the new status quo. And the strong character drama might not mean as much to those who didn't follow Arena. The first problem, at least, is soemthing that will hopefully eb addressed over the coming months.
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Still, it's difficult not to be excited about the future of the series after reading these pages. The writers have clearly only shown us the tip of the iceberg in terms of the conflict and the cast involved. And artist Howard Porter is settling in nicely. He brings an energetic vibe to the book, captures the dank future setting well, and his struggles with female facial work seen early on seem to have mostly receded. With the first arc finished, the future is looking bright for this team (metaphorically, if not literally).
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By the end of this issue, Matt Kindt is able to complete his look at Stargirl's origin, motivations, and place in the DCU. It's a satisfying look at a character who will hopefully take on a bigger DCU role post-Forever Evil. But the twist ending does neither Stargirl nor this storyline any favors. It lends everything a pointless sensation, like this entire conflict was all long, drawn-out sizzle and no steak. As with a lot of tie-ins, this issue doesn't even end so much as direct readers to Forever Evil #7 for real resolution. All this build-up should have led to something more satisfying.
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This issue is two-thirds successful, which I suppose gives it a leg up on a lot of anthologies. Even so, most readers are probably better off sticking to the digital series, where they can pick and choose exactly which stories they want.
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Hopefully this arc will veer in a more unpredictable and less creepy direction, but for now it marks a low point for the series.
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Unfortunately, the art quality takes a fairly significant dive in this issue. Giuseppe Camuncoli's art is rougher and less refined. The pivotal moment of the issue is severely hindered by poor presentation, leaving the reader to wonder what happened rather than simply bask in the moment.
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On the writing front, Waltz properly caps off this arc after four issues, bringing the characters full circle and sending them on the next stage of their journey. Both Leonardo and Alopex have pivotal moments in this issue, for better or for worse. This arc has definitely gone a long way toward endearing me to Alopex, and I couldn't help but feel sorry for the poor, misunderstood warrior and her struggle to find a family. This issue actually hits a bit of a false note in terms of where it leaves her relationship with the Turtles, but hopefully Waltz can rectify that in a future issue. There's plenty of reason to be excited about where this series is heading.
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Rock He-Kim's work remains a more troubling element. He-Kim brings a distinctive tone to the series, equal parts sci-fi and militaristic. But as with so much painted work in comics, the figures are lacking in energy and vitality. For all the emphasis on taking action and eliminating the enemy, there is an undercurrent of emotion to this series. The art rarely succeeds at conveying as much.
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The three writers work very well in tandem. The credits page doesn't actually specify who wrote what sections, and it's pretty difficult to tell from reading the issue either. The artists aren't so successful at working as a team, as Tan Eng Huat, Steve Kurth, and Rafa Sandoval's styles could scarcely be more different. But Huat's distorted facial work aside, it all combines to form a pretty satisfying package. The final pages get a little bit sappy, granted. But this quiet tale about a forgotten X-Men emphasizes all of Legacy's strengths and is a great sendoff to a book I would have been happy to stick with for much longer than six years.
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And more and more, Aaron Kuder emerges as just the right artist to bring that eclectic blending to life. His work is expressive and dynamic, focusing less on big muscles and pretty faces and more on unique creature designs, quirky facial expressions, and awesome displays of Superman's might. I can't wait to see what these creators have in store for Superman as this run continues to unfold.
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This issue loses points for not being more visually consistent, but it nonetheless marks a return to form for Pak's Batman/Superman run.
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Layman does manage to deliver an effective cap to his run, so that this issue works as a larger finale. I do wish he had more space to work with. The immediate fallout of Gothopia could have used some more attention, particularly in terms of Batman's relationships with Catwoman and Poison Ivy. Still, not a bad way for Layman to pass the torch to the next creative team.
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Forever Evil #6 leaves readers wanting more, and that's both its greatest strength and one real weakness. It's a fantastically entertaining comic that capitalizes on Johns' flair for writing villains and all the build-up that has taken place so far. But it's depressing to think that this gathering of villains only has one more issue left before evil recedes again. I wanted more interaction among Luthor's group and between that group and the Crime Syndicate. The emergence of Forever Evil's final threat runs the risk of distracting from what has made this event work so well in the first place.
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On the plus side, penciller Joe Bennett and inker Scott Hanna finish out the arc in style. Bennett is given the chance to cut loose and render plenty of carnage between the various Iron Man armors and the ring-wielders. And the result in unusual in regards to Gillen's run, in that the issue is often more viscerally satisfying than intellectually. We'll see how this storyline progresses as "Rings of the Mandarin" gets underway.
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Walta's art may be a turnoff for some readers. It's definitely not very superhero-y, which is a big part of the appeal right there. Walta paints a very subdued vision of the Marvel U, far from the tone set by books like All-New X-Men. And while his figure work can be a little flat at times, Walta's unique style meshes well with this grim, world-weary version of Magneto. Even his modified costume is a vast improvement over the one we've seen for the past year.
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While we know that Cullen Bunn's next Deadpool project is Deadpool vs. Carnage, this issue does leave some interesting room for a direct sequel. This series has proven that there's still potential to be found in a zombie Deadpool tale, as long as the humor is balanced out with a healthy dose of drama.
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Mitch Gerads remains the book's major selling point There's nothing too impressive about Gerads' figure work, but he has a talent for framing his panels with unusual and dynamic perspectives. And he injects life into this world through various visual gags and background details. The sudden move to LA means that Punisher's surroundings are more important, and that's something Gerads is able to capitalize on nicely.
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Marco Rudy brings a very striking look to the series as he steps in for a month. He uses the chaotic shape of Cyclops' optic blasts to frame each page, while also employing both inks and watercolors to distinguish various panels. The heavy deign-oriented focus sometimes gets in the way of the basic storytelling and panel flow, but it's a surreal approach that fits in well with previous issues from artists like Chris Bachalo and Frazer Irving.
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The potential is certainly still there for another quality run, But so far Latour's Wolverine and the X-Men is trapped t deeply in the shadow of Aaron's.
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Unfortunately, it'll be several months before the next chapter of Rat Queens hits the stands. Take the opportunity to get caught up on this quirky gem if you haven't already.
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This is the first issue of Parker's run entirely penciled by Paul Pelletier, and the visuals are markedly improved as a result. Pelletier has no trouble switching from epic undersea action to surface world character banter and back again. More than ever, it's clear this series remains in very capable hands.
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Issue #4 closes out the series' first story arc. Our heroes make a last, desperate stand as they wait for the Pillar to activate. Sacrifices are made, and it's a testament to how quickly and capably Remender has fleshed out his cast that the consequences hit home. By the end of this issue, the overarching conflict of the series becomes more clear. We have our cast of heroes (and sleazeballs), we have our stakes, and the only question is just how strange and surreal the journey will become from here.
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Worst of all, this issue doesn't even offer a satisfying conclusion to the conflict. No sooner does the battle wrap up and the survivors dust themselves off than the conclusion is at hand. The best we can hope is that the Survive epilogue one-shot can cap off Cataclysm in a more satisfying way, and maybe channel more of the emotion and drama that was so apparent in the tie-ins but in short supply here.
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In a lot of ways, Robinson and Kirk provide a very comfortable and familiar take on the Fantastic Four with this first issue. And considering how the previous series started to lag in its final months, it's not unwelcome to see the series revert to what has worked in the past. But what will really defined this run, for better or worse, is the darker material lurking beneath the surface. Assuming the book doesn't become too mired in darkness, this has all the makings of a memorable creative pairing.
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Sara Pichelli and Stuart Immonen make a terrific team with this crossover. Which is good, since Immonen steps in to render a couple pages of this issue. Both have very clean, vibrant styles that mingle well and prevent any sort of weird tonal shift from taking place. Pichelli still handles the lion's share of this issue, where her flair for expressive facial work comes in handy over and over again. I'm already salivating at the thought of one day owning this story in an oversized hardcover edition. This art deserves no less.
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Another blow comes in the form of Mikel Janin's departure. Though he was only recently announced to be leaving the series, apparently his departure was retroactive. Instead, Vicente Cifuentes tackles the art, with Dan Jurgens providing some breakdowns. The art is competent, but lacks Janin's impeccable detail and fluidity. The art is too bland and lifeless considering the subject matter and the various supernatural forces at play in this conflict.
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Giuseppe Camuncoli's harsh, jagged art style continues to serve the storyline well. The panel featuring the entire cast of the Big Bang Theory as background characters is a little distracting, but otherwise this issue marks some of his strongest and most engaging art on the series to date.
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The creative team are definitely their own worst enemies in this case. Uncanny Avengers #17 isn't flawed so much as just "not quite as excellent as issue #16." It still offers an intense, bloody, painful end to "Ragnarok Now." Perhaps none of the big twists in this storyline will actually stick when all is said and done, but with a story this entertaining, who cares?
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Aaron doesn't attempt to tie up every loose end with this issue, especially when it comes to the other JGS teachers. But he does focus on those characters who matter most, while leaving plenty of room for incoming writer Jason Latour to step in and carry the torch onward. Latour has some mighty big shoes to fill.
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This issue is actually at its most interesting in the early pages, where Isanove launches into a lengthy flashback detailing the history of the two lead villains. For a while the reader almost forgets this is a Wolverine comic as we watch two boys bond over a mutual love of Houdini and apply his tactics towards murder and intrigue. And maybe the story would have been better off without Wolverine in the picture.
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At this point, the weakest element of this story is its villain. Aaron has improved Azazel as a character, but not necessarily elevated him to the point where he makes for a particularly memorable or imposing threat. And the fact that he doesn't even appear in this issue doesn't help. Hopefully issue #5 can turn things around in that regard.
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The martial arts action in this issue is sublime, thanks in no small part to Stefano Caselli's dynamic visuals. This series only further proves that Caselli is the ideal artist to work with Gorgon and the Hand. But propping up the action is a terrific glimpse into Shang-Chi's mindset. The flashes to his ancestors and mentors as he steels himself for the big fight are effective in both fleshing out his character and further building tension. By the end, you'll be craving a martial arts-themed Avengers book from this creative team.
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Unfortunately, the end result of all of this is very mixed, and this annual doesn't really emerge as required reading for those just following the main series and not the Fatal Frontier comic.
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This issue didn't do much to advance the overall Forever Evil conflict, but the strong character work more than makes up for that. Johns is able to quickly and capably revamp the Metal Men for the New 52 without losing any of the goofy charm that made them special in the first place. Hopefully this issue is just the start of a bright future for this unusual superhero team.
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And Ramon Rosanas' art definitely has its appeals. What came across as simplistic in issue #1 now seems more stark and foreboding in the vein of the original Night of the Living Dead. The change in setting really helps in that regard. Aside from the general horror movie tone of the visuals, this issue really takes advantage of the sparing use of color. We see that Deadpool isn't the only one to inject elements of color into this post-apocalyptic landscape, and flashbacks to a pre-zombie Marvel Universe suddenly plunge into full color. Sometimes, the absence of color can be as integral to a comic as the color itself.
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The one element this arc does have going for it is Marco Checchetto's art. Checchetto has been the single biggest selling point of Superior Team-Up from the beginning, and it was only right that he return to illustrate this particular team-up. Despite the lack of beard, his Frank Castle is as imposing as ever. The action is dark and kinetic. And while the flashbacks to Otto's childhood are a little overwrought, at least they're rendered with the right level of emotional drama.
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Jamal Igle's art is solid, offering a look similar to that seen in The Final Battle currently. The action is clean and the characters are expressive. My main complaint here is that the book doesn't attempt to capture the seedy vibe of the original film, despite taking place in the same general timeframe.
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Chris Bachalo returns to the series after taking a couple issues off. He brings a welcome sense of style, though the washed out colors and abstract environments don't always do justice to the Tabula Rasa setting. Bachalo is able to differentiate the many characters in terms of anatomy, body language, and facial expressions so that there's never any confusion as to what's unfolding on the page, despite the fairly low-key costume designs and smaller panel work.
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The art again is split between Kris Anka and Clay Mann. There's more of an attempt to separate their two portions of the story, which would be nice if not for the fact that the continuity between their two sections is perplexing. At this point, the scenes of the younger X-Men battling Sentinels seem almost pointless in the context of the larger conflict.
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Marvel's latest X-Force project isn't a bad revamp of the franchise. The direction of this series is pretty basic, but it allows Spurrier to focus on elements like humor and epic action he does so well. It's a solid and entertaining jumping-on point. But can the series succeed over the long run without more emotional heart and a deeper sense of purpose? Time will tell.
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Not to mention that Stuart Immonen is delivering some amazing visuals. Bendis' script gives Immonen a wide variety of material to work with. There are intimate emotional scenes that hinge on facial work. There's slapstick, comedic banter. There's epic space warfare and explosions abound. If we've learned anything from this crossover so far, it's that there's nothing Immonen can't draw impeccably well.
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Nor does Salvador Larroca's art bring much to the table. Larroca's figures are as spartan as ever, but normally his framing and storytelling can make up for deficiencies in that area. Not so here. The action scenes between the Adaptoids and Avengers are dully framed. There's not enough scope to match the tenor of Hickman's writing.
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As with the previous tie-ins to Blight, Aco illustrates this issue. In some ways, Aco's style is very reminiscent of Mikel Janin's on Justice League Dark. The thick blacks and twisted designs paint this as very much a supernatural book in addition to a superhero one. But the line-work lacks some of Janin's careful confidence, and the facial expressions can be wonky at times. Luckily, Brad Anderson's colors do a fine job of capturing all the mystical energies and hallucinations being tossed about.
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Mike Hawthorne illustrates this issue with his usual flair. He brings a palpable energy to the book, and he's great at inserting moments of physical comedy into the background of his panels. The main complaint with the visuals is that the coloring is often too flat and washed out. The situations in this issue may pay close homage to Alien, but the orange-tinted colors do anything but.
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For the most part, the series still continues to thrive by exploiting the pre-New 52 character dynamics and juxtaposing those with the rapidly changing makeup of the world. Certainly, the Green Lantern, Superman, and Batman-focused material manages that. The interaction between Supes and Sinestro is especially memorable. But there's a slight awkward quality to the Hal/Barry scenes in how that conflict tries too hard to mirror our own world and last year's government shutdown. As much as I'd love it if superheroes showed up one day and forced Congress to do their jobs, I don't need that in my DC books. Stick to more timeless and dramatic storylines, like that time Aquaman attacked the surface world with a giant kraken.
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As with issue #11, the art here is divided between Eddy Barrows (who handles the real-world material) and Tom Derenick (who handles the mental flashbacks. Barrows is at his bold, dramatic best, giving a savage brutality to Despero and highlighting the suffering of the two heroes nicely. Derenick's work is a little too lightweight by comparison, though his facial work does tend to bring out the emotion of the script well enough. R.B. Silva also tackles a brief interlude in the form of a Martian folktale. The three styles don't mesh terribly well, but I've come to expect as much from this arc.
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These two issues work well enough as a standalone storyline, but they also serve to connect various dots and propel the series along as Wood moves toward his next major conflict. And they prove that "filler" stories can be as good as, if not better than the main threads.
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Of the regular troupe of Superior artists, Giuseppe Camuncoli was easily the best choice for this arc. His harsher style meshes well with the overall darker tone of "Goblin Nation." In particular, his more sinister portrayal of Green Goblin and his surreal approach to Peter's "mindscape" are just what the series needed at this stage.
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Matthew Reynolds brings a very interesting, stylized look to the project that I'm sure is drawing plenty of comparisons to the FX animated series Archer. The characters themselves are marked by bold, thick lines and fairly simple facial work. It's more the colors that stand out and give this book its visual edge. Reynolds frequently zooms out and frames his characters as mere silhouettes against an environment of lush colors and angular shapes. It creates a terrific sense of mood and atmosphere that isn't as apparent in the smaller, dialogue-driven scenes.
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Aaron Kuder's artwork perfectly matches the charming tone. His style is a little less focused on superheroic action and spectacle and more on unique character designs and overall energy. His facial work suffers a bit whenever the figures are framed from an angle, but otherwise Kuder brings a vibrant, slightly more cartoony look to Superman's world.
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In the end, this package is mixed at best. It does offer a nice glimpse of who Harley is and why she was a more entertaining character prior to the New 52. But it's by no means a comprehensive look at the character. I would have liked to see some of Dini's later work from his Detective Comics run included where Harley made a go at an honest, Joker-free lifestyle. Or better yet, a reprint of the full, hard-to-find Harley & Ivy mini-series. This issue is a decent, if pricey primer on all things Harley, but newly converted fans will have a lot of other reading to do afterward.
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David Finch's art shows some signs of the deadline pressure. In general, his facial work and sense of scale and proportion are weaker than they were in earlier installments. The perspective in the big fight scene between Luthor's Society and Deathstroke's mercenaries can be weird at times. But Finch still nails the emotion and drama when it matters most, particularly in a key scene involving Power Ring.
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Billy Tan and Alessandro Vitti prove to be solid matches for one another, artistically. Both have fairly scratchy styles that capture the darkness of the Red Lanterns and the heroism of the Green Lanterns. Both have their issues with facial work and emotional range, but in terms of visual cohesion, this issue satisfies.
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Unfortunately, Jason Fabok doesn't illustrate this issue, and it's probably safe to assume he's moved onto Batman Eternal by now. Aaron Lopresti fills in instead. His art is solid, but it lacks the texture and power Fabok brought to the series. If anything, he would have been better suited to the bright, shining realm of Gothopia rather than the dank halls and twisted inhabitants of Arkham.
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This issue takes a bit of a hit from the fact that Nicola Scott isn't on board. Luckily, Barry Kitson and Robson Rocha do a solid job of filling in. Kitson handles the bulk of the issue, nearly matching Scott's ability to blend dynamic action with expressive character interaction. And Rocha brings a detailed, sinister touch to the Superman scenes.
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Simone Bianchi remains on board the series, and his art exhibits the same strengths and flaws as before. His distinctive style is great at capturing the otherworldly elements and the grand tone of Hickman's writing. But his human figures and faces are too distorted and surreal, rarely conveying much in the way of emotion except, ironically, during the armor-clad Doom's big moment of defiance. That would suggest that Bianchi's eyes aren't the problem, but other areas of facial work and body language.
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But alongside the steady stream of humor is the strong characterization that has defined the series. As much as it's fun to laugh at the bumbling Fred and his crappy luck, Spencer also has us rooting for him in both his romantic and professional struggles. As always, Superior Foes strikes that magic balance between poking fun at these C-List villains and making us care for them.
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Though Swamp Thing routinely bounced between artists, the series has maintained an impressively cohesive visual tone throughout Soule's run. Javier Pina picks up where Jesus Saiz left off last month. Pina is deftly able to follow Soule's eclectic narrative, conveying the comedic and fantastical elements equally well. And Matthew Wilson's rich colors do their part to bring this unusual world to life.
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While it's disappointing Dodson only illustrated half the storyline, and that this series has yet to acquire a regular artist, I won't complain about Kris Anka illustrating more X-books. His style is one of dynamic energy and elegant simplicity. It's unfortunate that his style doesn't mesh well with Clay Mann's heavier, more detail-oriented pencils. Both are more than suited to draw this series, but the way Anka's art abruptly shifts into Mann's doesn't do this story any favors.
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The general premise of the book is beginning to fall into place after a relatively scatterbrained issue #1. The only real disappointment with issue #2 comes as a result of DC hyping up the appearance of Death. While she's referred to in a fairly oblique sense several times, she only appears in the flesh in a single panel flashback. Hopefully the various references will eventually build towards something more for the character, and we'll learn what consequences our two ghostly heroes will face for remaining on the earthly plane for so long.
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The art, unfortunately, continues to lag a bit behind the writing in terms of quality. Alessandro Vitti's dark, scratchy lines have their purpose, but not so much in a more lighthearted issue like this. Thankfully, the almost comically masculine portrayal of Ice on the cover is not at all indicative of the contents. Jim Calafiore is brought in to illustrate some of the Guy/Ice material. His style is enough of a fit for Vitti's without veering quite so far into gritty territory that I would have preferred he illustrate the entire issue.
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With a winning balance of intrigue, action, and sentimental reflection, this issue further establishes Parker as a worthy heir to the Aquaman throne. The series hasn't radically changed from where it was a couple months ago, but Parker drops just enough hints about the future of the series to suggest we won't have too long to wait before he makes the series entirely his own.
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Tomasi is once again at his best in telling a self-contained adventure that celebrates Damian's impact on the Bat family. The twist this time is that we get a much-needed glimpse of the original Bruce/Dick partnership. It's a reassuring confirmation that the core of the franchise hasn't changed much over the decades, and one that pays homage to a lighter, more fun era for the Dark Knight.
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All that being said, this issue does improve on the previous three in one key area. Galactus has been far too much a silent, almost faceless threat throughout Cataclysm. For all his phenomenal cosmic powers, Galactus is still a creature with thoughts and motivations and desires. Bendis reflects that here as Jean Grey delves into Galactus' mind and readers get a sense of Galactus' desperation and confusion at his current predicament. There'a kernel of drama there that could finally give this story the emotional resonance it sorely needs in the final issue.
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At long last, readers finally have answers to all their questions about the new Batman of Earth-2. This issue hit a few snags along the way and falls a bit short of Taylor's work on the main series. Even so, it sets the stage for some solid drama as Batman's role within the series continues to evolve in 2014.
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The other flaw is with Neil Edwards' art. At his best, Edwards is a cinematic storyteller on par with the likes of Bryan Hitch. But here, his work is all over the place. It's frustrating to see him focus so much attention on facial work, only to have panels ruined because the faces don't match the tone of the conversation. Tom Derenick's origin pages are a little more successful in terms of storytelling, but they too are unnecessarily cramped. The wide scope of the story is betrayed by small, overstuffed panels.
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There's still nothing terribly creative about Night of the Living Deadpool. This series spends more time spoofing the genre than adding anything new. But issue #2 is an all-around more successful effort than the first, and that bodes well for the remainder of the series.
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Three different artists are brought in to handle these three distinct plotlines. Humberto Ramos finishes his stint on the series by rendering the Goblin battle. The frantic action and bizarre character designs play well to his hyper-exaggerated style. Fortunately, the more dialogue-driven material is saved for Javier Rodriguez and David Lopez, who handle the Peter and Avengers scenes in clean, elegant fashion. The worst aspect of the visuals is merely that Lopez and Rodriguez have very similar styles, making Ramos' pages stand out a little too much.
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It would be nice if Marvel hadn't spoiled so much of what's coming in the months ahead. It's hard not to let that knowledge color the experience and dampen the suspense. But with any good story, the journey is more important than the destination.
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Had this issue only included the main story segment, I would have found its Scott and Doom-centric focus a fairly underwhelming end to the series. Luckily, there's a fairly hefty epilogue sequence that brings the entire FF and Fantastic Four casts into the limelight and offers one last hurrah for this era of Marvel's First Family. The writers wrap up various loose ends and remind us how great the many character dynamics in the FF are. And Mike and Laura Allred take the opportunity to bedazzle readers one last time with their art. It's good to know that, even if the FF kids may be taking some time off, at least the artists have found a new home with Silver Surfer. If they can bring the same level of visual fidelity and whimsy to Surfer that they did to FF, that book will automatically rank among Marvel's best.
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No, this isn't a flawless debut for the latest Invaders revival. But I can forgive this issue's storytelling missteps in light of the sheer ambition and fun already apparent in the story. Robinson and Pugh aren't simply dusting off an old team and coasting on a wave of nostalgia. They're trying to do something distinctly different with the Invaders, and that alone is enough to capture my interest.
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But the good news is that Stuart Immonen is back on board as artist. Given how rushed Battle of the Atom was towards the end, it's been a while since we've seen Immonen in top form with this series. His talent for rendering epic action and expressive, emotional figures is as impressive now as it was at the beginning of All-New X-Men. Immonen is in good company as he works alongside Sara Pichelli with this crossover, and I'm eager to see the final product collected in one package.
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Having illustrated several pages of issue #24, Salvador Larroca steps in for a full issue this month. Larroca delivers strong storytelling but weak figure work, leaving the colorist to fill in too much of the depth and detail on his characters. My main concern with this series and its sister books going forward is that any sense of visual cohesiveness will be lost thanks to the steady stream of rotating artists. It seems anyone who's anyone at Marvel will be drawing one of Hickman's Avengers books in the coming months.
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Between that quality and Stefano Caselli's gorgeously expressive artwork, this series is quickly shaping up to be a superior book to Avengers. So any fears that Avengers World might be a pointless, redundant, or unnecessary addition to Hickman's saga can be safely put to rest.
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On the subject of duality, artist Patrick Gleason finds many ways to reflect that motif in his artwork. Plenty of thought went into the framing and design choices in this issue, and it pays off for the most part. There's one double-page spread that stands out as awkward. Tomasi and Gleason elect to suddenly call back to previous storylines by depicting the many tragedies Bruce has suffered with the collapse of the Bat family. It's a sequence that could have worked in a different context, but here it comes across as a forced and random way of reminding readers that there's a larger struggle facing Batman once this Two-Face conflict is through.
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Andrei Bressan fills in for Brad Walker this month. The art is serviceable, but rarely stands out in any way. Bressan conveys the action-oriented scenes well enough. It's the more dialogue-driven fare that suffers from dull facial work and sometimes bizarrely proportioned figures. The visuals get the job done for this one-off issue, but a return to normalcy next month won't be a bad thing.
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As usual with these Kate-centric issues, Annie Wu steps in to provide the art. She has a softer touch that suits Kate's world well without veering too far outside the established Hawkeye aesthetic. The art manages to be both laid back and dynamic as the situation demands. However, Wu doesn't bring the same eye for design as Aja, nor the emphasis on small, repeated panels that makes his issues so visually appealing.
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Ivan Reis remains on board this issue, though he only provides layouts this time. As you might expect, the overall quality of the art is a bit wavery and not as nuanced or refined as Reis' recent issues have been. It's obvious from the facial work on many pages that other artists are finishing his work. Still, there's a pervasive sense of energy and emotion to this issue that meshes well with the desperate tone.
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With only one issue left to go, Aaron and company are reminding us what made this series so great in the first place.
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Visually, this issue stands out thanks to the decision to rely largely on a black and white palette aside from Deadpool himself. It creates a stark contrast that catches the eye. I would have liked to see more texture and grit with the gray tones, however. At times, the world Deadpool occupies is too simple for its own good.
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Perhaps this new Stryker will eventually emerge as a worthwhile X-villain. There's little doubt after this issue that Bendis has plenty more planned for him. But for now, I'm just as happy to move onto the big Guardains of the Galaxy crossover storyline.
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It's definitely nice to have Injustice back after its brief hiatus. The series hasn't missed a beat since the conclusion of the first series, and in fact seems to have benefited from the time off in terms of visual quality. While the first story collected here is a bit stronger than the first in terms of focus and cohesion, both suggest that there's still plenty of room for great storytelling in this universe, even if readers know how it all ends.
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The team encounter a new villain in this issue with a seemingly godlike control over reality and the disposition of a cranky teenager. Cue more fun shenanigans and a surprising dose of violence. Luckily, this isn't a throwaway character, but a villainess with a clear connection to the overarching conflict with "The Five." The good news with this series is that it seems to be very mindful of what transpired in the previous Legion book while still offering a very clean jumping-on point. Hopefully it won't be too long before these familiar five faces are joined by a few Legionnaires.
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This storyline really needs a kick in the pants. It's had its moments, certainly, but the wheels seem to be spinning as JLA maintains pace with Forever Evil.
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As long as you don't come into Miracleman immediately expecting the same caliber of work from Moore that he delivered on Watchmen or Swamp Thing, you'll find a thoughtful, intelligent look at a once-campy superhero. It's just a shame that Marvel insisted on cramming the issue with supplemental content and driving up the price accordingly. Wait for the trade, perhaps, but don't miss this chance to finally experience a classic.
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It's almost disappointing that this issue ends with a caption instructing readers to follow Magneto into his own solo series, because it suggests that Bendis himself is bidding farewell to the character just as he rose to the forefront of the book. We can only hope Cullen Bunn can match the strong character work seen in this issue.
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It's a little weird that this issue has no connective threads or build-up to Orginal Sin, especially considering that the first Point One issue teased Original Sin over two years ago. But that aside, this issue is well worth the price of admission, and serves as a strong showcase for Marvel's 2014 lineup.
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Carmine Di Giandomenico provides a new look and feel to go with the new direction and status quo. Everything is light and angular, befitting a corporate-led mutant team. Di Giandomenico's storytelling shines best early on, during Gambit's botched robbery attempt. The coloring is the one visual flaw right now. Between the wardrobes and odd lighting choices, characters often appear almost monochrome in many panels.
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Stefano Caselli's art is a nice way to round out the strong creative team on this series. Caselli is no stranger to pairing with the writers at this point, and his work helps further cement the bonds between this series and its two sisters. As always, his figure work pops off the page, and his art crackles with a manga-esque energy. We can only hope Caselli will be a regular player on the book, rather than the drifter he's been since leaving Secret Warriors.
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Capping everything off is the fact that this conflict ends on such a quiet, unremarkable note. The script directly references the superhero team-up trope of two heroes putting aside their differences to fight a common foe. From there, Mongul is tossed out of the fray as quickly as he appeared. It's all very anticlimactic. But the good news is that the conflict is finished, and hopefully the series can get back on track with its next story arc.
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Unlike the previous Detective Comics anniversary issue, Detective Comics #27 pays proper hoamge to the Dark Knight. This issue packs in a diverse array of talent (if a little light on classic creators) for stories than run the gamut, stylistically and in terms of time period. The Gothopia segment is relatively underwhelming, but that shouldn't stop readers from checking out the fun batch of Bat-tales on offer here.
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But as ever, it's really Andrea Sorrentino's artwork that propels this series forward. Sorrentino takes a fairly minimalist approach when it comes to facial work, offering just enough shape and shadow to convey the necessary emotions. It's more about energy and design and action storytelling in this book. Sorrentino's rendition of the battle between Ollie/Shado and the Shield Clan stands as one of the best of this run. There's a fluid sense of motion, and the use of small panels and monochromatic colors to highlight Ollie and Shado's precise movements is inspired. Sorrentino delivers striking image after striking image,and he also ties them all together with a keen eye for sequential narrative.
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Rich Elson's work is solid in this issue, conveying the many characters and story elements thrown out on the page as cleanly and efficiently as can be hoped for. The coloring, however, leaves a bit to be desired, and some panels have an odd shimmer to them that can overpower the pencils and inks.
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But again, the pace picks up again as the two warring groups come to a head once more. Despite all of Rick's recent victories, Kirkman proves this is still a conflict that can and will turn on a dime. The issue reaches its climax on another tense showdown between Rick and Negan, culminating in one of the better cliffhangers in Walking Dead history. And that's saying something.
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This isn't a bad comic, necessarily, but it's visually jumbled and doesn't do enough to build excitement for what's coming next.
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Visually, the highlight of this issue is mainly the character designs. I much prefer Vampirella in a gaudy steampunk dress to her usual skimpy bathing suit look. The world around these characters feels less steampunk-y and more just plain Victorian, but hopefully we'll see more signs of wacky technology and gadgets as the story progresses. Sergio Davila's storytelling is solid, but the coloring sometimes obscures the line-work unnecessarily, rendering black lines muted and grey.
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Paul Pelletier's artwork certainly helps smooth the transition as well. Whether the issue focuses on undersea intrigue or epic brawls with giant crabs, Pelletier is able to expertly capture the action and emotion of the story. Unfortunately, there are several fill-in pages from artist Netho Diaz in this issue. Diaz's storytelling is sound, and even on par with Pelletier's at times. But his facial work is a little stiff, making it all too obvious when the issue bounces between the two pencillers.
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Mikel Janin remains on board, as ever, though his work is starting to show the strain of the monthly schedule. Certain pages are a bit lacking in finer details and refinement compared to others, though that may be more the fault of the rotating crew of inkers. Luckily, Janin delivers the most where it counts, rendering some epic shots of carnage above and below the ocean surface.
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Unfortunately, this is easily the weakest issue of the series visually. Simone Bianchi's work can be maddeningly muddy and unclear in these pages. While his page construction continues its trend of focusing more on clean, simple panels over the jumbled splash pages of his earlier work, Bianchi's figures are emotionless and poorly defined. Only when Bianchi renders the otherworldly Black Priests does this creative pairing really live up to its potential.
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Artist Rich Ellis steps in for this one-off story. His style falls in nicely with the book's Hawkeye-style aesthetic. The overall look is very down-to-earth, which is a sensible choice given the low-key scope and lack of costumed antics. But that doesn't mean Ellis doesn't find opportunity to play around with the format, and he delivers some neat daydream sequences that further heighten the absurd nature of Janice's life. Apart from a few weird art mistakes (a lack of facial outlines here and a misplaced word balloon there), it's another visually pleasing installment of Superior Foes.
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Unchained hasn't been Lee's strongest DC work by any means, and this issue tends to expose his storytelling flaws at times. Especially reading this series digital, Lee and inker Scott Williams' tendency towards excessive lines and cross-hatching can bog many panels down. The sequence exploring Clark's friends aging and dying doesn't play as well as it might have under another penciller's hand. The action looks pretty swell, but this book is about more than just action. Rather than illustrate a separate epilogue segment, Dustin Nguyen works inside this issue via the flashback scenes. His work is a softer, more emotional counterpoint to Lee's, and I found myself wishing he had been the one to tackle this flash-forward material.
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Origin II #1 isn't overly ambitious, choosing to slowly reacquaint readers with this younger Wolverine in one of the more quiet periods in his long life. But the quiet approach also yields some heartfelt emotion and drama. If Gillen can make us care this much about bears and wolves, what can he do with the story once Logan re-enters civilization? It's a promising start for this mini-series.
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The extra few weeks' wait was certainly worth it for this issue. Forever Evil #4 makes some mistakes in terms of separating Batman and Luthor's factions and trying to hard to humanize Luthor. But it also manages to build Luthor's team into a compelling force and inject the plot with a spark of life it was starting to lose. Hopefully, things are only going to get bigger and more explosive from here.
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Finally, the change in artist has hurt this series as well. The currently storyline's lack of emotional weight and excitement isn't helped by the fact that the figures are uniformly stiff and awkward and the facial expressions forced. At this point, it's just as well this series is due for a relaunch soon. It needs a fresh start.
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But unfortunately, this issue has its problems. Despite Christos Gage co-writing, the dialogue frequently seems to emphasize Dan Slott's worst qualities in terms of heavy-handed dialogue and a general lack of subtlety. As usual, the book is just too crowded with characters and plot points, despite relying on Superior Spider-Man Team-Up for some of its back-story. The scenes don't transition very well from one to the next, and there's an overall sense that this book is just moving too rapidly in order to set the stage for "Goblin Nation."
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There is a nagging sense that is starting to grow while reading this series that all of this death and destruction will ultimately be undone. Even more so now that Remender finally begins to reflect the wider Marvel Universe and offer clues as to when exactly this story is taking place relative to the rest of the Avengers and X-Men franchises. That's the nature of the game in any superhero comic that deals heavily in time travel. But lasting deaths and consequences are hard to come by in the Marvel Universe, so all that really matters is that the ride is an entertaining one.
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Again, the plot in this arc is hardly remarkable. It adds very little to the larger Inhumanity picture (not there there seems to be much to work with until Inhuman actually kicks off). But as this series has always been about characterization and fun over plot since DeConnick originally took over, that's no great crime.
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Only one scene in this issue rings false, involving a hackneyed speech by Bruce about duality and inner darkness. The art also continues to be relatively weak compared to Patrick Gleason's usual standard. His action storytelling is superb, but his figures are really beginning to suffer from inconsistent detail and line weight.
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But as much as this series emphasizes playful antics, it never forgets to showcase the adults and their deeper struggles too. This storyline isn't really boiling down to a question of whether the FF can overcome Doom. That's pretty much a given. The emotional heart of this final conflict is how Scott can handle himself against the man who killed his daughter. Will these 16 issues result in redemption for this troubled hero, or colossal failure? That question alone is enough to leave me craving next month's series finale.
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Will Sliney, late of Fearless Defenders, illustrates this one-shot issue. Sliney's figure work isn't as refined as regular artist Marco Checchetto, but he does manage to strike a similar mood and more downbeat approach to Spidey's world. The facial work is variable in quality, but he definitely renders Spidey in motion very well.
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This issue unfortunately has two pencillers, though in many ways Emanuela Lupacchino's work is stronger and more refined than Ron Garney's. Garney's pencils have a looser, almost sparse feel to them now, with Ive Scorcina's colors shouldering too much of the burden as far as adding definition to the page. But it's Scorcina's colors that are able to mitigate the shift between pencillers, just as he maintained a tonal consistency in the shift from Esad Ribic to Garney.
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For the most part, Forever Evil: Blight has gotten off to a good start in its first month. But the conflict seems to be moving by inches at times, and I really want to see the next big hook or twist that's going to justify the writers wringing another 14 issues out of this crossover.
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Unfortunately, this issue does take one significant step back from the previous chapter in terms of visuals. Terry Dodson only illustrates about half the issue, if even that. The rest is handled by Barry Kitson. Kitson's art is clean and presentable, but lacks some of the dynamic spark of Dodson's work. It's disappointing to see a fill-in artist appear so soon into this six-issue arc, and it doesn't bode well for the future.
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Scot Eaton's art is generally solid, though his re-designed Bane costume doesn't do anything to help the book in the showdown with Croc. Otherwise, Eaton capably depicts a Gotham mired in darkness and renders each new Bat villain with the proper love and attention. Villains like Mr. Freeze and Poison Ivy have rarely looked better in the New 52.
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So far, Escalation doesn't compete on the same level as Marvel's best Halo comics. This series has a lot of potential, but it's currently held back by dull characterization and flat artwork. Hopefully these problems can be shaken off over time, and Escalation can prove that it has a worthwhile story to tell and isn't just filling the gaps between games.
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The art can also be a weak point at times, specifically in terms of facial work. Just like Joshua complained about Wonder Woman's bizarre eyes in Justice League 3000 today, this issue features a lot of freaky, bug-eyed characters. Paul Davidson's general storytelling is sound, but the strange, overly large approach to rendering eyes can really be a distraction in many panels.
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The bad news is that Ivan Reis doesn't pencil this issue. The good news (for this series, not Justice League of America) is that Doug Mahnke steps on board instead. Mahnke's dark, detailed style is a fine fit for chronicling Owlman's exploits and clandestine schemes. It's a visually striking issue thanks to the refined character work and the interesting framing choices that highlight the similarities and differences between Owlman and Batman.
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Given that Doug Mahnke illustrated Justice League #25 today, we can probably assume he won't be back on this series for the duration of Forever Evil. But Tom Derenick and Eddy Barrows make for fine replacements. Derenuick handles the flashback scenes, while Barrows delivers some of his best art in recent memory with the brutal, rain-soaked battle sequences. Derenick's work seems a bit rushed when it comes to facial details, but his work makes for a nice counterpoint to the crushing darkness of Forever Evil. And that sort of encapsulates Stargirl as a whole.
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So great character work and great art result in a great issue, right? Almost, but this issue does still fall a little short in the end. The two halves of the script feel so isolated from one another that they read more like short backup stories glued together into an inelegant whole. Again, the larger plot barely advances this week. And I'm left wondering if "All-Out War" really should have been shortened a bit, with material like this offered as actual backup material and handled by different artists. The addition of Stefano Gaudiano to the art crew has me wondering how other guest artists might handle this series.
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On the plus side, this issue offers Kris Anka another chance to strut his stuff with the X-Men franchise. Frankly, this light and talky issue wouldn't have worked with the book's regular artists. It needed a cleaner, simpler, and more expressive touch, and that's just what Anka brings to the table. And Rain Beredo's bright colors really help bring the rainy, neon-lit streets of London to life.
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It's not as though this Batman/Superman arc is the worst story to feature either character on the stands right now. It's more that it revolves around a one-note premise that's been spread too thin.
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And it's definitely nice to have Nicola Scott remaining on board the series. She has a flair for both the dramatic action sequences (especially the Superman/Flash chase) and the stark emotions of Taylor's script. Even a masked character like Batman brims with emotion. This really is among the best looking books DC is publishing.
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There's also the problem that the concept as a whole feels a bit thin for a five-issue mini-series. Morrell only lightly hints that there's something bigger at play with Peters condition and the encroaching blizzard. He'll need to start showing his hand quickly in order to justify another four issues of this material.
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The art in this issue is is nicely textured and visually evocative thanks to its use of color and elements like Benday dots. It bodes well for Mahmud Asrar's role on the relaunched Wolverine and the X-Men series next year, as this issue proves he can handle simple character interaction and wild and crazy superhero showdowns in equal measure.
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Olivier Coipel is the primary artist on this issue, though he's also joined by Infinity veterans Dustin Weaver and Leinil Yu. Coipel handles the present-day scenes, while Weaver tackles the Infinity flashbacks and Yu renders the ancient saga of the Inhumans and their first king. The transitions between each artist aren't too jarring, especially since the format practically invites those transitions. The coloring goes a long way towards giving each section its own distinct tone and feel. Of the three pencillers, it's actually Coipel whose work proves a bit disappointing. Some of his pages are uncharacteristically sparse in terms of detail and line-work, especially when it comes to facial features. But he still delivers some standout pages, particularly during the big climax.
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I only wish the art in this arc were a little more consistent and adept at handling the more tech-based elements. Penciller Joe Bennett and inker Scott Hanna deliver a very clean look, but the detail in areas like facial work can fluctuate an awful lot from page to page. And Bennett's rendition of the current Iron Man armor lacks some of the sleek, futuristic quality other artists have brought to the table. Iron Man shouldn't look this bulky and clunky.
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As with the previous issue, Humberto Ramos brings all the usual problems to the series in terms of wonky, exaggerated anatomy. But no one can render the symbiote quite like Ramos, so the more action-oriented scenes certainly shine.
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With 11 more issues to go, there's plenty of time for Straczynski to build this saga into something grand and unlike the Terminator conflicts we've seen in the past. But for now, The Final Battle recycles too many of the same old elements from the first three movies.There's no point in finishing the saga if you aren't going to do something new with it in the process.
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All-New X-Men #19 isn't a bad comic, though the art frequently leaves a lot to be desired. It's more that this series is lacking in the excitement and ambition that defined it prior to Battle of the Atom. Hopefully that will change quickly enough when the crossover begins.
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I was nearly prepared to be disappointed with this issue's depressing ending until Johns pulls a 180 and gives Aquaman the more uplifting sendoff he deserves. Meanwhile, the epilogue strongly suggests that Johns isn't quite done with this corner of the DCU, even as he passes the torch to Jeff Parker. The ride isn't over yet.
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And one again, the visuals are the prime selling point of the series. Mike Allred doesn't necessarily break the usual mold of superhero page construction as much as he did in the previous couple chapters, but there's still a pervasive sense of energy and whimsy on every page. Sly visual gags like putting Fraction's face on a milk carton ad for missing children only serve to heighten the fun and enjoyment this book provides.
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One area Infinity thankfully bucks the trend of Marvel's recent events is the ratio of actual story material to epilogue scenes. Too often, series like Fear Itself and AvX seemed in a hurry to wrap up so the final issues could devote more time to teasing what came next. There's a bit of that here, but only after several dozen pages of brawling and exploding and avenging. As much as this story (any superhero story, for that matter) is ultimately a bridge towards other things, Hickman doesn't beat readers over the head with teases for Inhumanity or future Avengers storylines. In that way and others, Infinity serves as a model of how to do these projects right.
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Whether this storyline can hold up as the other three books are drawn into the crossover remains to be seen. The final pages are fairly abrupt and awkward in how they drag the Trinity of Sin into the fold. And so far, there's no indication of why the crossover needs to last 18 issues. But hopefully these are problems DeMatteis and Ray Fawkes an address in the weeks to come.
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If this issue proves anything, it's that conflicts never truly end in the Marvel Universe. Thanos and the Builders have been stopped, but the larger problem of the World Incursions remains more pressing than ever. Hickman uses Black Swan as a herald of even greater woes to come. This entire issue paints the ending of Infinity in a much different and more downbeat light than Infinity #6 did. But that's certainly true to the tone of this particular series.
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Humberto Ramos returns to the series for this new arc. As always, I'm not a fan of his hyper-exaggerated style, especially in issues like this that focus more on character interaction and dialogue than dramatic fight scenes. That said, Ramos was the logical choice for a Venom-centric story given his affinity for symbiotes. And this issue really does pick up visually once Flash and Otto are drawn into battle.
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So far, the accelerated shipping schedule is having no ill effect on the art quality. Bringing inker Stefano Gaudiano on board was a very smart decision. Not only does he take some of the workload off of Charlie Adlard, but his inks bring more definition and shading to this world, making the environments more foreboding and the zombies more fearsome.
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With Nick Bradshaw handling the annual issue, Pepe Larraz steps in as penciller here. Larraz's style meshes nicely with Ramon Perez's issues from earlier this year. It's more laid back than Bradshaw's, but still fully capable of conveying the absurdity and wonder of the Jean Grey School.
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Nick Bradshaw illustrates this issue, helping it to fit right in line with the main series visually. There's some inconsistency to the story given the various inkers present, but overall Bradshaw provides a vibrant, dynamic take on the Shi'ar and the war with the Builders that contrasts nicely with the more hard sci-fi look of Infinity.
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Uncanny Avengers doesn't disappoint. After a year of buildup on this series (and several more in Uncanny X-Force), Remender has reached an important point in his saga that is as dramatic and emotional as it is bloody. Steve McNiven is just the artist to handle all of those elements, so the series remains in great hands.
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This arc hasn't really featured Patrick Gleason at his strongest. His figure work is a bit muddier and less refined than normal. And though this is as much Tomasi's fault as Gleason's, this issue creates unnecessary confusion when it lapses into a flashback with little warning or indication. But Gleason's flair for action storytelling still shines, particularly during a dimly-lit prison fight sequence.
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Unfortunately, the art quality continues to suffer now that Salvador Larroca has been replaced by Gerrardo Sandoval. The visuals are too '90s-inspired in how they emphasize gritted teeth and hyper-exaggerated muscles over all else. The storytelling is sometimes frustratingly unclear during the battle with the Reavers, even as it functions much better during the Sentinel fight.
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Carmine Di Giandomenico also sticks around to illustrate the book. He gives the conflict a nice sense of grit and harshness, but his work is a little looser and less defined than I'd like. And particularly with Fury, Di Giandomenico seems to reuse similar poses and facial expressions too often.
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Kesel finds more success with his villains, as we see the alternate Earth's Doom, Annihilus, and Kang plot against the FF and bicker among themselves. This is a fun dynamic that I wish had been explored more in previous issues. Better late than never The issue brings us one step closer to Doom the Annihilating Conqueror, and on that font, at least, the series is moving towards a memorable conclusion.
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As per usual, the art isn't wholly up to the task of bringing that script to life.Tan Eng Huat's work is just too variable in quality and detail. And sadly, the pencils are at their loosest and least refined within David's mind. Huat seems to save his best work for the less important material on the Peak station as Agent Brand and her allies look on with a mix of snark and fear. I really hope this series can look its best for this next and most likely final showdown.
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And this issue benefits from the same playful quality that has been a hallmark of Young Avengers since Gillen and Jamie McKelvie started their run. There's humor galore, whether it's Noh-Varr reflecting on his unusual breeding or a brainwashed Captain America encouraging his young allies to look positively on the idea of existence crumbling into darkness and despair. McKelvie's art really shines in terms of the overall design, with some creative page layouts and a title page that mimics those music fan zines the two creators are so fond of. It's a shame this series will be wrapping up soon, because it definitely offers an original voice and sense of style in the Marvel Universe.
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This issue features four pencillers, which isn't necessarily surprising given how quickly the transition from Williams and Blackman to Andreyko happened. Series veteran Trevor McCarthy is joined by Andrea Mutti, Pat Olliffe, and Jim Fern. The overall style is fairly uniform despite this, though there are some odd visual inconsistencies in terms of environmental details and Kate's impromptu makeup disguise. Williams' departure has its impact in terms of the page layouts, which are noticeably more geometric and simple. But there's still a certain outsider quality and spark of life to the art that marks this as a Batwoman comic.
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Harley Quinn #0 is light on plot and heavy on goofy antics. It;s a nice change of pace for a character who has been too mired in darkness lately, even if the humor is a little too specific to comic industry inside jokes at times. And each page with its new artist is a sight to behold. As long as the writers focus less on fourth wall-breakage and more on actual plot when the series truly begins, this should be a comic well worth following.
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Javier Rodriguez illustrates this issue, providing a style very much in the vein of artists like Paolo Rivera " Silver Age-inspired, but with a darker edge. And it suits the script very well. Early on, Gage and Rodriguez pay homage to the opening scene of Amazing Fantasy #15 before shifting into much darker territory. It's a look I wouldn't mind seeing more of on the main series.
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Part of the initial weirdness in their interaction stems from Chris Bachalo's odd choice of civilian wardrobe for Emma. His art is fairly problematic in general considering how low-key this script is. It's difficult to distinguish between Emma and Illyana at times, and his panels are often too small and cramped to properly convey the script. That's to say nothing of the four inkers at work, which seems to be standard practice with Bachalo's pencils by now. Bachalo's style suits the darker tone of this series well, but in cases like this his storytelling is ill-equipped for the job at hand.
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Back during Ultimatum, Ultimate Spider-Man was far superior to the actual event. While the gulf isn't quite as wide with Cataclysm, there's still a huge difference in quality between Cataclysm #1 and this issue. This issue packs in all key character moments that make readers care about the idea of an impending Ultimate meltdown in the first place.
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Arkham War definitely improved in its second issue. However, most of the villains in this series are basically just eye candy and cameo fodder, and it would be nice to see more of them used as purposefully as characters like Scarecrow and Penguin.
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The worst that can be said for this issue is the same that could be said for many recent installments - there's too much material to comfortably work through in such a limited amount of space. The script is cluttered at times, and Otto's personality and dialogue lack the clean elegance found in Chris Yost's Superior Spider-Man Team-Up work. But that's not to say this issue doesn't build even more excitement for the near future.
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Stuart Immonen remains on board in the aftermath of Battle of the Atom. Naturally, his work is clean, engaging, and visually dynamic even though the script involves little more than talking heads. His art is as much responsible for differentiating this series as any other element. It's good to have a less stylized and more traditionally superheroic look at Cyclops' faction of mutants to offset the art in Uncanny X-Men.
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Whether you've been enjoying the main Injustice series or simply crave a more classic take on Lobo and Harley, this is a comic well worth reading.
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Unfortunately, this issue suffers from a change in art teams, as Doug Mahnke and Tom Derenick will apparently be alternating issues for this arc. That will no doubt keep the series shipping on time, but the two artists don't exactly have similar styles. Derenick's work lacks the darkness and cinematic flair of Mahnke's, which further drags down the scenes that focus on psychological torture. A more elegant solution would have involved both artists trading off pages throughout the arc, with Mahnke handling the Martian Manhutner scenes and Derenick the Stargirl scenes.
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This issue definitely benefits from the addition of Stefano Gaudiano to the art team. Gaudiano's inks bring a newfound level of sharpness and clarity to Charlie Adlard's pencils. The action hits harder and the storytelling flows better as a result. While Gaudiano's presence is a necessity in order to maintain a biweekly shipping schedule on this arc, I'm crossing my fingers that this arrangement will become permanent.
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As with the previous two chapters, the art quality is a bit diminished compared to Esad Ribic's work on the first year of the title. It's not that Ron Garney isn't a very capable penciller in his won right. It's more an issue of his pencils not meshing well with Ive Scorcina's colors. While those colors do lend a certain sense of consistency to the series, they also render Garney's pencils too muddled and muted. One need only compare this arc to Garney's recent work on Uncanny X-Force to see the difference.
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And Alan Davis does a great job of conveying that suffering and torment. His emotional work is stark and gripping, especially considering that Wolverine is wearing a mask that covers his eyes and half his face. The action isn't quite as refined as it was in earlier issues, and a few shots are a little unclear in terms of the flow of action. But generally, this issue works when it matters most.
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With every story tying into a very specific point in X-Men continuity, this is very much a comic where hardcore readers will find more enjoyment than newbies. Unfortunately, there really isn't enough worthwhile content to justify the $5.99 cover price even for readers familiar with the franchise's long, complex history.
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Amazing X-Men #1 isn't a fundamentally different book from Wolverine and the X-Men. This story could just as easily be an arc of that book. But there's a sense of fun and whimsy at work that the X-books don't always tap into. Between that and the terrific artwork, Amazing X-Men #1 is definitely worth a purchase.
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Part of the selling point on this issue is the "widescreen" format, with a more horizontal approach to storytelling. Unfortunately, Brett Booth rarely takes advantage of the format shift, and many pages could just as easily be split in half and presented as normal. Booth's wonky, Jim Lee-meets-Rob Liefeld approach to character design doesn't really do the book any favors either.
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Issues like this are why DC really need to reconsider their "no recap pages" policy. It's not quite as accessible as it needs to be given the amount of new readers Taylor's name will be bringing into the fold. And really, all that would be needed is a few, simple paragraphs to provide some context for this war.
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That speaks to a larger concern with this book now. Forever Evil doesn't seem to be moving as quickly as you'd expect of a book that's now delivered three of its seven issues. Luthor's team is still just barely coming together, much less waging war against the Crime Syndicate. As much as it seemed there was an even darker, Darkseid-centric conflict lurking beyond the Crime Syndicate showdown, it's tough to imagine Johns having time for that material in the remaining four issues. Does that mean Forever Evil will ultimately just lead into another event as Trinity War did into this? That would be a disappointing way to wrap up what has been such an enjoyable conflict so far.
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This is a perfectly fine issue, but I'll be glad to see Lemire and company return to the present next month.
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Joe Bennett takes over as artist with this storyline. His style, coupled with Scott Hanna's inks, results in something pretty similar to what we saw in the latter issues of "Secret Origin." The look is decent enough, but Bennett doesn't bring the tech elements to life as well as he might. That, coupled with a repetitive series of widescreen panels interspersed with splash pages contributes to a slightly dull look for what should be a more visually bedazzling story.
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As usual, the main, glaring weak spot in this book is the art. Greg Land's photo-referenced figures do nothing to enhance the action or the scenes of banter and bickering. His trademark poses continue to crop up, and his characters often display broad emotions that aren't particularly well suited to the tone of the dialogue or the situation at hand. A book like this needs more visual subtlety at times to offset the bombast.
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We all know what to expect from Tan Eng Huat's art at this point. He's great at capturing the more surreal elements of Spurrier's writing, a fact which comes in very handy this month in light of Aarkus' telepathic exposition. But Huat's figures continue to be problematic, between the overly masculine female characters and the general lack of consistency to elements like facial features. These quirks are certainly easy enough to tolerate in light of the overall package, but they also prevent the book from achieving its full potential.
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As with the first issue, the plot is nothing too terribly remarkable, and Andy Diggle doesn't really add any new wrinkles in this second issue. Cap is able to show off his unbreakable cool in a cool scene involving a HALO jump from suborbital heights, but otherwise he's a pretty bland and emotionless lead. Nor does his scientist sidekick add much to the equation. Diggle finds a bit more dramatic weight with Volkov, the mutated cosmonaut character. The flashbacks showcasing his transformation are easily the highlight of the issue, and hopefully the series will pick up steam as he and Cap finally meet face to face.
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Three artists collaborate on this issue - Mico Suayan, Mirco Pierfederici, and Leonard Kirk. But impressively, it's actually very hard to detect when the book shifts from one to the next. Suayan's extreme musculature does stand out at times, but these three seemingly disparate pencillers do a great job of giving the book a cohesive feel that fits in well with Hunger;'s aesthetic and the current tone of the Ultimate Universe.
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But with Kubert drawing this book as well as writing, surely the art has to justify the purchase, right? Maybe, depending on how much you enjoy Kubert's style. This issue falls very closely in line with the tone and texture of his work on Morrison and Gaiman's Batman. That means sleek, angular figures, a seedy Gotham, and a strong focus on color and lighting. The best pages are those like the early double-page spread and the funeral sequence, where the figures are almost overpowered by the oppressive, textured environment of Gotham. But Kubert's pages too often suffer from wonky facial expressions, most notably the very first page of Damian staring agape. Less obtrusive but still annoying is the way that Batman is drawn in his 2006-era costume but colored in a halfhearted attempt to resemble the New 52 version. I don't know why anyone is bothering trying to convince readers that this story is unfolding in the New 52.
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There's little reason to suspect this book's visual woes will improve, but hopefully Gates writing will ensure A.R.G.U.S. is worth following.
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It's just that, structurally, it's really seeming as though Infinity would have functioned better as a looser sort of crossover between the two Avengers books. This event's problems are minimal compared to most, but that continues to be an aggravating quirk with the story.
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Jason Masters' art is fine, if fairly stiff in its depiction of movement and body language. Masters has more room to shine here than he did on his Batman Incorporated fill-in pages, but his work can't compare to the handful of pages from Daniel Sampere late in the issue.
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Giuseppe Camuncoli returns for this issue. After some disappointing (albeit clearly rushed) work on Battle of the Atom, Camuncoli is in top form here. He's a great fit for an issue that's more concerned with ordinary characters and civilian matters than superheroics. But even in the scenes involving a costumed Spidey and Black Cat, his storytelling shines. The shading and shadows in this issue bring out a new level of detail in Camuncoli's work that isn't always apparent.
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Michael Dialynas' art falls pretty well in line with the previous to issues. This is very much a crossover predicated on nontraditional, indie comic-style art. That's a big part of the charm right there. But Dialynas' work isn't terribly well suited to superhero action and spectacle. His storytelling is perfectly fine. It's just that the major action sequences lack the pizazz you might expect. Rarely has falling from thousands of feet in the air looked so simple and matter-of-fact.
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Even with City Fall seeming to reach the climax point, the cliffhanger this month suggests that this story is only going to get bigger and more explosive as it continues hurling towards the finish line. I can't wait to see what the new characters introduced here will add to the picture.
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Artistically, this issue is about as haphazard as I've ever seen from Marvel. The main story segment features rough art from Esad Ribic and Giuseppe Camuncoli, with Andrew Currie and Tom Palmer providing finishes. The epilogues offer more of Camuncoli and Currie, as well as Kris Anka, Chris Bachalo, and Stuart Immonen. Needless to say, the varying styles often clash, and every artist's work is visibly rushed and messy. Despite the novelty of seeing Ribic work on an X-book, his occasional weakness with facial expressions is exacerbated a hundredfold. Aside from one page that pays direct homage to the cover of The X-Men #1, the art rarely does more than service the script in a basic way.
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Dexter Soy's art is a little rough at times, with the detail fluctuating and backgrounds dropping in and out. But when he's firing on all cylinders, Soy is a great fit for this story. His powerful figures and gritty textures suit the MotU characters very well, and he even makes Skeletor look threatening despite the massive overcompensation that is his new costume.
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And the art remains as gorgeous and vibrant as ever. Once again, there's a sense that Mike Allred is cutting loose even more than usual and letting the art dictate the flow of the story. This issue has visual cutaways and dimension-hopping galore. Allred's standout pages involve his rendering of Red Ghost's mind-bending time-journey. We wind up with four distinct versions of the character entering and exiting the stage. It's the sort of bizarre sequence that might have been too confusing if not for the clear, engaging way it's rendered.
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Visually, this issue is a bit weaker as well. The colors are a problem, with several artists providing colors for Al Barrionuevo's pencils. There are many panels where one figure will be bathed in a gritty, textured layer of shadow while others are brighter and more simple. It's an odd effect that doesn't really do the series any favors. Luckily, Barrionuevo's pencils are still clean and expressive, with some dynamic framing shots helping to keep things interesting even as the action remains elusive.
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This issue leaves Tony in a solid state for future arcs. Gillen returns Tony a bit more to how he was portrayed during Matt Fraction's run - humbled by the weight of his experiences but eager to embrace the future and the potential it brings.
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Ivan Reis remains on board, which pretty much guarantee this issue will rank among the best-looking of the week. Even the fact that there are three inkers on this issue does little to diminish the power of Reis' line-work and emotive storytelling. It's actually the coloring that suffers somewhat. Rod Reis usually complements Ivan's pencils well, but the subdued color palette of this story (owing to Ultraman's forced solar eclipse) doesn't suit the art as well as it does on Forever Evil proper.
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DeMatteis has a reasonably engaging debut on the book. This issue excels as it uses Constantine as a mouthpiece to explore the nature of evil, deconstructing the claims in Trinity War that evil is a tangible thing that be loosed on the world or contained in a box. But DeMatteis' writing is often too wordy, especially when it comes to the narration. Oddly, this isn't usually a problem for him, and Phantom Stranger has rarely suffered from similar flaws since he took over the book entirely. DeMatteis' Constantine is a bit mixed in his execution. In a general sense he reads very much like the shifty, conflicted magician we know, but his British accent and mannerisms are even more downplayed than they have been of late. As always, he's a tough character for American writers to tackle, and hopefully DeMatteis will grow more comfortable with him over time.
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Unfortunately, the art continues to suffer from a few major flaws. Paco Medina's style is clean and sleek, certainly, but the complete lack of range in facial expressions is a significant flaw. Characters never seem to do anything but grimace, regardless of the context or emotion of a scene. Medina's relatively cartoony style also isn't terribly well suited for the darker cosmic villains. And somewhat less problematic but still annoying is the way Medina renders veteran New Warriors Speedball and Justice as if they're barely into their teen years. It's especially strange considering the extended character arc Speedball has been through in recent years.
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Luke Ross at least helps create some visual consistency with Spencer's issues.The series familiar shadowy, noir-tinged tone is as pronounced as ever despite the change in setting and scenery. But while Ross storytelling is generally solid, there's an eerie, lifeless quality to the battles. There are no bystanders of any kind, and the aliens are rendered in such murky detail that the threat is greatly diminished. I'll be happier when this series can return to the conflicts and characters that made it stand out in the first place.
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It's great having Checchetto back on the series. He captures both the dynamic energy and sinister underpinnings of the Superior Spider-Man better than perhaps any artist at Marvel. His action scenes are clean and eye-catching. His facial work is top-notch. Superior Spider-Man has made great strides in recent months, but with Yost and Checchetto at the helm, Team-Up remains the truly superior book.
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Speaking of art, this issue marks Daniel Acuna's final bow before Steve McNiven takes over next month. Acuna sends the series off in style, with vibrant, moody pages that rank among the best of his too-brief tenure with Uncanny Avengers. He's really given the series a distinct look and feel that McNiven's more realistic and detail-oriented style may have trouble replicating. We'll find out next month.
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This issue also sees regular artist Salvador Larroca step down in favor of Gerardo Sandoval. Considering how much the quality of Larroca's pencils had tapered off in recent weeks, a temporary change was probably for the best. Those who crave a slightly more '90s-influenced X-Force aesthetic will appreciate the exaggerated figures and facial expressions. It's not a style that meshes well with Larroca's techno-infused work, and the action framing and general storytelling aren't very exciting.
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Again, the diminished humor is a concern, with only a brief scene between Johnny Storm and Bentley "Wiz-Kid" Whitman offering any real levity. But this issue doesn't necessarily call for that approach considering the darker nature of the conflict. We'll see if the remaining few issues can invoke more laughs, or if it's all grim and serious from here on out.
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Jacob Wyatt pencils and inks this middle installment of the crossover. Unfortunately, his style lacks some of the dynamic quality of Kris Anka's work in the first issue. And that becomes a problem during the fight scenes between Hulk and the Abomination. The two characters aren't quite as powerful and menacing as they should be. But otherwise Wyatt's work suits the story well. He captures a Silver Age vibe and ensures that all his characters are graced with expressive facial work despite the relatively simple nature of the art. And Jordie Bellaire's colors further that Silver Age feel.
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And as has been said many times, artist Ryan Ottley excels regardless of the subject matter Kirkman tosses out. Ottley's dynamic facial work really comes into play during a tense dinner scene featuring the Graysons. How many other artists are capable of conveying so many variations of annoyance and frustration? And thanks to the arm wrestling scene and Battle Beasts's escapades, there's still a healthy dose of action for Ottley to render too. This issue isn't terribly remarkable by Invincible standards, but it features many of the elements that make this series work well in the first place.
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This issue is divided between David Messina's art in the present-day scenes and Claudia Balboni's in the past. Messina's pages are little more than collections of talking heads, impressive for their resemblance to the actors but little else. Luckily, Balboni's work offers more storytelling flow. Despite its often spartan nature, the past scenes do a fine job of conveying Khan's journey and evolution.
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Ryan Stegman helps close out this arc in grand style. His dynamic, textured art suits the world and characters of 2099 so well it's almost a shame he isn't drawing a new Spider-Man 2099 ongoing. But his art shines best in this issue when he renders Otto's frantic mental gymnastics. We see numerous homages to classic Spider-Man storylines and artists like Steve Ditko and John Romita Sr., all with Otto replacing Peter and all with a bit of Stegman's energetic flair thrown in for good measure.
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So really, this issue suggests that Season 10 is successfully blending the old and the new. It certainly reads like an X-Files tale. The dialogue is spot-on, with the characters sounding so much like their TV selves it's impossible not to picture David Duchovny and Gillian Anderson speaking the lines. And Michael Walsh's art captures the essence of the characters and their shadowy world, even if certain panels can be a little more sparse or plain than I'd like. This opening arc has done exactly what it needed to as far as reestablishing this world. Now the real fun can begin.
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Another drawback to this issue is that Chris Bachalo's art isn't always up to the task of conveying the carnage of battle. Too often he zooms in close to the characters and obscures the flow of the action. While Marte Gracia's colors do lend a newfound touch of clarity to Bachalo's pencils, the various inkers on board this issue detract from that clarity at times.
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The art on this series has always been haphazard at best, and this arc in particular ranks among the weaker ones. Khoi Pham's art is never consistent in terms of detail, but in this issue it isn't even consistent in a basic sense of style. His characters vary from plain to distorted, and not just because the issue bounces between the real world and Legion's mind. The pages are too often muddy and unclear, failing to take advantage of the escalating conflict.
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Declan Shalvey has proven to be an ideal fit for this more serious arc. He channels some of the cartoonish charm of past storylines, but he couples that quality with a more subdued tone and grittier texture. The action flows well, and the varied unhappy emotions are conveyed well. Shalvey has shown enough versatility with these four issues that he would be a great fit for the series even when it does return to more traditional Deadpool territory.
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But if nothing else, Reeder's artwork is a major selling point. After all, she was the first artist tapped to follow up J.H. Williams on Batwoman, so she clearly understands how to deliver dazzling page layouts and striking character design. This issue has a very vibrant, playful feel, bolstered by the rich colors and expressive facial work. The art alone may be reason enough to stick with the series for a while and see if the pacing and storytelling issues are smoothed over.
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Adrian Alphona steps up to bat in this issue, offering the rare treat of a comic fully illustrated in his distinctive style. He's a great fit for a character as surreal and defined by motion as Spiral. Alphona's depiction of Spiral bleeds into his portrayal of Los Angeles as a whole - a place where the mundane and the unusual cross paths under a blinding sun. Part of the reason this series has found a resurgence is that it's come to rely more on more on off-kilter artists like Alphona and Ramon Perez who can break away from the usual X-Men aesthetic. Hopefully this element continues to become a hallmark of Humphries' run.
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Arkham War isn't a bad event tie-in, but if it's going to stick to a predictable formula of Bane battling one Arkham-ite after another, it could grow very stale very quickly.
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While this issue does stand alone without the need for Hickman's tie-ins better than the previous two have, it does still suffer from the series' other perpetual flaw. It's too late into the game for there to be such a tenuous link between the two halves of the story. The only common factor between Thanos' invasion and the Builders' intergalactic conquest right now is the revelation that the Builders have a deep-seated hatred for Earthlings. That's enough to suggest these two conflicts will ultimately merge into one, but time is growing short to build a unified threat for our heroes.
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For the most part, Kindt's writing style falls closely in line with Kot's. This arc thrives on the fact that the normally unassailable Waller is caught in desperate straits as the inmates of Belle Reve riot. And the twist he delivers late in this issue promises to keep the conflict interesting. But there are cases where Kindt's dialogue and narration could stand to be trimmed down. Often characters seem to speak more for the benefit of newbie readers than because they're engaging in legitimate conversations. Granted, this arc is probably going to attract a few new readers, but there's no reason to sacrifice the flow of a story for the sake of playing catch-up. That's what recap pages are supposed to do.
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These two issues certainly had their merits, but lack of any relevance to ongoing stories and the haphazard pacing and execution bogged them down. It'll be nice to see the return of Chris Yost next issue and the resumption of his Sinister Six storyline.
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"All-Out War" also promises a slight visual shake-up for a series that has hinged on the same two artists for most of its life. Inker Stefano Gaudiano has joined the team in order to help Charlie Adlard and Cliff Rathburn maintain the speedier shipping schedule. The result isn't a massive shift from the book's normal aesthetic. There's a bit more texture to the inks and shadows, and the gray ink washes seem to stand out more. The increased contrast between blacks and grays creates a slightly eerie effect, but one that heightens the tension of the story nicely.
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Ron Garney's art can't quite live up to the standard set by Esad Ribic in the first two arcs. Much of the problem seems to lie with the pairing of Garney's pencils and Ive Scorcina's colors. Garney's pencils have a tendency to lose definition when they aren't inked or paired with the right colorist, and Scorcina's colors definitely obscure his crisp line-work in certain panels. While Scorcina's colors lend a sense of consistency with previous issues, the trade-off in overall clarity isn't quite worth it.
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This issue illustrates why having an artist like Alan Davis is such an asset. Davis is a very well-rounded illustrator, as comfortable with dialogue and simple scenes of interaction as he is with costumed characters battling it out on an epic scale. Davis nails the subtle emotions at work between Logan and Kitty, and he further reinforces the growing sense of doom that pervades every page.
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Much of the appeal with this issue rests on the fact that it's Anka's first full-length sequential work at Marvel. He doesn't disappoint, bringing the same sense of energy and strong design work that have characterized his covers. The characters are simple but expressive, and the overall style manages to pay homage to the X-Men's Silver Age roots while still offering the sort of ferocious action you expect from modern superhero fare. We'll just have to see how well the crossover holds up as other artists tackle the remaining two issues.
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Bushido is a story with potential, but it really needs to slow down and allow the characters to develop rather than race through one confrontation after another.
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It's rare to see Adi Granov illustrating a full issue anymore. His work exhibits the typical strengths and flaws of most painters working in comics. He brings a wonderful sense of detail and texture to Cap's world, including giving the character a slick, functional costume redesign that runs circles around his over-produced Marvel NOW! suit. But Granov's figures can be stiff and lifeless at times, with action scenes not always flowing as well as they should. It may be just as well that Granov is being replaced by Augustin Alessio on the remaining three issues. Alessio is a painter who has proven himself capable of avoiding these sorts of storytelling flaws with his work.
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But if those are the worst complaints to lodge against Forever Evil so far, the mini-series is doing pretty well for itself. I'm eagerly awaiting the full formation of Lex Luthor's band of villains, their war with the Syndicate, and now whatever mysterious conflict lurks on the other side.
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Steve Saunders has more chances to shine in this issue, which he does with about a 50% success rate. The quality of his work varies almost from panel to panel. At times he brings a laid back, elegant charm to the Marvel Universe in the heat of battle, and at others his pencils become muddled and stiff. A book like this should at least be able to bank on reliably bombastic visuals.
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The good news is that penciler Carlo Pagulayan and inker Scott Hanna continue to make a great team. Hanna's sleek inks offer a clean, no-nonsense quality to the figures that isn't always apparent in Pagulayan's work. It's an aesthetic that offers a smooth transition from Dale Eaglesham's work earlier in the series and brings life to the otherwise quiet pages in the second half of the issue.
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Two things would help Mighty Avengers at this point. The first is a shift away from Infinity so that the cast can have a little more room to breathe and interact. The second is a switch to a different artist with a more versatile range of facial expressions. But at least the first is a foregone conclusion.
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And, of course, this issue delivers plenty of funny. The characters are all so pathetic in their own ways you can't help but love them. Simple gags like Luke Cage stealing back the Thunderbolts badge from Shocker give the series that extra spice it needs. And the humor is where artist Steve Lieber is crucial to the book's success. Lieber throws out all manner of clever sight gags and cutaways that highlight the absurdity of the characters and their situations. This book might not be as "in your face" with its design and page construction choices as something like Hawkeye, but it boasts a style all its own and enough creativity for any three superhero comics.
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The Star Wars is a fascinating experiment, but it's not always that great a story. This is one case where trade-waiting really seems to be the more sensible option for most readers.
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Jefte Palo's artwork remains the most problematic aspect of this arc. As much as I've enjoyed Palo's work on books like Black Panther in the past, here his style is so loose and haphazard it becomes distracting. The art functions well enough during action-heavy scenes. It's more during close-up shots and dialogue-driven scenes that the lack of emotion and definition really bogs down the story.
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Time will tell if lingering so long on this battle was the right way to go. Bendis has plenty of material left to work through in the finale issue if he's going to wrap up the conflict with Roxxon in the style it deserves. But in these past 27 issues, has he given readers any reason to doubt his ongoing plan for Miles?
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With the visuals steadily taking priority over the writing over time, this issue winds up being a very short read relative to most Villains Month issues. But with so many of these books burdened by needless narration and exposition, it's refreshing to see one writer willing to take the "less is more" approach to this concept.
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This issue as a whole is an eclectic blend of random asides like that and more focused drama. A lot of books would suffer some sort of tonal imbalance as a result, but again, it plays right into the nature of FF. It's great to see the creators emphasize humor and the younger characters and their antics even as they maneuver the adults into the confrontation that's been building for the past year. The only downside is that the growing sense of finality suggests that the Fraction/Allred saga really is going to end soon, even as this issue once again reinforces how vital FF is to Marvel's lineup.
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Sara Pichelli's art makes any wait well worthwhile. Her action storytelling, already vibrant enough on Ultimate Comics Spider-Man, has seen further improvement with this new project. Her battle scenes between Angela and the Guardians crackle with life and convey a sense of motion and fluidity that's rare in comics. Her facial and emotional work, if more subtle, is equally pristine.
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Al Barrionuevo's art also keeps the issue humming along. He excels at providing expressive, energetic renditions of villains and dynamically framed panels. There's a kinetic energy to the book that can't be denied, making this easily the most visually striking of the various Infinity offshoots.
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Still, these problems don't ruin an otherwise enjoyable experience. Of all the Villains Month issues, this was easily one of the most necessary, so it's good to see it was also executed well.
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This issue feels bogged down at times from the sense that the writers are more interested in setting up future stories than just telling a lean tale now. But even so, this comic offers a welcome return to the DCU for one of its greatest villains.
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Paco Medina's art is more mixed in that his style seems far better suited for Nova's earthly, slapstick-infused adventures than it does the cosmic spectacle of Thanos and his forces. Characters like Corvus Glaive and Proxima Midnight lack the imposing presence they display in other books. A more uniform problem is the fact that Medina's facial work is stiff and lifeless. Characters either have open or closed mouths -- that's about it.
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Del Mundo was an interesting choice of artist, as he's recently distinguished himself not for interior art, but for his striking, artistic cover images on X-Men Legacy. That strong sense of design translate reasonably well to a sequential format. This issue carries a loose, watercolor style with frenetic figures. It's not always well suited for dialogue-driven sequences, but Del Mundo certainly captures the fury and chaos of battle.
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While not a great chapter visually, Wolverine and the X-Men #36 does wrap up Battle of the Atom's first half with a welcome twist that promises to severely complicate matters in the coming weeks. There's no time left to dawdle.
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The artwork in this issue is nothing remarkable, with fairly bland page layouts and characters (apart from Penguin himself) that tend to look very similar and interchangeable. The storytelling is competent enough, but this bird might have soared a little higher if the visuals were able to exploit the full depravity of Penguin's world.
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This issue also suffers from uncharacteristically weak art. Salvador Larroca's pencils are about as rushed and haphazard as I've ever seen. Working with colorist Frank D'Armata, Larroca has always had a tendency to leave it up to the colors to fill in the finer details on his figures. But that approach is far more pronounced here, as many figures are little more than loose outlines of uniform line weight and colored in. This artistic duo has long ranked among the fastest in the industry, but maybe even they need a breather from time to time.
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Also like the Grodd issue, this story has the benefit of introducing new plot twists and generally feeling more relevant to the larger Forever Evil picture than most Villains Month issues. Presumably this issue is intended as a prologue to the upcoming Rogues Rebellion mini-series, as the creative team is identical. This is certainly a strong indicator of that book's quality. Patrick Zircher's moody art is an excellent fit for the Rogues and their seedier vision of the Gem Cities.
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I have to give Mieville and crew credit for seeing the series out in style and delivering a Villains Month issue wholly unlike any other. But there's a sense of heart and emotional depth inherent to Dial H that really isn't apparent here.
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But there is Philip Tan's art to balance things out. Tan has bounced all over the New 52, including illustrating a number of issues of Phantom Stranger. Each project sees Tan take a slightly different approach, and this is far and away his strongest work.Together with inker Jason Paz and colorist Nathan Eyring, Tan is able to create two distinct styles that highlight the divide between the villain and his host. These pages are steeped in shadows and textures that convey Eclipso's wickedness and Jacobs' inner suffering in a way the writing generally fails to do. Tan opts for a surreal, haunting approach that almost recalls his Savage Hawkman work, except that the figures are given much more definition and detail. So even with the stilted scripting, this issue may be worth a look.
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Visually, though, Shadow Thief is able to stand out among the Villains Month crowd. Chad Hardin brings a dynamic sense of energy to this world full of international spies and alien warriors. The pages where Aviva relies solely on her human abilities are often as engaging as those where she lashes out with her shadow powers. My one complaint is that the issue is oddly bright and colorful considering the tone of the story and the nature of this villain.
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Ryan Stegman is delivering what is easily his strongest work so far on the series. Something about having two Spider-Men on the page together brings out the vibrant detail and energy in his pencils. Livesay's inks aren't always consistent in fleshing out the pencils, as background characters like Liz Allen are noticeably less refined. But the Superior Spider-Man and Spider-Man 2099 have rarely looked more sleek and dynamic.
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Jesus Saiz also makes for a marvelous companion to Soule here. Saiz is able to capture the aesthetic of the main series, rendering both the subtle horrors of the human world and the more overt monstrosities of the Rot. Even the sight of the decrepit Anton languishing in a summer sunlit field is visually arresting. Too many Villains Month comics seem only able to offer a decent story or solid visuals, not both. Swamp Thing #23.1 rises above and beyond the call on both fronts.
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Nor does the artwork do much to help this attempted revitalization of Deathsrtoke. This issue is handled by three different pencillers. And even with that many creators on board, the book has a distinctly rushed feel to it. Particularly when it comes to Moritat's pages, the backgrounds are lacking, the characters are stiff, and the panels are too zoomed in on the figures to properly convey the action. Hopefully this issue isn't a sign of what to expect in Deathstroke's next big appearance.
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The artwork is a major selling point, at least. Neil Googe's dynamic, cartoonish style suits even this more serious version of Harley. Googe's facial work is particularly expressive, and his clean storytelling always keeps the issue humming along. This issue leaves me hoping Googe will have a presence on the upcoming Harley Quinn series, especially if Jimmy Palmiotti and Amanda Conner can return the character to her more slapstick roots.
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The meat of the story is meant to be in the flashbacks, but this material is annoyingly incomplete and truncated. We don't see enough of Solomon's (the Cyrus Gold name has apparently been retired) wife and child to care much about their inevitable demise. And these flashbacks end when Solomon is still alive and well. How he actually transforms from ordinary man to immortal zombie and avatar of the Grey is completely ignored. This issue would have been better off focused more fully on the flashbacks and providing a cohesive look at this villain's fall from grace.
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At this point I'm, hoping the appearance of Karl Kesel as the new regular co-writer next month can help smooth things over. This series has lost a lot of momentum in a short amount of time, even as Fraction's overall plan for the two FF books seems to be entering a critical phase.
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Artist Steve Sanders isn't given much to do in this issue, aside from a well-crafted title page that offers a diagram view of the new Avengers Academy. Aside from that spread, this issue offers little more than various heroes standing against blue, amorphous backgrounds. Hopefully that, at least, will change as the characters are called upon to join the defense of Earth.
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For better or worse, the new Lobo doesn't fall far from the tree. Fans of the character can take comfort in that fact, but anyone who didn't care for the old bastich before probably won't be won over by this issue.
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The main question after finishing this issue, apart from "Where will Brainiac turn up next?", is "Why isn't Tony Bedard writing a Superman comic?". The franchise could certainly use more stories of this caliber.
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As mentioned, CAFU's art is typically fantastic. He really nails that slow transition from grand sci-fi spectacle to demonic horror as Trigon makes his transformation. There's a terrific sense of scale to CAFU's panels, and Jason Wright's colors work very well in conjunction with his bold lines and inks. Visually, this has been a great week for DC, and Teen Titans #23.1 stands at the head of the pack.
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Charlie Adlard is in fine form again with this issue. He depicts all the savage brutality of Jesus' attack and the tension of the resulting standoff. This will be the last time we see the Adlard/Cliff Rathburn duo in action for a while, but at least they cap off the collaboration in style.
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Alan Davis' art proves to be slightly weaker this month, unfortunately. His general flair for superhero action is as strong as ever, of course, but there are many panels where his line-work seems diminished and the coloring alone is forced to add depth and shading. Given that this is only the second chapter of a six-part storyline, that doesn't bode well for the future of "Killable."
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David Lopez remains on board the series after his stellar work on issue #4 last month. Much like Wood's writing, Lopez offers a more laid back approach to the X-Men in contrast to Frank Cho and Stuart Immonen's flashy pencils. His work sparkles where it matters most -- emotion and character interaction.
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Chris Batista's art creates a decent sense of consistency with the main Flash series. One thing that becomes immediately apparent is that Batista can draw a mean gorilla. He captures all the rage and power of Grodd's return, as well as the ferocity as Grodd battles both man and ape in his takeover of the city. The human characters sometimes suffer from inconsistent emotional range, but the gorillas look fantastic.
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Guillem March is an interesting choice for this issue in the sense that his style is marked by sleek, pretty, acrobatic figures and Two-Face is about half of the ugliest character in the DCU. But other than the fact that he draws Two-Face's scarred side too fleshy and bulbous, March does a solid job of exploring Gotham in a state of total anarchy. His page construction is often able to highlight Two-Face's duality as much as Tomasi's writing.
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Hopefully this new Ventriloquist will prove her worth in the pages of Batgirl. But for now, she reads like another case of a great character brought down by unnecessary changes.
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That last fact may prove a sticking point for readers who are lured in by Ivan Reis' cover. So far, this is not a crossover predicated on heroes punching other heroes. The actual Justice League characters don't even appear. But this nontraditional approach is exactly what makes DCU vs. MotU work so well in the first place.
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With its uneven execution, Detective Comics #23.1 falls firmly in the middle of the pack as far as these Villains Month specials go.
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This issue also succeeds in continuing the momentum of its corresponding ongoing series rather than stalling it. Levitz sets new events in motion that will have a clear impact on Earth 2 and World's Finest in the months ahead. Thankfully, not every book has to be swept up by Forever Evil or Zero Year.
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But Finch's facial work often suffers. With Justice League of America, he had made some strides in offsetting the often lifeless quality of his characters in earlier works. That quality is less evident here. Compounding the problem is the strange, shimmery coloring, which often drowns out the black inks on various characters' faces and creates an overall unfinished sensation. Ideally this is a flaw that can be addressed in subsequent issues.
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Opena's art in particular is extremely event-worthy as he depicts epic space battles and the retaliation by Gladiator and his Shi'ar warriors. Meanwhile, Weaver excels at delivering a more subtle, emotionally-focused series of pages. Not entirely dissimilar in the first place, Weaver and Opena's styles mesh well thanks to Justin Ponsor's unifying colors. Even with five artists working across three titles, Infinity is shaping up to be an unusually cohesive event book in both art and scripting.
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For a one-shot issue, it's also not terribly streamlined or accessible. The script builds heavily on Creeper's debut in Katana and Ryder's death in Phantom Stranger. Marketing may be the only reason why Creeper didn't take over one of those two series instead of Justice League Dark. By the end, readers may not even understand what exactly Creeper is in the context of the New 52, much less why they should care about him or where they're supposed to go to continue his story. Maybe it's better that way.
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Artistically, this issue is divvied up between Sami Basri and Keith Champagne in the present-day sequences and Carmen Carnero and Bit in the past. While it's nice to see Basri back in the New 52, this issue hardly meets the standard set on Voodoo. Both halves of the story have a somewhat rushed, empty quality to them, which isn't really surprising since none of these artists were originally scheduled for this issue.
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Ryan Stegman returns to the helm for this clash of Spider-Men, proving once again why he's the greatest asset in Slott's lineup of collaborators. Rarely has Spider-Man 2099 looked this powerful or dynamic, right down to the distinct texture of his suit. Next issue should be an even greater spectacle as the battle between these characters really gets underway.
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But unlike Lost, where it became increasingly clear towards the end that any answers given to the various burning questions would disappoint, it really is a shame that David left so much open and unresolved with this book. For better or worse, this issue practically screams that the story isn't over and at least some of the gang will be back in the spotlight soon. Whether that's a comforting thought or cause for further annoyance is really up to the reader.
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At this point my only real fear with this series is that Cataclysm will bring an abrupt halt to a series with such great momentum. The last thing Miles' world needs is universal disaster and all that noise. This is a series that needs to continue operating at its own pace.
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And finally, this issue is rounded out with a silent tale from Dan DiDio and Ethan Van Sciver about the most important Batman incorporated member of all -- Bat Cow. If that doesn't justify a purchase, I don't know what does.
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So many characters and questions are relegated to the background in the interest of setting the stage for Forever Evil. And given the abrupt cliffhanger ending, the entirety of Trinity War becomes nothing more than a bloated prologue for another story. Why even bother going through all that trouble in the first place if Trinity War is nothing more than Forever Evil #0?
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Mike Deodato has found a great home on this series, which takes him back to the darker, textured days of his Thunderbolts and Dark Avengers work. His art accentuates the tone of foreboding and impending doom in the story, while his powerful, heavily muscular figure work is perfect for massive, intricately detailed characters like Thanos and his Black Order.
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This issue sees regular artist Alessandro Vitti joined by Jim Calafiore. Vitti handles the Atrocitus scenes, while Calafiore tackles the other pages, ensuring that the visual shifts aren't too out of place. And the reduced page count seems to help Vitti's shed some of the murkiness that hindered the previous issue.
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Luke Ross is in sole charge of the art this month, and the results are solid all-around. His strongest pages focus on Jude and his Dark Tower-esque lair, where surreal fantasy quickly morphs into all-out horror. In general, Ross does a great job of mixing the usual black ops aesthetic with more surreal flights of fancy. At this point, any fears that this series would ignore the quirky, oddball elements that made Rick Remender's Secret Avengers work so memorable have receded.
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Ultimately, Thanos Rising is guilty of trying too hard to humanize an inhuman character. Nor does it emerge as truly essential reading for Infinity. Still, Aaron made some interesting additions to Thanos' origin that will hopefully come into play in other stories down the road.
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Nic Klein, late of Winter Soldier, hops on board for a single issue. Klein remains one of the most talented new creators at Marvel, and it's a shame to see him being deployed on short, single-issue assignments like this when he could just as easily be headlining the series. Regardless, Klein's striking figure work, bold lines, and emotionally weighty facial work are a perfect fit for the story Aaron is telling.
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All the while, Acuna is able to capture all the epic spectacle and intimate character drama at play in this issue. Acuna is an artist whose work always seemed to degrade over time on any ongoing project, and yet this series proves that doesn't have to be the case. At this point it's disappointing to note that Acuna is only confirmed for one more issue on the series. Clearly he and Remender make a great team, and certainly a more functional one than the Avengers team they're depicting here.
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Interestingly, Irving is joined by Kris Anka (cover artist/costume designer for Uncanny X-Force) in this issue. Anka illustrates a interlude segment focused on Dazzler (well, Mystique as Dazzler) and various S.H.I.E.L.D. doings. The visual divide isn't as pronounced as you might think, as both artists show very design-focused styles. The problem is more in terms of story, as this S.H.I.E.L.D. material feels divorced from the rest of the narrative and isn't given a satisfactory conclusion here.
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Battle of the Atom #1 won't bowl over readers with dramatic plot twists, but it's a very solid start to the crossover that channels what has worked so well in Bendis' X-Men work. Battle of the Atom already looks poised to rank among the better X-Men crossovers (there have certainly been some stinkers). The question is just how great this crossover can become over the next two months.
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In some ways the story is fragmented without Avengers #18 providing a larger context. But a more pressing concern is that DeConnick doesn't fully exploit the bond between Jessica and Hulk or her lasting revulsion toward Skrulls during various key moments where it would have made sense. Hopefully the next issue will make up for those omissions.
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Tomasi also dusts off the concept of Internet 3.0, a tool he now uses to allow Bruce to revisit the night of Damian's death and struggle over and over again to save his son, despite the ultimate futility of it all. Tomasi makes great use of Nightwing during these scenes, foregoing the often questionable and selfish characterization Dick has shown in other books for a more classic dynamic. But even stronger than Dick this month is Alfred, as Bruce is forced to acknowledge that his faithful butler is suffering as much as he is in the wake of Damian's death. Tomasi has a unique talent for exploiting the Batman family dynamic to its fullest effect. No wonder so much of the post-Damian grieving process has been relegated to this series.
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Both halves run into problems stemming from the shift from digital to print. There's the aforementioned cramped quality in Silas' art. But the chapters themselves are also poorly organized. Rather than alternate chapters of both series, this issue crams the two Batman Beyond and Justice League Beyond tales into one singular story. In both cases, it's fairly obvious where the original chapter break would have occurred, and it throws off the pacing to see the issue barrel straight from a cliffhanger into the next chapter. As usual, my recommendation would be to give this material a look, but in its original digital form rather than print.
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But aside from that, this proves to be another enjoyable chapter in the Cable and X-Force saga. Bunn delivers some fun banter between Forge and Doctor Nemesis, as well as some deeper interaction between Havok and his nephew Cable. Many questions are answered regarding the overall direction of the series and the source of Cable's precognitive visions. That said, maybe we don't need two issues of this series every single month, Marvel.
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The first issue offered up a strong premise that didn't completely come to life by the end. If the phrase "chin music" translates to "too much talk, not enough action" then issue #1 had the opposite problem. Issue #2 makes some inroads as far as reconciling that problem. Art begins to diverge wildly from history as Elliot Ness is faced with the brutal and apparently superhuman murder of Al Capone, as well as a person of interest with amazing regenerative powers. There's the sense that writer Steve Niles has still barely started to pull back the curtain of what this book has to offer, but as with the first issue, there's enough here to hold my interest for the time being. Even if it takes another three or four months for the next issue to arrive.
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It's a wonder DC didn't try to cram a Trinity War tie-in into this series. But it's good they didn't, as Gates is allowed the continued opportunity to grow and test a character I never expected to like as much as I do.
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Still, there's no shortage of dramatic meat in this series, and who knows what the introduction of another Spider-Man next month will add to the equation?
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Jefte Palo steps in as artist for this arc. While Palo has generally impressed with his work on books like Black Panther, here his style is too loose for its own good. Instead of being stylized or exaggerated, the figures are merely ugly. That said, Palo still handles the more outlandish, nonhuman visuals well enough, so maybe the art will prove to be better suited to the spectacle of Infinity.
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More than ever, I just want Trinity War to end so we can see what this book has to offer in a more long-term sense. Can Fawkes overcome Pandora's limitations and deliver a conflict that reaches beyond the boundaries of this one event storyline?
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Really, this issue proves frustrating merely because there isn't enough material from most of the big players beyond Pietro and the now digitized Tony Stark. Hulk is pointedly absent. We see only a brief glimpse of the Howling Commandos, and barely more of the Ultimates. It's not usually a bad thing when a comic leaves you wanting more. But considering how little time this book has left before Cataclysm, this lack of fulfillment is a definite cause for concern.
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This reunion deserved more space than David was able to give it. This discrete, episodic approach to wrapping up the series has merely ensured that no character has received the time and attention they deserve. There's a lot to make up for in next month's finale. Hopefully David is up to the challenge.
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Regardless, after a somewhat disappointing showing last month, Legacy #15 proves why this series can compete with the best of the X-books.
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Latour's storyboards are key to the issue's success, because Alessio's painted style is the exact sort of approach that so rarely works in comics. Too often, painters deliver a series of individually striking panels that fail to combine and form any sort of sequential flow. Instead, this issue offers a best of both worlds scenario. Readers get all the detail and scope of painted art, but the focus is always on how the figures move and interact and how each moment transitions into the next. Surfer summoning his board to slice an Aleph in half is easily one of the most memorable sequences seen in an Infinite Comic so far. The worst that could be said is that Alessio's Skrulls are too pretty and not alien enough.
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The less than ideal art style will likely be an ongoing concern for this series. But at least this first issue succeeds more than many as far as establishing a new team dynamic and unique voice. The best that can be said for Mighty Avengers #1 is that it should leave readers eager to see what's in store after the event tie-in is finished.
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But to be fair, Yost doesn't entirely play to convention here. There are a few fun wrinkles to the formula in terms of the relationship between the two Spider-Men. There's the obvious fact that Kaine isn't aware of the reason for his clone brother's strange and militant behavior. More intriguing is Otto's hostility stemming from the time Kaine killed him during the cesspool of stupid plot twists that was 1990's Spider-Man. All of this amounts to little more than garnish atop a very formulaic crossover tale, but that coupled with the snazzy visuals is enough to warrant a look. For a bit more dramatic meat and emotional depth, however, make sure you continue on to part 2 in Scarlet Spider #20.
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Brent Anderson more than holds up his end of the issue, as his art is perfectly suited towards capturing that human element of Busiek's writing. His characters are brimming with emotion and varied facial work. Anderson is able to convey the scope of the superhero characters and their battles, but all of that is ultimately just window dressing in service of the more down to earth elements.
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Renato Guedes' art is eye-catching enough, if not always as consistent as it could be. Again, the barroom scenes tend to stand out the most thanks to the way Guedes frames each panel and his dynamic angles. Disappointingly, the astral plane material is comparatively flat and dull. But colorist Marcelo Maiolo deserves credit for lending a vibrant, eerie shine to every scene.
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The one strength issue #14 has in its favor is Declan Shalvey's artwork. Shalvey might just be the strongest replacement yet for the departed Tony Moore. He shows a similarly zany, expressive, and violent style that perfectly meshes with Wade Wilson's wacky world. His art alone is enough to pique my interest in the next extended story arc.
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One can't judge the future of Fantastic Four based on the current creative arrangement, but so far the prospects for a series only plotted by Fraction aren't looking bright.
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And the problem with focusing so much of this issue on Palmer's battlefield exploits is that the art doesn't do them justice. Marco Castiello's work is decent enough in the dialogue-heavy scenes that bookend the story. But his storytelling is completely inadequate when the action heats up. Characters don't seem to run so much as stumble in place. A shot of a Brute throwing a gravity hammer has absolutely zero sense of motion. At times the art zooms in so close that it's not even clear what Palmer is doing as she battles Covenant troops. It's not a good sign for a series where the action is only likely to get bigger and more superhuman.
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While issue #7 does feature some fill-in art, it's hard to complain much when Butch Guice is joined by Steve Epting. These two, along with Brian Theis, divide up the pages in this issue pretty evenly between the S.H.I.E.L.D.-focused scenes and those on Barbuda. While there's some variation in style, all three achieve a similarly gritty yet energetic tone. Compared to some books this week that get thrown off just by having multiple inkers covering one penciller, this arrangement isn't bad at all.
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Sadly, the one element that drags down Kot's final issue is the lackluster art. Patrick Zircher is gone, having moved on to his impending Forever Evil work. Filling in are Rick Leonardi and a legion of inkers. Gone is the gritty, espionage-flavored vibe of the previous three issues. In its place is a series of pages that don't seem to know if they want to be traditionally superheroic in tone or something darker. With flat characters and haphazard action sequences, it's all moot in the end anyway.
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On the plus side, Charlie Adlard's art is unusually effective in this issue. Perhaps it's the more zoomed-in, intense nature of the script, but Adlard highlights all the raw emotion and suffering of the story without any of the inconsistent line-work and level of detail that have hindered some recent chapters.
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Michael Walsh's art is also a boon to the series. Though the TV show's trademark heavy shadows are downplayed, this is very much the world of X-Files. Walsh is able to replicate the look of each actor in a way that feels natural rather than forced. And though his art is a bit sparse at times, his storytelling is always clean and precise.
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In some ways Humphries shows a stronger sense of characterization in this issue. He uses his new foe to explore the fragile psyches of Storm, Psylocke, etc, we get a better sense of what drives each team member. But in other ways, the usual flaws remain. The unnecessary and censored cursing returns (though I honestly have no idea what specific words are being obscured in Puck's dialogue). And Psylocke's voice continues to feel off. This issue sees her use the words "scrubs" and "busters" as mid-fight insults. What is this, a Fast & Furious sequel?
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But at least Davis is on board to render the Wolverine/Panther fight in all its brutal glory. His vibrant, detailed images are easily the strongest selling point of the series.
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That said, this issue also illustrates why Cheung would have been an unwise choice to pencil the entire series. Four different inkers, including Mark Morales and Cheung himself, handle different portions of these 64 pages. And unsurprisingly, the difference in line weight, draftsmanship, and clarity among these four inkers is very noticeable. The reprinted FCBD material is the most clean and elegant, unfortunately. Perhaps the upcoming issues will be able to offer more visual consistency despite the fact that Opena and Weaver will be dividing pages.
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The page construction is also frequently problematic. The book relies on a repetitive system of page layouts where the bottom half of the page regularly features two panels on the left and one on the right. But the layouts are never consistent as to whether the eye is supposed to move left/down/right or left/right/down. Similarly troublesome is the coloring technique. The color scheme shifts from scene to scene, but sometimes it shifts within scenes as well, creating the illusion that the location has changed. The generic script is bad enough, but basic visual flaws like these and others (including frequently absent question marks in the lettering) are the real bane of Head Smash.
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Wes Craig proves to be a decent fit for this issue in terms of providing a clean, stark style that somewhat recalls Greg Capullo's distinctive work. Unfortunately, with so many inkers at play in these pages, certain sequences are far more detailed and refined than others.
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This issue isn't an essential read by any means, but its clearly the more successful of this week's two Batman annuals.
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My only real complaint with the execution of "City Fall" thus far is the lack of focus on the gang war element. Hob alludes to it, and we even see images of ninja battling gang members on one page, but the whole thing feels very divorced from the rest of the conflict. This is still very much a battle between the Turtles and the Foot Clan right now, and I'd like to see the scope open up and the gang war show more of a tangible impact on the rest of the book.
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This final issue also thrives as much as the previous three have on the strength of Hicks' visuals. Her art style is far removed from the looks of the game, which helps give the comic its own sense of style and identity. Even though her figures carry almost Scott Pilgrim-like levels of exaggeration, the somber, violent nature of this universe is never in doubt. The art once again drives home the notion that it's better to try something different with any adaptation than rigidly adhere to the structures and limitations of the source material.
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As for Pandora herself, the book still suffers from the fairly serious flaw that she isn't a very compelling protagonist. In part, the problem stems from her immortality. There's little sense of personal danger to Pandora's quest because she can't be harmed anymore than her old buddy Savage can. The other problem is that it's still not very clear what shape this book will take beyond the scope of Trinity War. The issue is book-ended by segments featuring government agents who look to serve as recurring antagonists. Unfortunately, these characters are the clear weak links in this issue, as they seem to exist to lob exposition and make way for frequent editor's captions more than anything else.
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Carmine Di Giandomenico's artwork has its clear strengths and weaknesses with this series. His style lends a nicely sinister edge to characters like Reed Richards, particularly in his various creepy displays of stretchy powers. But the storytelling and framing falter somewhat during the larger action scenes, such as when the Howling Commandos launch their big assault. Di Giandomenico captures the darkness of this story well, but the spectacle not as much.
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The best that can be said for Uncanny X-Force now is that Sam Humphries shows a clear intention to move forward and embrace the full team roster again. Hopefully we've seen the series at its worst, and things can only improve from here.
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Chris Bachalo's art isn't always ideally suited to handle the dialogue-heavy sequences. This issue carries a slightly haphazard look because of the numerous inkers. The art is at its best in the later segments as the focus narrows to a small handful of characters.
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Issue #3 also caps off Olivier Coipel's brief run on the series. It's certainly bittersweet to see him depart, but Coipel goes out with a bang, as expected. The Marvel Universe never looks as sleek and cinematic as it does with Coipel at the helm. Coupled with inker Mark Morales and colorist Laura Martin, this X-Men volume is every bit the visual showpiece the original Claremont/Jim Lee book was. Subsequent artists will certainly have big, big shoes to fill.
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The art is also unusually rough in this issue, leading to this weak installment of the series. Tan Eng Huat's normally loopy figures become even more loose and exaggerated, to the point where the sense of perspective is thrown off. Wisdom doesn't even have a consistent appearance in this issue. At times his exaggerated features make him a dead ringer for Bruce Campbell. And as usual, the characters are all drawn with such a harsh, masculine edge as to be almost sexually androgynous. Another visual shakeup in the next arc would do this book some good.
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The shift to the present allows Moritat a chance to branch out a great deal from the usual dusty landscapes and seedy bar rooms of past storylines. Luckily, Gotham is seedy enough that his textured style is still a strong fit. As usual, there's a fair amount of discrepancy in the detail from panel to panel. Some panels see Moritat devote painstaking attention ti every scar and crag on Hex's face, while others feature characters that are little more than loose outlines. But when Moritat is on top of his game, he paints a picture of Gotham that's tough to beat.
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This wasn't the strongest arc of Scarlet Spider by any means, but it had its moments. And now the stage is set for a potentially much more significant team-up between the Scarlet Spider and the Superior Spider-Man.
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The art quality is again mixed as Miguel Sepulveda is joined by Szymon Kudranski. Aside from some irregularities in the relative proportions of his characters, Sepulveda's art captures the bloody and surreal tone of the script well. Kudranski's style makes for a fairly jarring shift, unfortunately, and the storytelling is pretty weak and unclear in his pages. Visually, the series remains on rocky footing after the departure of Guillem March.
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Sadly, this issue falls apart once the focus shifts back towards Batman. The scenes with Gordon in captivity are too few and far between to build any real sense of tension. Meanwhile, Hurwitz devotes far too much attention to Bruce's mourning over the death of Natalya. Her inclusion was one of the weakest elements of the previous arc. Batman has enough current trauma to work through without the need for another throwaway love interest. Because of the shift in focus, the issue loses steam as quickly as it built it. Still, there's plenty of room for this arc to pick up again in future issues.
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By the end of this brief tie-in, the battle wraps up and the two characters go their separate ways. Ray Fawkes sets up the next storyline for this series, certainly, but there's little tangible impact on Trinity War. What was the point of even pairing these two together in the first place? As such, it's hard to recommend this issue to readers who aren't already following the series.
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This issue wouldn't have succeeded without an artist that can juggle both the comedic, down-to-earth elements and the cosmic spectacle. And though Leonard Kirk's previous Marvel work hasn't focused much on the cosmic end of the spectrum, he thrives in this issue. His space battles are highly detailed, often unfolding across two pages of explosions and warring robots. Another standout sequence involves various alternate versions of Rick Jones all being simultaneously rocked by the multiversal chaos. Hunger may be the closest Genis-Vell fans will come to seeing the under-appreciated hero back in action.
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Humberto Ramos returns to the series to help usher in this new era. I'll never be entirely happy with his hyper-exaggerated style, but for the most part it works in terms of conveying the sheer chaos and spectacle of the Shadowland battle.
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But if not a flawless relaunch, Superior Spider-Man Team-Up still instantly reaffirms its place among the Spider-Man books.
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Daniel Acuna has maintained an impressive and atypical level of consistency when it comes to the detail of his art with this arc. This issue does see the detail drop off at times, with less refined facial work and sometimes sparse backgrounds. But the general scope of the storytelling never fails. Acuna really shines during the brief clash between Thor and Sentry, a fight that takes the combatants from one world to the next. The colors also greatly enhance the grim, foreboding mood of the story. It's enough to wonder just how much worse life can get for these heroes.
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As "Killable" hasn't officially kicked off, Mirco Pierfederici is back fro one more issue before Alan Davis resumes the art duties. Pierfederici's has never been able to compete with Davis'. The good news is that, because this action places such an emphasis on quieter moments over action and spectacle, Pierfederici's style is better suited than it was in the previous two issues.
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Nick Bradshaw's art maintains its usually level of expressive energy and detail, despite the somewhat accelerated schedule of the series lately. Aaron gives him plenty of memorable material to work with, in particular a scene of Krakoa coming to life. There is, however, some unsettling, needlessly sexualized imagery in this issue. Idie dons an old-school Black Queen costume for much of the story despite, as the recap page helpfully points out, her being a mere 14-year-old girl. Bradshaw, strangely, draws all of the Hellfire Club's Inner Circle as much older than they were when they first debuted in Schism. It's a common flaw with superhero comics that children rarely look their age.
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As usual, both tales are endlessly charming and feature gorgeous watercolor artwork from Dustin Nguyen. The Easter tale stands out particularly. The opening sequence with Damian playing a video game boasts some creative pixel art, while scenes set in Mad Hatters nightclub are awash with lush colors. The only complaint to lodge specifically involves this print version. Each digital segment costs 99 cents while each print collection is $2.99. It's hard to justify that extra dollar, particularly when the art is designed for a widescreen tablet format anyway. But whatever format you choose, this is a Bat book every DC fan should be reading.
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Brent Anderson expertly captures this blend of the mundane and the superheroic. He shows a strong sense of design as he renders the sci-fi-flavored workplace of the ECL, but the focus is generally on more basic elements like facial work and emotion as Marella explores her new world. At times the script is a slice-of-life drama, and others a superhero slug-fest, and Anderson is equally adept with either.
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Thor: The Dark World Prelude is a necessary read only if you absolutely have to know the answers to nitpicky questions like how Thor returned to Earth during The Avengers or what Jane and friends were up to during that period. Everyone else is just better off waiting for the new movie.
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I have only two visual quibbles with this issue, neither of which are necessarily Guice's call. One is that Maria and Daisy really need something more to help distinguish them from one another. The fact that Spencer acknowledges their bizarre physical similarities in the script doesn't help. The other is that Taskmaster looks a bit strange in his modified, capeless costume. If a sleeker, more stealthy look is required, why not bow to fan demands and finally bring back the UDON-designed Taskmaster costume? I'd be tempted to give this series a 10 just for that.
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This issue does stumble at the very end as Kot delivers another final page that feels abrupt and divorced from the rest of the action. But that's a minor complaint in an otherwise stellar comic.
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Still, Dan Slott and Christos Gage provide a wealth of compelling drama in these pages. More than anything, the new wrinkle added to the relationship between JJJ and Spidey is great. Who would have expected such a role reversal between the two even a year ago? Coupled with more suitably sinister artwork from Giuseppe Camuncoli, and this arc maintains its status as the best Superior has offered to date. And the series is poised to only get better from here.
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On the visual side of things, Charlie Adlard is able to render a bit of zombie-slaying action in addition to the up close and personal standoff between the two leaders, leading to a more visually diverse issue than we've seen of late. The book continues to suffer from the same inconsistent level of detail that has plagued recent issues. I'm looking forward to seeing how Stefano Gaudiano's inks will impact the look of the series when he hops on board in a couple months.
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Though Uncanny seems to be slowing down again, there's still plenty of material in this newest arc to keep fans entertained until the next big push.
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Most surprising of all is how directly this issue sets up Cornell's next arc, "Mortal." Whereas Marvel has made it seem like Wolverine's time-travel abuse in Age of Ultron is the source of his upcoming physical woes, Cornell presents a much different and more intriguing culprit. It reassures me that Cornell's story will continue to stand on its own and not rely too heavily on outside books for future plot developments.
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Eventually, this issue picks up on threads from last month's standalone installment involving Prodigy and the mysterious disappearance of Speed. Prodigy quickly finds his niche within the team dynamic, particularly as he butts heads with Loki. There's not much sense as to where this arc is headed at the moment but who cares? The book is even more fun now than it was in the first arc, and the newfound sense of unpredictability only adds to the excitement.
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Hopefully the visuals will improve again as Mieville and Ponticelli move into the final stages of their Dial H adventures. This has been a wonderfully kooky book from the start, and the series has a strong chance of finishing even stronger than it began.
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It's tough to judge the series' ongoing prospects when Soule's first issue is so limited in scope. But this is easily my favorite issue of the current volume, so that has to count for something.
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The art quality also enjoys a nice boost in this book thanks to Salva Espin. Espin previously worked on Daniel Way's Deadpool series, where his bright, energetic renderings and stylistic similarity to Paco Medina made him an asset. He brings a similarly bombastic flair to this series, giving the final part of a trilogy a more traditional Deadpool that's called for now that the setting has switched to the core Marvel Universe.
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Once the dust settles, what's left is a really glimpse into the mind of a lesser-known hero in Invincible Universe. If the goal was to make the reader crave more from Best Tiger in future issues, this was certainly a success.
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There's some lingering fear that the various changes Gillen has introduced to this origin will diminish Tony and make him more a victim of circumstances rather than a self-made superhero. But as entertaining as the arc has been so far, Gillen certainly deserves the continued benefit of the doubt.
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As the Stranger finds absolution for certain crimes and even a shred of happiness at the end of this particular journey, this issue could easily have functioned as a series finale if the sales demanded it. But there's still plenty more ground to cover, and luckily the numbers seem to be just high enough to justify Phantom Stranger's continued existence.
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It's not an ideal finish for the series, but Parker and his artists made the best of what space they had left. Together they crafted a terrific and annoyingly under-appreciated book, and I can only hope that the ending is teasing more to come from this quirky cast of heroes.
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The fact that this series resembles Hawkeye visually doesn't do anything to diminish its appeal. Steve Lieber, who previously illustrated half of the Hurricane Sandy-themed Hawkeye issue, is back to further explore the darkly comic underbelly of Marvel's New York. Lieber's art style is clean and elegant, matching the "less superhero, more crime story" approach Spencer has taken. There's less of an emphasis on creative page construction and the numerous smaller panels of Hawkeye, but in terms of general tone and laid back quality this is very much in the same vein.
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Molina's art is also fairly dull, with little consistency to his character designs and some less than effective facial work. Molina's work on Wolverine and the X-Men during AvX was a much stronger effort all-around.In short, nothing here offers encouragement to stick around for the remaining three issues. Maybe some year Marvel will manage to restore the What If? franchise to its former glory, but clearly not this year.
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Tan Eng Huat steps back into the spotlight with this issue. The same strengths and flaws that have characterized his art thus far are readily apparent. There's a clear sense of energy to every panel thanks to the inventive character designs and titled angles. But his figures are inconsistent at best, and too often female characters suffer from receding hairlines and other overly masculine traits.
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There are a few odd quirks in this story, such as when Pym looks to the battle with Loki in Avengers #1 as his life's crowning achievement. But regardless, this is a fun read and, like with Avengers Academy before it, a welcome change of pace for such a normally glum character. The larger problem is that this issue gives too little indication of what to expect from Sam Humphries on Avengers A.I. next month. Will he retain this fun and lighthearted approach or strive for something different? That remains to be seen.
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My only real complaint with the direction of this arc is the depiction of the First Kin. We still know so little about the character even two months after the original reveal, and he doesn't feel like a clear and present danger in the same way the Orm loyalists or the Scavenger do. Not to mention the fact that the idea of a villain being the "first" something seems a bit redundant in light of "Wrath of the First Lantern."
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Unfortunately, DC failed to advertise the fact that Lee doesn't handle every page in this issue. Ben Oliver steps in to render the final act of the story. While the visual shift makes sense in terms of how the plot makes a sudden swerve, there's no denying that Lee and Oliver have vastly different styles that don't mesh well at all. Oliver's work is strong and carries a hazy, dream-like quality that suits the story well, but it can't really hold up to Lee's work. Hopefully Oliver's presence was motivated by the fact that this first issue is longer than normal, and we won't be seeing fill-in artists on every issue.
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Peter Doherty's colors further flesh out Quitely's work, lending depth to the characters themselves and contrasting cool nighttime scenes with warm, brightly lit shots of hospitals and city streets. Whether or not the story picks up steam or shows a desire to escape its superhero trappings, Quitely's art will continue to keep me invested in Jupiter's Legacy.
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As the creators wrap up this new origin story, they leave me impatiently awaiting a continuation of the New 52 Shazam. That's as sure as sign as any that this story was a success.
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And naturally, there are no complaints to be had regarding Mikel Janin's work. This issue might just rank as his best of the entire series, between the aforementioned Swamp Thing scene and various other shots of supernatural carnage. But the best pages are those right at the beginning, as Janin depicts a horrific flash-forward sequence both terrible and beautiful in scope. Even the fact that Vicente Cifuentes provides finishes over Janin's layouts in the latter half of the issue does nothing to diminish the overall impact of the visuals. I honestly had no idea the shift even occurred until finishing the comic and examining the cover again.
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But while this issue is weaker than the previous few in some ways, it's certainly an entertaining lead-in into Trinity War and the various other projects Johns has cooking in the months ahead.
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Alessandro Vitti's artwork doesn't fall too far outside the boundaries established by previous Red Lanterns artists. Vitti's style can vary quite a bit depending on the inker and colorist. Here, the inks lend everything a harsh, jagged edge that suit the Ysmault scenes well, but the Oa scenes less so. My larger concern is that Vitti's facial work doesn't display a great degree of emotion, and that's a critical flaw for a series starring characters driven by pain and rage.
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For whatever problems this issue displays, the series as a whole looks to be on firm footing as it ventures into more dramatic and unpredictable territory.
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Frazer Irving again delivers one of the most visually arresting books on the stands. His surreal, haunted style couldn't be a better fit for the story Bendis is telling. The full horror of Limbo and its inhabitants shines through, as does the emotion of each hero's struggle. The color palette is varied and inspired, always shifting to reflect the mood in any given panel. Part of me will be sorry to see Irving step down after this issue, but it looks as though this won't be the last of him we see on Uncanny.
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Visually, this issue is obviously a downgrade in the absence of Davis. Mirco Pierfederici's art is fine, just not nearly as cinematic or detailed as Davis's work. None of the numerous action scenes really pop with the sort of energy the book used to display. That said, Andres Mossa's colors do their part to lend depth and vibrancy to the pencils.
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That's not to say Aaron doesn't still find time for humor and smaller character moments. It's fun to see the ways in which this arc contrasts the plot beats of early issues of the series. In this issue, we see the Hellfire instructors gathering to confer and complain about their jobs in much the same way Wolverine's crew did back in the beginning. Other little moments, such as Wolverine bonding with the Bamfs and Toad and Paige having a lover's spat, add extra flavor to the book. It's also good to have Nick Bradshaw back in charge of the series, as his dynamic, expressive visuals are a great match for Aaron's quirky sensibilities.
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And none of this is to suggest that the series succeeds solely on the strength of Coipel's art. If this issue isn't very plot-driven, it still manages to pack in a healthy dose of character drama and banter. Wood shows a clear love for, and understanding of, his large cast. Everyone from Rogue to Psylocke to Rachel Grey has a distinct but authentic voice. Wood deserves an Eisner solely for being the first writer in years to make Jubilee into a compelling character again. Her brush with motherhood lends the book a welcome dose of heart. That struggle and the general team dynamic at play have me interested in the future of this series even after Coipel departs.
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BubbleGun is a series that wears its influences on its sleeve to a certain degree. But I have hope that the book will eventually carve its own path, and there's enough entertainment value in this first issue to suggest that BubbleGun will be worth a shot even at full price.
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Each sequence is less story and more teaser ad, culminating in a single page spread extolling readers to buy the book in question. Between these sequences and the multiple pages reprinted from Avengers #12.1, it's fair to question why Marvel still charged $3.99 for this comic. The actual Ultron conflict is more or less forgotten by this point. None of the immediate fallout is explored, because as far as this issue shows, there isn't any. The focus is all about the next wave of events and tie-ins. As much as I resented Fear Itself #7 for losing sight of its own story in favor of setting up future books, Age of Ultron #10 is worse.
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With this issue, Hopeless gets his team up and running and lays the framework for his next big arc on the series. If recent installments are any indication, that arc should be a lot of fun.
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Kirkman also delivers some enjoyable material between the newly crowned Emperor Nolan and the imprisoned General Thragg, where Nolan seems to be doing his best to poke a sleeping bear with a stick. And finally, there's the material involving Levy himself, which is the most immediately poised to kick the book back into darker territory. Though the weird cliffhanger distracts from the Levy conflict a bit, this issue certainly succeeds in building excitement for what's in store.
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I'm really pleased with the work Pete Woods is turning in on this series. Each month, Woods seems to be focusing a bit less on realism and more on stylized, energetic depictions of DC's heroes and villains. It's a welcome shift, and one that helps the series stand out that much more. My only complaint is that Amanda Waller is rendered in an oddly sexual way in this issue. It's bad enough that the New 52 resulted in her transforming from "The Wall" to generic pretty comic book lady. This issue takes the transformation even further, and it doesn't suit her character at all. But if that and pointless guest stars are the worst that can be said about Vibe's new series, he's doing pretty well for himself.
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The artwork is also very effective in this arc. Giuseppe Camuncoli is perfectly suited for a tale that revolves around dimly lit prison corridors and superhumans battling each other with all manner of weird techno-gadgets. Despite the grim setting, the coloring in the series actually brightens up considerably thanks to Antonio Fabela. Fabela's colors allow the line-work to pop in a way it often hasn't over the course of the series.
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Visually, this issue does a serviceable job of capturing the look and feel of the series. But as so much of the X-Files' look revolved around bathing sets in heavy shadows so as to mask the low-budget elements, there's no point in adhering too closely to the formula. Michael Walsh is able to provide character designs that consistently resemble the actors without his work suffering from the stiff, unnatural quality that comes from direct photo-referencing. But some pages suffer from an overall lack of detail, particularly in terms of backgrounds. Even colorist extraordinaire Jordie Bellaire is only able to do so much as far as lending richness and depth to the pages because she only has so much to work with. The end result is a fairly plain-looking book, but one that still maintains an X-Files feel and generally exhibits a strong sense of storytelling. The sequence where Mulder confronts Skinner at his home stands out as especially striking.
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I've had my fears about whether Daniel Acuna's art would maintain high levels of detail and consistency as the monthly grind sets in. While issue #7 offered cause for concern, Acuna has been in top form since then. Acuna is able to convey the scale of the Remender's conflict wonderfully. Meanwhile, his shadowy and moody characters do a great job of hearkening back to Jerome Opena's work on Uncanny X-Force while still maintaining a fresh look and feel. And that's important, as the series continues to dabble heavily in threads from UXF.
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I'm really hoping David plans to reunite the full X-Factor crew at least once more before the end. But if this is the last we see of Rahne, it's not a bad way for her to bow out of the series.
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Issue #12 wraps up the current phase of Legacy in a fun way while also setting the stage for the next phase of Legion's plan for self-improvement. As long as the series can avoid the pesky cancellation hammer that has squashed so many other high quality but under-performing Marvel books lately, it should all be smooth sailing from here.
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At this point I'm just ready for this current arc to wrap up so the creative team can get a fresh start on something newer and hopefully more compelling over the long term.
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Savage Wolverine is still a largely unnecessary book considering the sheer number of X-titles on the market. But anyone who enjoys the Wolverine/Elektra pairing or Mad's artwork should be happy with this new issue.
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Visually, Carlos D'Anda's art is as strong now as it was in issue #1. He presents the sometimes confusing action of the space battles as well as could be hoped given the static nature of comics. His figures are bright and expressive in a way that Star Wars comics so rarely manage. He's able to capture the dirty, lived-in quality of the technology and worlds in the movies without being utterly beholden to them. My one real complaint with the art is that D'Anda, like so many artists, seems to struggle when depicting the certain droids and Imperial characters like Vader. But to be fair, they involve complex shapes that aren't easily replicated in two dimensions unless the artist is using direct photo-reference. And D'Anda doesn't need no stinkin' photo-reference.
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And Zircher might just be the best thing to happen to this book since its debut. His dark, moody art is a perfect complement to Kot's scripting. But though steeped in shadows, Zircher's art also carries a precise, detailed quality. It's a far different look from the one the series used to sport, and it's definitely an improvement.
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The issue does a better job of laying the groundwork for Superior Spider-Man Team-Up and Dan Slott's Superior Spider-Man than it does in simply telling a fun, character-driven story. Hopefully the build-up to the revamped series will prove to be worthwhile.
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That truth becomes all the more apparent when Negan himself enters the picture and indeed throws a wrench in the works. As always, Negan's blatant villainy is just plain fun to read. He's a jerk, but a charismatic jerk. His presence slowly escalates the issue from quiet character study to bloody drama. Charlie Adlard's artwork is solid if unremarkable in the earlier scenes, but he expertly captures the horror of the script as Negan once again unleashes his sadistic tendencies. Whether or not the final showdown between these factions is about to commence, the events of this issue certainly promise darker days ahead.
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Esad Ribic renders all of this chaotic action beautifully. There's a sense of power and scale to his pages that most comics simply can't touch. The blend of fantasy and science fiction elements creates makes God of Thunder one of Marvel's most visually distinctive books. While there are a few quirks in the art (the recurring duck face expressions for one), the overall effect is fantastic.
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And like any good noir, there's a pervasive sense of fatalism and moral ambiguity throughout the issue. The scene focused on Grennan's wartime past paint her as a less than sympathetic figure -- possibly even one who deserves the punishment that seems to be coming her way. These torture scenes are easily as uncomfortable as those you'll find in movies like Zero Dark Thirty. But despite her reprehensible actions, Grennan still comes across as a reasonably sympathetic figure. Whatever struggles lie ahead for her, this first issue manages to invest the reader in her journey over the course of these three issues.
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Humphries' characterization is a bit sporadic this month. His Psylocke still fares better than she did in the early issues, even if her annoying potty mouth and foul temper rear themselves now and again. Ultimately, I enjoyed Humphries' depiction of Betsy as the conscientious objector amid the ongoing war between Wolverine and Cyclops' factions. But other than establishing that fact, this issue really doesn't accomplish much. It doesn't establish a clear purpose for the team. It doesn't explain what ongoing role characters like Spiral or Bishop will serve. The niche for this series is vanishing now that Brian Wood's X-Men is on the stands, and Uncanny X-Force can't waste any more time in finding its purpose.
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But with plenty of satisfying action and a slate of consistently eye-popping Alan Davis pages to cap off this story, that anticlimax is a small concern. This series only looks to become more engrossing in the months ahead.
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This issue offers a few interesting morsels for Marvel movie fanatics, but it fails to present a cohesive script or a story that feels immediately relevant to what little we know about the plot of The Dark World. Unless issue #2 veers in a different direction, I'd say most fans can safely skip this one.
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Even the meta commentary, which can so often be annoying in superhero comics, works under Busiek's hand. Broken Man's frequent references to the all-seeing Oubor and the need to find heroes who are invisible to its influence could be interpreted as a jab at the New 52. I doubt that was Busiek's intention given how long this series has been in the works, but it's fitting considering how this is exactly the type of fun, charming superhero comic that the New 52 seems to have wiped out of existence.
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Though it features some fun conflict and solid characterization, this is largely a forgettable installment of Cable and X-Force. The book developed a strong sense of direction and pacing in recent months, but it did seem to languish quite a bit in its first arc. Now isn't really an ideal time to be dealing with filler stories.
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But if nothing else, the "World of Krypton" backup feature holds some entertainment value. Though also burdened by excess dialogue at times, this segment features much sharper plotting and pacing, as well as some unusually detailed and energetic art from Philip Tan. It's enough to make you wish the backup feature could replace the main feature.
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As for Pacheco, his work is a little flat and lifeless compared to previous chapters. The muted color palette of the past-era scenes, while a clever way of calling back to marvel's Bronze Age past, doesn't do enough to bring life and depth to the pencils. Pacheco's storytelling also comes up short in certain scenes. One page shows a panel of Wolverine sneaking up behind Invisible Woman, followed by another where she's lying on the ground unconscious and he's off on his merry way. This entirely physical exchange falters because it lacks sequential flow.
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Dale Eaglesham is a great fit for this arc, providing the series with the strong visual foundation it had been lacking until now. Between the character designs and frequent flashbacks to the 1960's, there's a strong Jack Kirby vibe to this story. Eaglesham is the rare sort of artist who can channel Kirby in terms of his energy, imagination, and powerful figures without directly aping Kirby's style.
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There's a strong back-to-basics feel with this series, and a healthy dose of humor to clear the air from Kick-Ass 2's darker drama. But that humor is just as frequently distracting, and the characterization suffers as a result.
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Giuseppe Camuncoli returns to pencil this arc. His slightly sinister art style is a great fit for Smythe and the other villains on tap in this conflict. Of the current lineup of artists, Camuncoli is best suited to continue the aesthetic Stefano Caselli established with his Spider-Slayer arc.
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Thanos has his moments in this issue, particularly towards the end, but the series ultimately feels hollow and unfulfilling. If Infinity Gauntlet was Star Wars, this is very much The Phantom Menace.
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I don't mourn the cancellation of this series because I'm worried about Bucky falling off the radar. It's a safe bet Marvel has some sort of relaunch planned to coincide with next year's Captain America sequel. I'm simply disappointed that this creative team wasn't given the chance to delve deeper into Bucky's world. We can only hope they'll be reuniting on a different series soon.
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I'm hopeful David has a memorable conclusion planned for this long run. But if so, little of that is evident in the first chapter of "The End of X-Factor."
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The only real complaint worth registering about this issue is that it costs a dollar more than it would to download the three chapters digitally. But to be fair, it does offer at least as much content as any normal $3.99 comic would. Whichever viewing method you choose, this is a series that all Superman lovers need to be reading.
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The central flaw with this Annual is that it's too light and simple to justify the $5 cover price. The idea is fun and the execution solid, but, it doesn't even need to be as long as it is. This story would have been better off trimmed down into a one or two-part installment of Legends of the Dark Knight. At least then readers would only be asked to fork over a dollar or two.
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The other problem, as mentioned previously, is that the order for the individual chapters should have been reorganized for the sake of this issue. The Arkham storyline is three chapters long, meaning print readers are getting two chapters now and stuck waiting another month for the finale. With the Flash chapter being largely standalone, it wouldn't have harmed anything to bump it until issue #6 and offer a more complete and cohesive reading experience here.
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But as I've said in past reviews, as much fun as this arc has been able to offer at times, The Savage Wolverine is still outclassed by even zanier books like Hawkeye and Wolverine and the X-Men. And those books never sacrifice story for visceral thrills either. Hopefully the next arc from Zeb Wells and Joe Mad will be able to reinvigorate this series.
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Now that J.J. Abrams has ditched Star Trek for Star Wars, who knows when we'll see the next Trek film. Fortunately, this series looks as though it'll be able to chronicle the Enterprises five-year mission competently enough.
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TMNT has always been an enjoyable book, but "City Fall" immediately kicks up the quality several notches. And the good news is that the writers manage to make the story accessible enough that it's possible to dive right in, though I'd at least recommend checking out issue #21 and Eastman's brief return as interior artist.
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Visually, this issue is another winner for Marco Checchetto. His dark, moody style couldn't be better suited for Chameleon, and the various shots of Chameleon wearing a tattered face are deliciously creepy. The action flows well and the various characters sizzle on the page. I once again finding myself wishing that Superior could display the level of visual fidelity and consistency that Avenging does every month.
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Hicks' characters are expressive and full of emotion. She's able to convey a great deal of information through body language and facial work. Even the juxtaposition of muted colors with brighter hues in Ellie's daydreams go a long way to bringing this world to life.
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This issue proves that Humphries can deliver the sort of character-centric focus the series needs. Whether the characterization can become more consistent is still the question. And when exactly this ragtag band will develop a clearer sense of purpose is equally up in the air.
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Any Green Lantern comic is going to seem a bit underwhelming when held against Johns' big finale. Even so, Milligan adds his own touch to this important moment in the Lantern franchise and effectively sets the stage for the new creative team. There are far worse ways to cap off a run.
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I'd like to think that there's a more permanent place for The Others in the New 52 lineup, and perhaps this issue is being used as a testing ground. Maybe this team isn't bankable, but whether Johns or Ostrander is writing them, they're certainly entertaining.
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Unfortunately, the eclectic nature of the issue isn't the best fit for Mike Deodato's pencils. Deodato's style is all about moody lighting and hulking figures, neither of which are really called for in the script. Deodato also shows a tendency to reuse character poses again and again. He gets an incredible amount of mileage out of one recycled Iron Man frame. This is a case where the lighter touch of Dustin Weaver probably would have worked better.
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On the plus side, Mike Hawthorne delivers his strongest issue of the series so far. The battle between Spidey, Deadpool, and the "Blandtastic Four" is very bouncy and exciting. Hawthorne shows off some clever design tricks as he continues finding new ways to visualize the internal conversation between Wade and Preston, as well as a neat use of perspective in a scene in Hell. Visually, the series remains on firm ground despite the shift from Tony Moore to Hawthorne.
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Rounding out this issue is the penultimate chapter of the Shazam backup feature. It's a fairly slow moving chapter considering that the story has reached its climax. But the benefit is that we learn more about Black Adam's origin and the twists Johns has introduced for the New 52. I'm eagerly looking forward to next month's full-length finale chapter.
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Mikel Janin remains one of the most impressively consistent artists in DC's lineup. While there are a few scenes that don't quite convey the texture and tone of horror they should, the Doctor Destiny scenes more than make up for that. The storytelling is clean and the characters expressive throughout. There's little doubt that Janin will be able to hold his own with his Trinity War collaborators.
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More than anything, this issue suffers from a strange sense of pacing. There are no less than three scenes of small ships being pursued by enemies in high-stakes shoot-outs, with bursts of character interaction in between. When Ania and friends encounter Assam, they progress from wary enemies to willing partners a little too quickly. Hopefully this odd pacing will smooth out as the ongoing direction for the series becomes clear. But for now, Legacy is the rare Star Wars comic that's more a visual showpiece than anything.
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Ryan Stegman's artwork is unfortunately mixed in this issue. The problem lies mainly in the inking, which is a joint effort between Stegman himself and Edgar Delgado. The blacks are frequently too thick, jagged, and haphazard, leading to an overall more loose and hurried look for the series. Hopefully that will change when Stegman returns for his next stint.
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Unfortunately, this issue takes a detour rather than diving headlong into this conflict. The series is now entering into a brief crossover with Birds of Prey, and the transition into that material is awkward and unwelcome. Hopefully that will merely be a quick bump in the road before Tynion resumes more pressing matters.
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In the end, this proves to be another book where the final chapter seems less interested in providing emotional resolution than setting up the next big conflict. This issue leads directly into Josh Fialkov's upcoming Ultimates run. And while the epilogue scenes help build interest for that series, they do little for this story.
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Ultimately, Uncanny Avengers #8AU is not essential in the sense that readers will be lost and confused if they skip straight to issue #9. Rather, it performs some vital character work for the new villains that will no doubt pay off further down the road.
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This issue does feel a bit disjointed in terms of the opening scene. Here Bendis introduces another newly emerged mutant discovering his powers for the first time. In and of itself the scene works well enough, though this is the one case where Irving's storytelling could be a bit stronger and more clear. But held against the rest of issue #6, it feels a bit random and out of place. Not to mention that the series has only just begun to explore the various new recruits and their personalities. The last thing Uncanny needs right now is more characters. Unfortunately, the cast is doing nothing but growing at the moment.
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The art duties in this issue are split between Paul Davidson, who handles the Legion material, and Tan Eng Huat, who focuses on the rest of the X-Men at the Jean Grey School. Davidson's work is the stronger of the two. Both have similarly loopy, surreal styles, but Huat's overly exaggerated figures are too distracting at times. Nearly all of his female characters look like witches with receding hairlines. But that's a small price to pay for what is easily one of the most engaging X-Men books on the stands.
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The artwork is equally haphazard in this issue. Brandon Peterson handles the entire comic, having temporarily transitioned from Ultron's digitized future to this dystopian present. The story is the same as it has been. Some of Peterson's pages look spectacular, especially with the big action sequence as le Fay's armies attack and Stark's Helicarriers begin crashing out of the sky. But Peterson's facial work is too often stiff and jagged. Not that a harsh look is ill-suited to this new landscape, but the emotion of the script is too frequently lost in a mishmash of lines and shadows.
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I can't see this book appealing much to the He-Man neophytes out there, but fans of the franchise should have plenty of reason to enjoy this take on the Masters of the Universe.
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By the final pages of this, the method to Gillen's madness starts to become clear. I have no doubt some readers will hate this story, both for the bizarre trappings and the changes Gillen is making to Tony's origin. But if it's a choice between this and the early issues of the series, I'll take this zaniness any day of the week.
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The art is divided between Manuel Garcia and Fabiano Neves. Garcia's pages are a little rough. His slightly tilted perspective is interesting, but the facial work is a little wonky. Neves' work, meanwhile fits right in line with the general execution of the book. It's not flashy or remarkable, but solidly executed.
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Unlike the previous story, there are no flashbacks to act as convenient buffers between the two artists. Mogorron's style stands out from Ruiz's suffering from a flat, almost abstract look that is poorly suited for the bloody, climactic showdown. Hopefully these newfound visual woes can sort themselves out before this arc wraps up.
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With this story, David delivered all the epic and grandiose elements that used to be foreign to X-Factor. Now his final arc needs to get back to what the series does best -- exploring the characters and their relationships as they pick up the pieces one last time.
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It helps that Butch Guice is on board to provide the visuals. Guice's art rivals anything we've seen in the main series. He expertly captures the scope and detail of Ultron's destruction with his usual dark, noir-tinged style. But the premise allows him to branch out quite a bit, with some fun digital sequences that pay homage to the 8-bit era of gaming. It's enough to make one wonder how the core event would have turned out if Guice were the lead artist.
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Luckily, the tone of the story is enough to build interest. And Tony Harris art really shines throughout. This is exactly the sort of Harris I like to see. There's less emphasis on photo-reference and photo-realism than books like Ex Machina, even though several characters in this issue are based on historical figures. Harris opts for a more stylized approach to his figure work, one that emphasizes the noir-infused visuals and the dynamic action of the Egypt flashbacks. His page layouts are also a feast for the eyes. The issue is easily worth a purchase for the art alone. But from what little Niles' writing reveals and the big twist ending, there's more than just the art convincing me to return for issue #2.
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Renato Guedes enjoys his strongest issue yet, thanks largely to the hellish setting and the various opportunities to explore the DCU's magical trappings. The storytelling is generally solid, though Guedes' continued insistence on exaggerated, titled perspective in many panels often proves distracting.
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But sadly, while this series is doing a lot right and building well from the initial premise of Deadpool vs. Zombie Presidents, the lack of humor remains a sore point. The book is generally fun, but not very funny. It continues to rely too much on limp pop culture references and not enough on genuine, situational comedy. It's not enough that Wade can find a movie to reference in every other panel.
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As much as Kot's writing gives the series a boost, Patrick Zircher provides the visual flourish Suicide Squad has been lacking. Zircher's art captures all the grit and violence of this world, while also providing the sort of strong, emotional facial work the tense script calls for. If the New 52 lacked a superhero noir before, it certainly has one now.
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But at least Marco Checchetto's artwork fits right in with the seedy world of espionage and intrigue that characterizes the current Secret Avengers title. This issue offers just the right blend of shadowy settings and dynamic super-heroics, with some top-notch character designs and facial work to boot. Hopefully the scripting can pick up enough to match the visuals in the second half of this arc.
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Charlie Adlard's artwork is a bit stronger overall than it has been in recent issues. While the general level of detail still fluctuates a bit, Adlard benefits from panels that tend to feature one or two characters rather than larger groups. My one real complaint is that the closest thing this issue has to an action sequence is brought down by some poor framing.
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At some point readers just have to accept that Humphries was never going to have enough space to properly wrap up his run given where the previous issue left off. It's disappointing that so much is left hanging and the villains were practically forgotten by the end. But at least Humphries was able to end his run with a big bang of a final scene.
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Between the plodding pace and disappointing characterization, this has become a series that thrives solely on the strength of its visuals. And at least there it doesn't disappoint. Ron Garney is given more to work with this month, and he bombards the reader with dynamic action sequences. Psylocke hasn't shown this much cat-like grace and ferocity since Jerome Opena was rendering the previous volume. Adrian Alphona provides a strong counterpoint to Garney's pencils with his work in the psychic sequences, emphasizing surreal imagery and flowing figures. I'm eager to see what Alphona can bring to the table as he takes full charge of the art in issue #5.
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Alan Davis is his usual, reliable self in this issue. While the coloring in this book can be a bit dull and even monochrome at times, Davis' line-work and general storytelling flair are never impacted. Davis delivers a few key action sequences in trademark style, but he also manages to keep the book humming along even in the dialogue-driven sequences. Cornell's slow burn approach demands an artist of Davis' talent and range.
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Perhaps we'll find that this new alternate setting really is crucial to the development of Age of Ultron. But with the finale fast approaching and still no sign of the titular villain, it's difficult not to feel that the series is back to dragging its heels.
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This definitely doesn't read like the Detective Comics of even a few months ago. But regardless of the true culprit, the end result is a very disappointing Batman comic. Hopefully a fresh storyline will put this series back on track.
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But as with issue #1, it's Cecil more than anyone who stands out. This is a character I took a long time to warm up to in the main series. But Hester has done solid work with him thus far, and the final few pages of this issue are easily my favorite Cecil material in the history of the franchise. That bodes well as this new series continues to grow and focus on the various other members of the ensemble cast.
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Iron Man has never been at the top of the Marvel NOW heap. But with the improvements that have already been made with this prologue issue, there's a good chance that might change in the coming months.
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If a bit melodramatic at times, DeMatteis' dialogue does a great job of capturing the larger-than-life nature of these characters. By the end of this issue, the stage is set for a memorable climax leading into Trinity War. But is there any hope the art quality will improve again?
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Nor is the artwork doing anything to distinguish Stormwatch in its new phase. Yvel Guichet's pages are plain and unremarkable. The storytelling is decent enough, but the figures are flat and lacking much in the way or energy or life. Stormwatch is a series that should look and feel larger than life. This new direction is failing to emphasize those qualities.
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Stegman's facial work is the strongest of the current cast of rotating artists on this series. That fact is crucial, as many panels really hinge on Stegman's ability to convey emotion.
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Simone Bianchi expertly captures the creepy, mythical aspects of Thanos that the script sometimes misses. In that sense there's a divide between the writing and art at times. Aaron seeks to provide ordinary, dialogue-driven scenes that Bianchi's powerful but not terribly emotive figures aren't well-suited for. On the plus side, Bianchi's page construction and sequential storytelling are leaps and bound above his early Marvel work.
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This issue also benefits from a shift in the interior artist. While Tan Eng Huat is generally a strong fit for Spurrier's loopy, surreal writing approach, his figure work in recent issues has been haphazard and even ugly at times. Paul Davidson brings a smoother, more natural look to the series while maintaining the surreal aspects. This looks to be a strong creative pairing as Spurrier continues to upend Legion's fragile world.
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The CG art style is interesting, showcasing what a Pixar or Dreamworks-animated Marvel movie might look like. The downside to this is that there's little storytelling flow from panel to panel since the story consists of so many splash pages and large shots. But on the other hand, the artists do an admirable job of giving the figures a sense of fluidity, something that is all too rare with CG artwork.
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Staz Johnson's pencils show a flair that is sometimes lacking in Moritat's work in the main story. Johnson offers up some dynamic page construction and framing that, coupled with the moody inking and coloring, effectively blend Wild West action with a more foreboding sense of horror. I'm eager to see where these backup features are headed once the full roster is finally assembled.
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Before Watchmen as a whole might just be a textbook case of a mixed bag. But if we're never going to see that epilogue issue, DC could certainly have picked a far worse finale issue to cap off this lengthy experiment.
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The humor is the main area where the series continues to struggle. And considering this is a Deadpool comic, that's not a minor problem. Too much of the humor in this book revolves around weak gags and pop culture references. There's too little edge and originality to Deadpool's comedy. What appeal is there in lampooning Tyler Perry or making jokes about female drivers? Issue #7 suggested that the writers have more up their sleeves in that regard, and it's unfortunate that thus far it seems to be the exception to the rule.
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Other characters like Aquaman and Wonder Woman also fare well. The latter in particular is interesting in that, despite her noble intentions, she's arguably the most villainous cast member. This book continues to defy expectations by presenting well-rounded characters and conflicts in what is still, at the end of the day, a video game tie-in.
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The pacing in this issue is all out of whack, but the end result of this sudden conflict looks to benefit the series moving forward. Kirkman caps off the issue with another scene of change that that offers a welcome emotional moment. The series continues to move in a satisfying direction. At this point readers don't really need any massive surprises for a few months.
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Justice League Dark #19 is both enjoyable and a solid entry point for new readers interested in Trinity War.
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This issue also marks Sara Pichelli's final bow on Ultimate Spider-Man. It's a shame, as her art has been a major factor in the book's success so far. The good news is that this issue lets Pichelli put all her varied skills to the test. The action scenes are dynamic, yet also intimate and claustrophobic enough to highlight the personal danger for Miles. The unique fashion and character designs help keep the panels diverse and interesting despite the myriad characters running about the hospital. The facial work is excellent, really highlighting the varied emotions. Two panels in particular stand out as key emotional beats, and they would fail miserably if Pichelli couldn't render them with the emotional gravitas needed. Again, it's really unfortunate that Pichelli can't continue to render Miles' world, but at least David Marquez is sticking around.
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Much of the character conflict centers around Rogue's accidental manslaughter and the resulting rift among the team members. The venom between Rogue and Wanda alone practically justifies the cover price on its own. It should be very fun to see this team continue through its substantial growing pains.
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Ramon Perez finishes out this arc in strong fashion. You won't find a more vibrant, energetic style in an X-book right now. Perez nicely captures that blend between the absurd and the tragic in this story. Other than a handful of cases where Wolverine's face appears too scrunched up, there are really no complaints to be had about the visuals in this arc. Hopefully this won't be the last we see of Perez on the series.
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Honestly, my one real complaint with the story at this stage is that the future timeline feels almost incidental when held next to the past. Most of the dramatic impetus falls on Wolverine now. There's fighting and even death in the future, but the death only highlights the fact that much of this story will be wiped away by the finale issue. There's no longer any doubt as to whether Age of Ultron will have lasting ramifications for the Marvel Universe, but we need to see more of this future realm and Ultron himself before it becomes clear whether those ramifications extend to all angles of the story.
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The more deep emotional material comes in the interaction between Colossus and Domino. Hopeless has managed to build up a solid relationship and rapport between the two characters in a short time, and it's already paying off. More than any other character right now, Colossus seems to be the emotional center of the book. Sadly, the Cable/Cyclops pairing didn't have as much emotional resonance as I was hoping. Hopeless writes some nice father/son dialogue, but ultimately Cyclops' presence just felt unnecessary and poorly timed.
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Art quirks aside, this is a great second start for a franchise that was already in good hands. Now that the creative team shifts of the mini-series are behind us, I have high hopes for Giffen's continued revamp of the He-Man mythos.
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And Gillen delivers some dramatic consequences to the story in the final pages, elevating "Godkiller" from a fun, simply filler arc to something that serves as a piece in the writer's larger plan. This arc doesn't wind up affecting Tony personally as much as I was expecting considering he was put on trial for murdering a space god, but the outcome still leaves him with a mission to undertake and some emotional fallout to deal with. How any of this is supposed to play into Gillen's upcoming revisionist origin story is a bit of a mystery. Still, I'm glad to see the series on much firmer footing than at the conclusion of the first arc.
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There's nothing particularly earth-shattering or original about the concept and execution of Vibe. But the series serves its purpose as far as fleshing out one of the more recent additions to the New 52 and complementing the events of JLA.
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That said, Wolverine's presence does lead to a particularly cool action sequence. Cho renders a terrific fight between Wolverine and a ban of gigantic apes. It's brutal, bloody, and entirely unblemished by the usual sort of "I'm the best there is at what I do" monologue blabber that permeates most of Wolverine's battles (until the immediate aftermath, anyway). Cho's decision to include more smaller panels in many of his pages doesn't always suit the dialogue-driven scenes (especially those where the dialogue is shifted over to the gutter), but in these action scenes the approach works very well.
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We've yet to see an issue of Superior that isn't burdened by some storytelling flaw or another. But even with issue #8's flaws, I'm pretty confident that Slott is pushing this book in the right direction.
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Ultimate Comics: Wolverine could have turned out to be just one more quick, dirty attempt to tap into the pre-movie buzz. Instead, the creative team have crafted a story that legitimately adds to the mythology of the Ultimate Universe.
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This issue might have proven enjoyable, if not essential, but it just doesn't have much to offer fans of either Age of Ultron or Wolverine and the X-Men.
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Regardless, David delivers ample amounts of character-building moments for several team members. There's the long-awaited reunion between Monet and Guido, for one thing, which mostly involves the two beating the snot out of each other. Leonard Kirk shines in the many brutal action sequences. His facial work, as always, could stand to be more consistent, but at his best the book can stand toe to toe with just about any X-book on the stands. There are numerous other memorable moments throughout this issue, including Polaris buckling under the pressure of leading the team and Rahne playing the protective mother. In terms of characterization and build up, this is easily one of the more satisfying arcs of the series in quite a while.
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Perhaps most aggravating of all is the poor characterization of Slade's son Jericho. Gone is the complex, tortured father/son dynamic. In its place is a cold, unfeeling Jericho who feels unnecessarily villainous. Between his one-note portrayal and the generally perfunctory nature of the script, there's just no reason to care about anything that unfolds here. The artwork is solid, at least, but hardly stylish enough to spice up this story.
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There's a lot at play in the first issue, and all of it contributing to a series that acts as both a worthwhile companion to Invincible and a genuinely entertaining superhero comic in its own right. Let's hope the name change attracts the book some much-deserved attention.
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The only real flaw in this issue is that the done-in-one format isn't really ideal for the story Yost is telling. There's some awkward wrangling done in order to squeeze the conflict into the usual 20 pages, sacrificing most of the setup phase in the process. Sleepwalker also feels underutilized, especially considering that we probably won't see him pop up again for another five years now. Even so, this issue is another worthwhile installment in a series that so often manages to delight and impress.
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In terms of Ribic's art, the page layouts and general sense of design are extremely impressive, but the finer details are sometimes lacking. Ribic delivers a very bold take on this story, with the medieval Icelandic setting nicely juxtaposed with the fantastical technology and imagery of future Asgard. Unfortunately, the intentionally sketchy approach to the art is becoming too pronounced, with certain elements like Gorr's shadow creatures looking crudely sketched into the frame. The book may be reaching a stage where Ribic would be better served working with another artist who can provide finishes for his layouts.
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Joe Bennett's art is fairly mixed in this issue. His action scenes are nicely rendered, but a lot of the quieter material is comparatively flat and lifeless. It's been a long time since this series has been able to boast consistent art quality, and that has yet to show signs of changing. Perhaps when the new creative team takes over in June.
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Not every element in this series is succeeding so far. But I'm willing to give Cornell some time to experiment and find new ways to spice up such a familiar character. It's not an easy task by any means.
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As mentioned, this is Hitch's final issue, and his work continues to show the same strengths and flaws as before. At the very least, issue #5 offers more diversity and allows Hitch to zoom in on a few key characters rather than tackle group shots of the Avengers. The detail in his figure work bumps up considerably in the flashback pages and any other page where the camera is zoomed in. But in general, this is still a familiar example of how Hitch's landscapes and environments outstrip his character designs. And as has often been the case with Hitch's Marvel work, there are certain objects and shapes he seems to struggle in rendering properly, most notably Iron Man's helmet. At this point, a visual refresh might not be such a bad thing.
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In general, the character dynamics are strong and the generally darker tone associated with the Cobra books is still very much effect. All that's really missing is a stronger emphasis on actual Cobra characters. Without that, there isn't quite as much distinction between Cobra File and the other G.I. Joe books as there should be.
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As with recent issues, the artwork suffers from a relative lack of clarity and muddled contrast in the ink washes. Close-up shots of characters tend to look fine, but wider shots see them devolve into flat silhouettes with vague details. Hopefully this recent trend will reverse as the fight against Negan picks up steam.
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Sadly, this issue isn't a complete grand slam. For one thing, the art is a bit weak. Amilcar Pinna's pencils are clean but very sparse, a fact exacerbated by the dull, flat coloring. The book too often feels barren and lifeless. This issue also comes up lacking in terms of resolution. Immonen never reveals the ultimate fate of Victor or his band of refugee children. Nor does this issue make it clear if this story will be directly continued anywhere else during the event. No doubt this issue is setting the stage for Victor's role in Avengers A.I., but is a little more direct resolution too much to ask?
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Acuna hits the ground running with his first issue. His moody, striking style is a perfect fit for the unusual setting. He captures the emotion of the dialogue-driven scenes well, and he delivers a number of bold, exciting action scenes. I have doubts as to whether Acuna can maintain this level of detail and flourish given his track record with ongoing books, but this issue alone stands as the most visually memorable of the series so far. And coming on the heels of John Cassaday and Olivier Coipel, that's no small feat.
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It's unfortunate that this issue couldn't have played out more independently. But at long last, Bendis has assembled his cast, and all signs point towards the series taking on a stronger sense of personal identity and direction moving forward.
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This issue has two pencillers. Andre Araujo handles the scenes set in the 616 universe, while Renato Arlem lends his usual touch to the AoA universe. It's good that the story allows for such a logical separation of content, but the two artists are so completely stylistically different that the constant shifts are still jarring. Araujo's style is attractive in its own kooky way, but not necessarily dark enough to suit the tone of this story.
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This is Bryan Hitch's penultimate issue of the series, and at this point there's little left to be said about his artwork. His various landscape shots look great. He crams ample amounts of detail into his ruined cityscapes and other environments. He paints an equally bleak picture of a Savage Land gutted by apocalyptic warfare. The many wide shots lend the book a generally cinematic, event-worthy feel. But his figures never benefit from the same sense of consistency and vitality. Background figures and panels that feature a large assortment of characters are much more loose haphazard. One odd quirk with this issue is that the interior art and cover alike make it obvious that Luke Cage wasn't originally drawn with hair. His hairdo looks scribbled on at the last minute.
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Steve Pugh handles the entirety of this issue; he really steps up the plate with a stark, gripping style that could be mistaken for a cleaner version of Foreman's work. If this is the level of storytelling fidelity and clarity we can expect from the book going forward, Animal Man will be in good hands.
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This is not the anniversary issue Detective Comics deserved, nor the one it needed. The main tale is a disappointing blend of poor pacing, questionable characterization, and a pointless retcon of the Batman/Man-Bat relationship. The rest of the stories and the art gallery don't do much to justify the $8 cover price. Even fans of Layman's run would be better off skipping this issue.
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Again, this opening chapter is entertaining enough to justify the purchase price. But nothing here really leaves me itching to read the next chapter.
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Issue #7 does eventually bring the story back around to Phantom Stranger's ongoing quest before the end. The writers deliver the closest look at The Question we've seen in the New 52 so far. Here again, I'd hate to imagine how he would have been portrayed without DeMatteis handling the dialogue, but he's able to bring just enough nuance to balance the character's more overbearing traits. the worst that can be said about this issue is that the cover effectively spoils the final page cliffhanger. Just one more reason to despise WTF Month, I suppose.
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Carlo Pagulayan and Wellinton Alves offer another solid, visually cohesive collaboration. But in many ways it's the colors of Val Staples that stand out in this issue. The pages transition from organic greens and browns to fiery lava reds and eventually the cold, electronic blues of Tesla's base. The art simply highlights the endless variety of Parker's ongoing storyline.
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Humberto Ramos returns to the series for this latest arc. Though I'm not a huge fan of his exaggerated figures, Ramos is doing a great job of capturing the energy of Spider-Man's fights and the quickly darkening tone of the script.
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There's plenty of room left for this story to improve, and I suspect it will as Thanos ages and becomes more the Mad Titan we know him as. But this first issue proves there's such a thing as making a character too sympathetic.
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The one real strength to this Tower side-story is the return of Richard Isanove as penciller. Befitting a book that returns readers to the era of Cuthbert and Alain, Isanove resurrects the tone of those early Tower mini-series. Despite his own obvious talents as a colorist, Isanove's pages are colored by Dean White this time around. This change is a welcome one, as White's moody colors are a perfect fit for King's grimly ethereal world. Dark Tower Fans can rest assured that, even if the story is utterly forgettable, Evil Ground lives up to the high visual standard of the franchise.
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After an early string of issues wherein only one of the two tales managed to live up to the premise, this is the third issue in a row where both segments are worth the price of admission. Judging from the newest solicits, Marvel doesn't appear to have any intention of wrapping up this book. And why should they at this rate?
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The inking becomes a major problem at times, as it routinely fails to accomplish its basic purpose -- to lend weight and definition to the pencil lines. The inks are so scratchy and haphazard in some pages that I'd rather Marvel had just skipped that step entirely and released this series with plain penciled art.
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The backup feature is particularly strong this month, as it always is when Palmiotti and Gray focus on Doctor Thirteen. If Teddy Roosevelt were a DC superhero, Doctor Thirteen is pretty much what you'd get. Entertaining in its own right, this segment also acts as a piece in a larger puzzle as the writers continue assembling the 19th Century incarnation of Stormwatch. The visuals in this segment aren't terribly memorable, but Thirteen's antics alone are well worth the price of admission.
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The closing chapter teams Taylor with artist David Yardin for a Wonder Woman-focused tale as Diana continues the the fight against Qurac's military while Ares watches over. This segment sheds further light on Diana's role in the larger conflict and how deep her loyalty to Superman lies. And while largely a very serious affair, Taylor does find room at the very end for a bit of levity. Yardin's pencils are a significant step above anything else we've seen in the book so far. His clean, sleek style almost makes up for those awful costumes.
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But ultimately, the arc feels hollow beneath all the visual splendor and flourishes. The League members are reduced to running from danger and watching as Tim Hunter and his father team up to save the day. At some point the sense of drama and tension simply leaks out of the story. From there, the writers are too quick to transition back into the real world and restore normalcy. There are some tangible changes brought about in this issue, but not as much as might be expected. I can only hope that the next storyline will be able to offer a bit more substance and lasting character drama in addition to all the visual delights.
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I just hope the decision to cut this arc short just as the drama began to really flow will turn out for the best. I was hoping for a bigger bang to finish out this story.
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Guillem March once again delivers a slick series of pages that feature dynamic, expressive figures and bombastic action scenes. The book thrives on the strength of his visuals as much as it does on Tynion's peppy, entertaining scripts.
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David Messina's art is pretty variable in quality, with the dominant factor being his reliance on photo-referencing. Messina's use of photo-reference works much better on movie-themed books like Star Trek: Countdown. Here, too many figures are stiff and lifeless as a result. One panel even flaunts the use of referenced material as Messina inserts the four leads of The Big Bang Theory into the conflict. Messina is a competent storyteller, and the better pages in this issue prove he doesn't need to rely on referenced material to properly bring the script to life.
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Whereas Cassaday's art in his four issues rarely lived up to his usual standard, Coipel's art is much more in line with its general high quality here. Aside form a handful of panels that lack background details, Coipel delivers ample amounts of finely rendered figures and cinematic panels. His facial work and skill with body language are a huge boon to the many dialogue-driven sequences.
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Tan Eng Huat's artwork suffers more than usual from his tendency towards exaggerated anatomy and bizarre perspective. That's despite the fact that much of the issue takes place against a surreal, colorful background of psychic energy. The jilted perspective just doesn't contribute anything to the story. And the characters become almost sexually androgynous at times thanks to the distorted facial features. In theory, Huat is perfectly suited to this type of series, but his style needs to show more restraint.
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Sholly Fisch and Chris Sprouse also return for one final back-up story. As mentioned, it isn't closely tied to Morrison's story, but it does tackle the idea of Superman from a different angle as it explores how a boy in the far future is inspired to stand up to a bully thanks to the Superman Museum. It's a little formulaic, though Fisch spices up the tale by cutting out all dialogue and using sound effects from the Museum to convey information instead. And there's no reason to complain about Chris Sprouse drawing a Superman comic, even if Superman himself is present only in spirit.
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The other half of the issue is a bit more dull by comparison, as Cable leads his team on a spaceship heist. But as the team dynamic begins to solidify, Hopeless is able to deliver some fun banter helps prevent the book from feeling overly grim and dark. Meltdown (or Boom-Boom or whatever codename she goes by these days) shows up for that extra bit of 90s nostalgia. Hopeless generally handles her well, though the use of slang like "totes" and "whatevs" is a bit grating. None of this material feels as vital as the Colossus portions, but the appearance of another major character at the end suggests that will soon be changing.
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And even ignoring the script entirely, Tony Moore delivers some excellent visuals to cap off this storyline. His expressive characters, moody environments, and penchant for grotesque violence and slapstick humor all serve the book extremely well. I can only hope that Moore will be returning to illustrate a future story, as his presence on the book has been the central draw for these past few months.
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Leinil Yu's art has always been an uneven fit for this series, as his harsh figures and heavy lines don't really mesh with Waid's dialogue-driven scenes. But given the underwater setting and heavier focus on smashing in issue #5, that problem isn't as pronounced. This still isn't the most refined work we've seen from Yu at Marvel, but them's the breaks when you want your Leinil Yu-pencilled comic to stick to a monthly schedule.
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As always, it doesn't matter whether Kirkman's scripts are crammed with action or, as in the case of this installment, are more dialogue-driven. Ryan Ottley handles it all with ease. His dynamic figures and facial work keep the story humming along as Kirkman transitions into the next phase of the Invincible saga.
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There are no complaints to be had with the Shazam backup, which returns after taking last month off. Johns has entered the most dramatically rich portion of the story so far as Billy faces first first moment of crisis. His foster siblings come back into play, and I'm eager to see how much of Johns' Flashpoint incarnation of Shazam will end of informing this version. Combine an emotionally heavy script with some typically bold and detailed artwork from Gary Frank, and you have one of the best Shazam chapters yet.
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If not exactly the material many fans were hoping for, it's still a well-written and tightly paced story that illustrates just how much of a threat Martian Manhunter poses to his enemies. Scott Clark delivers a sleek set of pencils that complement Finch's work well while also veering in a slightly more stylized direction. Sadly, Clark's recent passing means we won't be seeing this creative team pairing on a regular basis.
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This book has a lot of potential, and at the very least these first two issues have convinced me there is room for a Vibe solo book in addition to his presence in JLA. But the series really needs to focus less on tying into JLA and more on making Vibe stand out from the crowd.
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But ultimately, the story never seems to be going anywhere when Wolverine is in the spotlight. This book would be much better off if it was merely a team-up between Amadeus and Shanna. Cho doesn't seem to have an interesting Wolverine story to tell, so the fact that the character is becoming more and more a guest star in his own book is proving to be a very good thing.
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Though not quite as accessible as it might be, this latest incarnation of Star Wars Legacy is a worthy follow-up to the old one and a solid debut for Hardman and Buchko.
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If only this one story decision wasn't weighing so heavily on the book, Superior might stand a chance of becoming as enjoyable as Slott's Amazing Spider-Man run ever was.
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Sadly, the wheels start to wobble once the setting actually shifts to the Age of Apocalypse and the other two factions enter the fray. The pacing accelerates too quickly at the end, and the final pages lose some of the impact they should have. Worse, none of the X-Treme X-Men characters and most of the Astonishing crew have no pressing need to be in the story at all. All this crossover demands is the involvement of the AoA cast and Wolverine. I'm afraid the other dozen mutants are just going to get in the way from here on out. Is X-Treme really going to receive a proper finale through this crossover?
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As nice as it is to see Bryan Hitch working in the Marvel Universe again, his work isn't as consistent as I would like. The landscapes and environments tend to be more impressive than the actual figures. Hitch creates a powerful sense of mood as he renders cities where buildings have crumbled and corpse-ridden vehicles litter the streets. But the figures suffer from many of the same problems Hitch's work so often displays lately. Characters seem to have chronically dislocated shoulders with the unnatural way their arms bend. Facial work is riddled with stray, haphazard lines. The latter quality is something that the inking should be able to fix, but instead Paul Neary's inks only highlight the unnecessary lines.
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One good thing about this issue is that the final pages do suggest a deeper and more meaningful conflict on the horizon for Slade. Jordan is beginning to tie this series together with the events of Team 7. With both books on the chopping block soon, hopefully Jordan will have time to give Slade's current journey the conclusion it deserves.
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For all its woes, issue #18 does end on a real high note. Whether this means better things for Glass' finale next month remains to be seen.
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This issue benefits heavily from Marco Checcetto's artwork. After spending so much time with Punisher and the seedier side of the Marvel Universe, it's refreshing to see Checchetto dabble with bigger, bolder superhero stories. He handles the action well, and his slightly ethereal style proves to be a solid match for the visual tone of the Superior era.
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This issue also succeeds in offering some deeper moments in between the comedy. There's a scene between Janine and Winston's wife that is surprisingly touching. Burnham also builds towards a larger conflict with another familiar villain from Ghostbusting past. And the art, while arguably too cartoony for a story set in the original movie universe, is still clean, slick, and full of bombastic energy. In short, fans have plenty of reasons to love this book. I'm just keeping my fingers crossed that will get a nice, solid run from these new Ghostbusters before the old ones come back to reclaim their jobs.
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Visually, this issue one of the weaker installments we've seen in a while. Every so often Charlie Adlard's pencils start to lose detail and become more loose and haphazard. That problem persists for much of the issue, and any panel with the characters not in close focus will see the figures devolve into glorified silhouettes with only basic facial features. In addition, the contrast of the ink washes isn't strong enough, creating a muddy effect. I've said it before, but I'd much rather see the series ship on a slower schedule if it meant the art quality could remain more consistent.
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Butch Guice fills in for Esad Ribic on this issue. His gritty pencils are an excellent fit for the harsh tone of the issue. The coloring is suitably washed out to reflect the desert setting, providing a very different effect from Guice's recent work on Winter Soldier and similar books.
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David Messina makes his Ultimate debut alongside Bunn with this series. For whatever reason, Messina's work is much stronger in the present-day scenes. His figures and facial expressions are a bit stiff in the flashbacks, and the overall look of the series is much more smooth and detailed in the other scenes. Hopefully those scenes are more indicative of what readers can expect going forward.
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He isn't motivated purely by hatred of his half-brother. Instead, Aaron explores the idea that Dog simply wanted the sort of grand, adventurous life that Wolverine has enjoyed all these years, but ultimately can't seem to find happiness on his own. Dog is a much more sympathetic character than I was expecting, and it should be interesting to see if he can even be considered a villain by the time this arc is finished.
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Issue #7 is the most purely enjoyable installment of the series so far. Is it too much to hope that will translate into higher sales for once?
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If the first few issues of A+X were a bit rocky and uneven, these most recent two chapters have been milking the team-up concept for all its worth.
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The artwork is sold this month, with Renato Arlem tackling the bulk of the issue and Valentine De Landro handling the bookend pages. Both capably channel Roberto de la Torre's gritty, noir-esque style. It's a style that somehow works even though the tone and locations are comparatively cheery in this issue. One complaint, though, is that some characters are a bit harder to recognize now that most of them have ditched their costumes for civilian attire.
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With formulaic superhero storytelling and art that imitates manga only in the most superficial ways, there's really no reason to recommend this series in either digital or print form.
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At times Alberto Ponticelli's style is too harsh and gritty to suit the tone of the story, even acknowledging that this was once intended to be a Vertigo series. His human figures can be too heavily marked by creases and shadows, especially in light of the precise, clean cover art from Brian Bolland. But the general storytelling works well, and Ponticelli never fails to render the bizarre imagery Mieville cooks up each month.
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Like with issue #6, the visuals are more notable for the strong, varied use of color than the actual pencils. No matter their gender, race, or now even species, Greg Land's characters all look like pretty, chiseled fashion models. Considering the premise of this arc, there should be far more diversity to the character designs. The action is generally depicted well, but this series really needs a fresh visual approach if it's going to reach its full potential.
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As for the good news, that comes in the form of a shake-up in the art team. Zander Cannon provides layouts for this issue, with Gene Ha handling the finishes. The result is a far cry from the murky, wildly inconsistent style readers have come to expect. As with any Ha book, every page is clean, exacting, and very cinematic. The worst part about this being a filler issue is simply that we won't be seeing more from this guest art team. But alongside the writers, they've crafted a filler issue that still manages to build a fair amount of excitement for what comes next.
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The artwork is also a little more rough this time around. Wellinton Alves seems to handle the bulk of the workload, though it's not always easy to distinguish his pages from those of Carlo Pagulayan. Regardless, the hazy, scratchy quality that has characterized the book to date becomes too prominent now. Rather than being a stylistic choice, it just makes the printing look muddy and out of focus. Hopefully the series will be back in its usual form next month.
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Two other issues crop up this week. One is that the crowded script doesn't allow Slott enough time to focus on the B-plot of Otto bonding with a fellow chemistry student over dinner and studying. This material is fun, but it feels out of place in the context of the rest of the issue. Another, more serious problem comes at the end of the Spidey/Massacre showdown. Neither the script nor the art are very clear as to what happens in the final moments or to what lengths Otto goes to put down his foe. It would be one thing if Slott ended the issue with a vague cliffhanger, but the issue persists for several more pages of weird uncertainty. I just can't see any reason for the book to be so vague about what could be a huge plot point.
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One area issue #18 offers clear and dramatic improvement over last month's installment is the art. Andrew Bellanger's pencil's weren't "bad," merely badly suited for such a dark, horror-tinged storyline. Fortunately, Yanick Paquette is able to rejoin Snyder for one last hurrah with the characters. His moody, lushly detailed panels and striking page design is back in full force, and issue #18 rivals anything else he's delivered on the series. Or in his career to date, for that matter.
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Joe Bennett takes over the art for this story. His heavily muscled figures are at times more extreme than I'd like from the Ultimate Universe, but his dynamic camera angles lend a nicely cinematic flair to the story. In terms of costume design, there needs to be more consistency between Bennett's work and previous artists. For instance, Thor has magically traded Mjolnir for his artificial axe-hammer again since his previous appearance.
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The backup feature is a bit more well-rounded. Here, Palmiotti and Gray introduce readers to the 19th Century incarnation of Stormwatch. The star of this opening chapter is that era's Century Baby, Jenny Future. As much as this backup could be viewed as a rehash of Demon Knights in a different time period, all that really matters is that it offers a fun blend of Wild West adventure and steampunk aesthetic. I'm very much looking forward to seeing this version of Stormwatch take shape in subsequent chapters.
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So the twist is handled well, but I have yet to be convinced it's the best direction for the series to take. It seems to kill a lot of future storytelling potential for the sake of immediate drama. But there are also four issues remaining on this series, and it's probably a safe bet that Morrison has more up his sleeve. After all the excellent stories that have come out of this run in the past seven years, he certainly deserves the benefit of the doubt.
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The final segment builds on a thread from the previous one as Taylor starts dividing the superhero community in half in the wake of Superman's actions. Even more than the opening chapter, this one allows readers to sympathize with Superman as he searches for his new purpose in the world. One troubling aspect, though, is how quickly Wonder Woman falls in line with him and even encourages his actions. I worry how the characterization in this series will hold up over time as the characters and settings become more extreme.
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This issue has the distinction of being the first to touch on the Batman family and their response to Calvin's war on the Court of Owls. As it turns out, though, this material feels a bit out of place and unnecessary. This series doesn't need stronger ties to the Batman franchise to thrive. It has all the building blocks it needs for a good, solid shelf life at this point.
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Paco Medina's art captures the fun, bombastic tone of the script pretty well. His figure work is surprisingly adept at capturing the expressive, playful style of Mike Allred's FF comics. However, Medina's stiff, repetitive facial work remains a hindrance and perhaps the only true weak point in this latest issue.
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The backup feature this month ranks among the better efforts from Sholly Fisch. Part of this is thanks to artist Chris Sprouse, who takes to Superman like a fish to water. But the script is heartfelt in its own right as it explores the last meeting between Clark and his father. The time travel aspect makes it a bit redundant in light of Morrison's All-Star Superman #6, but it works well nonetheless. The only problem? An editor's caption explains that the backup is meant to take place after Action Comics #18. Clearly the last-minute addition of that final chapter messed up the flow of the series, but couldn't this strip have been saved until then?
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The real difference to the formula of these past few issues is that there's less question of how this new Avengers recruit fits into the larger picture. Hickman caps off this pseudo-arc by circling back to the larger events covered in issue #3 and a major new development that provides the spark for the next story. These character-focused issues have been enjoyable, but it'll be good to see what path the series takes from here.
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With Catwoman joining the Justice League of America, the time has come for this series to finally step up and deliver on its potential. Issue #17 makes some significant strides, but it remains to be seen if this will develop into a trend.
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Two areas of Milligan's script proved to be a little bothersome. The first involves a brief appearance by that classic Constantine nemesis, the First of the Fallen. While his appearance is welcome, this demon's role in the story is abrupt and a little strange. More significantly, the final two pages are unnecessarily vague and even frustrating. I understand what the creators were trying to do with this sequence, but the storytelling falters right at the finish line. Even so, this issue is a worthy finish to the series and this incarnation of John Constantine. The team behind March's Constantine launch have some mighty big shoes to fill.
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The execution on that front is mixed so far. The facial work is still as uniform as ever, with very little variation in facial expressions from scene to scene. But in terms of body language, it is easy to see a shift from Finch's previous books. In particular, there's a lot that can be gleaned from Martian Manhunter solely based on the way he carries himself and interacts with Steve Trevor. Juxtaposing that with the opening chase sequence, it's clear that Finch can handle more subtle forms of physical storytelling alongside the bigger action scenes. I hope his facial work can eventually improve as well.
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This current phase of Nightwing's career ends with more of a whimper than a bang. At this point, the best thing for the character is a fresh start and a new story direction. Luckily, that's exactly what Higgins seems poised to do in the coming months. And we can thank the obnoxious Channel 52 segment for spoiling exactly what that new direction entails.
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Cho's art is as sleek and attractive as ever. The series is crammed with the elements Cho is so well-known for -- jungle babes, cavemen, and dinosaurs. And there's a definite cheesecake quality to the art as Shanna parades around in her skimpy bikini and slides through the mud. If that's up your alley, The Savage Wolverine may be worth your $3.99. But for most readers, there are better outlets for Wolverine stories these days.
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Mind you, some of the familiar flaws still present themselves here. Peter's nagging ghost serves some purpose in the script, but I really wish Slott would stop focusing so much attention on him when Otto is still just finding his sea legs. Or Spider legs, rather. In more ways than one, Slott seems a little over-eager with his plotting. Aside from needlessly teasing the eventual return of Peter Parker with every ghost scene, Slott caps off this issue with a completely unrelated subplot. Though interesting, this cliffhanger really has no place being in this issue.
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The artwork remains fairly inconsistent, thanks in large part to the multiple inkers on the series. The level of detail varies pretty wildly across the issue, with the final, less dramatic pages for some reason looking much more refined than those that precede them. Haphazard visuals are a problem this series just can't seem to shake.
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With as many Wolverine comics as there are, I really never expected to be enjoying a MAX spinoff as much as I am. This series proves just how much life there is still in this oft-ignored imprint.
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Renato Arlem adeptly handles the visual side of things. He creates a look of a world wracked by years of war and suffering that equals the tone established by Roberto de la Torre. And if anything, Arlem's facial work is more defined and nuanced, which is key in an issue like this where the dialogue-driven scenes take center stage. I'll be sorry to see this series end, but crossover or not, I have little doubt Lapham and his artists will manage to deliver the finale saga Age of Apocalypse deserves.
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Artistically, issue #5 is a bit strange. J.G. Jones' pencils and inks have remained more detailed and precise than I would have expected. The drop-off in quality that occurred during his issues of Final Crisis is really apparent here. The colors are more problematic, however. I've praised Alex Sinclair's surreal, haunting hues in past reviews (the only aspect of the series that really does feel Apocalypse Now-esque). But here, numerous panels have very rigid, segmented gradient bars in the background and sky areas that make it look as though the printers were running out of ink when this issue was in production. This occurs in both the print and digital versions, so I'm honestly not sure if this was some sort of surrealist design choice or a flaw in DC's source files.
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Salvador Larroca is right at home with this book, at least. The blend of weird tech, frequent gunplay, and grotesque monsters plays to his storytelling strengths. Additionally , Frank D'Armata's surreal colors seem to be a better fit for this series than they were on Invincible Iron Man. The costume designs in this series leave something to be desired, but in general Larroca does a great job of matching the tone of Hopeless' script and establishing this seedy little corner of the X-Men universe.
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Scarlet Spider might not be receiving much attention right now in light of the Superior Spider-Man push, but for my money, it's the best Spider-Man title your money can buy right now.
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Glass takes a bit of time to explore more dramatic material as he sheds light on Yo-Yo's origins. The problem here is merely that the issue doesn't devote enough space to that material, and it comes across like an afterthought despite proving to be crucial to the present-day conflict before the end. Dramatically and comedically, this issue just hits too many wrong notes.
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Issue #5 has two pencillers, but the structure allows for easy division between Jesus Merino and Pascal Alixe. Merino's dynamic art is in line with the best of what the series has offered to date, while Alixe's style is more shadowy and detail oriented. Alixe does a great job of keeping the many conversations interesting. Whether he can frame the action as well as merino once the flashbacks pick up the pace remains to be seen.
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Issue #9 is a strong finale to Hickman's saga thus far. It wraps up most of the conflicts that have dominated the book. Befitting the fact that the setting has now shifted to the 1960's, it feels like anything can happen as the book moves forward from here.
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The Ghostbusters franchise has been in good hand for a while now, and The New Ghostbusters does nothing to change that.
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Anti-climactic? Maybe, but The Walking Dead #107 is still an enjoyable read and effective bridge between the initial conflict with Negan and new story complications that are brewing on the horizon.
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At this point, unless Pak is somehow able to use X-Termination as a means of tying up his own loose ends, I'm not expecting a full and satisfying resolution to X-Treme X-Men. But Pak deserves credit for refusing to sacrifice the quality of his book in order to reach the finish line. In an ideal world, he wouldn't have to make the choice in the first place.
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While this issue didn't have a great deal to offer beyond the strong visuals, I'm hoping the end of Death of the Family backdrop will allow Layman to tackle his Emperor Penguin material more directly next month.
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Sorrentino delivers a bold, strikingly designed issue full of dramatic angles, powerful figures, and a heavy interplay between light, shadow, and color. Color especially is a huge focus, and I love how certain panels fade to black and white at key moments. There's no substitute for a comic where one artist handles the pencils, inks, and colors all on their own.
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This series has yet to display the ambition or clear, focused direction needed to rival the best Marvel NOW! titles. But now that the first story arc is out of the way, Gillen is more free to focus on the fun and adventure that come from being Iron Man. That's a quality we've seen precious little of in the past decade.
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The artwork in this book is as jumbled as ever. As usual, Philip Tan lends a welcome dose of texture and darkness to Brent Anderson's pencils. But the overall quality is haphazard at best, and the facial work grows very wonky at times. Even with so many artists contributing to the finished look, the book has a very rushed quality to it that never quite seems to go away.
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Once again, the art is divided between Wellinton Alves and Carlo Pagulayan, though this issue seems to lean more heavily towards Alves' end. I was a little underwhelmed by the depiction of the underground S.H.I.E.L.D. facility considering the architectural splendor on display in Jonathan Hickman and Dustin Weaver's S.H.I.E.L.D. series. But otherwise the storytelling is solid, particularly during a brutal sequence where an all-too human Betty is forced to battle Fortean's troops.
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One problem from the first storyline that has largely been addressed in this issue is the disparity in how Alex Maleev renders the many characters on the page. While there's a clear reliance on photo-reference throughout, in the first five issues Maleev's main characters seemed almost too real relative to their surroundings and fellow Portlanders. There was a bit of an uncanny valley effect at work. But here, Maleev's work is a little more stylized and more consistent in how it presents Scarlet's world. The storybook interlude also allows Maleev a chance to break away from realism and toy with watercolors and other effects. Overall, this issue bodes well for what is essentially the second volume of the series.
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I wish there were more room for epilogue material and an exploration of how the various characters are coping with the traumas of recent issues. Imagine if Uncanny X-Force had ended with issue #34 instead of #35 and you'll have an idea of what this finale feels like. Riveting, but over too soon.
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Really, the only element dragging this series down is the presence of Peter in the story. There's really no need for him to play as active a role as he does. It distracts from Otto's story and reinforces the very temporary nature of this status quo. Particularly awkward are the scenes where Peter physically explores Otto's memories as if this were a Harry Potter book and he had stumbled into the Pensieve. Unless Slott forces Peter into the background more, I fear Avenging Spider-Man will continue to be the truly superior Spider-Man comic.
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One element that could significantly improve this series right away is a much stronger emphasis on humor. Thunderbolts takes itself far too seriously for a book about a bunch of killers donning matching red costumes and shooting a bunch of soldiers. If the tone were more wacky and the writing more focused on black humor, a la Way's approach to his two Bullseye mini-series, Thunderbolts might have something to offer readers.
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Leonard Kirk is easily one of the best things to happen to this series in its long shelf life. Kirk brings a new level of storytelling prowess and cinematic detail to a book which has rarely enjoyed a stable art team or entirely consistent visual style. Kirk handles all the excesses of the Hell Lord characters while still keeping the book grounded and intimate. His level of detail isn't always consistent, however, and in certain wider panels the characters are little more than colorful silhouettes. But despite that problem, the series is enjoying one of the strongest periods of quality right now.
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The Tomahawk backup makes up for the sporadic art quality, though. Phil Winslade's dramatic depiction of American Indian warfare is as gorgeous as anything you'll see in a DC book this week. The story here is nothing terribly special. But for a book where the visuals are too rarely a draw in either the main feature or the backups, this sudden boost in quality is welcome indeed. I'd love nothing more than to see Winslade take over the main feature for a while and give Moritat some time to focus on the finer details that his pages can often lack.
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Capping off this issue is a story from Schwartz and Katherine Walczak and artist Mico Suayan that focuses on Helena Bertinelli's past and the events that led to her becoming Huntress. This segment basically just rehashes what we learned from her conversations with Ollie, but it's nice to see it play out visually and to see her relationship with her late fiance play out. Suayan's pencils are easily the strongest of the issue. He delivers a gritty, noir-tinged feel that compliments the writing, and he also manages to nail the actor likenesses without sacrificing the quality of the storytelling.
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The artwork has never been a particular strong suit with this series. However, issue #6 is at least the most visually consistent, as Pop Mhan pencils and inks every page. The character designs offer all the power and bombast you'd expect from a He-Man comic. The He-Man/Skeletor battle is framed much better than a lot of the other tent pole fight scenes have been. One area that the book continues to suffer from, however, is that the world itself doesn't feel like Eternia. It has a very generic, medieval Europe quality to it, and shows none of that signature blend of technology and barbarism that defines the franchise. This is a world where heroes pilot fancy hovercraft vehicles and use advanced computers, yet still wear fur underwear over their armor. I'm hoping the new series will better capture that aesthetic.
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Artistic problems aside, Injustice offers a surprisingly entertaining gateway into the new game universe that really doesn't need the game to be appreciated in the first place.
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With the shift from action to conversation, it should come as no surprise that Ryan Ottley's art doesn't stand out as much as it has in the previous few chapters. The opening page allows Ottley to exercise his penchant for the grotesque, but after that his pages are more relatively low-key. Unfortunately, some of the dialogue sequences basically consist of panels of Mark standing against a black background. But Ottley keeps the issue visually interesting despite these limitations. There are a few pages where his facial work is called upon to hammer home the emotion of the scene. And in contrast to the opening page, I appreciated how Ottley and Kirkman showed restraint in depicting a major character death. Sometimes, what you don't see is more powerful than what is shown in all its gory detail.
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Fialkov's script does excel when it comes to dialogue, at least. Much as with Keith Giffen's writing in the He-Man mini-series, Fialkov takes a very serious, dramatic approach to the characters that is about as far from the style of the original animated series as you can get and still feel like He-Man. Skeletor comes across as an imposing villain. Adam is a proper everyman hero. Even the Sorceress shines in her brief appearance. Given a larger platform on which to work, Fialkov could easily excel with this franchise.
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It's great to see Ryan Stegman headlining the main Spider-Man series. His bold, energetic style was a perfect fit for Scarlet Spider, and it's a perfect fit for Kaine's Superior clone, too. However, the darker color scheme in this series doesn't do much to enhance Stegman's pencils. Between that and Stegman's thicker, more jagged inking style, it seems like Stegman is trying to conform more to Humberto Ramos' style. And while there's something to be said for stylistic consistency on a biweekly comic, I'd rather have the cleaner, sleeker Stegman of Scarlet Spider.
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Fortunately, Guillem March remains on board for this issue to chronicle the big fight in all its bloody detail. Although there's not much blood to be had. The problem with such a pretty, attractive art style is that the characters never lose their good looks even when their faces are being smashed into cars. They don't bleed so much as sweat red. But regardless, March's art is powerful and dynamic, with the characters looking as though they're primed to explode right out of the panel and into your face at any given moment.
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Between the psychic chaos of this issue and the running battle between the X-Men and a band of Dire Wraiths, Jorge Molina has no shortage of prime visual material to work with. The result is a much more exciting and varied take on the Jean Grey School than we've seen with his Wolverine and the X-Men issues. Still, I really would have liked to see how Tan Eng Huat would have handled this script. Huat's loopy style fits Spurrier's oddball storytelling like a glove.
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It's as frustrating as always to see a good book put on the chopping block. And with the X-Terminatiion crossover taking up most of the remainder of this series, I fear that the overly brisk storytelling pace is about to get much, much worse.
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A+X #4 is a win-win. Can the the remaining two issues keep the streak going?
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Though hardly bloated at only two issues, I do feel that Liu could have trimmed the story even further by reducing the role of the other X-Men. Other than the Christmas celebration with Karma in issue #57, the various other characters didn't really add anything to the conflict or Warbird's journey. As a single one-shot issue, this storyline might have been that much stronger and more tightly paced.
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And the artwork is as gorgeous as ever. Cooke works a lot with contrasts in this issue, offsetting dark, shadowy scenes in the old Minutemen headquarters with bright shots of new heroes emerging and Hollis bonding with his "niece," Laurie. Cooke adheres to the traditional nine-panel grid more than usual, but he still finds opportunity for striking page design within that structure.
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Catwoman has been in a slump for months. The real problem facing this series now is that Selina will soon be joining the JLA, a fact which offers even less incentive to keep reading this book.
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Matteo Lolli's visuals are serviceable enough. The pages documenting Wade's battle with Moby Dick stand out in terms of detail and framing, but generally the book has a pretty plain aesthetic that neither diminishes the script nor does much to enhance it. Fans of Bunn's previous mini will want to check this one out, but more casual Deadpool fans will probably be better off trade-waiting.
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Nightwing #16 is a brutal read. Higgins is making the most of Death of the Family, even if readers are forced to question if this was the right time to bring Dick's current status quo crashing down around him. Regardless, the character is being set up for an interesting new direction once this event wraps up.
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Most of the Bat-books have done a good job of accommodating Death of the Family and using the event as a springboard for drama. Lobdell has instead opted for a bizarre slapstick approach that doesn't mesh one iota with the tone of the event. I'll be happy to see this series move beyond the tie-ins and crossovers and pursue its own ends again.
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Countdown Into Darkness isn't a bad read by any stretch, but it's more straightforward and formulaic Trek than I was expecting given how the original Countdown played out. Hopefully the ties to the new movie will become more apparent as this story develops.
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Make no mistake -- Uncanny Avengers is an enjoyable read. But it's not reaching the level of quality I expected from the creative team. The worst part is that the series is being hurt by delays, but those delays aren't even enough to allow Cassaday the time he needs to deliver his best work.
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Special mention should also go to Kris Anka, who designed the new costumes for the series. Good costume design is an under-appreciated skill in this industry, particularly with the many ugly, garish redesigns that have come out of Marvel and DC in recent years. Anka's striking costumes provide a perfect marriage between the street clothes approach of Frank Quitely's New X-Men designs and the sleek, black and grey suits of the past couple X-Force volumes. It's a shame Anka wasn't contracted to overhaul all of the X-books in similar fashion.
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Even the temporary (I hope) loss of Immonen can't prevent this new series from firing on all cylinders. Bendis is weaving a very engaging tale that celebrates the long history of the X-Men while also managing to appeal to people who have no prior attachment to the characters.
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That's not to say there's no deeper, emotional appeal in this issue. DeConnick offers some great material between Spider-Woman and Hulk as the two deepen their bond. This is really the first post-AvX comic to justify Hulk's return to the Avengers fold. In general the book is a celebration of the Avengers' family dynamic. It's cheerful in a way the franchise has so rarely been of late.
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As abrupt as the transition into the next conflict is on the final page, this issue makes it clear that Jordan will continue to provide Deathstroke with challenges and foes worthy of his reputation.
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Nor is Federico Dallochio's artwork much help. Dallochio had his moments on Suicide Squad, but often his figures were too stiffly rendered and eerie. That problem is only compounded here. There's no grace to the action. Facial expressions appear unnatural and rigid. The vaguely digitized, computer rendered look to the world suits the tone of the script, but the characters themselves look out of place. Unfortunately, there's just not enough in this first issue to recommend sticking with the series to see if the plotting or characterization improve.
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Steve Epting's art isn't given as much room to shine in this issue. The problem is that a significant chunk of the book is devoted to talking heads against black backgrounds. In those scenes, it's Hickman's trademark charts and graphs that catch the eye. Still, there are a few more bold scenes that really allow Epting to work his storytelling magic. And in general, the shadowy approach to framing the story highlights the grim tone well. My hope is that the slower shipping schedule on this series will allow for a much greater degree of visual consistency. Clearly, Hickman and Epting are on to something grand here.
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However, some readers might take issue with the fact that the one female character is running around in a barely there loincloth while the various male leads remain comfortably clothed. It's a fair complaint, even if at some point you just have to know what to expect from a Frank Cho book. That said, it wouldn't hurt for The Savage Wolverine to become more of an equal opportunity purveyor of sexy thrills. Toss Wolverine in a loincloth and let his beefcake offset Shanna's cheesecake.
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The series has grown very stagnant of late, and the long Death of the Family detour did nothing to assist the rest of the cast in Harley's shadow. But with the characters finally embarking on a new mission, hopefully the Suicide Squad will start living up to their name again.
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The one real flaw plaguing this issue is an excessive amount of exposition. Whereas past chapters of Avenging would use the goofy recap pages to establish everything new readers need to know about the main characters (i.e - not much), Yost laboriously uses Otto's monologue to introduce every single X-Man and offer the new Spider-Man's extended thoughts on mutants. Most of it is simply unnecessary information. Hopefully this won't be a recurring problem as Otto continues his tour of the superhero community.
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Giffen rounds out this issue with a short story starring Larfleeze. Unlike the backups in books like Batman or Detective Comics, there' no seeming connection between it and the main tale beyond the general sci-fi setting. Still, it's a fun little tale that takes advantage of Larfleeze's bizarre personality and dials up the humor even further than the main story. Scott Kolins' loose, cartoony style fits Larfleeze's world like a glove.
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As with the past three issues, it's the characterization of Tony and his circle of friends that helps salvage the book to an extent. Edmondson shows a great handle on Ultimate Tony, offering a character with snark, charm, and vulnerability all in one. There's clearly potential for more stories in the wake of this mini-series. But better pacing and stronger visuals are necessities if a sequel is going to succeed where this book failed.
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The art chores are again divided between Roland Boschi in the present and Felix Ruiz in the flashbacks. Both handle their pages well. Their styles certainly mesh well, offering a grim, noir-tinged look at Wolverine's world. The colors are what distinguishes the two timelines for the most part, with Ruiz's flashbacks featuring warmer hues and Boschi's pages more tinged with cold blues. It's a winning blend that I hope to see continue.
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I don't know how long the co-writing situation is intended to last on this series. Given that Edmondson's name is absent from the cover, it may have simply been a last-minute decision. The book is going through a bit of a rocky patch right now, and I don't think that reducing Wood's distinct voice is the answer.
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I could tolerate the grotesque concept of this series if I felt like it served a greater purpose. Avengers Arena revels in its similarities to books like Battle Royale and The Hunger Games. But the common factor among those stories, and one that Arena lacks so far, is that the teen-on-teen violence served as a larger sort of social commentary. What purpose do any of these deaths serve besides depriving readers of future stories with the characters? Hopeless is so cavalier in killing off his protagonists that I'm beginning to suspect more and more that this really is all an elaborate illusion or simulation. The thought that Avengers Arena might be one giant red herring somehow seems even worse than it being a nonstop slaughter-fest.
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So basically, the series wouldn't be half bad if it were just "X-Force" and not "Cable and X-Force." At the very least, I'm hoping that the series will even out a bit and ditch the nonlinear format after this debut arc.
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The backup story comes in especially handy this month, as it allows Layman to continue his exploration of Ogilvy's rise to power without conflicting with his Death of the Family tie-in. This segment is a fun read, bolstered by the nonlinear approach and a strong depiction of the increasingly villainous Emperor Penguin. Andy Clarke's art is a highlight, providing plenty of dramatic facial work and character designs that are equal parts kooky and creepy.
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Yildiray Cinar fills in for Nicola Scott on this issue. He doesn't show quite the flair for dynamic, expressive figures that Scott does. However, his action scenes are framed well, and Robinson gives him plenty to work with as Steppenwolf and Fury unleash hell on their unwitting enemies. Visually, this series has always been on firm footing amid the New 52 catalog.
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One area the book could still use some fine-tuning is the formulaic cliffhangers. Wiebe has a tendency to end each issue with the debut of another familiar Peter Pan character. When working with books like this that take a familiar franchise and morph it into something dramatically new, it's best not to rely overly much on those "Hey, look! It's this person you know, but they're different!" sorts of moments. And generally, the series has done a good job of that. Peter Panzerfaust isn't too beholden to the Peter Pan mythology, and it can easily be enjoyed absent any knowledge of it. But the cliffhangers alone continue to fall back on that approach. But sooner or later that will have to change, as Wiebe will eventually out of iconic Pan characters to induct into the book.
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The artwork is extremely variable in quality in this issue. As with past issues, it seems as though the majority of the detail is focused on the action-heavy scenes. The more ordinary, domestic material suffers from a lack of clarity. Some figures are little more than outlines filled in with color that approximates a living person. With the script quality on the upswing, maybe the time has come for a change in artists as well.
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Matteo Scalera once again kills it with his artwork. The series is stylish and energetic, and the epic scope of the script is captured expertly in every panel. Even more than the thought of losing this quirky team, I'm sad at the thought of a Secret Avengers book without Scalera at the helm. Hopefully Marvel has other high-profile assignments in mind for this talented artist.
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Unfortunately, this issue once again sees regular artist Will Conrad joined by fill-in artists (in this case Eduardo Pansica and Julio Ferreira). It's frustrating that this has apparently become the norm. The guest artists fit in with Conrad's style well enough. The problem is more than Conrad's art often looks rushed, with too much reliance on stiff, unnatural CG models and not enough of the more organic style he relies on in other books. Must Stormwatch always suffer these sorts of visual woes?
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It's certainly nice to see Ryan Stegman on board and helping to kick off the new series. From the first issue of Scarlet Spider, it was clear that Stegman was destined to headline the core Spider-Man book. He brings the sense of kinetic energy and bombast that a Spider-Man book needs. The characters are expressive, and the many action scenes pop right off the page. I'm not thrilled that Stegman's work is colored by Edgar Delgado, however. Delgado also colors Humberto Ramos' pencils, and the darker, more muted tones don't really complement Stegman's pencils and inks that well.
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The artwork stands out as being especially strong in this issue. The stark, simple scenes between Negan and Carl are juxtaposed against bigger, more detailed pages that showcase Rick, Michonne, and the rest mowing down the undead. Cliff Rathburn's ink washes have been problematic in some recent issues, but here they bring some welcome depth and vitality to the action.
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The current Tomahawk backup is notable not for the script, which is fairly by-the-numbers and a little overwrought at ties, but for the visuals. Phil Winslade delivers panel after panel of bold, energetic action. The strip looks like a lost relic of DC's classic Western era in many ways, but this is hardly a bad thing.
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Rounding out the issue is a segment from Cho and Ben Sokolowski. This portion reads like Arrow in microcosm, as it manages to breeze through the general structure of an episode in a mere handful of pages. It works surprisingly well in these limited confines, showcasing Ollie and Diggle carrying out an international mission. Mike Grell's art serves the story well. It's grim and finely textured, though certain panels feel a bit cramped. This is one instance where the smaller digital format might have been a hindrance. This segment also suffers from the same horrible Ollie monologue that plagues so many episodes of the show. I've often wondered if those monologues might play out better on the printed page than spoken aloud. The answer is no, no they don't.
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Sean Phillips is also in fine form with this issue. Brubaker's script allows for a strong sense of variety. The rural setting is a nice change of pace, and the eerie, surreal desert scenes in the flashback and the dark, haunted panels of the opening and closing scenes are an effective contrast. The concept behind this series is a really great one, and that seems to be reflected in the output of both creators as they continue to deliver some of the strongest collaborations yet.
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Quirks aside, Ennis and Parlov's return to the MAX universe remains as solid as ever. And the more dependable shipping schedule during this second half doesn't hurt.
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Colin Lorimer's artwork really seals the deal here. Lieberman's voice is distinct, but Lorimer truly brings it to life with his striking page design, murky world, and effective use of color. The color in particular really hones in on the shifting tone and complements the mood perfectly. I look forward to more of this bloody world Lieberman has created, but only if Lorimer also returns to give it life.
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In a series rocked by over-powered villains and dramatic plot twists every few months, Kirkman has managed to deliver a conflict with proper dramatic weight leading up to issue #100. Unfortunately, this penultimate issue derails the momentum established last month thanks to some terribly uneconomical dialogue and poor storytelling choices. Hopefully we can expect more from the finale chapter.
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If nothing else, issue #5 lays the groundwork for Gillen's next story and puts the Extremis conflict to rest. The flip side to this is that the ending only makes these five issues feel even more pointless and irrelevant. With Invincible Iron Man ending with Tony venturing out into space, and with this arc ending in nearly identical fashion, what was the point of these five issues at all?
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Parker's Hulk work has never enjoyed the attention it truly deserves. With the series actually improving in the shift to Red She-Hulk, it's more deserving of your love and money than ever.
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James Tynion IV significantly boosts the cast of characters this month as he explores the history between Calvin and his former lover Casey and then brings Casey's clandestine organization into the forefront in the present day. Part of me feels that both Calvin and Sebastian could use further fleshing out before adding so many ancillary characters to the book, but for now the ensemble approach injects the mission with an extra dose of excitement. My one real complaint with the script this month is that the transitions between certain scenes can be a little jarring, and in one case I mistakenly thought Tynion had launched back into a flashback for a moment.
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Venom is missing the charm and flavor it once had, and no amount of Philly landmarks will fix that problem.
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THE VERDICTIt's a little early to be drawing comparisons between Throne of Atlantis and The Sinestro Cops War. Even so, this crossover is showing many of the same qualities that make Sinestro Corps such a standout comic book event. It's dramatic, engaging, and expertly rendered. Its's also a very straightforward crossover with no pointless tie-ins or filler. No muss, no fuss.
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Quite suddenly, Justice League is as enjoyable a read as Aquaman has been. And while that's due in part to the fact that it poached Aquman's artist, there's a general sense of improvement in the storytelling and character dynamics too. Readers who might have dropped this book at some point in the past 15 months would do well to give it another look.
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Long story short, yes, ASM #700 is worth venturing to the shop. The execution falls short in a couple of key areas, but it nonetheless gives the long-running series proper closure and paves the way for a very interesting and unpredictable 2013.
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Fans of Black Panther and Storm and/or Ferry's art will want to check out this issue, but the $3.99 cover price may be asking too much of everyone else.
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Unfortunately, my other complaint regarding issue #1 remains true here. Ex Nihilo, Abyss, and the rest of the new villains really aren't that memorable beyond their interesting visual designs. Their motivations and actions feel too reminiscent of other recent storylines like The Dark Angel Saga in Uncanny X-Force or Hickman's own Ultimates work. If anything, the similarities grow more apparent as Ex Nihilo rants about ancient beings who manipulate genetics and seeds that can remake worlds. Hopefully this problem is merely a temporary one. Hickman has made it abundantly clear, both within this book and in various outside interviews, that these early issues barely scratch the surface of what he has planned.
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That said, J. Michael Straczynski does deliver a few points of interest in this finale. For one, it's fun to see Ozymandias portrayed in a wholly sinister light, as neither the original series nor Ozy's own book really harp on the terrible lack of humanity someone must have to carry out a master plan like his. And though most of the script is dull and emotionless, the final few pages bring the series full circle and make the reader sympathize with Moloch. He wasn't such a bad guy, after all. If the entirety of these two issues had been able to reflect as much, this series would have been a lot more enjoyable.
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I'm not ready to write this series off yet. However, I don't want to have to wade through an entire story arc full of jumbled storytelling before getting a clear sense of what place Cable and X-Force will occupy in the X-Men franchise. With Uncanny X-Force's relaunch imminent, this series really needs to make a stronger case for itself immediately.
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The good news is that the art is swell. Harris tends to rely on photo referencing for his comics, which can sometimes be a problem when all the male characters start to resemble one another. But with Whistling Skull, Harris' style shifts to a more stylized, less photo-realistic approach. The facial work is endlessly expressive, and the figures and general look of the world are distinctly different from anything else DC is currently publishing. The pulpy, retro setting is a welcome breath of fresh air as well, but the storytelling still has some significant hurdles to overcome.
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That all said, Higgins does write a great, creepy Joker, one who isn't quite as prone to chattering as he is in other books.And Eddy Barrows returns in time to render the rapid dissolution of Dick's world. Barrows brings a somber, shadowy tone to the issue, with a final battle scene that is greatly enhanced by the oppressive shadows that fill every panel. On the down side, Barrows' figures aren't entirely consistent, and Dick's physical age seems to vary significantly at times.
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Unfortunately, the brief scenes focused on Arsenal and Starfire feel pointless and tacked on. Lobdell has done a lot of solid work with Jason over the past 16 months. The problem has often been that this series reads less like a team book and more like a Red Hood solo effort that occasionally branches out. The fact that Lobdell uses these scenes to set up a crossover with Teen Titans only worsens their impact. Teen Titans was among the first New 52 books I dropped, and awkward, unnecessary crossovers won't convince me to second guess that decision.
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Issue #35 is another strong effort from Matteo Scalera. Scalera is given ample opportunity to flex his stylistic muscles. The opening flashback is muted and and quiet, while other pages overflow with superhero action and robots of all shapes and sizes. But Scalera is perhaps strongest in the bizarre, grotesque realm of Earth-666. I would happily buy an ongoing series set on that planet if Scalera rendered it. But given how adeptly he's handled the Secret Avengers thus far, I suspect bigger things are in store for Scalera at Marvel.
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So far, Aaron's Thor run has been an enjoyable departure from recent Asgardian adventures. But will the book suffer again once Gorr steps back into the spotlight?
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This issue receives another boost from the return of David Marquez. Sadly, this is probably his last issue since he was recently announced as a penciller for All-New X-Men. Marquez has done an admirable job of continuing the look established by Sara Pichelli -- clean, sleek lines, expressive characters, and storytelling that remains as vibrant in quiet character moments as it does in big action sequences. Marquez will definitely be missed.
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The series has lacked a steady artist ever since the departure of Esad Ribic. Scot Eaton now steps aboard for this new arc. Unfortunately, even in his debut Eaton's art suffers from the same rushed, haphazard feel that has plagued so many issues of The Ultimates. At its best, Eaton's work is powerful and detailed, with plenty of bold line-work to capture that Ultimate Universe feel. But just as often, the level of detail drops and characters become loose and distorted. There was a time when Marvel would allow The Ultimates to vanish from the shelves for months at a time in order to ensure the final product looked its best. Surely today's readers could be made to wait more than two or three weeks between issues in order to ensure a stronger final product.
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Adam Hughes' artwork doesn't excel as much as some other Before Watchmen artists when it comes to inventive page layouts. However, he does provide plenty of striking imagery and emotive characters to make up for that. And as is so often the case, Laura Martin's colors are the star of the show. Whether it's the ethereal blue glow of a winter forest of the faded yellow Jon's childhood home, the colors are rich and perfectly suited to the tone of each scene.
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With only one issue left, there's little hope that this series will overcome its recurring flaws. But the good news is that, at a mere four issues, Rorschach isn't in danger of overstaying his welcome.
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With one issue left in this story, I can only hope that the series will find its footing and establish a clearer direction in the second arc.
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The few scenes involving the rest of the Suicide Squad are better integrated with Harley's conflict this time. We learn what obsessive lengths Amanda Waller will go to in order to gather intel and a bit more about how the power struggle in the team will shake out in the months to come. The one snippet that stands out as completely random and arbitrary is the final panel. That panel might as well have been cut and pasted from a completely different comic for as awkwardly as it's inserted here.
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Unfortunately, the art takes another significant dip in quality with this issue. Team 7 is one of several New 52 books to lose its regular artist almost immediately, and replacement artist Julius Gopez hasn't brought the textured, black ops tone this series really needs. Gopez's characters are flat and lacking in energy, while the inking does little but add a bunch of unnecessary lines and crosshatching to the equation. But the book really falls apart in the final pages. At times the jumbled backgrounds and stiff figures look more like excerpts from a DC-themed coloring book than a high-profile superhero comic. But to be fair, the sudden shift in art teams has probably made sticking to DC's rigid shipping deadlines an arduous task in itself. The series deserves better visual treatment than this.
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Charlie Adlard delivers a number of compelling pages despite the lack of action-oriented material. One splash page in particular will linger as one of the most haunting images of the entire series. My only gripe about the visuals this month is that the line weight seems to vary at random. Some panels lack the thinner lines and finer details seen in others. Even so, in terms of both visuals and scripting, this is one of the strongest issues of The Walking Dead in recent memory.
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Visually, the series sees little improvement in this third issue. Matteo Buffagni's framing of the opening aerial battle does show better framing than previous action sequences, but in general his character placement and storyboarding is weird and off-kilter. Meanwhile, his figures are flat and lacking much in the way of facial expression. It's mainly the armored and technological elements that shine in this series.
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Luckily, the art continues to thrive even if the script underwhelms. The story plays to Butch Guice's strengths almost perfectly. There's plenty of stylish action as Bucky and daredevil dance their deadly ballet. There's ample mood as rain gushes down and light and shadow constantly battle for supremacy. And through it all, Bettie Breitweiser's sublime colors make everything feel rich and vibrant. Readers who pass over Winter Solider really don't know the visual delights they're missing.
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Bunn doesn't actually close his story as definitively as expected, but the flip side is that he leaves some strong material for either himself or another writer to tackle in the future.
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The artwork on this series is a bit of a mixed bag compared to other Before Watchmen books. J.G. Jones brings a grittier, more refined realism to his work that suits the tone of Comedian's adventures. However, compared to the clever page construction of books like Silk Spectre and Minutemen, the straightforward framing in this issue is disappointing. The real standout element is Alex Sinclair's color. The hues are varied throughout, with Sinclair making liberal use of yellows, reds, and purples to convey the surreal and gruesome nature of the Vietnam War.
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Cooke's artwork is impressive, as usual. The first page in particular stands out as a really clever use of panel structure and familiar Watchmen imagery. There are instances in the big action sequence where the panels are simply too small to convey all the necessary information, but aside from that, Cooke delivers yet another chapter that respects the Watchmen aesthetic while also making full use of his particular talents and artistic strengths.
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Detective Comics doesn't need a pointless event tie-in to stay relevant. Layman has reinvigorated the book with his first story arc, and I look forward to what he has in store next.
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If there's any flaw with this issue, it's that the ending is a bit abrupt and the issue as a whole feels annoyingly brief. Luckily, the second and third issues have been solicited, so it appears that Hellboy in Hell will maintain a monthly schedule at least long enough for momentum to build and the overarching conflict to reveal itself more.
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Luckily, the deeper conspiracy involving Mike's powers and the sinister organization that created them is more interesting. At this point it seems clear that Palmiotti and Gray are building towards the eventual debut of the full Freedom Fighters lineup, and this issue pushes that momentum forward a bit more. But ultimately the book doesn't seem to know what kind of tone it wants to strike. A group of villains that acts as superhuman suicide bombers should really be a more dark and terrible concept than this issue suggests. Jerry Ordway's artwork doesn't really help in that regard either. Ordway's style has a distinctly Bronze Age feel to it, and coupled with the overly heavy inks it's not the best choice for rendering a contemporary, military-focused superhero story.
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This issue manages to balance a high degree of tension with some nicely rendered action courtesy of Ryan Ottley. In true Claremont fashion, Kirkman is even able to touch on a seemingly unrelated but quietly looming conflict. In short, the series is able to shrug off the ill effects of last month and quickly move forward again. But with the violence sure to only increase in the coming months, hopefully Kirkman can continue to offer bloodshed that actually furthers the story and not just provides shock value.
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The artwork is doing little to endear the series to me either. Greg Land's action scenes are impressive enough, but his storytelling falters whenever the script calls for more mundane conversations or other character-centric material. Believe it or not, there's such a thing as a comic book character looking too sexy and attractive, and that's a problem Tony and Pepper suffer from constantly. The facial expressions are too rarely in tune with the actual tone and tenor of the dialogue. Land has long shown a habit for relying on photo-referenced material in his work. Unfortunately, this habit has become more blatant in this series. Nearly every shot of the Iron Man armor in all three issues so far seems pulled straight from the movies. So even when Tony dons an entirely new suit in this issue, little changes beyond the color scheme.
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Unfortunately, the art is a bit rougher this month than it has been. Once again, Carlo Pagulayan and Wellinton Alves share pencilling duties. However, the general quality of Pagulayan's line-work is haphazard enough that readers might be fooled into thinking there are even more artists on board. Don't expect anything with the same level of detail and clarity as the cover. Still, there are more than a few dynamic panels here, and the scenes of Machine Man's magical mystery tour stand out in particular.
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With the next issue of Avenging tying into Amazing Spider-Man #700 and likely taking the series into a darker direction, it's good to have one more fun and wacky storyline starring Peter Parker.
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Little about Opena's approach has changed from his Uncanny X-Force arcs, other than the fact that he alters his style with a smoother, more organic approach for the brief flashback sequences. The question is how well the series will transition visually from arc to arc. Opena, Adam Kubert, Dustin Weaver, and Mike Deodato all have distinctly different styles. Will this even feel like the same book five issues down the road?
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Though A+X has its quirks and weak moments, the series can't be accused of not delivering on its simple premise. Even Marvel readers tired of the event machine might want to look beneath the AvX-style cover page and enjoy the simple, lighthearted tales within.
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None of the three stories here do much to flesh out the characters and conflicts of Arrow. Even at its most competent, this book is an easy pass for all but the most hardcore fans of the show.
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Unfortunately, Marvel had to go and spoil things to an extent by pricing this issue at $4.99. The main story is no longer than an average issue of Astonishing. Padding out the remnant is a reprint of the Alpha Flight issue where Northstar originally came out of the closet. Historical significance notwithstanding, that alone doesn't justify an extra dollar, and I wish Marvel would stop acting as if annuals automatically need to cost more. The reprint isn't even worth the hassle of reading. The hardcore 90s artwork, with its muscles piled on top of more muscles and criminal overuse of crosshatching, is enough to make your eyeballs leak out of your skull. Trust me. I'm writing this review blind thanks to this book.
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But again, the art makes this all worthwhile to an extent. Every one of Jae Lee's pages ooze with striking design work and a palpable sense of mood. Even if nothing terribly important is actually unfolding in the script, Lee's moody pencils and inks lend everything a sense of gravitas. Even compared to his various Dark Tower minis, this is career-defining work for Lee. It's a shame the visuals aren't backed up by a more compelling story.
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Conner rounds out the series with another fantastic set of pages. More so than the previous three chapters, she largely adheres to the familiar Watchmen grid layouts. Maybe that's intended to be a visual sign of the timeline marching inexorably forward. The facial work is as varied and expressive as ever, and various visual flourishes like the daydream exaggerations further spice up the pages. This book doesn't necessarily leave me wanting more of Silk Spectre's adventures, but it does have me craving the next Amanda Conner book, whatever that might be.
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Matteo Scalera's art seems to be suffering a bit from the strain of pushing forward to the finish. Though never centered on realism in the first place, his figure work feels a bit more loose and scratchy than usual. Still, he delivers dynamic action sequences and a generally terrific sense of mood. How many artists could so effectively juggle epic sci-fi and gothic horror elements in the same issue?
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Speaking of which, Guillem March is absent this month, with Juan Jose Ryp filling in as penciller. Ryp's work is impressive in terms of its intricate detail and carefully rendered characters. It isn't just the figures that receive this methodical treatment, but even small background details like wall paneling and rivets. Unfortunately, Ryp's style lacks the quality that so distinguishes March's -- the smooth, dynamic flow of motion and energy. The action tends to feel stiff and lifeless even as Ryp renders every panel to an amazing level of detail.
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As for the art, Matteo Buffagni handles the tech-based elements like Tony's armor well. However, his characters are generally flat and his action scenes are bizarrely framed at times.The art still leaves something to be desired in this series, even if the scripting is improving.
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The art quality also improves in issue #2. Roland Boschi is firmly in his element here. He paints a grim, shadowy picture of modern Japan, with just enough touches of flash and violence to offset the shadows. His facial work isn't always completely in line with what the script calls for, but nothing too off-kilter. The improvement comes in the flashback scenes. Felix Ruiz's pencils are a better fit for Logan's samurai years, maintaining a certain level of realism but striking a more dynamic and bloody tone than the present day material.
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For all that Marvel has hyped Uncanny Avengers as the flagship of their relaunch, it's not really shaping up to be the high-octane, action-packed merging of their two biggest franchises. At least, not yet. But though the concept feels a bit underdeveloped in some respects, the more cerebral approach to exploring human.mutant relations in the Marvel NOW! era is appreciated. As with all Cassaday-drawn books, Uncanny Avengers' worst quality may simply turn out to be its sluggish shipping schedule.
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Journey Into Mystery lovers have a lot to be thankful for this holiday season. Gillen will be continuing the exploits of Loki in Young Avengers next year. And meanwhile, the series itself is in capable new hands, with Immomnen's first issue suggesting her run will only get better from here.
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All that being taken into account, the middle portion of the issue leaves a sour taste that simply can't be washed away. Kirkman is correct in asserting that this is his book and he can damned well do what he pleases with it. The flip side is that readers are perfectly free to jump ship if they don't like what they're reading. The fact that a writer can make certain story choices doesn't necessarily mean he should. I haven't been this disgusted by a plot development since Spider-Man pawned his marriage to Mephisto. Much like One More Day, even if the stories that follow are much more positive and enjoyable, the book will be tainted by the memories of what transpired here for a long while.
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I've given Phantom Stranger three issues now, and it remains one of the weakest books in the New 52 lineup. The prospect that the series is building towards Trinity War and other important storylines really isn't enough of a selling point anymore.
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Mark Waid's Indestructible Hulk launches next week. And while I'm sure that series will be great, Parker has more than proven that there's room for more than one Hulk book in the Marvel NOW! lineup. I just hope other readers feel the same.
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Fernando Dagnino's art is generally solid, with plenty of moody, shadowy visuals that fit the somber tone of this post-battle installment. The one element that stands out is Harley's choice of funeral attire. It seems she now dresses like a Suicide Girl no matter the occasion, and her revealing dress manages to rob the funeral of whatever emotional weight it might have had.
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Unfortunately, Team 7 is already becoming yet another New 52 book that suffers from inconsistent art teams. Ron Frenz provides breakdowns again, but this time Julius Gopez steps up to handle finishes. The storytelling is decent enough throughout, but the finer detail is diminished somewhat. Few panels really stand out and grab the reader's attention.
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The art quality also continues to degenerate as the book progresses. While Adams' penchant for bold perspective is as apparent as ever, the careful, refined line-work of his classic superhero work is completely absent. The figures are uniformly haphazard and sloppy. The pages are a mish-mash of heavy black lines and muddled action sequences. At least All-Star Batman and Robin managed to look pretty even as it was turning Batman's early career into a farce. The First X-Men doesn't even have that much going for it.
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Charlie Adlard and Cliff Rathburn deliver some memorable imagery this month. Though the zombies themselves continue to be an afterthought at this stage in the conflict, the grotesque display of undead outside Negan's camp is enough to remind readers that this is a zombie book. There are certain panels where the level of detail drops out and characters lose all facial features, but in general this is a pretty strong effort from the art team. The general momentum the series has built up since issue #100 continues unabated.
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Though this issue offered an annoyingly abrupt finish to the conflict, it does leave the main cast members in interesting spots. Humphries has plenty of interesting angles to explore as the Ultimates deal with the aftermath of a huge civil war and Cap settles into his new job.
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All-New X-Men #1 may be hogging most of the X-Men spotlight this week, but Wolverine and the X-Men remains as entertaining as ever.
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Unfortunately, the artwork takes a significant step back again. Stephen Segovia returns for a handful of pages, and his style is just as muddy and harsh as it was before. But most of the issue is instead handled by Raul Valdes. Picture X-Men by way of Aeon Flux and you'll know what to expect. That sort of design sensibility suits the current setting well, but the angular, distorted, and sometimes sexually androgynous figures don't.
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It's sad to see this series go, partly because Gage makes it abundantly clear that there's still so much story left to tell with his cast, and partly because Avengers Arena does not appear to be the kind of book that will explore that potential. Regardless, we'll always have these past 40 issues to look back on fondly.
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Even so, Gillen delivers a strong finish to a surprisingly enjoyable and important mini-series. More than ever, I'm eager to see what the future holds for Cyclops and his dwindling band of allies as the Marvel NOW! status quo kicks in.
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Given where Straczynski chooses to leave off in this issue, I'm not even sure where the second chapter is going to move from here. That could be a bad sign, or it could signal the beginning of a more interesting and less predictable avenue in Moloch's story.
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I won't say that if you only read one Bat-book, to make it Detective Comics. It isn't the strongest of that pack by any stretch. But it still has its definite strengths, and when it isn't forced to reference pointless bits of continuity, it succeeds at offering a nice standalone adventure with plenty of familiar faces.
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Dial H #6 is a perfect showcase for the real potential of this series. It's funny and thoughtful in equal measure, and it reads very much unlike any other book in the New 52 lineup.
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Ultimately, the finale will determine whether the strange story swerves and religious angle to the conflict were truly justified. Bunn and Yost may yet deliver a climax that elevates both Venom and Scarlet Spider, justifies bringing Carnage back into the spotlight, and proves that this odd merging of superhero and sci-fi elements can work. But as the crossover passes its mid point, these qualities are still lacking.
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The notion that the intention of the story is better than the actual execution seems to speak about the statue of the series as a whole. The story is moving in interesting directions and the ties to the greater fabric of the DCU are increasing. But the characterization and art quality simply aren't where they need to be right now.
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The series looks to be growing ever more wild and gruesome in the coming issues, and that's exactly what I want from my alternate reality tales of science run amuck.
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Two issues remain, and Remender has left himself just enough room to give this arc, and the series as a whole, the finish it deserves.
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Deadpool #1 is one of those issues that will leave you wishing Marvel had played their cards closer to their chest and not given away so much regarding the conflict of this first arc. It's also a bit subdued in terms of humor. That said, it's a fun and unfettered approach to Deadpool's world, and does just about everything a Marvel NOW! series should in terms of offering readers a fresh start.
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A+X isn't a bad read as long as you don't allow the cover to fool you into thinking it has anything at all to do with Avengers vs. X-Men. Hopefully future issues will be more consistent on the promise to skip continuity and tell simple, fun done-in-one tales.
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Mark Brooks handles the art this week, making issue #4 the standout of the series as far as the visuals are concerned. Brooks brings an extra sense of refinement and detail to the characters. If Iron Man's role is superfluous, I could still spend hours staring at the sleek lines that make up his armor. Brook's facial work is also top notch, and he really delivers on some key panels involving Namor and Magneto. Uncanny fans definitely shouldn't be passing this book up.
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Yes, $8 is lot to ask for any comic, but Ghosts offers a wealth of content, and quality content at that.
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Ultimately, He-Man fans should get a kick out of this issue and the way it revamps Skeletor's origin story. At the same time, there are a great deal of storytelling flaws holding it back.
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Halloween has just ended, and those craving a horror comic that can both chill and tug at the heartstrings would be hard-pressed to find a better outlet than Rachel Rising. This comic deserves a hell of a lot more readers and attention than it currently receives.
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One downside to this issue is a familiar complaint with the series -- it more or less requires readers to have read the April O'Neil micro-series one-shot to fully appreciate the events within. I understand that IDW is paying homage to the classic Mirage series by resurrecting the micro-series format, but in many cases these stories would have been better served by being integrated with the main book. After eight one-shots, maybe it's time to give it a rest and focus squarely on this series.
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If books like Wolverine and the X-Men don't completely fulfill your desire for goofy superhero antics this week, you might consider giving this annual a try.
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Barry Kitson helps Fraction close out the series. With Jay Leisten providing finishes to Kitson's breakdowns on some pages, the overall look is less sharp than it might have been. Facial work tends to suffer the most when Kitson isn't handling the panels himself. But the general storytelling is still strong and heavy with emotion. The series ends much as it always existed - with an uneven execution but plenty of high points along the way.
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Nick Bradshaw returns to the series with this issue. While I was immediately impressed with the clarity and storytelling strength of Bradshaw's earlier issues, the wonky, compressed facial work had a tendency to detract from the overall effect. Luckily, Bradshaw's style seems to have adjusted a bit. Faces are smoother and more expressive. In general, his work is looser (in a good way) and shows a greater sense of energy. On the whole, Bradshaw's work should be able to blend in well with the various other artists tackling the series over the next few months. The departure of Chris Bachalo may not be such a bad thing if it grants Wolverine and the X-Men an more cohesive overall visual identity.
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While Astonishing has its moments, I'm quickly growing eager for this arc to wrap up so Liu can move on to new material that once again emphasizes characterization over action.
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Scot Eaton handles the artwork this week. His style falls closely in line with issue #2 -- solidly rendered, but not particularly flashy or memorable. Like Tom Raney in issue #1, Eaton seems to struggle with Captain America's overly busy new costume. Thankfully, it's a new costume we probably won't be seeing after this book wraps.
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Ultimately, what is the point of all of this tomfoolery? Asmus never reveals much about Remy's new partner, Joelle, or why she went through all this trouble on what was apparently a simple death wish. At the end of the conflict, Gambit is still in the exact same wayward emotional state he began the series. There's just too little sense of purpose, impetus, or clear direction to the book. Without those qualities, I can't picture myself following Gambit's solo adventures much longer.
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There are no complaints to be had as far as the art goes this month. Even John Rauch seems to be settling in more as colorist, as the book has less of the usual ethereal quality and glimmery skin tones. I certainly won't complain about having Ryan Ottley back as full-time artist after this issue, but at the same time, Cory Walker more than held his own throughout this storyline.
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But in some fundamental ways, this issue doesn't really cap off the story at all. As far as Tony's continued role as an Avenger and an innovator, Fraction leaves a great deal up in the air. The character is vaguely positioned both for what Kieron Gillen is planning in his new Iron Man series and his unexpected role in Brian Bendis' Guardians of the Galaxy relaunch. The message is that Tony Stark has failed yet again, but the opportunity is still there to seize a better future. So the end result is an odd mix of the depressing and the optimistic, the conclusive and the open-ended. It's not exactly the ending I was expecting or hoping for, but it's one that leaves plenty of room for growth and evolution during Marvel NOW!.
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Not that this should come as any great surprise, but the finale to Gillen's Journey Into Mystery saga is well worth reading. It delivers a proper finish to Loki's story, and it sets up an interesting new status quo as both writer and star shift to Young Avengers in 2013.
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Unfortunately, the art quality takes a fairly significant hit compared to recent issues. Andy Kuhn's style isn't dissimilar to Matteo Scalera's, but it lacks the same sense of raw energy and expressiveness. Scalera was able to deliver pages that were loose but far from lacking in detail. Kuhn's work is burdened by a lack of fine detail and overly heavy line-work. Though Remender's scripting remains top-notch, it seems the visual presentation in this series will remain more sporadic.
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Paul Pelletier rounds out a solid storyline with his visuals. Pelletier's work is a bit more loose and frenetic than it was on the previous arc, but that doesn't necessarily go against the grain of the story. This collaboration is proving enjoyable enough that I'm beginning to wonder why Bunn and Pelletier weren't simply given the keys to a new Wolverine ongoing for Marvel NOW!
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If you're simply tired of reading Wolverine comics in any shape or form, Wolverine MAX isn't necessarily going to win you over. But for fans of the character who crave something a little darker and a little different, this might just fit the bill.
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But as mentioned, the area where this issue stumbles a bit is the pacing. Pak doesn't transition between scenes terribly well. Characters will vanish and battles will end without much warning. The arc probably could have used one more issue to properly bake and allow the new and old characters to interact to their fullest. It's also disappointing to note that Dazzler's team doesn't take on a new recruit to replace Emmeline Frost. But the sad truth is that X-Treme will never be one of the top-selling X-books, and Pak may be better off maintaining a rapid pace and avoiding any unnecessary cast additions if he wants to see his story to its finish.
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Hopefully this second issue is a sign of how Gillen will approach the remainder of Consequences, with each chapter narrowing its focus to one group of characters glimpsed in issue #1.
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If not as focused as it could be, Minutemen #4 is nonetheless proof that there are interesting stories to explore in the shadow of Watchmen, as well as creators talented enough to bring them to life.
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Romano Molenaar enjoys another solid month following his debut on issue #0. He continues to capture the darker style of Jesus Saiz while simultaneously lending a more freewheeling, energetic touch to his pages. With the scripts growing less satisfying all the time, at least the series still has some selling point to fall back on.
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Rafa Sandoval makes his debut as new series artist. On one hand, it seems unwise to assign Sandoval such a female-centric book when he has so many problems rendering hair. And the lousy hair does prove distracting in some panels, as it has a spiraling effect on the facial work in general. But on the plus side, Sandoval is able to recapture some of the book's visual energy that was lost when Guillem March departed. Sandoval delivers some nicely framed shots and cool action sequences, so in the end the trade-off is worth it.
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In short, while there's some interesting material at play in this issue, the execution tends to fall flat. I'll be glad to welcome the regular creative team back in a couple months.
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Unfortunately, Lobdell's writing just as often gets in the way of the plot. The narration from Arsenal is frequently obnoxious and just plain unnecessary. Lobdell seems to be writing as if scores of new readers are suddenly jumping on board, and as such burdens the script with needless exposition via dialogue, narrative captions, and thought balloons. The final pages suffer from the sudden, rushed attempts to build towards future crossover storylines. And yes, that means one more Batman-related title with a pointless Joker cameo. Lobdell seems to have a strong sense of where to take this team moving forward, so it's frustrating to see missteps like these hindering the book's potential.
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The Beowulf feature is mainly what holds my interest in this book. As mentioned, Bedard's writing has a certain fantastical sparkle that Marx's lacks. Bedard has taken a familiar story and given it a new twist, both with the addition of some sci-fi elements and by framing it from the perspective of an ordinary observer. Jesus Saiz's moody, detailed pencils expertly capture the grim tone of Bedard's script.
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Charlie Adlard and Cliff Rathburn's visuals aren't as strong as they have been in recent issues. The figure work is often hindered by overly thick and heavy lines that rob the book of some its usual detail. The emotion in the art is as strong as it ever is, but the precision is lessened. No doubt the return of the TV series necessitates a timely release schedule for the comic. Still, I would really prefer slower shipping on this book if it meant Adlard and Rathburn had the time to deliver work on par with issue #100.
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Ultimate Comics: Iron Man is a flawed debut for Tony Stark's latest solo adventure. Still, as long as Edmonson continues showing a strong handle on the main character, this book will serve a purpose among Marvel's limited crop of Ultimate titles.
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Issue #16 also suffers from the loss of David Marquez. Ultimate Spider-Man used to be a bastion of visual continuity thanks to artists like Mark Bagley and Stuart Immonen. Those days are clearly gone now. Pepe Larraz steps on board for this issue. While he handles the action scenes well enough, his facial work is too loose and inconsistent to match the detailed expressiveness of artists like Marquez and Sara Pichelli. This series really needs to find some visual stability. I'm sure the recent plotting hiccups will work themselves out, but finding a regular penciller to fill their shoes is a much more difficult proposition.
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Tom Raney's pencils are a bit mixed in quality. The inks lend an unusually harsh edge to his line-work. It's an interesting shift, but one that only works in the more dramatic scenes. Raney's figures also have a tendency to appear tense and slightly distorted here. Oddly, the issue features Captain America in his Jerome Opena-designed costume, rather than the more traditional costume seen in Uncanny Avengers. I assume we'll be seeing a lot of that back-and-forth in the early weeks of Marvel NOW.
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Adam Hughes' art really shines in this second issue. The retro, throwback quality to his character designs really suits the flashback setting. Hughes doesn't tend to adhere to the rigid Watchmen panel grid, but instead breaks his pages apart to convey the chaos of the unraveling timestream. The final pages in particular are very striking as Hughes even works Manhattan's familiar logo into the design. After so many years of seeing Hughes deliver mostly covers, it's really nice to see him tackle something meatier again.
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Two significant problems still plague the series, however. One is that DiDio's dialogue has a tendency to be overwrought and generally over-written. To paraphrase Futurama's Robot Devil, "I hate when comic characters say what they're feeling. That make me angry!" A little more subtlety and restraint would really go a long way here. The other problem is that the book lacks a true sense of purpose and identity. DiDio focuses a lot of attention on introducing another character and setting the stage for their future adventures -- adventures that likely won't have any relevance to this series. Between that and the constant hints directed towards Trinity War, this book often feels less like a real story and more like a means to various editorial ends.
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Ideally, I would have liked for Red Hulk to stick around this series in some capacity. Parker wasn't quite able to give him the send-off he deserved in the Mayan Rule arc. Still, the new direction doesn't mean Parker is abandoning the work that came before, and Red She-Hulk shows no signs of disappointing fans.
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Uncanny Avengers #1 is a slower start for the series, both visually and story-wise, than readers might have been expecting. First issues are so often that way. There's always the requisite setup and team-building that has to take place before the action and intrigue can really kick in. That being said, Remender was able to largely skip that setup process with Uncanny X-Force, and it's a bit disappointing that Uncanny Avengers doesn't show a similar desire to rush out of the gate with guns blazing. This is a solid debut issue to what will hopefully be a great series.
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Issue #12 drives the cover price up another dollar because of the extended page count. Unfortunately, this is one of those issues where the extra pages are devoted less to wrapping up the story itself and more towards laying the groundwork for other books. Much as Fear Itself #7 set up everything from Defenders to Fear Itself: The Fearless, Aaron's final pages build towards books like Uncanny Avengers and All-New X-Men. There's nothing wrong with this approach in theory, as long as the series is given a proper ending, but it does feel as though the emotional fallout of the event is being glossed over in favor of the "next big thing." Yes, there will be plenty of post-AvX tie-ins to explore that fallout. But that brings up the familiar complaint. Why are so many key emotional beats being relegated to tie-ins instead of unfolding in the main series? Will we ever have an event comic that offers a wholly complete and satisfying story in itself?
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Fortunately, Azzarello has Lee Bermejo to help establish that atmosphere. Bermejo's pages are crammed with striking imagery here. The sheer amount of detail crammed into each panel is impressive enough. But the way Bermejo frames his panels is equally impressive. Even the cover image manages to seamlessly transition right into the first page. In terms of sequential flow, the story is a little more stiff than something like Amanda Conner's Silk Spectre. Perhaps the worst that can be said about the art is that the individual panels don't always contribute to the greater flow of the page as well as they could.
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Detective Comics isn't really any more necessary a read than it was before, but it's certainly more enjoyable thanks to the new creative team.
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Not only is Zeb Wells absent from this Carnage adventure, so is artist Clayton Crain. But that shift is really for the best. Lan Medina's darker style better suits the realm Venom and Scarlet Spider inhabit. Medina is able to deliver a fitting blend of super-heroic action and detailed, lain back character designs. His Kletus Casaday doesn't resemble the gangly serial killer we've come to know, but otherwise this series is already a significant improvement over the murky, inconsistent visuals of Carnage USA.
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Issue #13 also benefits from the return of Yanick Paquette. It's not often that we receive an issue fully penciled by Paquette, and the results are worth savoring. Paquette delivers more of his trademark horror-tinged imagery, bold, striking page layouts, and intricately detailed character designs. Let's hope the recent time off will allow Paquette to tackle as much of the crossover as possible.
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Aquaman #0 is a visual marvel, but it's not a wholly effective flashback tale. The methodical pace is destroyed in the final pages when Arthur encounters a helpful new friend who proceeds to explain, at great length, the history of Atlantis, Arthur's birth, and the fate of his mother. It's a lot of exposition to hit the reader all at once. Nor does the issue offer a very satisfying or conclusive ending. Instead, the final pages read more like a giant tease for what's coming up in the near future. Perhaps the main flaw with Aquaman #0 is that this story deserved more space than one, lone issue.
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As before, Jae Lee's art is what distinguishes this series. Though perhaps the book least in line with the original Watchmen aesthetic, Ozymandias is a showcase of striking visual design. There's a haunting, slightly surreal quality to the figures and their world. Lee's page composition is very eye-catching, if not always geared towards narrative flow. This is a series that manages to outdo even the best of Lee's Dark Tower work in terms of mood and detail, and the book is worth a purchase solely because of it.
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Especially since I've been a bit ambivalent about Bulletproof in his replacement Invincible role, I'm perfectly happy to have Kirkman keep Robot and Monster Girl in the spotlight as long as he wants. This is one superhero universe that isn't lacking in scope or sheer variety.
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This issue relegates the Hammer girls to the sidelines, so that only the Stark Resilient and Rhodey subplots remain to offset Tony's struggle. Those two pieces of the story are all but merged at this point as Fraction builds closer and closer to the big reunion/rescue sequence. A brief appearance by a couple of super-teams from the book's past only heightens the idea that Fraction is pushing towards the finish line. More loose ends are coming together and the stakes are growing higher. It seems that the cover image of Mandarin crushing the world in his grip is more literal than it seems. So even if the general sense of plot progression remains a bit sluggish from month to month. Fraction is delivering a worthy finale to his multi-year run.
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If there are any complaints to be had with the series right now, it's that it doesn't seem overly interested in functioning as a team book. Many of the Avengers are out of the picture and/or brainwashed, leaving only a handful with any significant screen time. The new Masters of Evil are a disappointment as well. They've become nothing more than recognizable vessels for Abyss to speak through. Still, there's enough drama and intriguing character dynamics, as well as fantastic art, to keep the arc humming along.
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As much as I miss the reincarnation aspect of the Hawkman mythology, that was always a patch for a badly convoluted character. It's nice to have a more straightforward history for Hawkman that still pays homage to some of his better stories. With Liefeld shuffling out of the DC offices, I'm hopeful the new creative team will be able to make the most of the foundation laid in this issue.
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The Ultimates has become a more fast-paced, exciting read thanks to this latest development. Can the series finally fix its ongoing art woes next?
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On that note, though Williamson has few surprises to offer here, he does effectively pave the way for the Grifter/Voodoo partnership and helps transition readers into that series. All signs seem to be pointing to a full WildCATs reunion down the road. It may be that Voodoo functions better as part of a team than on her own.
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We've already seen other Wolverine-centric stories pick up where Loeb is now leaving off in terms of Sabretooth's return. Loeb leaves plenty more open for either himself or another writer to continue with. But considering that Romulus and his conspiracies have done nothing but dilute and complicate Wolverine's mythology so far, that prospect is not at all enticing.
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There are a few quirks to this issue, but it's pleasing to see X-Treme X-Men shake off many of its initial mistakes and embrace a sense of fun and whimsy. Those are two qualities the X-verse could always use more of.
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With only one short arc remaining, I've given up hope of Gage completely wrapping up the series' various loose ends. Still, rather than rush to the finish, Gage is content to deliver more of the same quality characterization and plot twists that have made this series such a worthwhile read for the past two-and-a-half years.
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The series' presentation takes a hit in this issue thanks to the unfortunate passing of Joe Kubert. Those pages Kubert wasn't able to finish inking are instead handled by Bill Sienkiewicz. There's arguably no artist in the industry more renowned for his bold, striking inks. Unfortunately, the limited timetable and the need to adhere to Kubert's style dilutes Sienkiewicz's work to a degree. His pages stand out only because there a bit more rough and haphazard than Kubert's. This issue still captures the Watchmen aesthetic well, as the previous two have, but some of the finer details are a bit dampened .
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Romano Molenaar makes his debut as the new regular artist for the series, and he looks to be an apt fit. Molenaar's style falls somewhere between the sleek, sexy lines of Ed Benes on the classic BoP books and Jesus Saiz's recent, grittier style. There's a bit of cheesecake on display, but also some fun action scenes and just the right touch of grit and grime to the surroundings. Hopefully Molenaar will remain on the book longer than Saiz did.
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The script does tend to drag towards the end when the scarab's narration starts to feel more like exposition directed at new readers. But on the whole, it enriches the Blue Beetle mythology and sets the stage for some fun conflicts coming up as the series continues shifting away from Earthly matters.
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Nocenti's new take on Catwoman's origin is far too convoluted and confusingly presented for its own good. Let's hope this isn't an indication of how the rest of her run will play out.
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Basically, the decision to buy this issue depends largely on how much you love OMAC. None of the other stories do much to suggest that their respective books should have remained on the stands.
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But if the story gets off to a strong start, the artwork is typical Star Trek fare. Which is to say, very bland. Though at least sporting more detail than some Trek comics, Hive suffers from an endless series of stiff, lifeless figures and bland facial work. The characters are generally recognizable in terms of actor likenesses, but there's a lot more to proper comic storytelling than that.
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This issue also plays host to the best artwork of the crossover so far. Alan Davis' pencils are never anything but amazing in their scope and fantastical detail. But the real change comes from the fact that the writers finally delve more deeply into the war raging across the Nine Realms. Rather than limiting the battles to a mere handful of panels, the writers hone in and allow Davis to run wild with the conflict. And though far more intimate in scale, Thor's plummet into the fire pits of Muspelheim is also dramatically rendered. The only complaint that can be registered against the art is that the transition between Davis and Carmine Di Giandomenico with each issue remains jarring.
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Charlie Adlard faces a challenge in keeping the eye engaged throughout this issue when most pages feature talking heads. He manages, much as he always has during the book's many shifts between action-heavy fare and quieter, more character-driven issues. The use of light and shadow heightens the dramatic intensity in many scenes, while some really effective panel framing towards the end highlights the growing gulf between Rick and his allies. Even if our heroes aren't charging into battle right away, the book remains more interesting than it has been in a long time.
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With each new issue, Sam Humphries makes The Ultimates more and more his own series. The book finallyfeels relevant in a way it hasn't for a long time. The series has a bright future, even as the Ultimates themselves face a long, hard battle in putting their country back together again.
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Bendis would have a potentially much more interesting and enjoyable story on his hands if he were just writing a Guardians of the Galaxy comic. And perhaps one day he will be, and the Avengers will just have been a necessary evil in order to help provide causal readers a stepping stone into the Marvel cosmos. That still doesn't excuse this series for its storytelling shortcomings.
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In the end, the real importance of this death is going to be determined by how Marvel's writers deal with the fallout. I'm optimistic on that front. Unfortunately I'm somewhat less optimistic about the final issue of AvX. Jason Aaron has a tremendous amount of material to work through if the major beats of the event are going to reach a proper, satisfying conclusion.
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J.G. Jones' artwork is solid enough. The sense of mood and general level of detail are stronger than they were in issue #2. On the other hand, the page layouts are fairly bland compared to many of the other Before Watchmen books. This is one case where the decision to distance the book from the nine-panel grid format didn't exactly pay off.
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The one element this arc has going for it is Scot Eaton's artwork. Eaton's work makes up for its lack of flashy style with a solid storytelling foundation and powerful, detailed figures. Eaton is a worthy follow-up to the likes of Steve McNiven and Alan Davis.He proves himself equally adept at massive riot scenes or outlandish shootouts on the moon. It's just a shame that this arc isn't half as interesting as that last sentence makes it sound.
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I'm pleased to see that the series hasn't suffered from the shift in writers, and I may have to add Frankenstein to my regular slate of New 52 books once again.
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The end is in sight, and Aaron is showing every sign of finishing this series in stronger form than he opened it.
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Now that fans needn't worry about the Loki/Leah relationship being trampled, they can resume enjoying what is a very dramatic and worthy finish to Gillen's run.
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The best that can be said for Resurrection Man #0 is that it delivers a conclusive finish for the book while also setting the stage for bigger and better adventures in Shelley's life. Unfortunately, most of what distinguished the series in the first place is missing.
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I'm not psyched about this series being drawn into a crossover, particularly one involving Carnage. But it's good to know that, even if I chose to abandon Scarlet Spider for good rather than read Minimum Carnage, this issue would serve as a proper emotional finale to Kaine's journey. That said, I'm hoping there's still much more goodness to come.
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Artist Garry Brown steps in for Kristian Donaldson on this arc. Surprisingly, I found myself enjoying Brown's work more in some ways. His style resembles the likes of John Paul Leon and brings an added sense of grit and texture to the characters. Facial work is expressive when it needs to be, yet it's often body language that conveys the bulk of the emotion in these panels. Meanwhile, Dave Stewart's colors lend a sense of consistency and regularity to the issue.Clearly, Wood has more than one talented artistic collaborator on this book.
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Sadly, Ravagers holds more appeal as a potential launching point for a new Doom Patrol book than it does for any storytelling accomplishments. This entire corner of the DCU (Teen Titans, Superboy, etc.) may be the weakest area of the New 52 lineup, and even one year later there seems to be little indication that things are going to improve.
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Other than the reduced cast, this first arc doesn't necessarily have much long-term impact on the characters. On the other hand, the series has shown enough steady improvement that I feel a newfound sense of excitement for what's coming up on the next alternate world.
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Sholly Fisch delivers another backup feature to complement the main tale. Interestingly, this story delves into Morrison's ongoing mythology much more than these backups have tended to in the past. Fisch doesn't focus on Superman here, but rather the origins of the Captain Comet/Neo-sapiens subplot from recent issues. Again, this material isn't necessarily that vital, but it adds a bit of color to previous stories. It's nice to have one issue that slows down the breakneck pace of the series and focus on the characters before Morrison begins his final push.
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There's some decent character work to enjoy in this issue as Peter interacts with Max Modell, his family, and various superhuman allies. Sadly, none of it involves Alpha himself. As poorly executed as these two issues have been, my enthusiasm for the series and the build-up to Amazing Spider-Man #700 is beginning to wane.
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Much of this character building seems to lay the groundwork for future stories, which of course raises hope that maybe Gage won't be done with these characters just because the series is ending. No doubt there's still a wealth of material to explore in the coming weeks.
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Marcus To provides the visuals for this issue. Much like Winick's script, the result is structurally sound, if not particularly flashy. To's facial work isn't particularly detailed or varied. However, his action sequences have a strong vitality to them, and the general mood of the issue is suitably dark and dreary. I doubt Batwing #0 will win many new readers over, but it is a solid addition to Winick's run.
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Besides the typically bland Crimson Corsair feature, there's really nothing to complain about with Silk Spectre #3. This may be the only Before Watchmen book that leaves me immediately wanting more once it wraps up.
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It isn't enough for DC to offer traditional war-themed comics. The lackluster sales on this series and its predecessor are proof enough of that. The tales in G.I. Combat need to showcase war as it exists in the DC Universe, reflecting all the colorful characters and concepts that dwell within. Issue #0 does a better job than any issue previous of satisfying that need.
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All in all, Guarding the Globe #1 is a strong start for the new series. I didn't think I would be very interested in a second Invincible book, but Hester is quickly proving me wrong.
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The artwork doesn't shine that well in this issue, mostly because Frank D'Armata's colors tend to overpower the pencils even more than usual. There are a handful of panels where Salvador Larroca's line-work gains a greater level of detail and precision, but that isn't the case nearly enough. As usual, Larroca's action scenes and armored characters look great. This issue stands out because there's now a small army of Iron Men creating havoc. It's the human characters that have looked and continue to look unnatural.
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The best that can be said for The First X-Men is that it doesn't simply dump a handful of X-Men: First Class movie elements into the franchise, as many were expecting. Its problems are uniquely its own.
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As before, Alan Davis is the artist tackling the Mighty Thor side of the crossover. Unfortunately, the transition from Davis to Carmine di Giandomenico and back is less than smooth. I really wish the editors could have found two artists whose styles are more of a match. Still, it's hard to complain about seeing Davis tackle the Thor universe again, even if it's only for half of a story. He captures all the emotional drama and epic action the writers throw at him. This is the best The Mighty Thor has looked since Olivier Coipel helped launch the series.
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But again, in terms of plot, there's not much forward momentum in this chapter. Johns doesn't shed any new light on these mysterious artifacts or their connection to Arthur's legacy. There's a battle between Aquaman and Black Manta, but it's really more of a prelude to a later showdown. Oddly, Manta is brutally impaled by Arthur in one panel and appears completely unscathed in the next. There is one major development late in the issue that lends an extra bit of emotional weight to the proceedings. It's going to be a long, difficult wait for the finale in October's issue #13. Still, it's usually a good sign when a comic can induce that sort of frustration in readers. Let's hope issue #0 can manage to tide us over until then.
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Ideally, AvX: VS should be able to offer a mix of effective character moments and big, dumb action. Unfortunately, this issue is an example of poorly handled character moments simply getting in the way of the action.
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Minutemen remains one of the stronger Before Watchmen books. It looks great, and it's doing a better job of realizing its potential and expanding upon these characters in tangible ways.
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Detective Comics Annual #1 does little to push any of the characters involved forward or make changes to the Bat universe, but it does at least solidify Black Mask and a handful of other villains' places in the New 52. Hopefully Detective Comics can find a stronger sense of identity and purpose as the creative team shifts in the coming months.
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Clay Mann's art helps keep the heist sequences engaging, at least. Mann has a real talent for rendering powerful, fluid figures that Asmus puts to good use. I do wish that the coloring meshed better with the pencils and inks, however. The colors are too shimmery and ethereal for what would otherwise be a realistically rendered issue.
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Even at four issues, Grim Leaper might have been slightly too long for its own good. Wiebe didn't explore his clever concept to the extent he could have. But there's always room for a more ambitious sequel. And if the main feature and backups proved anything, it's that we need more romance comics willing to subvert familiar formulas.
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This was a great but sadly under-appreciated run. I have little faith that the latter aspect will change with the shift to Red She-Hulk. But as long as Parker is given an outlet to continue exploring these characters, there's no reason to get too choked up about the shifting tides.
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It doesn't have Alan Davis' art, but otherwise this issue is a more than worthy follow-up to the prologue chapter of Everything Burns. There's now no doubt in my mind that this crossover will live up to the challenge of capping off two memorable Thor comics in one fell swoop.
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I was hoping for a slightly more dense read than what Uncanny X-Force #30 provides, but it still sets the stage nicely for the big showdown between X-Force and the Brotherhood.
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X-Treme X-Men improves enough in its second issue that I'm willing to stick around for a bit. Pak has a strong enough handle on Dazzler that the series isn't forced to coast by merely on its sillier qualities. But there are a number of problems still to be addressed.
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Fianlly, the writers wrap up their short revamp of Doctor Thirteen in the backup feature. The backup loses some of the fun factor it had in the previous chapter, as the story takes a decidedly grim turn. Even so, there's a lot to love about the idea of a Teddy Roosevelt-esque hero who battles evil with brains and common sense. Scott Kolins provides a bold, simple, but shadowy look for the story that suits the script well. More than any backup so far, I hope to see this Doctor Thirteen material return in a larger capacity down the road.
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As mentioned, what Straczynski does in this issue is keep his cards close to his chest, only revealing in the final pages what he really has planned for the remainder of the book. Throughout the issue he explores the notion of quantum mechanics and the way specific actions can determine what course the future takes. That comes to a head at the end, where it finally becomes clear that Straczynski has something far more ambitious in mind than simply paying homage to a great character. Maybe it was a bad idea to wait so long before getting to the point in a four-issue series. Even so, I'm far more excited at the prospect of issue #2 than I was issue #1.
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Both Ryan Ottley and Cory Walker handle their respective sections well. Ottley has never been a slouch when it comes to epic action, and his various battle scenes are a feast of visual delights. Walker is arguably the standout artist this month, however, as he tackles most of the key emotional moments in his flashback scenes. It helps that colorist John Rauch is able to add more depth and richness to Walker's pencils than we've seen in his previous work. I'll probably never be happy with the odd, shimmery quality to Rauch's skin tones, but he does plenty right with this series as well.
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Little has changed regarding the art, which has been the case for years at this point. Unfortunately, Salvador Larroca doesn't have the opportunity to break out his altered flashback style as he did in issue #522. Still, the issue offers a nice mix of simple character interaction, high-octane, armored action, and sci-fi imagery. Oddly, the one visual element of the book that has changed is the cover design. It's a positive change, but it seems weird to suddenly make the change in the middle of an arc and the tail end of a four-year saga.
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Unfortunately, Lemire doesn't end this issue on the resounding, definitive note I was hoping for given the Zero Month gap that's coming up. Still, there's no reason not to be excited for the continuation of this ongoing story in October.
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That's not to say action rules the day. Remender makes a surprising amount of progress when it comes to advancing the Shadow Council and Masters of Evil storyline. Before the end, Remender delivers a major twist to Max Fury's plans as well. While I haven't found the new Masters of Evil and its hundreds strong roster very interesting, the new approach starts to pay off by the final pages. In short, this issue offers up an ample amount of visual delights and some welcome new wrinkles to the book's formula. The next few months should be very interesting ones for Secret Avengers readers (and yes, Taskmaster fans too).
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Andrea Di Vito steps in for Tom Grummett this month. While it's disappointing this arc won't have one, consistent penciller, Di Vito handles the characters well and delivers a bit more detail and depth in his panels than Grummett's issues had been offering. What the issue lacks in style it makes up for in good, solid storytelling.
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I had hoped issue #9's strong showing meant we could expect a rousing finish to Act 3 and AvX as a whole. That didn't prove to be the case. However, there is still hope that this chapter was merely one last, unnecessary pit stop in an overly drawn out conflict, and that the remaining two issues will pick that lost momentum back up again.
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Before Watchmen: Rorschach delivers exactly what you'd expect when this creative team pairs up for this particular character. It doesn't break new storytelling ground, but it offers an enjoyable read that doesn't rely overly much on material we've read before. If any Before Watchmen book could be read and enjoyed with no knowledge of the original Watchmen, it's probably this one.
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This book needs more -- stronger character dynamics, a greater sense of purpose, and a more emotionally resonant conflict for Selina to contend with.
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You can't go wrong with a Brubaker/Phillips collaboration. Even so, Fatale is making a strong case for being the best of their projects. It combines all the familiar elements with a new and distinctly original horror slant.
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Dale Eaglesham's artwork isn't quite up to the quality established in the previous issues. Some of his framing is a little odd, with characters seeming to fade out of focus and into the background. On the plus side, the lengthy flashback to the origins of the gods allows Eaglesham to branch out and tackle some more unusual, non-super-heroic imagery. Hopefully Eaglesham will be back in top form for the finale issue.
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Nightwing needs a more suitable and consistent artist if it's going to live up to its potential. Luckily, Higgins seems to be maneuvering the book into a more compelling place in the coming months, so the visual woes aren't an insurmountable problem.
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In terms of character dynamics, what doesn't quite work in this issue are the two romantic pairings. Jason's current fling still feels like a random and unnecessary inclusion even after several issues. And while I'm warming to the Starfire/Arsenal romance somewhat, I don't buy it when Lobdell writes of Starfire as being fundamentally changed by her newfound love. The relationship simply hasn't been developed or explored enough yet. And maybe that's indicative of the central remaining flaw with the series. It's a solid book as far as Red Hood and Starfire are concerned, but less so regarding Arsenal. That's something to focus on for Year 2.
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I thought Rachel Rising and The Walking Dead were all I needed on the creator-owned horror comic front, but clearly I was wrong. Revival is quickly establishing itself as another Image series worth following.
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If the series sometimes seemed to drag over the past year or two, it now has a clear sense of purpose and a villain worth loathing again.
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Impressively, Patrick Gleason has illustrated all but one issue of the series since it relaunched last year. Gleason has a talent for big action and graceful notion that is readily apparent throughout these pages. That said, the toll of the last year is apparent at times, as his figure work is less refined and detailed than normal. Hopefully the #0 issue next month will allow Gleason a bit of time to rest and return in top form for the next arc. And hopefully that next arc will see Tomasi return to the more methodical, character-driven focus of the first.
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I'll continue picking up this book until the end solely because of the art. That said, it's really disappointing that Wein hasn't found anything new or interesting to say about Veidt so far. I can only hope the final page reveal will shake up the formula a bit.
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The upcoming .1 issue turns back the clock to deliver a team-up between Cap and Namor. Here finally is a pairing we don't see in half a dozen Marvel books every month. Maybe the series will finally acquire a voice and life of its own again.
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This arc was beginning to drag, but luckily Aaron sticks the landing as he paves the way for his final showdown between Hulk and Banner. With only a handful of issues remaining in this run, it's doubtful slow pacing will be a recurring complaint now.
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Khoi Pham is doing a serviceable job replacing Stegman. Certainly, his work lacks the fluidity and energy of Stegman's pencils, but the storytelling is generally clear and presentable. Tom Palmer's inks help smooth the normally jagged edges of Pham's work, and the overall stylistic shift isn't as dramatic as it might have been. As long as Yost keeps steering his hero in interesting directions like this and dragging him into uncomfortable situations, the series can withstand a few visual snafus.
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This is the sort of book that Marvel supposedly doesn't publish anymore -- off-the-wall, out of continuity, and delightfully bizarre. The least Punisher fans can do is give it a chance.
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There were certain aspects of Adam Glass' character work that proved enjoyable. The Deadshot/Harley Quinn dynamic is fun, and at times these two seem to be the only characters that really matter to the series in the long-term. I enjoyed the fake-out Glass delivered regarding the traitor, and also the brief focus on Amanda Waller and her family life. But these elements aren't enough to salvage a book that is generally ailing. The art quality has improved somewhat under Fernando Dagnino, but the general storytelling flow between panels needs a lot of work. On a more fundamental level, the book needs a refreshed team lineup and a new conflict to focus on. There's too much about the current direction that simply isn't working.
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In a period where Wood's name seems to pop up all over the industry, this series has emerged as one of his most ambitious and rewarding so far.
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Though merely a prologue chapter, The Mighty Thor #18 suggests that Everything Burns will deliver a memorable finish for both Thor books.
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The script itself doesn't justify the price of admission. This issue heavily focuses on fight scenes between Wolverine, Sabretooth, and the mysterious redhead who appeared at the end of #310. The steady stream of generic and often downright goofy action movie one-liners makes it difficult to take the action seriously or find any emotional investment in the tale. The new female character shows potential, at least, though her climactic revelation is disappointingly predictable. Ultimately, however, this issue is simply sparse and barren. Despite the fact that Sabretooth Reborn is a mere four issues long, the plot still feels stretched thin. The story of Sabretooth's return isn't half as interesting as what shenanigans the villain is currently getting into in the other X-books.
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The problem with this finale chapter is that certain threads are wrapped up too quickly and neatly. There's the aforementioned Captain Comet sendoff, but more annoying is how little the Johnny Clark persona amounts to in the end. Superman's identity crisis had far more potential to explore, but it seems there just isn't space to continue along that path. Meanwhile, a last-minute character reveal could have used a bit more room in the script. Overall, this series just doesn't seem to have the room to expand to its full potential, nor the visual consistency it really deserves.
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No doubt we'll learn in the coming weeks whether Academy will be sticking around after Final Exam wraps up. Regardless of the outcome, Gage is showing every sign of doing justice to the characters he's built up these past two years.
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At its best, AvX manages to deliver on all the hype Marvel has placed on it. As we near the finish line, I can only hope that this renewed momentum means the event will remain at its best through the home stretch.
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Before Watchmen: Nite Owl #2 feels less familiar than the first issue. However, Straczynski needs to maintain focus on the title character and leave Rorschach to his own series.
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Mateus Santolouco brings just the right blend of gritty harshness and bizarre imagery to the table in his art. This book looks and feels very much like a lost project from the early years of the Vertigo imprint (albeit with much better coloring). As much as Vertigo has shrunk in recent years, it's good to know that DC is still willing to publish books of that style, even if they now carry the New 52 banner.
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Unfortunately, the final page reveals that issue #6 won't be along until the very end of September. Two months is a long wait, but these first five issues prove that it'll be well worth it.
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This has been and still is a perfectly enjoyable book, but both segments need a bit of a push forward at this point, particularly The War That Time Forgot.
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While the tension between Tony and Mandarin continues to bubble nicely, Fraction also delivers some extended action as both Iron Man and Rescue battle their united foes. I do wish Pepper's attempts to ferret out Iron Man's identity weren't such a significant part of their interaction, given that the reader knows perfectly well who he is. On the other hand, Iron Man delivers a slightly on-the-nose speech that suggests there's a much deeper reason for all the deception and conspiracy. One thing is certain -- there's more than enough incentive to keep coming back for each issue of Future. The rapid shipping schedule is just one more bonus.
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The test this series faces after next month's #0 issue is how well it can thrive now that one of its strongest characters is out of the picture (at least for a while). Milligan still has work to do as far as molding this team into top form.
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If not exactly an earth-shattering start to this major arc, issue #241 is still one more fun and character-driven issue from David. No amount of reboots and relaunches are going to change that.
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On the plus side, the new backup feature this month is particularly memorable. The writers continue their Wild West-ification of modern DC heroes by offering up a new version of Doctor Thirteen. This take is basically an amalgamation of Sherlock Holmes and Teddy Roosevelt, which is every bit as awesome as that sounds. This segment has a fun horror vibe as Thirteen clashes with a Headless Horseman-esque villain named the Haunted Highwayman. Scott Kolins once again proves that his style is well-suited to the horror realm. Hopefully Doctor Thirteen can enjoy more of a lasting presence in the series beyond this short feature.
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See? Aquaman is as cool as Superman. In the right hands, at least.
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Ultimately, a story like this is always limited by the need to fit within the confines of the main event. And so there's little in the way of consequential plot progression or character growth. But if nothing else, Avengers #28 proves that Red Hulk still has a place among Earth's Mightiest Heroes.
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Before Watchmen: Comedian #2 wins points for trying to be a little different. But it loses far more for its uninteresting handling of the title character.
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I feel like I say this at the end of every Hulk review now, but this book really needs to push forward and show readers what Banner's ultimate plan is. We've been given far too many intermediate chapters that offer plenty of fun but no real substance or sense of progression.
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Issue #29 is also notable for debuting Matteo Scalera as the new artist. Scalera's moody pencils fit right in with previous Secret Avengers artists (this definitely looks -- as well as reads -- like a more traditional Secret Avengers tale than the AvX arc did). Scalera's figure work is brimming with energy. If a bit more loose and abstract than an artist like Gabriel Hardman, the heavy blacks lend a necessary sense of weight and texture to every panel. It's a promising debut, and the material Remender sets up for the near future strongly suggests that Scalera's work will only get better from here.
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Aside from the treatment of Blake, this arc won't really have any lasting ramifications on the Thor mythos. But surely the upcoming crossover with Journey Into Mystery will provide all the epic drama readers crave. If overly drawn out, these recent issues have proven to be a fun and heartfelt little diversion for the characters.
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The artwork could be better, but on the whole the series seems to be moving past its recent growing pains and towards something better again.
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This issue makes for an unexpected but very enjoyable detour from the Brotherhood conflict. And as bloody as issue #27 was, this issue's ending manages to shock and unnerve even more. The wait for the next issue now seems more difficult than ever.
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Wolverine and the X-Men doesn't insert itself as neatly into the framework of AvX as some books, but Aaron is still managing to tell consistently engaging and character-focused tales every month.
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At best, X-Treme X-Men shows some potential. It's fun, yes, but also fairly hollow and not particularly attractive. And with Age of Apocalypse already targeting fans of alternate reality X-Men stories, this series needs to do far more to establish a clear purpose and identity.
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As with issue #32, Timothy Green's art is unexpectedly disappointing. His facial work is dull and lifeless, while his characters are often stiffly posed and suffering from wacky anatomy. Green has done top-notch work in several cosmic books recently, so it's strange to see him deliver such underwhelming work here.
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In the end, though AvX hit its current peak at the beginning of Act 2, the event is still in a better state than it was in its early months. Issue #8 offers an exciting and action-packed battle. It simply doesn't propel the conflict forward in the way a concluding chapter should.
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Silk Spectre arguably had the most potential of the Before Watchmen books, and so far Cooke and Conner are realizing that potential.
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Winick's Catwoman left a bad taste in many readers' mouths with its first issue. And as much as the series has been able to prove it has substance beneath all the sex appeal, issues like this frustrate in their unwillingness to fully explore the characters and push the plot forward.
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There's not much else to be said about Salvador Larroca's artwork these days. The series has practically become a biweekly book this summer, yet Larroca never falters in his storytelling. The flip side is that his work remains relatively sparse, relying overly much on Frank D'Armata's colors to fill in finer details. Nonetheless, it's impressive to see how much one consistent creative team can accomplish over the course of a mere four years.
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It's a shame this book won't be around much longer. Still, Gillen has maintained a high standard of quality throughout his run, and this final crossover with Thor shows no signs of breaking the trend.
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Personally, the character work in this series has always been strong enough that I couldn't care less about the methodical pacing. But those who have been waiting for Moore to "get to the point" need wait no longer. This series retains its sense of unpredictability and excitement as new revelations are made, which isn't something all horror or fantasy-based stories can boast.
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Unfortunately, the backup story continues to be a drag. It would be one thing if the Essence feature were simply added content, but the main feature is shortened to make room for this story. Essence's struggle simply isn't very interesting, and it probably won't be until readers have a better idea of how she fits into Lobdell's greater plan for Red Hood and friends.
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It's not clear why Marvel couldn't have simply adjusted the numbering and waited until after Sabretooth Reborn was finished to ship this book. And despite the boosted page count, it's debatable whether $4.99 is a fair asking price. But those who simply crave an enjoyable, standalone Wolverine adventure likely won't be disappointed.
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Spider-Men is still an enjoyable read, by and large. But now that we're 60% of the way through the series, it's time to ditch the conventions and tropes of the crossover book and focus more fully on the more emotionally resonant aspects of this story. I'm hopeful issue #4 will be able to do just that.
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The Walking Dead was already on a general upward trend with this arc. Luckily, Kirkman and company manage to kick things more fully into gear with issue #100. Despite the extra page count, this issue flows well and reads as quickly as any normal chapter of the series. And there's no way new or old readers won't want to stick around to see what unfolds next.
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Finally, Sholly Fisch delivers a backup story about the man who supposedly crafted Superman's T-shirt. The story doesn't complement the main feature in the way these backups have tended to, but it's an enjoyable read nonetheless. CAFU's artwork is as slick and expressive as ever, and it's a shame the rest of the book doesn't look this presentable.
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If not without its flaws, No Turning Back is a refreshing change of pace for the series, and not a bad gateway for prospective new readers looking for more Spider-Man vs. Lizard shenanigans.
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As with nearly every chapter of this event, Avengers vs. X-Men #7 is guilty of glossing over certain vital parts of the story in its charge forward. Even so, the series remains in better shape than it was during Act 1. I would be surprised if issue #8 were to kill that momentum given the groundwork Fraction has laid here.
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At this point, it's hard to imagine G.I. Combat lasting any longer than Men of War did. Neither story offers the sort of long-term appeal to keep the series humming along. The series needs a shake-up, and the sooner, the better.
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It remains to be seen how much this series will change when it willallegedlymorph into something else later this year. But if Parker can retain the same sense of scale and fun Mayan Rule has offered, there's little reason to worry about the future.
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Walking Dead may be hogging most of the spotlight when it comes to Robert Kirkman's work these days, but Invincible is still chugging along capably even with its lead hero out of action.
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Salvador Larroca frames these action sequences well, despite the usual coloring problems. His new Iron Man design is also quickly growing on me, and I'm happy that the new Marvel NOW! armor seems to retain at least some of those design elements.
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Rucka delivers yet another worthwhile standalone issue this month. Punisher #13 is both an enjoyable heist adventure in its own right, but also an issue that builds towards a larger conflict and opens new questions about Frank's war against the Exchange.
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Daniel Acuna jumps on board the series for this short arc. As usual, his debut is strong, full of bold, stylized figures and surreal background imagery. I would have liked to see more clarity in the background work, however. At this point I don't feel that any AvX issue has provided a clear sense of what Pax Utopia looks like.The real question, though, is whether Acuna can remain consistent for the duration of the storyline. The visual quality on Uncanny has been nothing if not spotty, and Gillen's scripting definitely deserves the best right now.
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So far, Sabretooth Reborn does nothing to suggest that Wolverine needed Romulus back in his life or that the story of Sabretooth's return required such a large stage to be told. If Evolutiondidn't win you over already, this arc likely won't either.
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Already a strong book among the New 52 lineup, Aquaman became something truly special with this second arc. Who would have thought more Black Manta was all Aquaman needed to shine brighter?
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It's a shame this book couldn't have debuted before Kick-Ass 2. The impetus and drama simply aren't present since we know exactly where the main characters will end up by the time the series wraps up. Still, with a stronger focus on characterization over violence and spectacle, Hit-Girl makes some definite improvements to the formula.
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Stay Angry is goofy good fun. However, after three chapters it's not enough to keep seeing the same pattern of disorientation, smashing, and last-minute scene change. It's time the book revealed more about what Banner is up to and what sort of greater conflict the Hulk faces in his future.
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Luckily, I have no complaints about the Shazam backup feature, except that I wish it was a full monthly series instead of a backup. Who cares if we're probably still several chapters away from seeing Shazam himself? Johns effectively overhauls the mythology and emphasizes the new family dynamic between Billy and the others. This chapter also keeps the plot humming along as it introduces two more iconic Shazam characters. Gary Frank's art is extremely moody and powerful in equal measure, with some strong facial work backing up the big emotional moments (something that couldn't always be said for his work in the past). This backup practically justifies the price of admission alone.
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The tense final showdown and the cliffhanger that follows will leave fans itching for that last issue. It's a shame the shipping schedule has slowed to a crawl with this final arc. But at this point there's no reason to fear Aaron and Guera will disappoint in their final outing. And at this point, Scalped #60 will probably make 100 Bullets #100 feel light and happy by comparison.
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Aside from that twist, Spider-Men still doesn't do much to break out of the typical crossover mold. But as long as it remains this entertaining, originality is a secondary concern. It's good to have Bendis and Pichelli jamming with Spider-Man again.
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Most of Hickman's indie books have ended at issue #4. The Manhattan Projects is just barely getting started. It's clear this series has some legs to it, even if certain aspects of the story are growing a bit repetitive.
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While it's a shame that this arc seems to have less dramatic meat to it than early issues suggested, at least The Mighty Thor isn't failing to entertain as another conflict begins to wind down.
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Hopefully this series can move past the growing pains it's been experiencing these past few months. Humphries has the chance to fully define his run and his voice outside of Hickman's shadow as he moves into "Divided We Stand," and I hope he makes good on the opportunity.
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While Wolverine and the X-Men continues to flesh out the events of AvX in positive and tangible ways, the overall direction for the series is beginning to suffer. I wish Aaron were able to combine the event tie-in material with his ongoing conflicts as elegantly as Kieron Gillen has in Uncanny X-Men.
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While I was happy to see Timothy Green come on board for this arc, the actual art quality is fairly disappointing. Green generally offers a surreal, almost European approach in his Marvel work, but this issue sees him struggle with a more traditional superhero style. Characters often seem overly stiff and posed, while the facial work consists mainly of grimaces and gritted teeth. It's too bad more of the energetic, manic style seen in Green's recent Rocket Raccoon/Groot stories couldn't have appeared in this book.
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The Phoenix Five concept might have seemed silly on the surface, but in terms of execution Hickman really delivers in this issue. Finally we have an book that doesn't sacrifice characterization in favor of mindless spectacle. My enthusiasm is suddenly renewed for AvX as a whole, and even though this is already Hickman's final issue, I sincerely hope that issue #6 is an indicator of the quality readers can expect from this point forward.
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If the art doesn't always do justice to the script and storyboarding, AvX: Infinite #6 nonetheless succeeds in building my excitement for this new digital format.
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Issue #10 stumbles fairy significantly during the big action sequence and its immediate aftermath, but on the whole this new storyline seems a promising one. The main challenge for Winick will be to more elegantly work in Selina's personal turmoil with the conflict at hand.
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The backup feature also manages to entertain, even if it has no real connection to the main story beyond offering a grim tale of romance and heartache. Ryan K. Lindsay's script provides an amusing parody of old-school romance comics that's juxtaposed against some very twisted imagery from Jordie Bellaire. If nothing else, this series illustrates the need for more romance-fueled stories in this industry.
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Having Dale Eaglesham on board doesn't hurt this arc either. Red Hulk has never felt more powerful vibrant than he does here. Eaglesham slathers every page and panel with intricate detail, but doesn't neglect elements like choreography, facial work, and general tone and mood. As bombastic as the villains and conflict are, Eaglesham's dramatic line-work ensures that readers will take the threat seriously nonetheless.
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My only real complaint with the pacing in this issue is that we still aren't seeing much of Rhodey as the new Iron Man. That character has suffered enough lately with the meltdown of the Iron Man 2.0 book, and it would be nice to see him take more of an active role in the conflict beyond being Tony's muscle. Hopefully that will change over the next few issues. The artwork is also a bit haphazard this month. Most of the action is handled well, but the showdown between Bethany and Tony is strangely cramped and claustrophobic. But if nothing else, the art team deserve credit for delivering so many issues at such a rapid pace.
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The central problem with issue #10, however, is that the main story is too brief and cuts off rather abruptly. The final third is instead taken up by a backup tale focused on the villain Essence. This segment is executed well enough and manages to lay a few seeds for upcoming issues. It's also competently rendered by Ario Anindito, whose expressive figure work might make for a decent replacement for Rocafort once the latter exits this series. However, this segment isn't interesting enough to justify the shrinking of the main segment. Backup stories are fine and well when they serve as a bonus to the main attraction, not as a replacement. Unfortunately, readers may have to grow accustomed to the new arrangement for the foreseeable future.
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Unfortunately, the art quality is fairly sporadic this month. It's always impressive when a series can ship at faster-than-monthly speed without changing up the art crew, but in this case the rushed schedule really seems to take its toll on Charlie Adlard. Some panels and scenes look fine, while others are too loose or murky in their detail. Hopefully Adlard has been saving his energies for issue #100, because the book deserves to look its best at such a major point in its history.
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It doesn't matter how isolated from the rest of the Marvel Universe this series might be. Brubaker's writing recalls the best days of his Captain America run, while the visuals alone are well worth the price of admission. What more could a Marvel fan ask for?
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Bunn does ultimately find success in further building up the dynamic between Wolverine and Dr. Rot. The villain proves himself capable of hurting Wolverine in a way many of his current villains can't. Logan is forced to deal with the ramifications of Weapon X brainwashing and memory tampering, elements that have been downplayed ever since House of M opened the memory floodgates. Bunn also leaves plenty of room for future growth and expansion. Though the writer is departing to make way for Jeph Loeb's Sabretooth Reborn arc, I wouldn't be at all surprised if this arc is laying the groundwork for a lengthier creative run down the road. There are far worse directions this series could take.
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By all rights, this series should have taken on a new level of excitement once it became apparent that Brian Bendis is working to reinvigorate Marvel's cosmic heroes and villains along with telling an accessible Avengers tale. Sadly, the execution just isn't there.
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So once again, AvX: VS. delivers two enjoyable superhero fights that fill in some of the gaps of the main series. On the other hand, both stories are too simple and brief to fill out a $3.99 comic. Yost's segment at least strives for more dramatic depth, but it's still over and done with almost as soon as it begins. If meatier, more character-driven tales aren't in the cards with this book, then maybe what VS. needs is either more than two segments per issue or a lower cover price.
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This issue wraps up the Captain America and Hawkeye phase of the series and paves the way for Captain America and Iron Man next. Cullen Bunn does offer a glimpse of a larger, overarching plot tying these various phases of the series together. But given how dull these four issues were, is that even a positive sign?
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This new series is managing to deliver on every level a proper Conan book needs to. It faithfully replicates the tone and style of what is arguably Howard's greatest tale of the Hyborian Age while also boldly charting new territory and daring to push Conan in new and unfamiliar directions. And regardless of whether Cloonan or Harren are at the helm, this might just be the best-looking Conan series Dark Horse has published.
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In general, this arc is an improvement over the first seven issues of the series, both visually and in terms of storytelling. Still, the sense of progression is lacking as Hulk ends this issue pretty much where he started. The wackiness and rampant smashing can only carry Stay Angry for so long.
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The only strange quality to this issue is that so much of it is devoted to epilogue sequences. There are no less than four epilogues present, meaning that the climax is over and done with roughly midway through the book. Make no mistake -- these epilogues seed a lot of interesting new material for the future, but they really throw off the pacing too. No doubt this issue will read better in trade format rather than on its own.
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Fernando Dagnino now hops aboard this series following his departure from Resurrection Man. Unfortunately, his style is barely recognizable. The smooth, refined, horror movie quality is replaced by loose and sometimes awkwardly posed figures and panels that too often fail to capture the tension of the mission at hand. Dagnino's current style is too similar to previous artist Federico Dallocchio, who suffered from similar problems of inconsistency and lackluster storytelling. This series will be much better off if Dagnino can recapture the quality that defined his work on Resurrection Man.
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Even if the characters aren't as fully realized as the conflict so far, The Massive #1 is a gripping read that should have no trouble winning over many readers to Wood's newest creator-owned venture. It certainly fills the void left by DMZ. And with any luck, readers are at the beginning of another dramatic, character-driven, multi-year sci-fi saga.
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The Blake/Enchantress scenes are still entertaining in their own way, but this portion of the plot stalls out a bit in issue #15. It's becoming difficult to sense what Fraction is actually trying to accomplish with this plot thread and whether the Blake/Thor dynamic is really going to be as fundamentally altered as it seemed. Hopefully the next issue will devote more space to the disembodied Blake and his new god spawn without also relegating Thor's Ghostbuster escapades to the back-burner again.
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If you absolutely crave more Punisher MAX material, this issue holds some entertainment value. However, it doesn't break new ground or do anything to suggest Marvel should have kept this version of the character around. And even with the extended page count, the $4.99 price tag is too much to ask for what the book actually delivers.
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Though Nimrod himself turns out to be a dud, he does facilitate an interesting twist that could have a profound impact on the Superman franchise depending how far Morrison chooses to push it. Even when this series stumbles, it remains an ambitious and exciting reinvention of the Man of Steel.
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It doesn't appear as though this series is leaving behind AvX just yet, but if Gage has proven anything on this series, it's that he knows how to make the most of tie-in arcs.
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Finally, there's the big, long-awaited twist that puts the cap on Act 1. This new development is bizarre, to say the least. I worry it pushes the conflict into silly a direction, but that's for future issues to confirm or deny. At the very least, the twist marks the point where AvX stops feeling predictable and begins exploring uncharted territory. A newfound sense of unpredictability and change can only be a good thing as the story moves into its second act.
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Marcus To illustrates this issue. His work is very clean and presentable, if a bit lacking in some of the gritty texture and finer details other artists have brought to this series. Batwing occupies a harsher landscape even than Gotham City, but it never really comes across visually.
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Jimmy Palmiotti and Justin Gray improve their take on the new Unknown Soldier in this issue. The character is fleshed out a bit more, and the writers spend ample time showcasing his superhuman abilities in action. The result is a perfectly competent, grounded take on superhuman warfare. Dan Panosian's jagged, scratchy style suits the tone of the story well. The problem is that it doesn't do anything new with the Unknown Soldier concept. It's a simple modernization of the original character. Not for the first time, I find myself wondering why DC couldn't have brought back Joshua Dysart's mature, fascinating re-imagining of the concept.
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In short, whether you're a fan of any of these characters or just a fan of exciting, darkly humorous superhero adventures, this issue demands to be read. Go on -- show Alpha Flight the love they didn't receive in their own book.
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Matt Fraction delivers some more memorable material involving the rest of the series' many villains. But with both the Detroit Steel and the Zeke Stane/Mandarin subplots, there's just too little material on hand to fully satisfy. It's a good thing this series ships as often as it does, because Invincible Iron Man has become too crowded and slow-moving for its own good at this point. Once these various conflicts converge more, then Long Way Down should truly hit its stride.
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It may be too early to pass judgment, but Gillen's new arc of JIM shows the potential to be as well-crafted and immensely entertaining as any of the writer's Thor work to date. If you've neglected the book so far (and shame on you if you have), this isn't a bad time to jump on board.
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It's difficult to recommend this issue to new readers, followers of Fraction's run, or really anyone who hasn't been following DeMatteis' earlier work with the characters. Luckily, there's never a shortage of solid Thor comics on the stands as alternatives.
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All told, this actually isn't a bad issue to hand a new reader curious about the current status quo of Spider-Man and his world. At $4 for 40+ pages, it's certainly a better value than most books the Big Two put out. Still, the script never reaches its true dramatic potential, and that's a shame.
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This issue represents the best of what Hickman and his collaborators are capable of with this franchise. This issue has drama, but also plenty of heart and humor. Funnily enough, FF has never been stronger than in these last, waning months of Hickman's run.
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Fundamentally, this series is on firmer ground as it barrels into its second story arc. Unfortunately, there are some notable flaws remaining that still prevent Incredible Hulk from reaching its full potential.
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Unfortunately, Chris Scalf's painted art is far too uneven to truly do justice to the story. Some panels look fantastic, with a cinematic look and feel that screams Star Wars. More often, though, his figures either become loose and murky or stiff and robotic. Anatomy grows distorted and the overall sense of realism falls away. If Scalf could maintain a greater level of consistency in his visuals, this would truly be Star Wars comic to remember.
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Leinil Yu's art at least does its part to distinguish the series. The pages are generally clean and refined, with little of the scratchy quality that sometimes defines Yu's style. Yu also makes the most of the international setting, delivering a flavor not seen in his recent superhero work. Sadly, the art is really the only thing that makes Supercrooks worthy of a read. Can the final issue redeem the forgettable characters and the by-the-numbers plot?
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Issue #98 succeeds mainly in how well it blends the various Walking Dead elements. Though unusually action-heavy, there are a few character-centric scenes to balance things out. And it certainly succeeds in building tension and paving the way for what should be an eventful issue #100.
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Likewise, there's also an increasing worry that Humphries won't have time to wrap up the various loose ends before Divided We Fall kicks off. There are so many plates to juggle at once now, and several big developments from issue #10 aren't even referenced here. Can we expect proper resolution in issue #12, or is this storyline headed for a finale every bit as abrupt and unsatisfying as Nick Spencer's Ultimate Comics X-Men run had? It wouldn't be such a bad thing to let these books breathe a little more.
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One benefit to this story is the continued involvement of Melita Gardner. She seemed to be all but wiped off the board by the end of Aaron's run, but Bunn ensures she doesn't suffer such an ignominious end. Also pleasing is thatPaul Pelletier keeps the story humming along with his gorgeous pencils. This arc sees Pelletier dip into darker territory with a feral, savage Wolverine and haunted, blood-soaked environments. Pelletier proves himself just at home here as anywhere else in the Marvel Universe.
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Wolverine and the X-Men is doing some necessary building, but the series would do well to maintain a greater focus on its own characters and conflicts.
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This wasn't a bad tie-in issue, but I'll be happier when this series can move beyond AvX.
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Ivan Reis nails the various action scenes and character interactions. While there's a slight inconsistency in style and quality due to Reis being inked by three separate artists, it's a slick and visually dynamic issue by any standard. Aquaman is really benefiting from having one of DC's best writers and one of its best artists in control. The series seems destined to only get better from here.
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Chris Burnham is no stranger to Morrison's Batman run, but this series finally marks the point where Burnham takes full control of the book's visual direction. Burnham hits the ground running in this issue. The similarities to the opening arc of Batman and Robin are as much due to Burnham's pencils as they are to Morrison's writing style. There's a similarly frenetic approach to depicting action and movement. Burnham frequently experiments with layouts and panel construction. These experiments don't always work as well as intended (the page with shots of Batman and Robin projected on the sides of buildings is pretty wonky), but the sheer amount of energy on every page can't be denied. Burnham proves right away he has the creativity, the flair for action, and the dramatic storytelling hops to do justice to Morrison's final Batman adventure.
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With no real dramatic pull and too little focus on the simple joy of superheroes punching dinosaurs, Captain America and Hawkeye has nothing to offer readers. The next Cap team-up can't come soon enough.
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This arc wound up being more of a fun diversion for Red Hulk than the intensely dramatic adventure it seemed to be at first glance. Hopefully the upcoming Mayan arc will be a little more plot-driven.
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Exiled has never been quite as strong or finely tuned as Gillen's usual JiM work. This last-minute plot twist may be just what the storyline needs to fully capitalize on the potential this gathering of writing talent has offered.
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Mikel Janin remains on board as regular artist, which definitely helps smooth the transition. At his best, Janin delivers some of the most amazing moody and detailed work you'll find in a DC book. That level of detail doesn't remain consistent, however, and late in the issue the figures become annoyingly stiff and muddled. But for the most part, this issue looks as good as it reads.
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Also a bit aggravating is the tendency of so many characters to spew varied but equally lame catch phrases on the battlefield. Goofy humor is a prerequisite of a book like this. However, endless panels of one-liners and bad zombie puns wears thin very quickly. The issue finally sheds a lot of this nonsense towards the end, as Frank Marraffino injects a new batch of heroes into the mix and begins exploring the origin of this particular zombie outbreak. If the series as a whole could strike the balance of grotesque humor and darker drama seen in these pages, Marvel Zombies Destroy could rival the best entries this franchise has seen. But will it ever make good on that potential?
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There's a lot of good character work on tap in this arc. Unfortunately, it's difficult to see what larger purpose it all serves. This arc doesn't fit very well into the confines of Avengers vs. X-Men, and the fact that it takes before many current AvX threads suggests that little of lasting consequence will actually come of this tie-in. The sooner this book can resume its ongoing conflicts, the better.
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This arc wound up being more of a fun diversion for Red Hulk than the intensely dramatic adventure it seemed to be at first glance. Hopefully the upcoming Mayan arc will be a little more plot-driven.
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I'm very keen to see where this arc is taking Blake, but unfortunately, the series' title character seems to be jogging in place at the moment.
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Reading Voodoo is frustrating because there's no reason it couldn't be a great book. The opening sequence alone shows that Williamson as a flair for dramatic, surprising plot twists. Unfortunately, there's too little focus on Priscilla and Voodoo and too much emphasis on pulling in outside characters and constantly keeping the status quo in flux. In some ways the book went off the rails after Ron Marz departed, and it's time to set things aright again.
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Tom Grummett's artwork is decent, if not particularly sleek or eye-catching. He handles the dialogue-heavy scenes and Shaw vs. Avengers action well, but the larger battle scenes are comparatively flat and bland. How his work will hold up now that the various character factions have converged on the battlefield remains to be seen.
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If still a fractured and somewhat hollow event comic, AvX at least gained some traction in issue #4. And if nothing else, the plot continues to push forward rather than dwell on endless series of punch-fests between Avengers and X-Men. The next issue marks the end of Act 1, and perhaps the real indicator of whether the series can move past its initial storytelling mistakes.
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This series more or less delivers what it aims for. Still, it wouldn't hurt to see the writers strive to be more wacky and further embrace the brainless, bombastic nature of the book.
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While this issue offers a decently fun and action-packed adventure, it's not one of the more memorable Night of the Owls tie-ins.
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More worrisome than the new story material was the departure of artist Becky Cloonan. Luckily, James Harren proves to be a very capable replacement. Harren's style falls in line with Cloonan's in terms of offering a more down-to-earth, organic take on the Hyborian Age. However, his figures are more rough-hewn and textured, creating a more sinister tone that suits the growing conflict in Argos. Picture Conan by way of BPRD. What's not to love about that?
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Ennis is single handedly keeping the MAX imprint alive right now. And if Fury MAX accomplishes anything, it's proving that there's still a place for these darker, more grounded Marvel stories.
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Aside from the Tony/Zeke dynamic, Fraction finds time to devote to characters like Pepper Potts, Bethany Cabe, and even a page or two with Rhodey. The dramatic showdown with Spymaster at Stark Resilient HQ is especially memorable. So even if the core of the conflict has barely shifted from the last issue, and even if we don't catch a glimpse of Mandarin this month, there's plenty of excitement in these pages to keep the momentum going until the next issue.
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Kenneth Rocafort also delivers yet another attractive set of pencils. His page layouts are especially impressive in this issue, as he frequently builds his panels around Freeze's ice structures and engages the eye through diagonal angles. This book wouldn't be half of what it was without Rocafort's consistently well-executed pages.
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Millar's latest creator-owned series is just different enough to warrant a look. It relies more on good, solid character work than shock value or mature content.
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I don't know whether to hope that incoming movie fans are able to enjoy this book as some sort of pseudo-sequel to the film, or that they'll take issue with the many glaring problems in Avengers Assemble too. In any case, there are far better Avengers comics from Bendis and numerous other writers they should be reading instead.
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It's probably too much to hope that this arc will spontaneously improve in the second half. Hardcore fans of Hawkeye who somehow still haven't gotten enough of the character may find these issues well worth the price, but personally, I'm waiting for the next "Captain America and..." team-up to hopefully breathe new life into the series.
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This leg of the Haunted Hulk wraps up a bit abruptly by the end of issue #51, but Parker makes it clear that a larger supernatural conflict is still building. No doubt next month's guests stars will bring an entirely new dose of fun to this arc.
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Ottley satisfies once again with his vibrant, expressive pencils. There's the blood and gore that always sticks out, but also a lot of visual diversity as Zandale attempts a date night and the rest of our heroes battle an alien menace. Unfortunately, after all these months, Jason Rauch's ethereal colors still don't fully mesh with the pencils. I'm not sure the series will ever fully recover from the loss of FCO Plascencia.
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Mirco Piefederici tackles the art for this series, delivering a more traditional penciled style compared to the somewhat painterly look of books like Dark Wolverine. At its best, the book is bright and expressive despite the grim and grisly subject matter. The colors certainly help in this regard. Unfortunately, Piefederici's work falters whenever the characters assume more irregular poses, becoming flat and distorted. But even despite those flaws, this is shaping up to be one of the more attractive Marvel Zombies books.
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Only the art holds this chapter down. With two pencilers and three inkers tackling various pages, the results are messy and inconsistent, to say the least. The early pages are the strongest and most detailed, thanks to Jesus Saiz, but the latter two-thirds of the book or so are comparatively flat and dull. Luckily, a new and hopefully more stable art team will be arriving soon.
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Neal Edwards fills in for this issue, which makes it a pretty big week for him as far as Spider-Man goes. The vibrant zaniness of Ryan Stegman's work is unfortunately gone. On the other hand, Edwards delivers some of his now-trademark epic and detailed art that really suits the scale of the script. It's a far more realistic approach to superhero storytelling. Maybe not one the book really needs in the long-term, but fine for this one issue. Sadly, we only have one more issue of Stegman's art before he departs for good.
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There are a handful of memorable scenes involving Harley's new mental state, another team betrayal, and the gross inner workings of King Shark's body. But in the end, this issue feels padded out, as if this crossover didn't really need multiple issues to play out at all. Fans more interested in the Resurrection Man side of things may be better off simply skipping this chapter altogether.
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This material could have easily formed the entire backbone of the issue. Luckily, Kirkman shifts focus back to more familiar characters and settings afterward. There are some uncharacteristically pleasant developments (which will almost certainly be followed by unpleasant ones) and a few seeds sown for imminent conflicts. All in all, there's a lot brewing in the opening stages of Something to Fear. There are zombies, there's human drama, and there's the sense that something awful is brewing in the next few issues. Not a bad time to be a monthly reader, in other words.
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One could almost believe Aaron never left the book. If Bunn were going to be on board longer that lack of differentiation might pose a problem, but in the context of one action-heavy story arc, that's a perfectly acceptable prospect.
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Finally, the backup story is an enjoyable read. It too focuses on Earth-23 Superman on a slightly smaller scale adventure. Writer Sholly Fisch explores the sometimes conflicting responsibilities a president/superhero faces and suggests the character is headed for a reckoning at some point in the future. If that means more of the character in Morrison's run, I'm all for it.
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Avengers Academy is enjoyable as always. However, the bar has already been set pretty high when it comes to AvX tie-ins, and it's difficult not to feel like Gage could be doing more with this arc.
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The Two-Face backup feature is no better than the main portion. Harvey's quest hinges around his apparent desire to become Gotham's D.A. again, which is just ludicrous for all sorts of reasons. The entire story is one surreal chain of events, and unfortunately Harvey doesn't look to be faring any better here than he did in Batman: The Dark Knight.
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I half feared the MAX imprint was doomed once Jason Aaron's PunisherMAX wrapped up. leave it to Garth Ennis to once again inject new life into this mature-readers label.
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DC could just as easily have titled this issue Men of War #9. And that's worrisome, because as enjoyable as the first segment is, there's absolutely nothing to suggest that G.I. Combat will find any more lasting success than its predecessor did.
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Hulk Smash Avengers is light and enjoyable but also forgettable, It remains to be seen if future issues can manage something more as they advance farther into the Marvel timeline.
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No, the conflict doesn't move very far beyond where it started at the beginning of the issue. And despite the events of issue #515, neither Rhodey nor Pepper play any part this month. Regardless, this issue is a promising start to what should be one of the bigger and more bombastic of Fraction's story arcs.
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As much as I miss seeing Sara Pichelli's artwork on this book, Marquez is quickly proving himself to be a brilliant replacement. His figure and facial work is impeccable, as are his unique page layouts. His backgrounds do appear eerie sometimes because of the use of CG elements, but otherwise it's difficult to imagine a better replacement for Pichelli. Between Fantastic Four: Season One and this series, Marquez is having a great spring
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The art also suffers further in this final chapter. Mark Brooks pages are merely uneven thanks to the variety of inkers assisting him. It's Roland Boschi's work that really degrades over the course of the issue, however. Boschi's final pages feature loopy, distorted characters that do little to capture the emotional fallout of the story.
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There's no question that Avengers vs. X-Men could be a good, solid event comic. The operative word being "could." It's continuously frustrating to see writers doing such great work in the tie-in books and delivering so little of that quality and content on the main series. Maybe somewhere in the multiverse there exists a bizarre Frankenstein's monster of an event that actually crams the nuanced character work, epic blockbuster action, and tight plotting we're seeing in these disparate books into one, cohesive whole.
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All-Star Western is doing well for itself at the moment. The only question is whether the imminent Night of the Owls crossover will derail the plot or enhance it further.
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Penciller Ivan Reis and inker Joe Prado continue their excellent collaboration. This arc is far more visually diverse than the first and allows the duo to tackle a number of interesting and unique situations not normally glimpsed in an Aquaman book. Together, the entire creative team show a willingness to push Aquaman in new directions without ignoring what made him work in the first place. That's exactly what the New 52 is supposed to be about.
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AvX: VS does exactly what it sets out to do. In some ways it's a more enjoyable read than AvX itself is so far. That said, there are far better and more ambitious books you can be spending your $3.99 on this week.
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This arc absolutely needs to have a strong hook to rise above the glut of Hawkeye material on the market, and so far it doesn't have one.
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The one aspect of the script I didn't enjoy this month was the sudden, unexpected departure of a team member. It felt abrupt and poorly timed, as though Milligan were following an editorial mandate rather than delivering what the story needed. Hopefully Jeff Lemire can smooth things over with the cast changes and not lose the momentum Milligan has built up over the past eight months.
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Few questions are actually answered in these pages, but Bendis manages to build anticipation as the sense of doom grows. And unlike the previous issue, no time is wasted on pointless recaps of the Avengers/X-Men brawl. Hopefully that trend can continue as the series continues focusing on Iron Fist's role in the conflict.
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If a bit dull when the focus isn't on Blake, this issue still suggests that the series will be getting back on track in the coming months.
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Unfortunately, strong artwork alone can only keep a series functioning for so long. Voodoo really needs to establish a clear cast and sense of direction soon, or my interest will begin to falter completely.
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It's a shame Bunn won't have time to build anything larger with this series, but at least he seems off to a capable start with this arc.
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The best that can be said about AvX #2 is that it provides hope that the event won't always play out in such a dull and unremarkable fashion. The most memorable scenes in the issue are the ones that don't feature Avengers fighting X-Men at all, but rather characters like Thor and his deep space team preparing for certain doom. This series may be titled "Avengers vs. X-Men," but it's quickly looking as though the best thing that can happen is for the in-fighting to stop.
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Birds of Prey is a solid book, but it really needs to get moving and stop drawing out the various mysteries introduced so far.
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Marcio Takara fills in for Ig Guara this month. His style isn't radically different, merely more angular and a little less detailed than Guara's. Takara's pencils are nothing spectacular or flashy, but they get the job done well enough.
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As I mentioned last month, the series is improving of late because Winick is showing a clearer sense of purpose and direction in his plotting. Even the build-up towards "Night of the Owls" seems to benefit the series rather than constrict it. Winick's next goal should be to better flesh out Spark, assuming the character is destined for more than a transient role in the book.
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Fernando Pasarin makes a welcome return with this issue. His pages are, as always, fantastically detailed and well laid out. His art carries a slightly lighter tone this time around thanks both to the humor in the story and the lack of severed limbs. Pasarin's work is a good way to kick off a new storyline for the Corps.
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This issue also offers up another memorable set of pencils from Salvador Larroca. I'll never be happy with the colors at this point, but for the most part the engaging action sequences and raw emotion are enough to make up for it. Curiously, though, Larroca doesn't render War Machine in his proper armor. At first I thought Matt Fraction was guilty of ignoring Rhodey's Iron Man 2.0 transformation, but this issue sees him utilize those new powers to full effect. Why Larroca and other artists have reverted to the bulky, movie-inspired armor is a mystery.
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At least Kenneth Rocafort remains in top form. I'm continuously impressed that Rocafort is able to deliver such slick, detailed pages month after month when so many New 52 books have been forced to switch to new artists for their second arcs. Rocafort's art is still one of the primary selling points of the book.
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This issue is another comparatively weak one for artist Charlie Adlard, as the usual level of detail and clarity just isn't there. The last few pages do improve significantly, leading to a sharp visual shift as Kirkman's script opens up into a series of splash pages. What's distressing is that the letter column reveals that the book will be shipping every three weeks from here until #100. That rapid schedule doesn't bode well in terms of visual quality and consistency.
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Phil Noto's style is something of a bridge between the sleek, textured work of Jerome Opena and the loose, frenetic work of Greg Tocchini. Luckily, Noto's work has the clarity Tocchini's lacked. Marvel could do far worse than bringing Noto back for a future story arc.
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If a new reader wants to dive into Daredevil, it's difficult to recommend Season One as a starting point. Both Daredevil: Yellow and Daredevil: The Man Without Fear offer far superior takes on Matt Murdock's formative years within the span of a single trade paperback. Meanwhile, Mark Waid's current DD series (of which the first issue is included in this hardcover) is all most readers will need to fall in love with the character. That leaves Season One very low on the priority list.
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If you want a simple, action-oriented Avengers book, Assemble has its merits. Mark Bagley's work is attractive in this issue and actually shows a higher level of detail and consistency than it did in issue #1. There's not much continuity to get in the way of the action, and there's something to be said for that in a time when nearly every other Avengers book is becoming tied up with Avengers vs. X-Men. And so, as with issue #1, the readers most pleased by this effort are going to be the ones who don't have much Avengers experience. For everyone else, the simplistic plotting and frustrating characterization are major hurdles to contend with.
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Unhinged #1 does little to expand the Arkham mythology. An actual sequel to Arkham City would have been preferable, if not necessarily feasible at this point. However, as the series shifts to other characters who were less prevalent in the games, there should be far more potential for writers to to work with.
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The creative team have done a fantastic job so far. The question is whether Conan the Barbarian will lose any momentum as it takes on a new artist and begins exploring less familiar territory and expanding the original story. So far, Wood has given no reason to doubt him.
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After assisting Joe Bennett a bit earlier in the series, Eduardo Pansica takes over full penciling duties for this finale. Pansica handles facial expressions and character emotions better, which makes him particularly well suited for this quieter story. Granted, a few of his faces fall on the wonky side, but on the whole he delivers a very somber and visually arresting issue. It's just one more reason why I'm sad to see the book transitioning into a different direction.
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Gillen's penchant for silly and sometimes fourth-wall bending humor remains in full effect, beginning with the humorous recap page and lasting until the very end. The blend of high fantasy and simple goofiness gives this series its unique charm. The only complaint that can really be lodged against this arc is that Gillen has never used the Loki/Hellstorm dynamic to its full potential, particularly in this issue. But even so, this is a memorable finale to another great story arc. Journey Into Mystery remains one of Marvel's best and most consistent books.
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Hopefully Bendis will continue to focus on the Luke/Jessica relationship throughout the arc. It needs some amount of resolution to tide fans over until the eventual Alias sequel. But in any case, New Avengers #24 helps kick this tie-in arc off on the right note.
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Issue #8 is a done-in-one affair like so many previous chapters have been. For the most part, the writers make good use of the limited space available. Mitch's quest for answers yields a few more tidbits about his past, and he builds an unexpectedly tender bond with one of his pursuers. Unfortunately, the ending falls a bit flat in the sudden rush to set up next month's Suicide Squad crossover. DC has a pretty strong track record so far with these little mini-crossovers, and Resurrection Man doesn't seem likely to break that trend. Still, this is one book that doesn't need any outside interference.
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Ryan Kelly's art is also a major selling point. Kelly delivers characters with just enough realism to suit the tone of the story without sacrificing his usual vibrant, expressive quality. Every character has a unique look and appearance, which can't be said for many comic book artists. But as Joey mentioned last month, the dull colors don't do Kelly's art any favors. After coming to love his art on Local, I'm not convinced Kelly is an artist who needs color in the first place.
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In short, there's an awful lot to like about this newest Spider-Man book. Who needs Peter Parker anyway?
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Few could argue after reading this issue that there isn't plenty of material for upcoming Wolverine writers to mine from. But in some ways, Wolverine #303 would have been a simpler and more satisfying way to close off this long saga.
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In short, the larger plan for this book is beginning to come together, and it all seems promising. Is there any chance Action Comics can find a more timely and consistent art crew now?
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If Avengers Academy #27 didn't prove Gage should be writing a Runaways book, issue #28 cements the idea. We've gone far too long without a steady dose of these characters, and it's high time Marvel gave them another shot.
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Unlike most Marvel events, the hope is that this one will start off modestly and grow stronger over time. Issue #1 is a perfectly decent opening chapter, but it almost feels perfunctory in a way. The conflict needs to grow and evolve in interesting ways over the next 11 issues. And Cyclops certainly needs to be handled with more care going forward, lest this series repeat Civil War's mistake of making one faction look so crazy and militant that no one can sympathize with them.
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By itself, Avengers vs. X-Men: Infinite #1 is simply an enjoyable and lavishly illustrated story featuring the latest hero to call himself Nova. But it also marks the beginning of a promising new approach to digital comics. Frankly, I'd be much more keen to embrace digital fully if more books read as cleanly and elegantly as this.
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By this point Winick has done everything he needs to as far as establishing the New 52 version of Batwing and what drives the character. Following next month's crossover issue, the next test is to see how well the book can grow and evolve from this strong foundation.
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Gabriel Ba is also in fine form with this issue. The imagery is getting progressively more surreal with each new chapter, and that says something coming off of an issue with samurai panda warriors. Cris Peter's colors also bring a lot to the table. Peter frequently shifts from full color to a more old-school Casanova, monotone approach to highlight certain panels. It's no surprise that Peter's work earned the series an Eisner nomination today, although it really deserved more than one.
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All eyes are on Avengers vs. X-Men at the moment. Still, is it too much to hope that Valkyrie and her new mission find an ongoing place in Marvel's lineup above and beyond what Secret Avengers can allow?
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So far, not much is being accomplished with this replacement Invincible. Hopefully mark will reclaim his mantle soon so the series can focus on more interesting conflicts.
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The arts loses a bit of steam in this issue, unfortunately. Roland Boschi's pencils are a bit looser than normal, and certain characters appear uglier and more distorted than they should. Meanwhile, a handful of the construct pages are tackled by Andrew Currie rather than Mark Brooks. The book still has some moody and engaging pages, but the overall quality has slipped from previous chapters.
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Unfortunately, Moritat's artwork isn't really up to snuff this month. His style seems to vary quite a bit from month to month, and in this case it becomes far more loose scratchy, with flat characters that don't do enough to convey action and motion. The art in the backup feature is far stronger and more refined in comparison. Still, this issue goes a long way towards proving that All-Star Western has strong legs beyond the Batman connections.
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In the end, both halves of the issue are enjoyable (the first one a little more so). However, the issue comes up a bit lacking when it comes to ambition or a dramatic build-up to the main event. There's really nothing to link the two tales other than the vague shared element of two women clashing with the most important men in their lives. Nothing is revealed about the nature of Avengers vs. X-Men that hasn't been already. Fortunately, it's not as if we have long to wait for issue #1.
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There's certainly room in the Batman franchise for a book that focuses more on big, loud, action-oriented storytelling . A simplistic Batman book can still be an enjoyable one. Sadly, Dark Knight is anything but enjoyable right now.
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This team deserved more fleshing out than the arc was able to provide. In the end, it may have been better if "The H.A.M.M.E.R. War" didn't reach such a definitive conclusion, but instead positioned Osborn and his allies as ongoing threats to the Avengers. Alas, it's not to be.
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That aside, this issue is a pleasing return to form for DC's signature hero. Yes, the book is safe in a lot of ways. The new creators don't attempt to push any boundaries yet. But a solid, competent, more traditional Superman book is exactly what the franchise needs right now, and Giffen and company deliver that.
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With a new threat emerging, The Walking Dead may finally be putting itself back on track and rewarding readers who still follow it month-to-month.
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Impressively, Sam Basri is one of the only artists to remain on a New 52 book for its entire lifespan to date. His work certainly doesn't suffer from the monthly grind. This issue packs in a number of memorable action scenes and some lavish colors from Jessica Kolinne. Hopefully Basri can keep the streak going for a while longer.
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Legacy remains as rewarding a read for seasoned X-men readers as it ever was. And even if newer readers might not always appreciate the continuity-heavy approach, there's some top-notch storytelling at work here.
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If it was big, dumb action you craved, X-Sanction delivers well enough. If it was teases and revelations for AvX, it offers a few morsels. But in the end, even a humble four issues seemed too long for the meager conflict. Trade-waiters may be better off skipping this book entirely and moving straight ahead to AvX #0 next week.
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This issue receives a nice visual boost thanks to the return of Jesus Saiz. Javier Pina was a solid fill-in artist, but Saiz brings an extra level of mood, shadow, and more fully realized character renderings to the table. The book is fairly understated compared to many New 52 titles, but as far as pure storytelling goes it's one of the best. It's a shame Saiz will soon be shifting over to Resurrection Man, though I'm eager to see what Travel Foreman can accomplish in his place.
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Ig Guara is missing this month, unfortunately. Marcio Takara replaces him, and the results are pretty similar to what Guara was delivering. Takara's work is a bit more loose and scratchy, but it's still reasonably expressive and very much in line with what one would expect from a teen superhero series with slight sci-fi influences.
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It's still unclear whether this book can really hold its own over the long term. The building blocks are in place, but Winick needs to do more to push the characters and conflicts along.
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I appreciate what Tomasi set out to do with this issue, but it didn't elevate John Stewart in the way it needed to. The ending in particular was too sappy to carry the emotional weight intended. This series really needs to prove that John has a reason to be in the spotlight other than the fact that he has nowhere else to be. It's not as if Guy and friends aren't capable of carrying the book on their own.
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Where this finale disappoints is in documenting the fallout of the big battle. Millar cuts out of the story far too soon. Considering the losses Kick-Ass suffered over the course of the story, some glimpse of what direction his life takes next would have been appreciated. And knowing now that the Hit-Girl spinoff takes place prior to Kick-Ass 2, there's no telling when or if Millar will pick up Dave Lizewski's story again. Dave deserved better than that.
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Luckily, the series seems content to move right along without lingering on the Essence conflict. Hopefully issue #8 will mark another the beginning of another upswing in quality.
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The final pages manage to deliver a nice sendoff to Wolverine and pals, but there is still a lot of material left open. Aaron sets up a number of new conflicts that readers will probably have to migrate to Wolverine and the X-Men or continue into Cullen Bunn's Wolverine run to see continued. That's to say nothing of other lingering villains like Dr. Rot. That said, the idea that nothing ever truly ends is fairly central to this storyline. Is it really such a bad thing that Wolverine fans will need to keep following Aaron's work in the future?
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Avengers Assemble #1 isn't a terrible entry point for new readers, as it's light on continuity and easy to dive into. Unfortunately, there could and should have been more substance to this issue.
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This issue may sport the best work from Alan Davis so far. Davis really nails the extended fight between Sharon and Machinesmith, with plenty of dynamic motion and some amusing robot designs. And as always, his character work is every bit as refined as his action. This arc may have been slightly underwhelming at first, but it's definitely picking up as the conclusion draws near.
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It's abundantly clear now that a new team and new series were just what the Conan franchise needed. Wood and Cloonan are offering a different sort of Conan that should appeal to fans and newcomers equally well.
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It's very doubtful that Higgins will be able to completely wrap up all the loose ends still remaining involving Slade's troubled family and his ailing body. Nor does Rob Liefeld seem overly concerned with picking up on those threads when he takes over the series. But at the very least, all signs point to issue #8 delivering the most satisfying conclusion to Higgins' run that could be expected under the circumstances.
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In most other senses, the book remains firmly consistent. Gillen's command of language is as impressive as ever. The epic scope is always tempered by humor and sarcastic character interactions. Rich Elson could do a better job of capturing the surreal quality of Nightmare's dreamscapes, but otherwise Elson's work is as solid as ever. Despite the many high profile releases this week, Journey Into Mystery remains one of the better reads.
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In some ways the book seems to be running on autopilot right now, as not much has changed since Mitch first set out on his journey of self-discovery. But at the end of the day, the book is thoroughly entertaining, and that's all that really matters.
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Ryan Stegman's artwork continues to improve as well. This issue packs in some fluidly dynamic action scenes and some great character interaction and facial work. If Stegman has already improved this much, it should be a treat to see what level he's at a few stories down the road.
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The art is definitely improved in this short arc. Clayton Henry and Ig Guara ditch the pseudo realistic approach of previous chapters and deliver something more dynamic and traditionally superhero-esque. It would be nice to see Henry stick around for the long haul, but he seems to be the wandering nomad of the comics scene.
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So far, everything in this book seems pretty solid. The problem is that there isn't enough of a hook yet. The plot isn't exactly racing along, and readers are left with far too many questions about "the Venice job" and the general course Redmond's story will be taking. Hopefully those faults can be addressed before the series gets too much further along.
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All in all, there's a lot to like about this series as it moves forward. It has the fun of Wolverine and the X-Men but a bit more adult drama to balance things out, and it's probably the most visually appealing of all the ongoing X-books right now.
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Age of Apocalypse is a solid book all around in its debut issue, but it has plenty to prove in the coming months. Does this particular alternate universe have enough legs left to carry an ongoing series? Will the X-Terminated continue to hold their own alongside the other cast members? Again, time will tell.
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It's nice to see Giuseppe Camuncoli being employed effectively on the book. Camuncoli's harsh, jagged figure work isn't always the best fit for Spidey's world, but in a darker setting like this it works very well. Hopefully Slott can continue to tailor his arcs to best fit Camuncoli's artistic sensibilities.
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"But what of the unresolved plot threads from Immonen's run?" you may ask. Gage strangely chooses to address some lingering plot points but ignores others. Maybe that was an editorial mandate, or maybe too much focus on Runaways continuity would have annoyed AA readers. So while it's satisfying to have these characters back in some form, this issue only highlights the need to have an actual, ongoing Runaways series again. Heck, Marvel could do far worse than hand the reins to Gage himself.
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Luckily, Jim Cheung's artwork is surprisingly strong considering the rush to finish the series before Avengers vs. X-Men. The presence of two inkers occasionally works to dull his precise line-work, but for the most part his cinematic appeal and knack for fine details remains. Children's Crusade will at least go own in history as a visual showpiece. It's a shame it couldn't do a better job of elevating the Young Avengers and building on past Marvel events too.
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Phil Jimenez lends a much different aesthetic to the Fables universe with his art. It's certainly much more detailed and intricate than readers have come to expect from the various books. And though I'm rarely fond of Jimenez's pencils when inked by Andy Lanning, the colors smooth out the thick, black lines enough to balance out the combination. However, while detail is all fine and well, this issue lacks that whimsical storybook quality that defines Fables. Mark Buckingham's art succeeds not because of minute detail, but because it captures the look and fell of these popular fairy tales while dragging them kicking and screaming into the modern world. It would be nice to see a little more of that quality from the visuals in future issues.
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The art is a little more rough than it's generally been, which is unfortunate considering the scale of the fighting in this issue. Paul Pelletier's pencils are solid, though the inking remains a bit fuzzy. But Mark Bagley's pages are comparatively lacking in detail. In particular, a double-page spread of Valkyrie and her allies fizzles when it should have been a visual treat. Hopefully this isn't a sign of what to expect from the final two chapters of the series.
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Elena Casagrande continues to deliver a solid set of visuals on this series. Her work is more thin and angular in this issue, which helps recall John Romita Jr.'s Eternals mini-series. Whether intentional or not, that's not a bad thing to be compared to by any stretch of the imagination.
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Both of these war tales are solid. What they fail to accomplish, however, is to make any use at all of the larger DCU. That was half the fun of Brandon's Sgt. Rock saga -- watching ordinary soldiers interact with superhuman combatants. In this day and age all war comics need a strong sense of identity. Men of War had that at first, not that this identity helped it much on the sales charts. But this is something DC's next war comic needs to focus on if it has any hope of long-term survival.
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With still more players entering the field, issue #303 looks to be a very fun cap to Aaron's run. But will it be able to shake off the niggling flaws of the previous chapters?
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Looking at what Aaron and Kieron Gillen have managed to accomplish in their recent three-issue storylines, it's still hard to see why this plot needs five issues to unfold. But at this point Wood should still have his readers settled in for the big climax.
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The Barbary Ghost backup tale proves entertaining in its final chapter, if also a bit rushed in its own way. Luckily, the story leaves room for more adventures with this unique Western heroine. And both the lead and backup features boast impressive visuals. Moritat delivers some of his moodiest and most consistent work of the series to date. And Phil Winslade's bold figures and striking imagery go a long way towards elevating the Barbary Ghost pages. Hopefully he can continue to play a role in this series as it moves forward.
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Tom Grummett's art continues to provide the series with an old-school aesthetic that might have been out of place on the other Avengers books, but fits in fine here. Grummett's characters don't always look their proper age, but his storytelling and facial work is solid.
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There needs to be more of a hook to this story, because the idea of this storyline continuing as-is all the way until May is a less than appealing one.
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In terms of character interaction, things aren't much better. Invictus is too lacking in personality at this stage. He does at least qualify as the noble sort of villain who believes himself to be in the right, but that amounts to little in the end. Tony Bedard would be much better off embracing the high concept sci-fi elements and avoiding these drawn-out fight scenes that merely stall the larger conflict. There's a solid foundation beneath all the flash, and it needs to be brought to the forefront.
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This book started strong and has only gotten better with time. Hopefully none of that momentum will be lost during the crossover and when the book transitions to Jeff Lemire.
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The Mighty Thor has felt somewhat less than mighty in recent months. Luckily, that trend seems to be reversing now.
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Ultimately, the elements that work best about this series have little to do with Hawkman himself. And while it's tempting to lament the imminent departure of the creative team, it's probably better to hope they have something else planned for the DC Dark realm in the future.
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Whatever minor plot problems this arc may have, Remender looks poised to tie everything together nicely enough in the finale. But will the art be up to the task?
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At this point, Sami Basri's artwork is the one remaining draw for the series. Basri continues to deliver plenty of clean lines, attractive figures, and dynamic action sequences. Sadly, there's quickly going to come a point where pretty visuals aren't enough.
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At least the art remains appealing. David Baldeon's work complements the script with bright, expressive figures and some engaging action sequences. It's nice to see the X-Men all working and fighting as a team, especially when characters like Gambit and Iceman start to break out the fancy moves. That's right, Gambit is still good for something these days.
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Bedard continues to push Jaime into new territory with the conclusion. Though annoyingly rushed, the final pages promise to shunt the character into new locales and story directions. For a book that was a little slow to get moving and find an identity at first, this can only be a good thing. But hopefully the more familiar cast members will still have some part to play in this new direction.
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After this dramatic showdown, Winick ramps up the issue even further when Batman enters the fray. The Selina/Bruce dynamic plays out much differently this time, and more satisfactorily to boot. Winick starts to show his hand as far as what his fundamental take on Selina is. With the foundation laid as far as character work and a new supporting cast, the series has plenty of room to grow in the coming months.
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As usual, the art is a little scratchy at times, but still pleasing to the eyes. It's fun to see Mark Bagley dabble in a more fantastical realm, and the story suits Paul Pelletier's talents particularly well.
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The artwork has its moments, but it's wildly inconsistent to do the script justice. Salvador Navarro tries overly hard to emulate the movie look in some cases and not enough in others. Certain characters resemble the actors, while others seem pulled from the Real American Hero comics instead. At times poses are extremely stiff an unnatural. But at others, the characters become dynamic and the action flows much more smoothly. It's a shame the art can't offer more stability, but this is hardly the worst-looking movie tie-in ever published.
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Sadly, Mike Deodato's artwork is particularly rough this month. In past issues, the problem was the stiff, eerie quality that comes from too much CG work. This month, Deodato merely seems rushed, and his figures are much more loose and scratchy than usual. The quality of the inking varies wildly over the course of the book. Hopefully Deodato's work can stabilize in these final chapters of "The H.A.M.M.E.R. War."
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This issue makes some questionable storytelling choices. Hopefully the writers can do more to distinguish their new villain before the conflict wraps up.
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Land's art is fairly disappointing, though. His usual problems with mismatched facial expressions are still apparent, as are the recycled poses and photo-referenced figures. Compared to the pairing of Land and Guru eFX on Uncanny X-Men (also out today), the colors here don't enhance his pencils quite so well, either. The action does flow pretty well throughout the issue, and it's more a case of the subtler aspects not working very well.
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Emotionally, it seems this series reached its climax with the end of "Wolverine's Revenge." But if there's not a lot of depth to this finale arc, at least it's crazy enough that readers will rarely have a chance to notice.
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On the down side, Ardian Syaf's line-work continues to waver in quality, with some panels boasting significantly more detail and clarity than others. The pacing is also really off in this issue. The conflict reaches an early crescendo, dies down, and then picks back up again. The pages focused on the tension between Barbara and her mother read like wasted space, and it would be nice to see this plot point ether shoved aside or dealt with quickly.
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Alan Davis' art is a major part of the reason for the classic, old-school feel of the arc. But in this case, "old-school" is anything but a derogatory term. Davis is still a master draftsman and storyteller, qualities that far outweigh little niggling concerns like the dated hairstyles some characters sport. If nothing else, Captain America Vol. 6 has been a pretty book from the start.
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The book deftly straddles the lien between adhering to the tone of previous comics but also reflecting Wood's own voice and storytelling sensibilities. Wood lends the story a surreal, dreamlike quality as Conan becomes enraptured with the legend of Blit. So even if the characters have yet to meet face to face yet, it's already abundantly clear that Wood and Cloonan are building a quality adaptation of a landmark tale.
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Issue #6 is also interesting because Eduardo Pansica come aboard to provide finishes for Joe Bennett's layouts. Not only is it a smooth transition, the end result is actually somewhat easier on the eyes. Pansica is able to hone Bennett's work and provide more detail and variety when it comes to facial work. With DC placing such an emphasis on firm, monthly release schedules, it may suit books like Deathstroke to rely on this approach more often.
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Issue #5 begins to address the problems the book has faced thus far, but for the time being Incredible Hulk remains emotionally hollow.
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Two problems hold this issue back compared to recent months. For one, the Loki/Hellstorm team-up falls a bit flat because the two hardly interact after agreeing to work together. For another, the humor is a bit more hit-or-miss than normal. The interaction between Hellstorm and Thor is priceless, and Loki's random fourth wall bending is fun as well. But too much of the humor involves Leah lobbing softball insults at Loki, and that gets old after a while. Cut the kid a break, already.
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The final pages explore how the idea of the Punisher persists beyond Frank Castle, but they come across as a little too hackneyed and unbelievable to be truly effective. PunisherMAX #22 is an effective send-off in terms of the principal characters, but on a larger, more thematic level, it could have aimed higher.
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After two issues, the series is already well established, and Yost and Stegman have done their part to make the Spider-Man franchise one of the most consistently enjoyable in the industry.
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The problem, as mentioned, is that the series still comes up a bit hollow in the end. Quire's construct world is fairly bland, and only in one specific case does any threat he generates hit the characters on a deeper emotional level. Two issues in, this story still seems like it would have been better suited for an extended one-shot issue. Once again, there needs to be a stronger hook to carry the story for three more chapters.
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At $7.99, it's really hard to recommend this issue on the strength of The Massive alone, but there are just enough other solid works contained within to justify the price of entry.
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Yes, the series is too crowded for its own good at the moment, and hopefully that flaw will be addressed in future issues. But issue #25 gives fans plenty to chew on as the current arc wraps up and offers the sort of fun, bombastic, old-school adventure that you won't find in many Avengers books these days.
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The Fearless is now two-thirds of the way through. As fun and enjoyable as the book can be, it's past time to move beyond the standard formula and build towards the final confrontation between Sin and Valkyrie.
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The entire conflict wraps up (for now) at the end of this issue. The ending does seem a bit abrupt, as Red Hulk and Zero/One are left to merely continue their hostilities another day. But next issue promises more in-depth interaction between father and daughter Hulk, so that should be something worth looking forward to.
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The one disappointing aspect of Men of War #6 is that this is the last readers will see of Rock and his men for the foreseeable future. Ivan Brandon is departing the series now, and after two more issues the book will be canceled entirely. The worst part is that this issue seems to set up plenty more conflict for Rock. Unless he returns in the pages of G.I. Combat, that setup will be for naught. And unless Brandon himself returns to pen the further adventure of Sgt. Rock, the question is whether it matters if the character returns or not.
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Tradd Moore's art is very reminiscent of Invincible's Ryan Ottley in more ways than one. Both have a particular talent for conveying brutal violence that's both cartoony and horrific in its detail. Both also have a knack for expressive characters and clean, engaging pages that really attract the eye. If this book is any indication, both Moore and Jordan have plenty of great work ahead of them. Hopefully some of that involves more of Luther Strode, because it's looking doubtful that issue #6 will completely wrap up and cap off Luther's story.
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No doubt the two halves of the story will continue to come together as the arc continues. Story isn't the real problem with this arc, ultimately. It's the underwhelming visual presentation.
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This series may resurrect a lot of familiar elements from earlier in Brubaker's run, but it also manages to blaze its own trail as well. The wait was well worth it.
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Hopefully the writers will pick up the pace of the main story in issue #6, as reading about Hex and Arkham bickering and battling Bat people can only sustain the book for so long.
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Hopefully the series won't drag its heels much longer before officially bringing the characters together and providing a larger mission statement. But regardless, this first arc has offered plenty for readers to enjoy.
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Like certain other New 52 books, it's pleasing to see The Fury of Firestorm makes some strides in storytelling quality, and depressing to know that the creative team won't remain stable for much longer.
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Philip Tan's radical shift in art style is appreciated, but it's only in these past two issues where said style has seemed to click. The problems with too little detail and too much murkiness in the coloring are largely fixed now. On occasion the civilian characters could use some fine-tuning and additional detail. The art isn't much for displaying subtler emotions, but in terms of conveying action and elevating the grim tone of the story, Tan is succeeding admirably. On the whole, the series is on a major upswing. Too bad that development comes just as the creative team is due more a major overhaul in a few months.
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Walking Dead #93 is a solid entry for the series, but not necessarily as fast-paced or exciting as it could have been. The plot only lightly pushes forward by the end. Given how slow the book has been moving since the end of "No Way Out," it's more than time for Kirkman to kick things into gear again.
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No, More Than Meets the Eye #1 isn't a particularly ambitious first issue. However, Barber recognizes the benefit of a slow but steady approach, and the result is a new Transformers book that should be digestible to new and old readers alike.
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The book functions less as the straightforward summer blockbuster of the Millar and Loeb years and more like the sort of heady, dialogue-driven adventure one would expect from Hickman. It's just a shame the fundamental strengths of the book are being buried by the art changes and unnecessary reliance on continuity.
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On the plus side, Sami Basri is still around to render Voodoo's adventures, so the book is very consistent in that regard. This is easily Basri's strongest issue so far, as Voodoo spends plenty of time battling an otherworldly foe and flexing the limits of her powers. Voodoo is an extremely pretty book. Almost too pretty and smooth, but pretty nonetheless.
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David Baldeon's art is easily the best thing to happen to Legacy in a long time. His characters are energetic and expressive, and his fight scenes full of energy. The overall look fits in extremely well with Nick Bradshaw's work on Wolverine and the X-Men, to the point where it may be only a matter of time before Baldeon moves from one book to the other. Hopefully not before Legacy has more time to bask in the glow of his work.
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The art isn't very Diablo-esque, but again, this really isn't a flaw. Between Joseph Lacroix's moody, scratchy pencils and inks and Dave Stewart's equally moody colors, the book resembles a Hellboy comic more than anything. There are far worse franchises to recall.
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If you've been following these comics so far, you likely won't find any incentive to stop reading now. The final few issues will be the ones that truly determine whether this adaptation was successful or not.
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With some strong character dynamics, memorable fight scenes, and an unexpected plot twist at the end this issue cements Bendis and Maleev's run as one of the more shining points in Moon Knight's career. The question now is whether that run is already drawing to a close, or if the creators plan to stick around for more than one year.
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Overall, there's plenty of reason to be optimistic about the series as it wraps up its first arc. The art, if a bit unnecessarily sexualized at times, is very dynamic and easy on the eyes. And we're seeing signs that Red Hood won't always be called upon to carry the book on his own.
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Whatever Superior lacks in sheer creativity it makes up for in fun and loving homage to heroes like Captain Marvel and Superman. Sadly, Superior also proves to be the Millarworld book left least open for a sequel. Oh well, hopefully Millar and Yu's next project will be as enjoyable.
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It's also pleasing to see Joe Madureira's art improve a bit in the final act. Madueira's work was never lacking for energy or dynamism, but the lack of inks led to an unnecessarily flat and hazy quality. Madureira seems to flip between that approach and a more traditional inked style in this issue, but the overall impression is a better one. Assuming Madureira is still returning to the series in a few months, hopefully this issue will be an indication of what to expect.
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Ignoring the art woes, this brief arc looks to go down as one of Gillen's better X-Men stories to date.
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On the plus side, issue #5 addresses a number of lingering questions about the book, such as the source of Babs' "miracle" and the current state of the Gordon family tree. Simone also continues to succeed in painting her heroine with the right mix of renewed optimism and youthful uncertainty. The book isn't perfect, but it's certainly engaging.
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Sparse or not, Higgins doesn't neglect the characterization in this issue. He strikes a proper balance between maintaining Slade's mystique and showcasing just enough vulnerability for readers to sympathize with the character. There's plenty of big action, but this isn't a dumb book by any stretch.
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In some ways it's even justified given the course the character has taken these last few years. At the same time, it's a very extreme direction to venture into, and the longer it lasts, the harder it'll be to ever paint Banner as a heroic figure again. The most significant test this series faces right now is in proving that this new Hulk/Banner dynamic has long-term potential.
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It's definitely good to have Ryan Ottley's dynamic artwork back. The big brawls that open and close the issue number among some of the most visually engaging scenes of the week. Unfortunately, the colors remain a bit problematic. John Rauch's colors often have an unnatural sheen to them, and in that regard the book is still finding its footing after the departure of FCO Plascencia. Hopefully that will change in the coming months.
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This series hasn't slowed one bit with the end of Fear Itself, and there's no reason to assume it will. Loki commands you to buy this issue, whether through a fine purveyor of printed pamphlets or by transferring it to your Pad of i.
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The series looks to return to relative normalcy with the next issue. Whether that's a good or bad thing is anyone's guess at this point.
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This issue also deserves credit for trying to flesh out the rift between the Avengers and the general public. The unfortunate fact with this HAMMER War crossover is that most of this focus has occurred in the middle of the crossover when the groundwork should have been laid prior to it. Still, better late than never. As The HAMMER War moves into its final chapters, hopefully the series can strike a balance between action scenes and the philosophical war against Osborn.
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This origin story raises almost as many questions as it answers, but in the end it merely further cements the series as one of the stronger titles in the New 52. It's a shame that Resurrection Man continues to rank among the lowest-selling as well.
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The world doesn't exactly need another Spider-Man book at this point. But if Scarlet Spider must exist, at least it manages to offer something a bit more unique and enjoyable than your run-of-the-mill Spidey spinoff.
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The final pages of this issue finally pick up the pace and go a long way towards building excitement for what is to come. It's just a shame more couldn't have been done to establish this new book right off the bat.
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This annual does finally pick up a bit of steam at the end. In the aftermath, Simon is written in a more evenhanded fashion, finally explaining hi position and motivations in a more convincing fashion. The interaction between him and Beast is also a nice touch. Ultimately, with as much as this short crossover did wrong, it does do its part to establish the general sense of unrest and anti-Avengers paranoia running rampant in the ongoing books. Ideally, this story should have unfolded several months ago and in a more intimate form without all the useless flash and noise.
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Tom Grummett steps on board as the new penciller with this issue. His art has a distinctly old-school feel, with its clean lines and simple figure work. That doesn't exactly help solidify the tone either, but it generally suits the book and its mishmash of old and new characters. Hopefully Grummet can offer the book the visual consistency it hasn't enjoyed much in the past year.
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The art remains pretty solid as the book reaches the halfway point. Paul Pelletier's scenes of Asgard at war are particularly eye-catching. There are a few signs that the biweekly schedule is taking its toll, unfortunately. Danny Miki's inks are a bit loose and scratchy, and Wolverine once again falls victim to an improperly colored costume. But if coloring snafus and an underwhelming main villain are the worst this book has to suffer from, then readers can count themselves lucky.
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As Sterling Gates departs the series and leaves Rob Liefeld in complete control, there's little to suggest the book will be veering from its present course. I've given it more than a fair shake at this point, but I'm not sure I can keep going any longer.
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The success of the backup features in these last two issues offer hope that the series as a whole can withstand the impending departure of Brandon. It's clear the concept of Men of War is stronger than any one creator.
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In an industry where so many books require months and months before they find their voice, if ever, Rachel Rising has rocketed out of the gate and never looked back. If the book is this good this early on, I eagerly look forward to see what shape it'll take in the coming years.
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The latter half of the issue is highly chaotic. McDaniel's art is sometimes cluttered and not always perfectly framed to convey the action, but it does at least boast plenty of energy. The series has its rough edges still, but it has made a significant leap forward with this new issue. Now in charge of both sides of the equation, McDaniel might just have things under control.
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By the end of this issue, much more is revealed about Stormwatch's role in the new DCU. Hopefully that means Cornell can tie everything together in his final issue and leave the incoming writers the opportunity to hit the ground running.
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Alpha and Omega isn't a bad start for Wood. However, the story does seem a bit light for a five-issue mini-series, particularly considering how much Aaron was able to accomplish in his first three issue of the main series. Hopefully the next chapter will be able to add a few more wrinkles to the formula.
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Again, this issue is a little goofier than you might expect given the subject matter, but it still serves as an effective teaser for 2012 and a nice way to wrap up 2011.
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Daniel Acuna's art is doing its part to keep the story humming. My common complaint with his style is that it lacks depth and definition thanks to its over-reliance on color and lack of shading and shadow. Acuna seems to have struck the right balance between the two on this series, and the results are pleasing.
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What really sets this fourth issue apart is the surprise ending. It could either provide the series that extra little boost it needs or unnecessarily drag it down into melodrama. We'll find out one way or the other next month.
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Whether or not this series is going to "matter" much as Avengers vs. X-Men looms, it's developed into something worth looking forward to every two weeks.
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At least his interpretation of Hulk is solid. The juxtaposition of the man vs. monster angle remains strong. The character retains his previous level of relative intelligence, allowing him to successfully narrate the series without it descending into farce. Hulk is the right blend between savage and hero. But will that be enough to carry the series for any real length of time?
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Otherwise, the artwork is satisfactory in this issue. With colorist FCO Plascencia on board for one last hurrah, it can be easy to forget that the penciler has changed. With Plascenia's help, Cory Walker delivers an action-packed and emotionally-charged series of pages despite a relatively sparse art style.
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Henson's untimely death was one of the great tragedies of the entertainment industry. But for his fans, this last month has been a very rewarding time. We know that the Muppets can live on and thrive beyond their creators, and now we know that there are writers and artists capable of bringing Henson's more obscure works to life.
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Whether or not this is really the end, Aaron's run continues to rocket towards a memorable finish. Frank Castle has never looked or felt this low, and that's saying something.
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One of these months, I really hope I won't find myself wishing this were a solo series. A team book is only as strong as its weakest member.
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This issue doesn't overhaul the franchise in the same way The Death of Optimus Prime did for the Transformers books, but it does show that the creators are willing to break away from the past without ignoring what made it so popular in the first place.
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There have been plenty of variations of the Transformers universe over the years, and too often they seem to spin their wheels and rehash the same, tired conflicts. Crowded as this issue can be, it makes it abundantly clear that IDW is primed to move their universe forward, and that has me intrigued enough to follow both new books when they launch next month.
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There's even more material to round out the issue, including a field mission and even more revelations about the future versions of the Academy recruits. Gage stumbles in some areas, such as a less than ideal portrayal of Hawkeye, but generally the material is solid. The problem is that the various pieces of the script never come together in a truly satisfying whole. Where once the book focused on too few characters at once, now it focuses on too many. The delicate balance of recent arcs needs to be restored. Also troubling is that Tom Raney's normally solid figure work is surprisingly stiff in many of the action scenes. In more ways than one, the book needs a little breathing room and a chance to catch up to all the chaos that has unfolded these last few months.
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Avengers: X-Sanction feels a bit bare bones at the moment despite only being a four-issue series. There aren't many surprises to be had either. Knowing the basic premise of the series and the fact that it leads into Avengers vs. X-Men, it's easy enough to connect the dots. However, the art is strong, and Loeb proves he still has a handle on Cable. The best thing that can happen now is for the book to downplay the fighting and focus more on the characters themselves.
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Not all books appeal to all readers, and to some extent I can accept that Carnage U.S.A. just isn't for me. However, the book has problems by any standard, and there's no telling if those problems will get better or worse over time.
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Thanks to new developments in this issue, Deathstroke is nicely carving out a place for itself in the New 52. It has more than just a badass main character to rest on now.
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In short, this is another highly entertaining issue of a top-notch series. That's not a bad way to kick off your holiday festivities.
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I hope one of the main lessons writers take away from these early New 52 issues is that narration and exposition need to be used sparingly.
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We aren't seeing enough of Abentt and Lanning at the Big Two now that their Cosmic Marvel work seems to be winding down. Resurrection Man is a solid sleeper hit, but it deserves more love and attention than that.
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The art remains stellar as well. The two-month waits are always justified by Dustin Weaver's epic and intricate pencils and Sonia Oback's gorgeous colors. The book is lacking in characterization, but at this point in the game that may just be a flaw we'll have to put up with.
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The only variable quality with the art lately has involved the quality and contrast of the gray ink washes. There are no complaints to be had this month, and Charlie Adlard and Cliff Rathburn deliver a solid set of visuals for a solid script. The current storyline is beginning well, but the real question is where it will go from here.
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It's been a while since we've seen Red Hulk take charge and smash his way to victory. But as the arc moves towards its true conclusion, that should hopefully be in the cards.
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Giuseppe Camuncoli's art style is a bit unusual for a Spider-Man comic, but certainly effective for this story. Klaus Janson's inks bring an even more harsh and jagged edge to Camuncoli's lines. The darker edge suits the new take on Vulture and his crew. Camuncoli clearly isn't suited for all types of ASM stories, but the same could be said for most artists on this book. The visual variety is part of the fun of this format.
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DeadpoolMAX fans should have no reason to complain about what is essentially an oversized bonus issue. But casual Deadpool fans and Christmas lovers might be better served looking elsewhere or, at least, heading back to the beginning of Lapham's story.
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I'm not sure what else to say about Rob Liefeld's art at this point, other than that his usual anatomical eccentricities hit a new level when dealing with characters of the non-super-human variety, as seen frequently in this issue. I'm not sure the book can ever function as the serious superhero family drama it strives to be with visuals like this. But ignoring the visuals entirely, there are some serious scripting flaws that need to be addressed.
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The book isn't entirely flawless. The pacing in this issue is a bit slow and a few of the scenes redundant, though at least the ending suggests there won't be a long wait until the next big showdown. And there are always continuity quibbles to be had, whether it's the presence of functioning vibranium in the story or the unorthodox depiction of Moon Knight's mental disorder. But quibbles they remain. Moon Knight is a welcome dose of classic Bendis and Maleev, and one that is successfully carving its own little place in Marvel's catalog.
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A little more elegant simplicity is what this series needs at the moment. Many aspects have improved since issue #1, but other areas remain flawed.
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Casey Jones is handled in a realistic manner, while the Turtles are more heavily shaded and stylized. Urru doesn't seem all that comfortable drawing Alopex. She recalls Greg Land's depiction of Beast in Uncanny X-Men in that she resembles an animal's head crudely pasted onto a humanoid body. The character clearly seems poised for an ongoing role in the franchise, so hopefully the various artists on these books can nail down the design.
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There are Marvel books that do a better job of blending big action and in-depth storytelling. But if there isn't enough simple fun in your superhero diet, you could do far worse than Avenging Spider-Man.
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Voltron #1 is a few steps below the better classic character revivals we've seen from publishers like Dynamite in recent years. That said, this issue also displays enough interesting qualities and upgrades to the mythology that the series has clear potential for growth.
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Both Buffy books are a welcome change of pace for the franchise. However, Angel & Faith is emerging as the clear winner of the bunch in these early months. Let's hope Gage and Isaccs have a long and successful run ahead of them.
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The art remains solid despite the fact that Shawn McManus steps in to provide finishes on some later pages. There's little to distinguish McManus from Mark Buckingham in most cases, which helps the book maintain a cohesive feel. However, one element that is missed is the altered coloring for the Oz segments. There's now less to distinguish the two halves of the tale visually. But there are far worse problems to have than too much consistency.
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You really can't expect much for a dollar these days, but Zeitgeist delivers nonetheless. This is a promising start to Dynamite's latest attempt to revive a classic comic icon.
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The plot here is fairly basic, but also enjoyable. The writers make good use of Russian mythology as they position Baba Yaga as Herc's latest foe. Ultimately, there's the sense that Pak and Van Lente could have done far more with the villainess (especially considering how Mike Mignola has used her in his Hellboy stories), but the cancellation simply didn't allow for anything more ambitious. The writers deliver humor, action, myth, and a little bit of heart, and that's everything this series needs. Herc deserved better than this quiet finale, but no doubt the Lion of Olympus will persevere and return in a new form.
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Fans of the creative team needn't worry. Spaceman is another worthy collaboration between Azzarello and Risso. And considering the fairly slow pace the plot has taken so far, it will likely only get better from here.
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The art has never really been a selling point for the series, other than the long-awaited introduction of color to the franchise. Figures tend to appear cramped and unnatural in action scenes. Luckily, there are a few cases where Eastman's layouts open up and give the figures more room to breathe and expand. Nothing spectacular, but nowhere near as dark and muddled as some TMNT comics have been.
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A stronger sense of purpose might be nice, but this series is so enjoyable that it's really a small concern. Parker has been steering this book for several years now, and it's only gotten better over time.
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So while The Ultimates doesn't function spectacularly as a team book at the moment, it's definitely an enjoyable and well-written series with some gorgeous visual work. Here's hoping the creative team can step it up another notch or two as the arc draws to a close.
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There's not much about Diablo #1 that overtly cries "Diablo!!!" But it is a satisfying read, and that's something far too few of the projects can ever claim.
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Again, the main story segment in Fantastic Four #600 isn't as cohesive or gripping as it should be, but as a complete package this issue delivers the goods. $8 is a lot to ask for one issue, yes. But for an issue that could just as easily qualify as a trade in its own right, it's not so bad.
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Life is only getting worse for Tony Stark, and this arc has all the makings of becoming a highlight in an already memorable run.
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Mikel Janin's work is stronger than it was in issue #2, mainly thanks to the decreased reliance on obvious photo-referenced material. Janin's inking style seems to vary with each scene, and some approaches are more effective than others. If this book could always look as moody and sharp as it does in Constantine's pages, it would be golden.
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My feelings towards this series are schizophrenic at best. When Millar doesn't resort to shock tactics and doesn't deliver scripts that breeze by in a handful of minutes, there is a genuinely compelling story to be found. Let's hope he can maintain this level of reasonable restraint as the book reaches its climax. Although, at this point, if the grotesque violence is redirected at the villains of the tale, it might not be such a bad thing. They deserve some retribution already.
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There's no reason to complain about Rick Remender writing the series, but it will be sad to see Ellis depart in a few months. These done-in-one adventures never fail to entertain.
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I'm at a point where I'm having to make hard decisions about which New 52 books to drop. Despite never being completely satisfied with The Fury of Firestorm so far, I see too much potential in this series to duck out now.
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That said, there's plenty of material to chew on here. I was never 100% sold on the idea of bringing Odin back into the mix, so having the All-father replaced by a triumvirate of women is a welcome shake-up. The chaos and political upheaval in Asgard after Fear Itself is pretty compelling so far. It's also satisfying to see Fraction make good use of the all the Nine Worlds. As with "The World Eaters," Pasqual Ferry is adept at capturing the surreal story tone and the diverse looks of these mythological characters. Fraction's script is more jumbled than it needs to be given the various characters and conflicts, but it never fails to entertain.
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I'm not willing to give this series many more chances. I'll stick around for one more issue to see how the current conflict wraps up, but if issue #4 can't showcase more ambition and a stronger focus on characterization, I'll be moving on to books that can.
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The highlights of Ultimate Comics: Hawkeye have nothing to do with the title character. And if this book was intended to introduce moviegoers to Clint Barton in time for the Avengers movie, it didn't do a terrific job.
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The recent news that Marz is leaving the book after issue #4 is highly disappointing. Voodoo started out as a solid little book and has only steadily improved from there. We can only hope his departure won't mean an end to that trend. This series is just barely getting started.
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There's definitely potential to be found in this new series, but the conflict and plotting don't live up to the quality of the characterization.
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Ultimately, this is a fun story, but one lacking in depth or content. It provides a decent counterpoint to Amazing without surpassing it in any significant way. The best thing Wells can do for the book is concentrate on expanding the conflict and giving the two heroes more to work with and more opportunities to play off of each other.
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As ever, it's clear that the chaos and drama of Peter Parker's world won't be letting up. Issue #673 shows plenty of promise for the future, but also some worrying signs. Hopefully the former will define the series going forward.
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This series has a certain, bizarre charm. I'll give it that. But it has to be able to offer more than that.
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We won't know for a while how this issue's plot developments play out, as Kirkman is going to shift focus away from Earth for a couple issues. For now, we'll simply have to trust that everything is well in hand.
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Unfortunately, the backup feature still fails to distinguish itself in its final month. Jonathan Vankin's tale is more generic, and honestly could be published by any comic company looking to fill its war quota. The characters never feel as vital as Brandon's, nor do the challenges they face seem as memorable. I look forward to the change-up that will come in issue #4.
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The final sequence doesn't satisfy, but at least it becomes clear Bendis still has a long-term plan for this series. It'll be nice for once to have a solid Moon Knight book for a substantial length of time.
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As is usually the case with Scott McDaniel, the art is too loose and scratchy to impress, but it generally gets the point across. It should be interesting to see how the art is impacted when McDaniel steps down from the writing side of things.
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Not that that should stop you from giving the series a look. Between this book and Demon Knights, Cornell is proving himself to be a major asset for DC in the relaunch.
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Avengers Academy doesn't ease perfectly into the post-Fear Itself landscape, but it shows plenty of promise. Seasoned readers will sympathize with the main cast, feeling mistrustful and wary of the new characters and what they'll bring to the series. It's up to Gage to bring the magic all over again.
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One area this series continues to excel in is the Rocket Raccoon/Groot backup. Though criminally shortened compared to the previous series, this adventure packs in all the comedy, frantic action, and cosmic hijinks readers could hope for. And Timothy Green's art ties it all together in a very attractive package.
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Tom Raney's art is also a bit underwhelming. It carries a rushed quality through many pages, with a team shot on page 7 looking particularly loose and wonky. As nice as it's been to have this series ship so often this year, a more methodical schedule might not be such a bad thing right now.
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In terms of plotting and pacing Costa is handling the series well. There isn't much about the series that feels terribly original, but the conflict is engaging thus far. Where Costa needs to focus is characterization. The various members of the Blackhawks are mostly interchangeable soldier types. There's a character named Lady Blackhawk, but she neither resembles nor looks anything like the one made popular in books like Birds of Prey. Without a stronger, more identifiable cast, this series will never become greater than the sum of its parts.
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All things considered, I'm willing to rank this series as Marvel's best ongoing book. An issue like this may not do much to advance the overarching plot, but it's so lovingly crafted and purely enjoyable that it doesn't need to.
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This final issue practically screams for there to be a follow-up Cloak & Dagger book. Spencer lays the groundwork for a much more ambitious conflict. But as the extensive letters section indicates, the market may simply not allow for a Cloak & Dagger book right now. That would be a shame. An ongoing series starring these character, utilizing these plotlines, and featuring the same creators, would easily rank among Marvel's best current content. Buy this book, and do your part to give Cloak and Dagger the spotlight they deserve.
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Tobin balances his action with proper character development for the most part. He pushes Anya's character arc forward as much as can be expected in a mere three issues. The material between her and Kingpin is generally very well done, particularly in their final scene together. However, the scene just prior involving the duo and Hobgoblin is rushed and poorly handled. In general, the epilogue is glossed over more quickly than it deserves. But that just seems to be the name of the game for Anya Corazon. Unlike the MC2 version of Spider-Girl, this heroine just can't seem to stay on the stands as often or as regularly as she deserves.
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Yildiray Cinar's art is a little looser and less polished than I'd like, but for the most part he handles the action and the character drama well. Overall, this second issue improves on the first just enough to pique my interest and keep me around for the immediate future.
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It remains to be seen if the writing can be massaged and improved. Hawkman wasn't exactly the star of the show in Brightest Day, but that series was definitely preferable to this one so far.
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I haven't made the jump back into the TV series with Season 2, but by most accounts it seems to be firing on all cylinders right now. It's unfortunate that the comic isn't doing the same.
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I had absolutely no expectations for this book in the beginning, and that makes its success all the more rewarding.
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This series could stand to pick up the pace somewhat, but it's doing a competent job of shining the spotlight back on this particular teen hero.
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But ultimately, in a time when I'm struggling to keep track of the plot points of 52 assorted new DC books, I'm never in danger of forgetting Catwoman. That has to count for something.
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Perhaps one reason the main story feels so disjointed is that a significant amount of the extra pages are devoted to epilogue segments. The sad truth is that no event storyline truly ends, but merely sets up the next big thing down the road. Fear Itself is guiltier than most in this regard. There are no less than four epilogues designed to pave the way for new books launching in the coming weeks. Other than Jason Aaron's Incredible Hulk prologue, none of these segments are very enticing. Rather than learn what Marvel's heroes and villains are up to after the dust of Fear Itself settles, it would have been nice to see the more immediate fallout.
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Thor Girl aside, McKeever handles these characters well enough to leave the reader hoping there's a future for the ex-Initiative members.
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This issue wraps up many loose threads but paves the way for future stories as well. Most importantly, it ends Fear Itself on a tragic and somber note, granting a sense of poignancy to the event that the main book was sorely lacking.
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DC was wise to keep Levitz on a Legion book. Though this series isn't as accessible or streamlined as it probably should be at this early stage, it's a well-written team book that ensures the 31st Century isn't forgotten in this relaunch.
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As a team book, Red Hood and the Outlaws is heavily flawed. But between the attractive visuals and the emphasis on Jason Todd, this book is finding a place for itself nonetheless.
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Leinil Yu's pencils still look impressive. While the series will never boast the clarity or richness of color that Yu's best projects have enjoyed, he still does an excellent job at capturing mood and, now that the story has taken a darker turn, conveying the horror and destructive scope of Abraxas' rampage. Issue #7 should definitely be a visual delight.
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By not showing the storytelling ambition or talent for characterization Hickman's work usually displays, Ultimate Comics Hawkeye is the clear weakest link of the new Ultimate line.
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This is exactly the sort of story this series needed after the way the series has played out over the summer. And with the addition of another kung fu legend in issue #18, this arc only promises to get better.
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Georges Jeanty's pencils, meanwhile, are fairly variable in quality. Jeanty's close-up shots look good, offering clean, recognizable takes on the familiar characters without resorting to blatant photo-referencing. On the other hand, there are too many medium to wide-range shots that lose detail and feature characters that are stark almost to the point of abstraction. Jeanty's work needs a more unified, consistent feel.
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The content of these first two issues probably should have been rolled into one. Regardless, it's clear those who like their comics violent and bombastic will have plenty to love. But can Higgins, a writer with a flair for characterization elsewhere, manage something more ambitious with his protagonist over time?
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Structurally, Hulk vs. Dracula doesn't make the best use of the three-issue format. So much time is spent building towards the final showdown between Hulk and Dracula that the actual battle barely has a chance to unfold. And while Gischler deserves credit for not delivering the sort of neutral, easy finish that cleanly shuffles Hulk back into Fear Itself proper, it's no longer clear how this book is supposed to be reconciled with the main event. But lukewarm finale aside, this tie-in did a fine job of reviving some of my lagging interest in Fear Itself.
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This book definitely shows potential, as well as some improvement from issue #1. Pete Woods' art is solid, and Nicieza proves he has a firm handle on at least some of the cast. It really all comes down to focus. A Legion book with a trimmed-down cast should manage a more cohesive and engaging storyline than Legion Lost has managed so far.
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Where this book falters in in terms of characterization. Holt himself is a bit bland. As a billionaire-industrialist-athlete-superhero-sex symbol, he's almost too perfect without any foibles to ground him. Karen Starr's role is interesting inasmuch as the ongoing mystery of her Power Girl status continues, but beyond that she doesn't bring much to the series. The villain is particularly bland. With an entire main cast that fail to capture much attention, this book still has some serious hurdles to overcome.
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Regular artist Mike Deodato is joined by Will Conrad in a similar arrangement to Deodato's later issues of Secret Avengers. As before, Conrad offers a decent facsimile of Deodato's dark, cinematic style. If anything, his pages are stronger because of Deodato's over-reliance on CG character models and photo-reference. Looking just at the cover, it's clear Ms. Marvel was modeled after her Bowen Designs statue, while Daredevil is doing his best Neal Adams Batman lunge. Considering that this event just kicked off, these qualities aren't a promising sign.
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The series could certainly be moving a little faster than it is. It's a tough market as dozens of new projects all vie for the attention of readers. And while Resurrection Man establishes itself well enough in these first two issues, it does seem unnecessarily languid at times. But that hardly means it should be passed over.
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When read in collected form, this brief but beautiful chapter won't be a problem. But those attempting to follow S.H.I.E.L.D. from issue to issue will no doubt be frustrated.
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As an epilogue to Schism, Regenesis doesn't really accomplish anything significant that that series hadn't already. And as a primer for the new state of the X-union, this issue is too crowded and narrow in focus. It merely illustrates why it's such a bad idea to have so many X-Men under one roof.
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This book doesn't need to be deep or ambitious to be a worthwhile read, but there some very basic qualities it lacks at the moment.
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As much as the series might have slowed down since "The Viltrumite War," Invincible still manages to hold the reader's attention with some strong character work and unexpected storytelling decisions.
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Two months in, this series still has done nothing to distinguish itself or live up the JLI legacy. With so many new DC releases, how long can it afford coast like this?
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Men of War would probably benefit from dropping the backup story and, with it, the cover price. Regardless, Brandon's story is one that deserves to be read even amid the numerous other New 52 releases.
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It wouldn't take much to give this book the boost it needs. All the writers really have to do is step back, focus on crafting more convincing dialogue, and let the story unfold naturally without excess exposition. With Rozum departing shortly, it should be interesting to see how the series evolves.
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The art also receives a significant boost in issue #2. On the one hand, Al Barrionuevo winds up handling most of the pencils, relegating Miguel Sepulveda to the moon-based segments. This proves to be an effective use of both artist's particular talents. Sepulveda lends a suitably ethereal tone to his pages, while Barrionuevo is able to render the Stormwatch cast with more detail and weight. Even the colors are improved now that Alex Sinclair has come on board. With luck, this issue will set the tone for the series going forward, visually and otherwise.
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The worst that can be said about the series is that it lacks the true spark of originality readers might expect from a creator-owned title. Superior very much wears its influences on its sleeve, combining elements of Captain Marvel, Superman, and even past Millarworld books like Chosen and Wanted. But with that said, Superior offers a fulfilling reading experience, proving that Millar's comics don't have to be all about bombast and shock value.
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If the visuals aren't great, the story is still worth the price of admission. This series already sets a good tone for Wood's future work as he begins to embrace licensed properties more and more.
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But if a bit rough in terms of dialogue here and there, this is yet another well-plotted, expertly rendered, and very engrossing issue of the series. As we begin to near he issue #100 mark, there's a strong desire to see what new torments Kirkman has in store for his heroes.
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Until now, Casanova: Gula #4 ranked as my favorite issue of the series. Though Avaritia #2 can't rival that one in terms of the twist ending, all of the elements come together to form a superb comic. Any fan of Fraction's mainstream Marvel work who isn't also picking up this series is doing themselves an incredible disservice.
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But though Schism has had its small flaws, it is ultimately a success. This was exactly the sort of story the X-Men franchise needed. The future of these characters is now more dangerous, unpredictable, and exciting than it has been in a long time.
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But forget all that noise. The real question worth asking is how the Rocket Raccoon and Groot feature shapes up. Sadly, the duo are no longer granted a full-length co-feature, but are merely relegated to back-up status. The story is definitely a lot of fun, and Timothy Green's art is stellar, but it's far too short and sweet. The one benefit to the reduced content is that the cover price has been adjusted accordingly. Hopefully that and the presence of the Avengers will be enough to bolster the readership for a series that sorely deserves it.
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It's good to know this series still has a healthy future ahead of it. But if it were to end, this arc would have been a fitting place to do so. Gage has effectively brought these characters full circle, and I look forward to what he has in store as the next phase begins.
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In more ways than one, this book is still in need of a firm identity. It's a reasonably competent debut, but one that doesn't do nearly enough to distinguish itself among the New 52 or provide incentive to stick around for more.
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But this isn't a mindless story throughout. There's plenty of tension and character drama in the mix as Dracula and his allies seek a method of stopping their unstoppable foe. Gischler proved way back in The Death of Dracula #1 that he's capable of molding these sinister figures into compelling protagonists. Nothing has changed since. Both as a drama and an action epic, this mini-series is delivering. Let's just hope this isn't the last we'll see of Gischler's Dracula once the dust settles.
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Most event tie-ins face all manner of structural limitations, but the best books are those that can sidestep those limitations and offer a compelling story regardless. Fear Itself: The Deep didn't manage that much, and in the end serves only as a lukewarm coda to Namor's canceled series.
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Art woes aside, this is another stellar script from Gillen. It's very satisfying to know that Fear Itself marks only the beginning of Loki's strange and wonderful new journey.
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This is certainly an issue that will stick with you, but not necessarily for the right reasons. There's no need for Millar to push the story to the extremes it reaches. It doesn't serve the plot to see children's brains splattered on the sidewalk. Were the more grisly scenes at least left to the reader's imagination, the issue would have worked a bit better. Good art can be shocking, but good art also has meaning and purpose. Kick-Ass 2 has neither.
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Once again, it's the art that truly steals the show in this series. Sara Pichelli seems to grow and improve with each new title she appears on. Her work combines many of the best element of past USM artists like Mark Bagley and Stuart Immonen. Her characters are incredibly expressive and unique in appearance. Her panels are highly detailed, but she doesn't simply throw out detail for detail's sake. There's a sense that life continues to unfold throughout New York as Miles goes about his business. More than it has been in the past, Manhattan is its own character in this book. Great pencils, great inking, and great colors all combine to form one of Marvel's prettiest books.
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All three new ongoing Ultimate books show plenty of promise, but Ultimates doesn't completely capitalize on its potential yet. Future issues will need to ensure that this becomes more of a team effort, and that Hickman's various plot threads gel into a more cohesive whole.
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Voodoo #1 is slower and more sparse than it had to be because of the extended stripping sequences. Still, the issue manages to avoid becoming a purely superficial affair, offering just enough characterization and plot progression to keep me interested for a few more chapters at least.
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Again, this is a competent adaptation, but a project like this needs to offer something more than competence. Either offer a deeper exploration of the series' mythology, as in the Dark Tower comics, or deliver a comic so beautifully rendered that the actual text doesn't even matter, like in Marvel's Oz books. Right now, there isn't much incentive to read this interpretation of A Game of Thrones over the original novel or the HBO series.
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At least Jim Cheung's art never fails to satisfy. Even with the presence of so many separate inkers on the book, Cheung's pages are always expertly crafted, highly detailed, and engaging to the eye. I very much look forward to the day when this series is collected as an oversized hardcover. Not only will the long waits no longer be an issue, but the visuals will be at their very best.
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If nothing else, Birds of Prey #1 should reassure readers that the franchise has plenty of life left after the relaunch. The series merely needs its full cast and less reliance on structural tomfoolery.
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This isn't a perfect debut for the series. Bedard does seem to go a bit overboard in emphasizing Hispanic characters and culture. The Spanglish-ridden dialogue can be slightly annoying
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This approach to Deadman doesn't necessarily have the legs to support an ongoing series, and that's why it's so well-suited to the transitory format of this series. Those who want a modern Deadman who reflects the changes brought about by Brightest Day can turn to Hawk & Dove. For those who simple desire a streamlined, effective update to his origin, this book will do nicely.
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In the end, this mini simply did too little with the characters and the event in question. It's a good thing that Uncanny X-Force itself won't be going anywhere for a while.
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The story may not have much impact on Fear Itself at this point, and in fact could just as easily be taking place in the midst of half a dozen different Marvel events, but it continues to do a fine job of shining a spotlight on these young heroes.
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Lobdell has the makings of a good team here, though the cast could use a bit more bolstering. The real problem right now, however, is is a lack of purpose. Why are these characters together, and what role do they fill in the DCU? Those are questions that should have been answered within the comic already, and will need to be addressed as soon as possible.
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Nick Dragotta holds up his end of the bargain as well. His visuals strike a balance between old-school Silver Age mayhem and modern, gritty storytelling. Dragotta is given the chance to render some strange sights and some action-heavy sequences, so his art shines particularly well in issue #3.
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It'll be interesting to see how well that quality holds over the long-term. Whedon is credited as the sole writer for this issue, but he'll generally be co-writing the series with Andrew Chambliss. Will the quality of the writing hold steady once this new arrangement begins? That's the $64,000 question right now.
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Though still annoyingly uneven as a whole, the better portions of Fear Itself #6 help to redeem the series. It's almost certainly too late for this event to live up to its original potential, but there's a good chance it will end on a strong note as all sides converge for one last, epic brawl.
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Yes, the lack of both Loki and any true plot progression makes this book seem like filler, but Gillen accomplishes more with the story than meets the eye at first. By the end, Gillen sets up at least one major conflict for Loki in the near future, and the involvement of so many high-level villains suggests the young god's troubles are just beginning.
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At least the art helps salvage the book to an extent. Pete Woods returns with a distinctly different approach than the one seen on his various Superman books. His figures are more angular and stylized, with less emphasis on blacks and shadows. It looks really nice in spots. But Woods' art is too often overpowered by the demands of the script. In some cases panels are completely lacking in background detail. Not because of a lack of effort, mind you, but because so many characters clutter the foreground that the background is completely covered. This series badly needs to slow down, take a breath, and take a more methodical and focused approach to storytelling. Any book bearing the title "Legion Lost" needs to be able to offer something more than this.
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With so many promising books debuting this month from DC, Mister Terrific doesn't offer nearly enough to stand out from the crowd. But if anyone can use his wits to pick himself out of a rut, it's Michael Holt.
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Red Lanterns definitely shows some promise, but it doesn't do enough to truly hook the reader in its first issue. With three other Lantern books to compete with, the series will quickly need to establish a firmer sense of direction in order to stand out.
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The readers who dislike this series the most will be the ones holding it to the standard of previous incarnations of Suicide Squad. And while that may be perfectly justified given the strong legacy of Suicide Squad, it's better to pretend this is the start of an original franchise. It's better to hope that once the team is fully established, Glass will be able to provide a fun, violent, and uncluttered team book.
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For those new to Ultimate Spider-Man, this series may not offer exactly what was expected. It will likely be several issues yet before Miles actually dons the new costume seen on the cover and begins fighting supervillains. That was never a drawback in the first volume, and the hope is that the same will be said for this book down the road.
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"Five Miles South of the Universe" is typically well-written fare from Carey. That said, the arc needs to move forward and offer a larger hook for readers lest it grow stale.
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Ben Oliver practically steals the show, however. This is some of the most refined and cinematic art we've seen from Oliver yet. Oliver delivers plenty of wide shots, but the use of diagonal borders brings an extra dose of energy to most pages. And though I feared the final product might not live up to the quality of the black and white preview art, I'm happy to report that Brian Reber's colors do nothing but accentuate the visuals. Yes, Oliver could stand to focus more attention on his backgrounds, but otherwise this is one of the best-looking books DC put out this week. Again, Batwing is an unexpected but very welcome surprise among the New 52.
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Fall of Reach is improving somewhat, but the same core flaws remain.
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And then there's the art. Rob Liefeld's style is easy to mock for its grossly inflated anatomy, intensely rigid facial expressions, and overabundance of pouches and shoulder pads. But though the former two flaws are readily apparent, there's no denying the sheer energy that Liefeld's pencils bring to the book. The coloring also helps smooth over some of his inconsistencies. Hawk and Dove is very '90s-esque in some ways. It's crafted very much like a summer popcorn film, and it's not ashamed of it either. That's exactly the sort of superhero book where Liefeld's style is most appropriate.
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After Booster and the gang had such a strong year in Justice League: Generation Lost, it's disappointing to see them falter in the new DCU. This series needs to very quickly establish what kind of story it's trying to tell and focus on what made the JLI stories of yore work so well.
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Now that I no longer have to worry about the new DCU losing sight of its old-school trappings, I can shift to worrying about the future of this series. No doubt O.M.A.C. is going to be passed over a lot in favor of more high profile books. Don't let a book this entertaining get canceled from lackluster sales.
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Spidey doesn't appear in this issue, but it's still entertaining enough that any fans of Spider-Island would do well to check it out.
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Static was originally conceived as a modern answer to Spider-Man, and that inspiration is readily apparent throughout this issue. But as much as DC can use a character like Static, the series could benefit from some further refinement and a more economical scripting style.
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The art is really the driving force in this book. Aja makes full use of the setting and the trappings of the story. The book feels very much like an homage to the classic S.H.I.E.L.D. comics of the '60s and '70s, with plenty of bold, Steranko-esque imagery and engaging page construction. Even the quieter scenes are full of striking design elements. The book reaffirms the notion that Aja absolutely needs to be doing more work for Marvel again.
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This Annual could have offered readers a nice break from the ongoing Fear Itself hubbub, but the lack of a compelling villain or conflict derail the issue. The upcoming Avengers Annual will need to do far more as far as fleshing out Wonder Man and his team if this crossover is to be salvaged.
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The wait was long, but it was worth it. Gula built up to be something very special over the course of its life, but Avaritia shows plenty of potential to surpass it. If Fraction can conjure up a surprise ending to top that one, I would very much like to see it.
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Spider-Island is good fun so far. The stakes aren't really there, but Slott still has plenty of time left to ramp up the danger and deliver on the promise that Spider-Man's world will be dangerously overturned by this event.
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All of these qualities, coupled with a nice little twist at the end, ensure that this series should have little problem holding the attention of Buffy fans. With luck, the actual Season 9 book can manage as strong a start.
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Being a creator-owned series with no corporate restrictions, Invincible has a storytelling freedom that most superhero books simply can't manage. Now, more than ever, Kirkman seems to be exploiting that freedom to its fullest. It's making for some darned fine reading.
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The series continues to find its voice a little more each month. The main challenge now is finding a truly consistent and effective visual tone each month.
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The plot in this tie-in is nothing to write home about so far. But the book is about as close as you can get to watching a badass martial arts flick without actually turning on the DVD player. That has to count for something.
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Aside from the villains, the reader is made to feel every ounce of emotional torment as Psylocke struggles to come to grips with who her lover has become. The entire team is hit hard in this issue, both psychologically and physically. Remender could easily have wrapped up the entire arc with one final battle scene, but instead he chooses to complicate the story and add more layers. Those waiting for X-Force to have to answer publicly for their actions may finally have their wish as the entire operation comes crashing down around them. The sense of desperation and danger propelling this arc forward makes for some great reading. If this quality keeps up, Remender and co. won't just have a storyline worthy of the original, they'll surpass it entirely.
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It's not entirely clear when we're getting the last two chapters of Inc., but until they arrive, issue #8 offers a deceptively dense story to mull over. Just be prepared to squint while reading.
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As mentioned,, issue #5 doesn't conclude so much as pave the way for the Arkham City game. That's to be expected, but it is somewhat unsatisfying to leave the story where it ends knowing that resolution won't come before another two months of waiting and $60. It doesn't help that Dini writes numerous splash pages towards the end, further rushing the book along towards its murky conclusion. Still, as a complete product, this series does a much better job of hyping the game than anyone had a right to expect.
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This series suggests, if nothing else, that it's not a bad thing to have Constantine, Swamp Thing, and other Vertigo mainstays back in the DCU proper. Hopefully these characters will be put to better use in the relaunch.
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Prodigy also stands out this month as the pressure of his newfound responsibility begins to weigh down heavily. Prodigy is indicative of many characters in this book who have come so far since the days of Civil War and yet are still seeking their place among Marvel's more established heroes. If this series isn't necessarily vital to Fear Itself, it still has a valid message to convey about heroism in the Marvel Universe. And it's a fine character drama to boot. With a gripping story and some terrific pencils from Mike Norton, this series continues to be well worth the price of admission.
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This series never had more than a ghost of a concept to hinge on, and thus would have been better off in a done-in-one format. At least we can finally look forward to the return of the real Hal Jordan next week.
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But if the series isn't much of a looker, at least it delivered in the home stretch. Geoff Johns now faces some unexpected competition as he closes the door on this era of the Flash family next week.
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In some ways it seems a waste of time and space to completely ignore the larger events of the GL franchise for such an unimportant and continuity-light tale. But this issue is fun and uncluttered, something that he GL books haven't always managed of late. And Tomasi thankfully avoids going meta with his ending. As a celebration of two diametrically opposed DC heroes and their not-quite-friendship, this finale is a worthy read.
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Despite the haphazard visuals and the uneven focus of the script, issue #13 is strongest where the series has always been - exploring character relationships and building an engaging, ongoing narrative. Plenty of questions are answered this month, while more are posed. Despite the mistakes of this issue, all signs point towards the next batch of issues offering a worthy cap to the first year of Uncanny X-Force.
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I don't know if you can call Wolverine #14 an unexpected pleasure, if only because the reading experience isn't terribly pleasant. But it's one that sticks with you, and it all but guarantees that upcoming issues will be equally engrossing.
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Like so many DC books this month, the story wraps up with a heavily meta-textual segment as Diana reflects on her recent journey and the upcoming changes she senses are coming. I'm not really a fan of meta storytelling unless the writer can be particularly subtle about it, and subtlety is not the name of the game here. In general, this portion of the book is too saccharine and stretched out longer than it needed to be, and that's where the reader really gets the sense that issues #613 and #614 might originally have been conceived as one chapter. So it's not a completely graceful finish to this enjoyable but overlong arc, but it's a fitting farewell to this version of Wonder Woman.
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Don't go into this new volume of the Ultimates expecting Hickman to tear everything down and reinvent the wheel. The formula is familiar, and it's merely the execution that is stronger than it has been lately. Hopefully as the series moves along and Hickman builds up the characters and their newest foe, some true surprises will be in store for readers.
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The art proves once again that John Romita Jr.'s art can thrive or falter depending on the inker and colorist involved. Paul Mounts' colors bring new life to the series. Unfortunately, Klaus Janson's inks are still too heavy and flat to do the art full justice.
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There's no doubt at this point that the entire Fear Itself arc is the strongest Avengers Academy has ever been. The blend of action and character building continues to impress with each new chapter. The only problem now is that readers are bound to get spoiled from having a new issue every two weeks.
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The art also falters this month, which is disappointing considering the eclectic blend of horror-induced visuals on tap last month. This issue merely offers a mishmash of flat, unengaging panels from several pencilers. Looking at both the art and the writing, the series isn't doing a very good job of capitalizing on its potential. Is there still room in the final issue to turn that around?
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The Mr. Fear story from Howard Chaykin is as annoyingly brief and choppy as all the other one-pagers, but still vaguely amusing in its way. And finally, American Eagle makes a welcome return in an unusual tale from Si Spurrier. Like the Blue Marvel segment in issue #4, this story seems barely interested in acknowledging Fear Itself, but it too provides a platform for an underutilized character and manages to reaffirm the the themes driving Fear Itself, if not the actual events of the crossover. There's a sly, knowing tinge to Eagle's dialogue that adds a slight meta quality to the story without overdoing it. Taken as a whole, this is one of the stronger issues of the mini-series.
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On the plus side, Adam Schlagman does deliver a proper ending to Abin's tale. All the seemingly extraneous material involving the Guardians and the White Entity turns out to have relevance to the story. If rushed, the ending to this mini proves more satisfying than those seen in many of the other Flash point tie-ins.
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The moral of this series is - more Plastic Man is a good thing. Someone at DC should take note.
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The art isn't spectacular here. It provides the proper level of darkness and mood, but isn't really framed to take proper advantage of the fight scenes between Desai and J'onn. On the other hand, James Robinson does some of his best work in recent years with The Outsider. This series captures the charm and writing quality of Starman that hasn't always been apparent in his more mainstream efforts. I do wish the story had attempted to delve deeper into Desai's mind and motivations. We never really see beneath the calm, cool veneer he debuted with. But in terms of pacing and plotting the series managed to stay more consistent and satisfying throughout than most of the tie-ins.
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Gabriel Hardman returns as artist this month. I'll admit to not being fully sold on the idea of his darker style on a Hulk book initially, but since Parker's first arc Hardman seems to have found the proper handle on the characters. His art is perfectly suited to the flashbacks and quieter character moments, and it quickly expands and grows to encompass the bombastic fight scenes later on. All in all, this series is showing no sign of losing steam.
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Pepe Larraz delivers some solid visuals that retain the expressive facial work of Clayton Henry and add an extra touch of dynamic, almost manga-esque flair that recalls the style of Stefano Caselli. The art is colorful and adept at capturing all of the rampant action. If the series isn't very deep or introspective, at least it's attractive, enjoyable, and doing its part to keep this particular teen hero in the spotlight.
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A few other developments are seeded elsewhere, ensuring that readers won't have to worry about growing bored in the near future. Charlie Adlard's art is also strong, offering up a quick dose of zombie carnage but also plenty of emotionally-charged character exchanges. The gray tones could use a bit more contrast, but nothing as bad as during the later chapters of "No Way Out." Kirkman has yet to reveal the next big phase of the series, but this issue offers up enough material to inject the book with some much-needed energy anyway.
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With three issues down, it's still not fully clear what ultimate challenge the X-Men are meant to face or what finally breaks the bond between Wolverine and Cyclops. Hopefully that will finally change in issue #4. In all other ways, Schism continues to be the breath of fresh air the franchise needs right now.
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Fear Itself as it stands doesn't operate as a proper metaphor for our times like Civil War did. I wish it did, and that the worst Western Civilization had to worry about these days was big people whacking each other with hammers in the streets. I truly hope that these last two issues will finally achieve that deeper emotional connection that has only been sporadically apparent across Fear Itself and its tie-ins.
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In short, too little of what makes Uncanny X-Force so memorable has found its way into this series.
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That's not to say this issue doesn't hold some appeal still. Bedard ties most of his threads together nicely enough. The scenes of Aquaman sacrificing his soul and his marriage for his people are very effectively handled. Vicente Cifuentes' art is also generally strong aside from some occasionally dubious facial work. Had this series simply distanced itself from the main Flashpoint threads a little more, it may have been able to reach a more fitting and satisfying conclusion.
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The main flaw with this issue is the art, as Mike Deodato's reliance of CG models is more apparent than ever. There's an eerie, lifeless quality to many panels as the shading does little to hide the digital backbone. Many panels feature characters as silhouettes. While generally more effective in conveying action and motion, the sheer prevalence of these silhouetted characters diminishes the overall aesthetic impact. This series needs to see Deodato return to the more nuanced, detailed work of his Thunderbolts days.
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But while the Hobgoblin segment is a decent read, the Jackal portion is less digestible. Part of the problem stems from all the lingering baggage of the Clone Saga. Fred Van Lente dives right into this material, resulting in a needlessly convoluted and flashback-heavy tale. But the deeper flaw is the over-reliance on exposition, particularly with Jackal's dialogue. So while the story is informative, and Minck Oosterveer's art falls close to the tone established by Humberto Ramos, the segment is too choppy and bogged down by minutiae to pass muster.
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This mini doesn't look as though it'll accomplish much as a Spider-Island tie-in. But as a brief vehicle for the exploits of Cloak and Dagger, the book is already showing storytelling ambition and some very arresting imagery.
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If anything sticks out at the moment, it's the appearances by established Marvel villains. As with issue #1, the Red Skull segment feels completely divorced from anything occurring elsewhere in the book. Meanwhile, the involvement of Bullseye and Lady Bullseye is a bit forced. Casey handles his characters and their collective desire to supplant the older generation well enough that these appearances become superfluous.
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The GL franchise seems to be treading water these last few weeks until the relaunch. War of the Green Lanterns: Aftermath provides some small sustenance in the meantime, but fails to properly cap off the event or provide closure.
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This continues to be the most engrossing arc of Avengers Academy yet. Let's just hope Gage doesn't wipe too many characters off the board when the action heats up in issue #18.
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That being said, this was a fun read that paves the way for an ongoing Deathstroke book. Whether this series will actually have any bearing on how Deathstroke is portrayed in his new book is doubtful, but hopefully that series will at least retain some of the more lighthearted qualities seen here.
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This issue does succeed in feeling more relevant than most tie-ins, as it unfolds amid the final battle in Flashpoint #4. But though this series has always managed to spotlight the various corners of the Flashpoint universe, it can't do enough to salvage its own plot threads at the end.
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It's impressive to see how well Neil Edwards' pencils have held up over the course of the series so far, especially considering the sheer amount of action and spectacle in these last few issues. Edwards brings a very precise and cinematic quality to the book. What does need improvement however, is his anatomy. Edwards shares many similarities with Bryan Hitch, and like Hitch figures are sometimes rendered in static poses, bending and twisting in ways that shouldn't be possible on a normal human body. As before, Edwards still has a ways to go in terms of finding a truly unique visual style.
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The artwork continues to be a major draw with S.H.I.E.L.D. Dustin Weaver embraces the sense of wonder and imagination inherent in the writing and channels it into every page. The mixture of steampunk, science fiction, and pure Jack Kirby fantasy is a captivating one. The colors aren't quite the same in the transition from Christina Strain to Sonia Oback, as they aren't quite as ethereal. Regardless, you'll be hard-pressed to find a better-looking book on the stands this week.
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Superman is one series where I'll very much welcome the change of pace in September. No doubt "Grounded" will be swept under the rug as quickly as the whole New Krypton saga was. That said, not every new element was a detriment to the series, and hopefully a few of the smaller, more successful additions will remain a part of the franchise.
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This arc has dragged on for too long without pushing the conflict forward., Luckily, the finale next issue means that slow pace will finally be eliminated.
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The issue picks up considerably when it shifts focus to Veil. Gage puts her through a physical and emotional gauntlet that takes full advantage of the Fear Itself setting. Her story results in both triumph and tragedy and satisfies all the way. Tom Raney also really delivers on all fronts in these pages. With Pym's fight out of the way for now, hopefully upcoming issues will continue to spotlight the Academy recruits and the battles they face. That's where the meat of this tie-in lies.
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It's hard to imagine Cap fans being disappointed with any aspect of this book. Conversely, the series has yet to prove it truly needs to exist. Yes, it's good to see Bucky still being shown some love and attention. But can this book both complement the main Cap series and thrive on its own merits in the same way Journey Into Mystery does for the Thor franchise? That's what upcoming issues will have to prove.
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Brubaker and Phillips are pushing themselves to tell a very different type of Criminal story arc here, and the results are excellent. Whether you've been following the series from the beginning or have never picked up a Criminal book, make a point of adding Last of the Innocent to your stack.
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$3.99 for some 50 pages of story isn't a bad deal, even if some segments are markedly better than others. The real problem is that these eight stories are all available for free on Comixology. Marvel fans owe it to themselves to at least check out the Hulk and Thing tales, but only those without access to Comixology should consider paying for the material.
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Though problematic, Kid Flash Lost has improved, and there's always the hope that it will improve even further in the final issue. My main hope is that Gates can either make something more of the tension between Bart and Barry or put that plot point to bed.
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Spencer's previous two Secret Avengers issues may have veered towards the hokey side of things now and again, but they were genuinely heartfelt stories that fleshed out the lead characters. This issue does even less for Widow than her Fear Itself one-shot did. One of these days we might actually get to see Natasha and her friends react to Bucky's death in a meaningful way, but not yet.
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If a little uneven, Ultimate Fallout is doing a fine job of building towards the next wave of Ultimate books. Hopefully the writers can really pull out the stops next week as the new Ultimate Spider-Man makes his (or her) debut.
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And as mentioned, Remender includes a healthy bit of action as the X-Men deal with everything from Samurai Sentinels to the most bizarre set of villains yet seen in the series. Remender may be taking a very character-centric approach to this arc, but that doesn't mean he's afraid to throw in some of the sillier elements his writing is known for. Combine all of this with some excellent visuals by Mark Brooks, and you have the makings for an arc that is already rivaling "The Apocalypse Solution" in quality. X-books don't get better than this.
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All those complaints aside, Phil Hester doesn't completely lose sight of the emotional center of "Odyssey". This issue celebrates the core of who Wonder Woman is and what she means to the world. Once the reader dives beneath the initially confusing continuity and explanations thrown out, those deeper aspects shine through. The sentiment is much appreciated, even if the execution could have been better. Had this issue and #614 been combined into one, the results would likely have been far more appetizing. But perhaps Hester will justify the extension as he delivers the final cap to "Odyssey" next month.
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While Aaron continues to impress with is handling of the X-Men, the pacing of the series needs to be amped up. It's hard to believe the true conflict has barely even begun to unfold 40% of the way into Schism. And even with these issues clocking in at 32 pages, the worry is that Aaron won't have adequate space left to put the X-Men through hell and chronicle the falling out between Wolverine and Cyclops. In that sense, a lot is hinging on issue #3.
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This issue doesn't end on the strongest or most effective note, but for better or worse the final panel does entice readers to keep reading for the long haul. Once the mourning period is over, it should be interesting to chart the evolution of the Ultimate Universe as the new creative teams gear up for the fall.
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Kolins' current art style is well suited to this story. Though Mike Atiyeh's painted colors often come across as too strong, Kolins lends an energy to his pages that hasn't always been apparent in previous works. It seems Kolins is more at home with the Rogues than Flash from both a writing and artistic standpoint.
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The art is also a bit weaker than it was in issue #1. Joe Bennett's panels grow fairly muddy or unclear at times, and the opening battle lacks the full sense of power and chaos it should have possessed. That said, other pages have a better sense of flow and boast more detail. Hopefully this series will allow Bennett plenty of practice as he gears up for Deathstroke's ongoing book.
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[Editor's Note: To be fair, the previous issue that scored a perfect 10 was a fill-in issue, featuring a story meant for publication some years back.]
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In the end, the creative team have no control over external factors like price, so I can't hold that against them. Schism is a largely successful start to this latest X-event. Aaron seems to have his characters well in hand, and the only question now is whether the conflict will properly coalesce in issue #2.
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Astonishing Thor is not without merit, but it doesn't exactly warrant the "Astonishing" moniker, either. How long until books like this and the post-Whedon Astonishing X-Men cause the Astonishing line to lose its credibility?
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With four issues down, it's looking doubtful that Fear Itself will ever truly live up to its potential. But with the promise of epic carnage in issue #5 and some real answers regarding the nature of Odin's relationship to the Serpent, there's no reason to bail on this series now
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It's not surprising that Uncanny X-Force would be drawn into Fear Itself given how well received the series has been. However, this mini lacks the qualities that make the main series so memorable.
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Issue #3 isn't entirely flawless. The series is so precariously crammed with characters as it is, and McKeever makes the mistake of dragging a new faction of heroes into the mix. These new characters add nothing to the proceedings beyond occupying a few panels. The last thing Youth in Revolt needs at this point is more conflict, so hopefully McKeever can remain tightly focused in the second half of the book.
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Unfortunately, this book also shares another similarity with the film. Sinestro's inevitable fall from grace is handled with the same speed and lack of craft. The relationship between these two Lanterns was the prime appeal of the series, and it's disappointing to see it rushed to an abrupt conclusion here. Will there be anything of value left to redeem the final issue?
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Secret Seven is a series that deserved more space than the Flashpoint framework allows. You can't have payoff without proper build-up, and so what might have been a strong climax to a longer story is instead merely truncated and abrupt.
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Rex Ogle deserves credit for taking what could have been a bland, uninteresting concept and adding greater life to it. Perhaps the wider Flashpoint focus detracts from Traci's story, but Ogle has at least ensured that readers will be invested in the outcome of issue #3.
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But that aside, this is easily the best entry in the Supreme Power franchise since the Squadron Supreme relaunch stalled. Is it too much to hope Higgins might have more in store for fans beyond these four issues?
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Nick Dragotta's art also goes a long way towards selling this book as something special. Dragotta's visuals are a far cry from the usual superhero fare, resembling more avant garde artists like Paul Pope and Mike Allred. Dragotta has a flair for quirky character designs and energetic page design. The series may be a bit bizarre, a bit befuddling, and even a bit off-putting at times, but it never fails to be interesting. Clearly Casey and Dragotta are the right creators to deliver something different to Marvel readers. With any luck the series will coalesce in its second issue and offer a better idea of what exactly Casey is going for.
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Lighthearted romps are all good and well. Where Claws II will find its greatest challenge is in competing with books like Astonishing Spider-Man & Wolverine. That series has proven a comic can offer simple, unfettered fun and still rank as one of the best of the year. Claws can't get by with coasting on the bare minimum.
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The art in the main story segment is fine, if a little flat at times. Giuseppe Camuncoli's pencils could benefit from stronger, more vibrant colors. Luckily, the art is the star of the show in the Spidey/Shang-Chi backup. Max Fiumara's work is always welcome on this series.
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While the conflict is slightly lacking in punch at this stage in the story, Heinberg and Cheung deliver plenty of material to keep readers salivating and waiting for the next issue.
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The issue never really carries any sense of conflict, even when Natasha seems to be in dire straits. Bunn could have used the backdrop of Fear Itself more effectively and done more to explore Natasha's present state of mind. But as a fun, simple adventure starring the inimitable Black Widow, this one-shot succeeds. Whether that's actually worth $3.99 is up to you.
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"Identity Wars" certainly had its moments. But in the end, this storyline doesn't really justify the price of admission. Hopefully that won't discourage Marvel from continuing to experiment with this crossover format.
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Marvel Universe vs. Wolverine is disappointingly familiar in many ways, but it also marks significant improvements in both scripting and art quality. The most we can do is hope that Maberry does have a few surprises in store as he delves more deeply into this violent universe.
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Another unfortunate drawback this month is that CAFU is gone, instead replaced by Dan Panosian. I've never been terribly fond of Panosian's work as a penciler, as his talents seem to lie strictly in the realm of inking. His figures lack the necessary realism and emotion to capture the emotion of Spencer's script. On the plus side, Mike Grell is still around to handle the flashback material, and his highly detailed, evocative art is a nice change of pace for the series.
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The storytelling has some flaws in this issue, but the real culprit is the glacially slow pace. Kirkman still hasn't appreciably moved the conflict along since the end of "No Way Out." Carl is still comatose, the survivors are still rebuilding, and the ongoing story direction remains very much in question. The series can't continue on like this without providing readers some idea of what lies in store for our heroes.
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Loeb has now successfully reinvigorated the Ultimate X-Men franchise. How much impact this oft-delayed series will actually have on the Ultimate Universe is more questionable. But if nothing else, Ultimate X should offer plenty of helpful inspiration to Nick Spencer as he takes the reins this fall.
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With any luck, the creators can keep the ire burning for two more issues as they bring this entertaining conflict to a close.
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Once again, Prelude to Schism would have been a fine oversized one-shot. But by expanding such a limited concept to four issues, Jenkins just isn't able to provide the individual chapters with the meaty content they needed.
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The saving grace of this issue is the interaction between Constantine and a pair of JLA-ers. Batman tossing Constantine on his ass is one of the more memorable comic book moments of the year. It's also a treat to see Zatanna bickering with her old boyfriend again. If the series is to improve over the next two issues, Vankin will need to focus heavily on this sort of banter as well as bring Swamp Thing more fully into the spotlight. Constantine alone clearly isn't going to carry the book.
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Iron Fist fans owe it to themselves to read this tie-in, as there won't likely be a better outlet for these characters anytime soon. But readers buying the book specifically for War Machine should be more cautious. After six issues, it's still difficult to tell whether Spencer is steering the hero in the right direction.
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Judged by its own strengths, this issue is another winner from Brubaker. If anything, it only emphasizes how much potential Bucky had left and highlights the disappointment regarding his fate in Fear Itself.
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Anyone who wants to see a creative team firing on all cylinders would do well to check out this issue. Wood delivers a fitting farewell to what may be his best DMZ creation. The issue is every bit as depressing as it should be this close to the series finale, but also tinged with a faint ray of hope. There may not always be a DMZ, but there will always be a Zee.
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This isn't even the strongest Flash-centric Flashpoint tie-in this week, much less the best of the bunch.
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Taken strictly on its own merits, this is a solid entry into the Flashpoint lineup, if one of questionable relevance.
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The Outsider is an unusual Flashpoint tie-in. Despite that, or because of it, it's a tie-in that leaves quite an impression. It may not be my favorite Flashpoint book so far, but issue #1 leaves me looking forward to the next chapter more than any other.
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Issue #160 is a competent finish to the series. Unfortunately, it's not quite as emotionally resonant or gripping as Bendis' best issues. Ultimate Fallout will have to pick up the slack there. But the issue does do justice to a great hero, and it manages to build excitement for the next phase of Ultimate Spider-Man.
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The current storytelling formula has worked well enough for the first two chapters of "Wolverine's Revenge." Aaron will need to shake things up next issue to prevent the arc from growing stale. The last-minute introduction of a major player in Logan's life could easily accomplish that, but it could just as easily bring the story crashing down.
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Fear Itself has done this new series no real favors. Luckily, it doesn't appear as though the book will be dealing so directly with that event after this issue, instead focusing on its own characters and conflicts. As long as that proves to be the case, Alpha Flight should have no problem living up to its full potential.
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This Fear itself tie-in started off with a bang, and it's unfortunate that the follow-up isn't as strong. If the current formula is to continue, Bendis will need to ensure that the talking head scenes expand and flesh out the events of Fear Itself rather than simply rehash them.
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With the whole creative team firing on all cylinders, Avengers Academy may just be the strongest of the Fear Itself tie-ins alongside Journey Into Mystery. Hopefully that will convince a few more readers to check this book out.
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There's nothing terribly compelling about the plot to the series, as Captain America and the multiverse don't easily mix. And while Stern effectively commented on contemporary American politics in "War and Remembrance," this series seems a bit more lacking in subtlety. Perhaps that will change as he reveals more of the strange new reality our heroes find themselves in. What Cap Corps manages, however, is allowing Stern to explore various iterations of the hero not in use any longer. American Dream has pretty much been collecting dust these past few years. The current incarnation of John Walker is clearly in less than fighting shape. And Bucky? Yeah. Rather than feeling out of place, these time-displaced heroes combine for a fitting and enjoyable celebration of the Cap legacy.
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As with the previous two issues, the remaining backups are completely forgettable. Howard Chaykin's experiments with single-page storytelling still fail to pay off. While this particular tale doesn't read like it was ripped from a longer story, it still proves wholly unsatisfying. The final tale featuring Cardiac is hardly more fulfilling despite its larger page count. Again, had this series been condensed and focused solely on Speedball's conflict, the end result would have been much more pleasing.
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But pacing and tone aside, this series does seem to be on the right track as it enters its new phase. And Ryan Ottley and the gang deliver vibrant, cinematic artwork as always. Issue #81 will determine whether this new twist can push the series into a new and exciting direction.
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The central plot only barely gets underway by the end, and the art is haphazard in its execution at times. That said, this arc is worth keeping an eye on, as it proves how much DC can benefit from having writers like DeConnick in their lineup.
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Yost definitely needs to speed up the conflict in the next issue to prevent the arc from sagging. But the quality of "First to Last" so far gives little reason for concern.
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The worst aspect of this issue is that it ends on such a satisfying note that it seems to render the fourth and final issue completely unnecessary. But heaven forbid Wolverine not get a few words in edgewise. Hopefully Jenkins still has something meaningful left to say as this overextended series finally closes.
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There are some pieces to the Arkham City puzzle I wish were more prevalent in these pages, but on the whole Dini and D'Anda are doing a fine job of bringing this version of Gotham to comics.
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The combination of artists Michael Kaluta, Ryan Bodenheim, and Simon Bisley also adds to the jumbled feel. Bisley's exaggerated work at least fits the nightmarish landscape. Kaluta's scratchy pencils and Bodenheim's more refined pages are constantly at war with each other. As with the script, the series would be better off sticking with one visual approach or the other. Either way, Fear Itself: Fearsome Four needs to find its voice and its team dynamic soon.
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Thanks to the inclusion of JJJ and Norah and other little touches, this series fits in nicely with Dan Slott's Amazing Spider-Man. With that in mind, even those Spidey fans ignoring Fear Itself would do well to give this particular tie-in a read.
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Journey Into Mystery is making a strong case for itself not just as Marvel's best Thor book, but its best ongoing series in general. This is unquestionably the highlight of Gillen's tenure at Marvel so far.
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I realize this is an all-ages series, but one of the great lessons writers like Stan Lee taught us in the Silver Age was that you don't have to needlessly simplify the story for the sake of younger readers. There's no reason Mega Man, Dr. Light, and the rest can't show more depth and nuance in these pages. And there's no reason the series can't provide more than a truncated play-by-play of the game. If this series is to have any sort of long-term shelf life, it'll need to embrace the strengths of this medium and carve its own path in the Mega Man franchise.
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This issue doesn't offer much of the '50s Avengers, but on the flip side the other half of the arc was allowed to reach an unexpectedly strong finish. Certain aspects of the series remain very much in question, though, and the Fear Itself tie-in has plenty to prove.
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The series suffers a bit more in terms of visuals compared to the past. Manuel Garcia can't really match the sheer cinematic quality and amazing detail of Gary Frank's pencils. For the most part, Garcia does a fine job capturing the grit and feel of the universe and delivering a book that's a little less superhero-y than the norm. However, his facial work often fails to capture the emotion of a scene, and the limited battle scenes so far don't crackle with as much energy as they should. Hopefully that won't be the case when Hyperion and Spectrum begin the main fight.
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The end is almost here, but these last two issues have ensured the wait will still be a painful one. Let's hope issue #160 can deliver a fitting conclusion to the life and career of Peter Parker.
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With luck, this arc will have nowhere to go from here but up. Aaron has plenty of potential to deliver a memorable finale to this portion of his run, assuming Wolverine can overcome the scrubs and begin battling the real villains.
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Khoi Pham's art fits in well with the general visual tone established in recent arcs. Pham's pencils are laid back but still generally detailed and energetic when need be. Steve Kurth's pages in the backup feature don't fare quite as well thanks to an overly busy and heavily inked approach to the characters. Both artists face the unenviable task of measuring up to the inimitable Bill Sienkiewicz thanks to the included reprint of New Mutants #27. I'm not usually a fan of these space-padding reprints, but this issue is both relevant and a visual delight.
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The last few issues of X-Force have generally struggled with the restrictive single issue format, and it's pleasing to see a longer arc help push the series back into top form.
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Daniel Way's script is a mixed bag in quality. The highlight of his arc is seeing Armor rise to the forefront, as she doesn't seem to factor into the rest of the X-books very often. However, Way doesn't prove as adept with the remaining three X-Men. His Emma is neither as humorous nor as bitchy as she should be. Meanwhile, a handful of potentially strong scenes between Cyclops and Wolverine aren't used to their full potential. In general, once the fun of monster battling wears off, this arc doesn't have much else to offer. It's just as well Way's next issue will cap off this particular story. There doesn't seem to be much life left in this particular Astonishing tale.
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Fear Itself is developing into a disappointingly lackluster event after a strong first issue. The question is this - are we still trapped in an overly long setup phase, implying that the story will pick up once Odin and the Serpent make their movies? Or is this all there is to the Fear Itself equation? Hopefully the former is true, and the second half of Fear Itself will address the many missteps of the first.
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Fear Itself: The Deep would be a perfectly decent book if not for the questionable depiction of Namor and the simply flat characterization of Attuma. Hopefully the book will improve as the Defenders come together and embark on their new mission.
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No doubt this series will gather steam as it veers away from simply showcasing alternate takes on familiar GL concepts and more directly intertwines itself with the events of Flashpoint. But with only two issues remaining, Schlagman has precious little time in which to pick up the pace.
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The Flashpoint Universe is still a strange and unfamiliar place, but it's books like this that will help readers feel a little more at home in the setting as the event continues through the summer.
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Neil Edwards is back as full penciller this month, though inker Scott Hanna is proficient enough that it doesn't make discernible difference either way. As always, what the series lacks in style and flourish it makes up for with detail, consistency, and generally competent storytelling. All the creators are working together to deliver what may be the most well-rounded Hercules story in a long time.
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With great art, a great story, and a healthy dose of backup material, this is one Marvel book well worth your $3.99 this week.
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I wouldn't mind reading future team-ups of Herc and Wolverine from Tieri. The writer has had far too small a role in the Wolverine franchise recently, and this series proves he still has enjoyable stories to tell.
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There are a few quibbles to be had with this issue. Yost depicts the younger Iceman as a bit needlessly boneheaded. The ending scene also throws much of the preceding conflict into question, as the reader has to question why the Evolutionaries bothered showing up on Utopia in the first place. But these complaints aside, "First to Last" is developing into a fun conflict that doesn't completely ignore this series' goal of integrating the X-Men with the rest of the Marvel Universe.
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It's too early to tell how The Last of the Innocent will compare to past Criminal stories, but it is clear this tale has potential to outshine them all. Criminal was sometimes guilty of wearing its influences on its sleeve early on. But with this new series, Brubaker and his team are showing themselves to be highly inventive crime storytellers. The least readers can do is make a point of giving The Last of the Innocent a chance in a week when Flashpoint and Fear Itself threaten to bury everything else on the shelves.
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It's tough to say where "Gulag" will leave the main cast when all is said and done, but there's no question this is one of Brubaker's strongest story arcs to date.
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Though it returns in a somewhat more flawed state, it's good to have a Cobra book back on the stands. Hopefully Fuso can build up his new cast to the point where they'll be able to hold their own against fallen greats like Chuckles and Xamot.
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If you're an Iron Fist fan, by all means give this are a look. But if you're in it only to experience Rhodey's journey, you may be better served sitting out Fear Itself.
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Given that this issue is only a dollar, it's hard to fault the lack of content much. More worrisome, though, is the quality of art. Ross is taking a more direct role in the production of the series than he did with Project Superpowers, providing penciled layouts over which Jack Herbert handles the finishes. The problem is that Ross is about as far on the other end of the artistic spectrum from Kirby as is possible. Ross' work prizes realism, and as a consequence tends to be static and even a bit lifeless at times. Herbert's presence doesn't alter the end effect much. As much as the duo try to channel the dynamic quality of Kirby's art, the pages still seem static. The character designs are unquestionably Jack Kirby, but the presentation isn't.
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What Secret Warriors #27 offers is a well-written and well-rendered issue that nonetheless leaves the reader feeling vaguely unsatisfied. Hickman has plenty left to accomplish in his final issue. The real question, however, is whether he can rekindle the sense of danger and drama that pervaded earlier arcs. Or has Fury's ultimate victory already been assured?
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Sci-fi fans will have to decide for themselves whether this issue is worth the rather hefty $8 price tag. At around 75 pages, it's not exactly a bad deal, but considering the uneven story quality and flimsy paper quality it seems Vertigo should have been able to shave another couple dollars off the price. Not to mention that it should be a crime to slap a Paul Pope cover on a book and not offer any actual story content from Pope.
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I can only hope that Fear Itself begins reflecting more of what makes this run so great.
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Issue #85 is a slow affair, and the general plot doesn't scoot along as rapidly as it tends to do in each new installment of The Walking Dead. But Kirkman still delivers some well-written scenes that fans will enjoy, and the hope is that the series will quickly heat up again as the characters seek their next course of action.
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Even Daniel Acuna's art is more impressive than it was in earlier issues. The darker locales and bloody battles play more to Acuna's storytelling strengths. Characters boast more detail and consistency than before. In short, this issue is the result of two creators firing on all cylinders. Suddenly I find myself that much more excited for these next four issues.
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Hardcore Astonishing fans may be happy to simply have another issue of the series in hand so soon, but so far this arc is doing nothing to establish itself as more than filler.
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The only real point of concern to be found right now is a romantic subplot introduced in this issue. Bendis seems intent on playing up a mutual attraction between two characters who really have no prior history together. So far it seems forced, unnecessary, and even a little awkward as the two interact. Hopefully that will change over the course of the arc and this new relationship can be properly fleshed out.
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My one worry with this issue was how Gage would handle the Sinister Six in general and Rhino in particular. After Joe Kelly did such great work with Rhino last year, I'm wary of other writers tackling him. Surprisingly, the newly bloodthirsty but still noble Rhino was one of the highlights of the issue. The villains proved to be organic additions to the series, and Gage leaves the reader wondering all the more what these baddies are cooking up.
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As this series moves into the final stretch, the creative team continue to fire on all cylinders.
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The flaw with this issue is the decision to include a backup story that explores the relationship between Dynamo and Iron Maiden. This segment is handled by Nick Dragotta, who delivers an eye-pleasing rendition of the Silver Age T.H.U.N.D.E.R. Agents. This segment also builds up Iron Maiden's character a bit. So what's the problem? This backup takes up five of the already meager page count. T.H.U.N.D.E.R. Agents for whatever reason, is one of the books to have suffered the most in DC's transition to 20 pages. With Spencer breaking up his script with both an extended flashback and a backup feature, the issue feels overly brief and even somewhat fractured. Hopefully this isn't the start of a trend for this arc.
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With the Ultimate Comics Avengers vs. New Ultimates tie-in hopefully behind us, this storyline seems poised for a strong finish. Whether or not Peter Parker actually dies this summer, I look forward to what the rest of 2011 holds in store.
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It would have been nice if Marvel offered a truly giant-size issue for $5. But questions of value notwithstanding, "First to Last" is showing potential at this early stage.
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At the very least, though, Andrea Mutti is a somewhat better fit for the story than Roberto de la Torre was in issue #1. De la Torre's art lacked sufficient variety to differentiate the present day and flashback scenes. Luckily, here Mutti's line-work and Lee Loughridge's colors are adjusted to reflect the changes in setting and tone. Mutti's figure work lacks consistency at times, but overall this is a more visually successful entry. The question is whether issue #3 can deliver some new wrinkly to what is quickly becoming a tired approach.
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This series is something less than astonishing right now, but at least it offers clean, uncluttered fun for X-Men readers. The real question is how the series will be impacted by the sudden switch in focus with issue #38.
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Mike Norton delivers a very clean and expressive set of pencils. His figures are a little too spartan at times, but the storytelling never fails. If a bit flawed in its first issue, Fear Itself shows enough promise to leave one hoping for a possible ongoing series from these creators.
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Journey Into Mystery has it within itself to be one of Marvel's very best books. All it needs is some adjustment to the colors and a few more issues in the can to reach that point.
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Mega Man still has much to prove as the series moves forward. Will it remain a humble and charming throwback to yesteryear, or can it truly expand the Mega Man mythology and add something new to the games?
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Leandro Fernandez is perhaps not the best choice for a series like this. Fernandez's work is generally steeped in shadow and reserved for darker books like Punisher MAX. Here, Fernandez's inks clash with the brighter colors and create a strangely conflicted visual tone. Some pages look markedly better than others, particularly those where Fernandez tones down his inks, so hopefully he and colorist Andres Mossa can achieve better synergy as the arc progresses.
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Steve Dillon delivers a clean and engaging set of pencils. His pages are effectively structured to handle the regular shifts between present and past storylines. It would be nice to have more stylistic differentiation between the two. The prison setting isn't dark or seedy enough in comparison to the bright, idyllic flashback scenes. But aside from that, Dillon captures the emotion and drama of the conflict well.
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One thing this issue certainly has going for it is the return of Eddy Barrows. Thankfully, Barrows' work is more attractive and consistent than it has been since the art shifts began plaguing this storyline. Between his cinematic art and a simplistic but not unenjoyable script, Superman #611 is a marked improvement over recent issues.
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It's a shame "Curse of the Mutants" couldn't have been laid to rest. The fallout of that story is being handled much more effectively in the Wolverine and Jubilee mini-series. It remains to be seen whether Chris Yost's upcoming storyline can reinvigorate this series again.
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The downside to this increased cast is a certain lack of focus in the scripting. Legacy has tended to take a more intimate and confined approach to storytelling, which has served the book well in terms of finding and maintaining a unique voice. At present, however, there isn't enough to differentiate this book from series like Uncanny or adjective=less X-Men that focus on big guns like Cyclops and Emma Frost. Hopefully, Carey can narrow down his roster soon and address the cool revelation delivered at the end of this issue.
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Yanick Paquette is back this month, though Chris Burnham now casts a long shadow over the series. Paquette's figures lack the fluidity of Burnham's, and contribute at least somewhat to the more serious tone of the story. While Paquette's pages are impressively detailed and designed, his figures are too static for such an action-oriented affair. I find myself eagerly anticipating Burnham's return now.
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Ultimately, Brubaker solidifies Steele's role in the series moving forward and sets the stage for potentially great stories. The question of when and if those stories will be told is another matter entirely.
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There is some new material to be had, at least. Writer Jim McCann and artist Stefano Landini deliver a framing sequence that sees the current Steve Rogers arrive at the scene of a post-bombing Statue of Liberty. here McCann covers Sin' actual origin and indoctrination by her father. This material is far more useful and relevant. The problem being that Ed Brubaker already covered the same exact material in near identical fashion when he brought Sin back into the fold in 2006. The moral of the story is to take that $5 and just devote it towards Brubaker's Cap. This issue doesn't offer much beyond simple nostalgia value for fans of the '80s-era Cap stories.
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Luckily, I was more impressed by the artwork than I expected to be. Billy Tan's recent work on New Avengers and Thor was plagued by goofy character anatomy and a general sense of inconsistency. Here, his work is greatly smoothed out and softened thanks to the colors of Dean White. Remender himself has said that White's continued presence on the series lends a sense of regularity despite the rotating pencilers, and it's easy enough to see what he means here. At first glance one might not notice much of a difference from Jerome Opena's issues. Granted, Tan's panels are more static and lacking a bit of the energy seen in Opena or Esad Ribic's work, but the book remains clean and attractive to the eye.
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Simpson doesn't reveal too much about his heroine yet, and even less about the strange post-apocalyptic landscape she inhabits. And that may be the only real flaw in this thoroughly enjoyable first chapter. Well, the lettering is pretty lousy, too, and in definite need of some adjustment. But as little as the series reveals of itself, it manages to entice the reader and leave them wanting much more.
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If Marvel hopes to end these weekly specials on a high note, they had better have something mighty good in store for Captain America and the Secret Avengers next week.
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Emma Rios has clearly found her niche at Marvel, as she channels all the darkness the story demands while also presenting a very understated and unique take on Osborn and friends. This sort of approach might not work so well for a traditional Spider-Man adventure, but there's nothing traditional about Osborn. And that's what makes it so damned enjoyable to read.
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Though hardly a necessary read by any stretch of the imagination, this one-shot will hit the spot for any readers hungry for more Peggy Carter tales after reading Ed Brubaker's Cap run or watching the movie.
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I never felt Emma Rios' manga-esque style meshed particularly well with the Marvel Universe in past projects, but here Rios has made some much-needed adjustments and arrived at a far more effective style. Her work offers all the grimy darkness the script calls for, along with some particularly brutal action during the extended riot sequence. It could be argued that the more iconic cast members don't resemble their usual looks, Osborn included. But that's a minor complaint in a series that keeps delivering the goods every month. It's a pity we only have two issues left.
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New Avengers Vol. 2 has generally felt like a series lacking in direction. But as long as the spotlight remains fixed on the Cage family, that isn't so much an issue. Between these two characters and a new extended plot involving a familiar Marvel villain, hopefully this series can establish itself in a way it failed to do in the first arc.
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The death in this issue is surprising in various ways. At the moment it's still not entirely clear what ramifications this issue will have for the Fantastic Four franchise as this series draws to a close and F.F. begins. But considering that Hickman's run so far has been thoroughly enjoyable and masterfully plotted, the sadness stemming from this death should be tempered with a healthy dose of excitement for the future.
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Ultimately, there's a lot to love about this anniversary. Some readers may complain that the issue "doesn't matter" or has no bearing on the ongoing threads of the series. Plenty of signs point to the contrary, however. The mere fact that Invincible Iron Man #500 leaves so many questions unanswered is a testament that plenty more is to come. And even if this issue were completely standalone, is that really such a horrible thing?
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And even if the script were forgettable, The Fall would still thrive on the strength of its art. Kerschl and Stewart make an impressive team. Though the two each handle their own assigned timelines, Kerschl and Stewart have similarly bright, animated styles that allow for a very cohesive look. It's arguable whether a slightly darker visual style might have suited the tone of the games better. On the other hand, part of the appeal of this series is seeing the result of a creative team who are fully involved in both sides of its production. There's an undeniable energy and storytelling flow that comes when a creator writes and draws a page themselves, and that energy is readily apparent in The Fall. It's unfortunate this book is so unusually brief. Still, it's refreshing to have a video game comic leave the reader so desperately wanting for more.
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Tom Raney fills in for Mike McKone on pencils this month (despite what the credits page would have you believe). Raney's recent Marvel work has been pretty variable in quality. Luckily, Raney is in solid form here, and the inks of Dave Meikis and Scott Hanna help bring an echo of McKone's precise pencils into the mix. Their rendering of Giant-Man's new uniform is startlingly inconsistent, however. Details and trimmings appear and vanish at random. The coloring of Jeromy Cox and Andrew Crossley is also fairly inconsistent, with one panel of Iron Man even featuring reversed colors. Though generally attractive, the visuals in this issue suggest a rushed schedule. Luckily, McKone is back next month, and readers have every reason to be excited for the continued future of this series.
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Not helping matters is Scott McDaniel's art. McDaniel's style is far too loose and scratchy for its own good. Characters are overly stylized and angular, to the point where most of the male characters and even some of the females are interchangeable in appearance. McDaniel's page structure is a bit improved from the previous issue, at least. This story arc does what it needs to as far as filling a gap in the publishing schedule. Unfortunately, I can't picture the trade appearing on my shelf alongside Cornell's other DC work.
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There is some fun to be had, at least. Amadeus Cho displays the evolution of character Herc isn't, and his scenes are among the highlights of the issue. The Chaos King's dialogue is also enjoyable. It's surprising how much can be communicated via haiku when the story calls for it. The art is also strong despite the fairly quiet nature of the issue. Khoi Pham's pencils are more clean and restrained than they have been on past projects. However, Pham falters when depicting a certain character's transformation late in the story. Visually, the character shows no sign of having changed, and it hinders the effect somewhat. Thematically, Greg Pak and Fred Van Lente are on the right track with this story. They just can't seem to execute in terms of pacing or characters.
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Antonio Fuso's artwork was frustratingly erratic on the first arc of this second Cobra series, with background work in particular becoming all but nonexistent. Fuso still isn't entirely consistent in quality, but he is improved. Oddly, now it's his figures that vary in detail and execution. Faces may be well-defined in one panel but amorphously rendered in the next. But again, the overall effect is better than in the previous Chuckles arc and manages a stronger, more foreboding tone. The ongoing future of this series remains in question, at least until the next round of solicits. But if this arc truly is the finale for G.I. Joe: Cobra, it should be a satisfying one.
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Naturally, it wouldn't be a proper swan song for Legacy without Jan Duursema providing pencils. The sheer number of characters Duursema is required to render in this issue is impressive, made all the more impressive by the fact that each has their own distinctive look and design. Too many Star Wars comics are content to ape creatures and tech from the films, but Duursema's Legacy era has always looked distinct and original. And while the script presents a great many talking heads, that final scene gives Duursema the chance to flex her storytelling muscles and deliver one of the better fight scenes the series has offered so far. Let's hope upcoming issues have even better material on tap.
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And once again, Jerome Opena's artwork is gorgeous to behold. His original character designs are inspired, and it's a shame he wasn't able to tackle the new X-Force uniforms himself. It would be fun to see what could be done with this darker, more driven Psylocke apart from tinting her leotard black. Opena also shows great skill with action and choreography. Given that so much of this issue involves mutants beating on other mutants, his talents are put to very good use. Combined with Dean White's attractive and effective color work, Uncanny X-Force becomes the best-looking X-book, as well as the best-written one.
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Also easily digestible are Emanuela Lupacchino's pencils. Lupacchino's work is sleek and attractive, a far cry from the often muddy visuals this series is home to. Let's hope Lupacchino becomes a regular member of the X-Factor art team from here on out. This series has been strong since the issue #200 relaunch, and in recent months has grown stronger still.
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Pasqual Ferry's art is gorgeous and varied - exactly the sort of visual shift the series needs as it seeks to embrace the realm of science fiction. Ferry's character and creature designs are unique enough to honor the spirit of Jack Kirby without merely aping his work. And Frank D'Armata, whose coloring has long been the weak point in Invincible Iron Man's armor, finds the perfect avenue for his ethereal use of color. All the pieces are in place for another definitive Thor run.
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If a comic requires more than one artist, this is the way to make the most of the situation.
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Another benefit to this issue is that all but two pages are attractively pencilled by Patrick Gleason, with the remainder being handled by Scott Clark as the series prepares for a Firestorm-heavy installment. Granted, Gleason's art is inked by seven different collaborators, but the visuals are surprisingly cohesive despite that. In general, this shift of focus to more character-specific issues is for the benefit of the series. Hopefully issue #16 makes better use of that approach with Firestorm.
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The greatest attraction remains Marco Checchetto's artwork. Roberto de la Torre's absence is no longer felt, as Checchetto more than capably handles the same dark, noir-influenced style with a greater level of consistency. This isn't a bad issue by any means, but it suffers from the familiar and uneventful nature of most post-event epilogue books, and also from a series of hits and misses in terms of characterization. It's enough to make one wonder why we need both this issue and next week's Shadowland: After the Fall.
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Too many X-books lack a distinct voice and identity already. If Generation Hope can't find its voice soon, it will never be able to stand out among the many other teen superhero books on the market.
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As usual, this issue doesn't conclude so much as hit an abrupt stopping point, but that's a small matter. Marvel's Oz adaptations show no sign of slowing down or losing quality even as the third volume gets underway.
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Jefte Palo puts forth another strong effort as well. Palo deftly handles the many fight scenes as well as the more subtle emotions at play in Taskmaster's journey. Despite the somewhat loose quality of Palo's lines, he manages to convey a great deal through facial expressions and body language. I can only hope Van Lente and Palo are teamed on another similarly zany and ambitious project in the near future. More Taskmaster, perhaps? This mini-series could easily have been a cheap throwaway, but the creators instead chose to deliver one of Marvel's more memorable titles of the year.
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Aside from the fact that there are no great forgotten or unpublished stories on the level of "Shoot" from the first Vertigo Resurrected, the chief drawback of this issue lies in its presentation. Winter's Edge only lasted for three issues back in the day. Why not simply publish a trade collecting the series in its entirety? $7.99 for 100 pages is nothing to sneeze at, but the paper and printing quality are pretty lackluster. Numerous typographical errors are present in some stories, and the first and last pages of Gibbons' prose story are switched. No doubt many devoted Vertigo readers would have gladly paid for a $20-25 hardcover that was more comprehensive, printed at a higher quality, and was free from these typos and misprints.
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Warriors Three continues to be an enjoyable read that offers something at least a little unique among the current glut of Thor material. The plot of this mini sees the Warriors Three descend to Niflhel to confront the dreaded wolf god Fenris. Much of this issue is actually devoted to a flashback sequence where we see much younger versions of Hogun, Fandral, and Volstagg come together for the first time. These scenes offer a great deal of fun, especially considering that each of the three are portrayed far differently in youth than they are in the present. As with the previous issue, Willingham captures all the playful humor and banter that make adventures with the Warriors such a treat. Again, however, the quality of his dialogue could be a little stronger considering Willingham's experience in the fantasy realm. Also, Willingham's attempt to explain how the Warriors' initial encounter with Fenris suddenly and irrevocably altered their personalities is a bit forced. On the visual front
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"Big Time" has already met with significant improvement in its second issue. That bodes well for Slott's run on the series. It's clear the writer isn't pulling punches in this new era, and readers can rest easy knowing only that the won't know what to expect moving forward.
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Steve Epting's arrival as new regular artist hasn't been quite the boon for the series as might have been expected sadly. Epting's artistic strengths simply lie in other realms, such as the darker, espionage-tinged world of Captain America. He doesn't fully capture the bold, larger-than-life, Kirby-esque quality of Dale Eaglesham's issues. While certain sections of the book are visually stunning, particularly those set in Atlantis, scenes involving Galactus and other loftier concepts lack the aura of the fantastic. It's an unfortunate flaw in an otherwise stellar story arc.
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Luckily, the script for issue #22 is quite satisfying. Jonathan Hickman continues his habit of providing both memorable confrontations between key characters and a handful of surprising twists. Fury performs a shocking act this month that both reaffirms his status as a badass and forces readers to question his ability to lead as he always has. The surviving heads of Hydra also provide some enjoyable storytelling fodder. But easily the strongest segment of the issue, and one of the strongest for the series as a whole, comes in the form of a tribute to the fallen Phobos. Secret Warriors is occasionally guilty of ignoring simple, quality characterization in its pursuit of exploring an ever darkening conspiracy. This issue proves that doesn't always have to be the case.
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That tone certainly shines through in the art. Sal Buscema hops on board to provide finishes for DeFalco and Frenz's pencils. Sadly, the issue is far from consistent, with some panels looking noticeably more clean and Buscema-esque than others. In general, a more '90s-influenced art style would have been appropriate considering both Thunderstrike's industry origins and the gloriously terrible '90s-era costumes that fill the numerous flashbacks in this issue. Todd Nauck's work in the short backup is more in line with what the series should be offering. But despite these flaws, the creative team deliver an enjoyable return adventure for a hero who has been ignored for far too long.
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On the whole, this issue is a worthy celebration of a long-running and consistently enjoyable series. Though not advancing the drama of Peter Parker's life as much as might be expected given the over-sized length, it does provide fans plenty of memorable visuals and some food for thought as the book moves into 2011 and a new decade.
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The first issue of Uncanny X-Force alone was enough to suggest that Marvel had just debuted its new top X-book. With issue #2 maintaining that high benchmark, there's no question left that this is the series to beat. Uncanny X-Force is the type of book that makes the thought of waiting 30 days for the next issue so terribly painful. The industry always needs more books that can inspire that level of enthusiasm.
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The only rogue storyline is Emma's quest to dispose of Sebastian Shaw, which wouldn't matter much if that thread weren't dropped early on in this issue. Overall though, Matt Fraction quickly and effectively builds up drama as the X-Men fall victim to John Sublime's latest master stroke. The reappearance of Lobe's team also results in a fun plot twist that should help spice up the arc nicely. Greg Land also returns to illustrate "Quarantine". Uncanny readers know what to expect from Land at this point. The artist has shown a great deal of improvement in terms of panel detail and consistency in recent months, but his unnatural character poses and awkward facial expressions remain significant drawbacks. Still, after the frustratingly inconsistent pencils of Whilce Portacio in "The Five Lights", any change is a welcome one.
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John Romita Jr's art is a bit erratic this month, as it's inked by both Klaus Janson and Tom Palmer. Palmer's lighter, feathery touch is what Romita's pencils need to shine, not the overly thick and heavy inks of Janson. But while this arc displays a few odd qualities in its first issue, it also shows the potential to outclass the first and pay off on some threads still dangling form Bendis' earlier Avengers projects.
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Daniel continues to impress more and more with his artistic abilities. Whatever storytelling flaws the artist suffered from in his earlier Batman work have largely been ironed out by now. Thankfully, the slightly more exaggerated style Daniel exhibited in his recent collaboration with Morrison has been toned down again. This issue is a showcase for Daniel's character designs, some of which are more successful than others (again, Catgirl is particularly offensive). If Daniel's work has a flaw right now, it's that he tends to be a little overly aggressive in his inking. His figures don't always need as many lines as they exhibit, and in one particularly odd panel a character appears to have spontaneously donned a mask based on the amount of unnatural shading at work. But again, the art in this series is fundamentally sound with just a few quirks weighing it down. The same goes for the book as a whole. This new arc is off to a chaotic start, but an enjoyable one nonetheless.
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Naturally, the newly returned Bruce Wayne factors heavily into the issue. Luckily, his inclusion wasn't as random or pointless as might have been feared. Granted, scenes of Bruce becoming the unwilling host for a Lantern ring are becoming played out, but otherwise his involvement furthers the story. Another benefit to the current structure is that Ivan Reis steps in front and center. Easily the strongest of the Brightest Day artists, Reis captures all the acrobatic grace of Deadman's antics and his tortured emotions. There's even a nice homage to Neal Adams original cover to Strange Adventures #205. This is easily one of the best issues of Brightest Day. Whether it can be taken as a sign of continued improvement is unclear, unfortunately.
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I honestly wasn't expecting much from this debut, but Spider-Girl #1 proved to be one of those very pleasant surprises that come all too rarely in this industry. The book hardly carves new and riveting ground, but it does what it sets out to do well enough that it scarcely matters.
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The only real problem is that there isn't more to be had. The issue is also filled by a shorter backup feature starring Huntress and Power Girl. This tale is a overly grim and dark as the other is lighthearted. It's not a great combination. Fans of the two heroines may appreciate how it attempts to lend the same compare/contrast treatment that the series generally does for its title heroes, but ultimately the story is too self-serious for its own good. This issue leaves readers wanting much more of Joe Kelly's brand of writing. Sadly, there's no telling when that will be in the forecast again.
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Unfortunately, despite its near 100-pages, Thunderbolts #150 doesn't offer much in the way of memorable bonus content. There's a "Thunderbolts Saga" segment for those who want to brush up on their team history, and then the obligatory reprint of issue #1. That's it. In the end, though, the main story justifies the price of entry, and that's all that really matters. Thunderbolts #150 is proof positive that the series is in good hands these days.
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I knew from the start that this issue would leave me slightly disappointed because of Ramos' art. Unfortunately, I wasn't expecting such a chaotic and crowded first script from Slott. This first issue leaves me very excited for the future of the series, but in and of itself it certainly could have benefited from a tighter, leaner script.
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The writing is of somewhat lesser concern, but that doesn't mean Brian Michael Bendis isn't delivering a satisfying script. There's a clear attempt to transition the trio from tense allies to comfortable friends again. For the most part this attempt is successful, though Bendis' portrayal of Tony Stark continues to perplex. It's no longer a matter of Bendis' portrayal not meshing with Matt Fraction' current handling of the character. Tony is annoying in his humor and reads awkwardly by any standard. It's a flaw that holds back an otherwise solid script. Bendis makes up for it somewhat with his strong handling of Hela and the welcome surprise appearance of another recent Thor villain. The pieces are moving into place for an epic finale in two months. The wait will be long, but these past four issues have shown it will be well worth it.
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Andrea Di Vito's art is also a boon, providing clean, crisp visuals. Perhaps too clean for the seedy world where dungeons and dragons are in fresh supply. The question is how long humor and solid artwork can compensate for a lack of truly compelling cast or conflict. D&D fails to accomplish anything unique or memorable in ts first issue. Perhaps its time to break out the pen, paper, and dice and roll a few new characters who can bring some flavor to the proceedings.
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If there's anything this series could stand, it's a more diverse cast. The world doesn't strictly need three ongoing books featuring the Green Lanterns, and it would be nice if smaller players from rival Corps like Bleez and Warth had more of a presence. What interaction there is between Bleez and Guy, though, is deliciously sinister. Tomasi also needs to focus on selling Sodom Yat in his new role as fanatical messiah of Daxam. At present it's a little bit of a stretch. Fernando Pasarin continues to impress with his consistently detailed pencils. He doesn't have quite the skills in shot framing and choreography as Patrick Gleason did in GLC, but he's a worthy partner for Tomasi all the same. With the sense that answers are coming soon and Guy's descent into rage is just around the corner, Emerald Warriors is doing more and more to generate interest each month.
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Given the somewhat frustrating finish to this arc, Stuart Immonen remains the brightest point of light in the series. His art is gorgeous throughout the book, properly showcasing the battle scenes but also capturing all the emotion of the climax and its fallout. As much as New Avengers continues to struggle to distinguish itself among the crowded Avengers line-up, Immonen's art will always make this series worth reading.
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Somewhat disappointing is that this issue shows little evidence of what shape or form Marvel's cosmic storylines will take in 2011. For all we know, we could be looking at the end of a long, memorable saga that began humbly with Keith Giffen's Drax the Destroyer mini-series. And while The Thanos Imperative is a fitting end to that saga, how many readers won't still be craving more after this issue? Let's hope next month's epilogue paves the way for more cosmic goodness.
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Baron Zemo also rises to the forefront thanks to a cool little twist at the end of the issue. Carlos Pacheco's art is very easy on the eyes as well. The only problem is that Pacheco doesn't inspire the same level of awe he has in some earlier works. Too often his work seems confined to panels that aren't large enough to showcase the full scope of battle and conflict. At four issues, perhaps Ultimate Comics Thor isn't quite long enough for Pacheco to receive the breathing room he needs. But as far as the script and story pacing go, four seems like the proper number. This series isn't as satisfyingly dense as Hickman's SHIELD or his independent work, but it's a respectable effort from a writer who clearly needs to spend more time in the Ultimate Universe.
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Assassin's Creed: The Fall is a welcome breath of fresh air in the normally depressing video game comic market. Though it carries some minor flaws, issue #1 is an engaging and enjoyable read regardless of your exposure to the Assassin's Creed franchise. Let's just hope two issues are enough for the creators to deliver a satisfying character arc for Nikolai and Daniel.
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BND fans should find enjoyment in this issue, even if the bulk of the backup material doesn't compare to the main story. On the whole, the Spidey Brain Trust were able to see the hero out in style. This issue sets the stage in some small way for the next era of Spider-Man. Luckily, unlike last time, the character begins his new life in good, solid shape.
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Johns and Tomasi do make some inroads this month, revealing exactly what Hath-Set and Khea want and how it plays into the larger picture. The journey to that point is bumpy, however, particularly during a drawn out exposition sequence towards the middle of the issue. Overall, though, this issue wasn't as underwhelming as I would have expected given the subject matter. One benefit to the near-exclusive focus is that the team of artists are able to break from their usual assignments and tackle the war on Hawkworld. It's refreshing to see Joe Prado and Ivan Reis tackle Hawkman now. And fortunately, the various styles mesh fairly well together over the course of 22 pages. Brightest Day is now at the halfway mark. While this issue wasn't the finest method of ringing in the occasion, improvements made to the Hawkworld conflict suggest the series as a whole could be headed for an upswing.
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Georges Jeanty also seems to be weakening under the strain of putting "Last Gleaming" to rest. The quality of draftsmanship is weaker than in previous issues, and the level of detail fluctuates from page to page. "Last Gleaming" is still poised for a great finish if the team can ever push this exposition out of the way. This arc is proving that even Whedon isn't infallible on the series. Hopefully it will offer some lessons that can be applied to the pacing, structure, and presentation of Season 9.
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Visually, this may be Khoi Pham's strongest issue so far. Pham often struggles with clarity and consistency. While there are cases where characters sport unusual or unclear expressions, on the whole that consistency is much stronger this time. All the pieces seem to be falling into place for Chaos War now. Now as the conflict explodes wide open and the onslaught of tie-ins is about to begin, readers will be able to judge if this is the swan song the Incredible Hercules saga truly deserves.
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If nothing else, though, the art for the series is quite attractive. Salvador Espin delivered eye-catching visuals in his recent Hulk work, and that same expressive, vibrant style remains. The colors are toned down here, but that serves the slightly more grounded feel of the series. Whether rendering the surreal and twisted surroundings of Kenji or simply showcasing the fiery personalities aboard the Blackbird, Espin brigns plenty of life to this new book. The hope is that Gillen will eventually be able to do the same in his writing. Phonogram proved Gillen has a unique understanding of modern teens struggling with unusual abilities. Hopefully that same magic can soon be rekindled in Generation Hope.
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In and of itself, the latest chapter of Invincible is bloody good fun and well worth the long wait. But as a complete package, the issue charges more than equivalent projects from Marvel or DC without providing enough extra content to justify the price.
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My only problem with the script here is one I have with most chapters of these Oz adaptations - the ending is fairly abrupt and awkward. These comics really seem to work better when read in finished, collected form. But that requires waiting all those extra months for the next hardcover,and that's a heavy price to pay for stories as enjoyable and gorgeously rendered as this.
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The artwork is somewhat mixed in quality so far. Menton Matthews III thankfully doesn't rely on the awkward CG art that dragged down Sinner's Reward. However, the gulf between is inky yet photo-realistic characters and the sparse backgrounds is too wide. Perhaps the reason Silent Hill lacks presence is because Menton barely renders it at all. Menton also frequently shifts between an inky, black style and a scratchier pencil-based look. The latter style ended up suiting the tone of the book better. Menton is also briefly joined by Cowboy Ninja Viking's Riley Rossmo. Rossmo is the true star of the show, providing a eerie, scratchy look that recalls the style of Ben Templesmith. Where both artists succeed is in marrying the Silent Hill aesthetic with American Indian imagery. I look forward to some memorable monster designs as Silent Hill begins to extend its grip on this unsuspecting couple.
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Neil Edwards continues to grow by leaps and bounds as an artist. Edwards steadily improved during his tenure on Fantastic Four. Here, thanks in no small part to Scott Hanna's inks, Edwards' lines are more precise and consistent. He also shows signs of developing a true style, where in the past he's suffered from focusing too much on detail over flavor. Warriors Three faces a very crowded marketplace, but this first issue has enough merit that Thor fans should add it to their pile.
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This issue proves above all else that there's plenty of potential to be had in the romance between Supergirl and Brainiac 5. With Gates departing the series soon, it will have to fall upon his replacement or Paul Levitz in one of his Legion projects to keep the fires of their passion stoked.
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As for the art, Paul Azaceta is once again joined by Matthew Southworth. As with the previous issue, Southworth's presence allows Azaceta to deliver more consistent, detailed pencils, and the shift between the two is rarely jarring. Issue #646 is a decent conclusion to the arc, and if nothing else, Harry Osborn is in store for big things in the future. As for Spidey, let's hope issue #647 can offer a truly satisfying sendoff for Brand New Day.
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Barry Kitson delivers on the action once again in this issue. His character scale is in need of some serious fine-tuning, but otherwise the series packs all the detail and energy I expect of it. As for the backup feature, Ben McCool's Red She-Hulk tale is neither as annoyingly vapid as the recent A-Bomb shorts nor as memorable as the previous issue's Skaar feature. On the whole, Incredible Hulks has been steadily improving since the name change. These final two issues of "Dark Son" could easily improve even more.
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Chris Scalf's art maintains its own strengths and flaws. The painted style is a nice change from the usual Star Wars fare. At its strongest, the art is very detailed and cinematic. Unfortunately, the overall quality continues to be haphazard at best. Particularly towards the end of this issue, Scalf's consistency wavers quite a bit. It's a shame the series can't always look as good as its covers. Even so, Blood Ties is proving to be a worthwhile read for fans of the Fett man.
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Another area Taylor's scripting has improved is in conveying the danger and malice of the Vong. If not portrayed as fearsome as they are in the books, the Vong still make for better villains now than they did at the outset of Invasion. Unfortunately, the art hasn't really changed for the better in all this time. Colin Wilson's pencils are a bit too flat and lifeless to capture the true horrors of intergalactic war. Invasion has come a long way over the past 10 issues. That said, there are still other Star Wars comics on the market more deserving of your money, including Taylor's own Blood Ties.
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If nothing else, Nicola Scott doesn't disappoint. The book already looks better than it has since the days of Ivan Reis. Scott's work is clean and expressive. The Titans are injected with a newfound sense of energy and vitality. I do miss the slightly darker, grimier tone of Scott's work on Secret Six, but that sort of tone admittedly isn't called for in this book. Teen Titans definitely has great potential for improvement in the coming months. Let's hope the arrival of Daimian is just the kick in the pants this book needs.
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Issue #15 is significant in that it marks Sara Pichelli's first appearance as artist. Pichelli's art has been in too short supply since the untimely demise of Runaways Vol. 3. That book provided ample evidence that Pichelli is well-suited for USM. That said, the quality of her work is far stronger now. Her pencils are far more detailed and nuanced. Like fellow Runaways alumnus Adrian Alphona, Pichelli devotes a great deal of energy towards fashion design. Between that and her expressive facial work, the characters in this issue look like real, live teenagers in a way they often haven't in the past. Granted, there are some quirks in this issue. Pichelli tends to render minor background characters and objects in too much detail, which makes it hard for the eye to know where to focus. Still, this is an excellent debut for Pichelli. It's clear USM remains in good hands as it moves toward its big 10th anniversary issue.
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The art is also a bit disappointing this month, as Clay Mann shares space with Tom Raney. Mann's work is still satisfyingly cohesive and fluid. Raney is no slouch either, and his style seems far more at home with the X-Men than it did in Incredible Hulks last month. Still, the constant shifts between the two artists are generally noticeable and jarring. Again, this wasn't a bad story, but it could have benefited from a slightly shorter length considering what was accomplished in the end. I'll be happy to see Carey move onto a new conflict in issue #242.
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Carnage #1 is neither quite as accessible nor as straightforward as it should be. Still, it makes for a decent read, and all signs point to Wells being able to provide Carnage a proper reintroduction into the Marvel U.
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Carlo Barberi's art is bright and expressive. His exaggerated figures are none too appealing, with their impossibly broad shoulders, baggy clothes, and Popeye-esque musculature, but for the most part Barberi conveys the script well. The only snag comes when the fake and real Secret Avengers begin appearing simultaneously. Barberi (or Way) could have done more to distinguish the two groups. Deadpool's status as the most consistent of these books might be in danger now thanks to Deadpool MAX, but those who want an enjoyable, comical read won't go wrong here.
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Perhaps more so than previous chapters of this arc, issue #58 thrives on the success of its guest artist. Danijel Zezelj is the perfect artist to chronicle Decade's journey. Zezelj's own style is full of exaggerated figures and heavy lines, to the point where it resembles nothing if not industrialized graffiti. It's eerily abstract and yet impressively detailed all at once. From the opening pages where Decade silently renews his artistic quest, Zezelj draws the eye and never lets go. With one more issue to go, "Collective Punishment" hasn't worn out its welcome yet.
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Augustin Padilla's artwork s similarly outlandish and fun, with plenty of scratchy blacks and bulging muscles that capture the '90s aesthetic well without falling prey to the more glaring faults of the time. In short, Hama and Padilla offer enough classic G.I. Joe goodness to keep readers hooked. I continue to look for signs that Hama is still willing to push the envelope, and that this arc won't reach the simple, happy conclusion it seems poised to do.
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Parker is in danger of wearing out the familiar "heroes fight each other, then band together" formula, though. The pace of the script is kept very brisk, with Red Hulk first aiding Iron Man in wrapping up last month's battle before joining Thor in space to pound some meteors into dust. It's not the most cerebral a Hulk book has ever been, but the script isn't simpleminded either. Parker strikes a proper balance between smashing and character building. Hardman's art remains a bit of an unusual adjustment, as it's far darker and more laid back than anything seen on the series previously. Still, it's clean, attractive work that suits the world of Red Hulk. The only real downside to this series in the backup feature. Parker's A-Bomb is far too annoying for his own good, and the story itself seems to have little relevance to anything at all. As with so many of these $3.99 books, a lower price tag and the absence of this supplemental story would be far preferable.
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Justice League of America continues to languish even well into Brightest Day. Something needs to be done to put this book back on track and back at the forefront of the DCU.
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With a solid script and some particularly strong artwork from Will Conrad, this series has quite a lot going for it at the moment.
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Valentine De Landro returns with an updated visual style that proves to be a significant improvement over past issues. De Landro's work is now a bit sketchier than before, but also more detailed and consistent at the same time. X-Factor rarely enjoys a consistent visual tone for many months, so hopefully De Landro can keep this new level of quality going for a while. This may be true every month, but X-Factor fans have plenty to be thankful for with this series.
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Not unexpectedly, the Spidey crew are forced to bring in a filler artist for a good portion of this issue. Matthew Southworth's dark, noir-infused pencils make this story seem even more in line with The Grim Hunt, but in that sense it's hardly a bad move. Southworth's work is unfortunately rushed, but still attractive and well-suited to the tone of the story. His assistance also allows Paul Azaceta to deliver his best work of the arc in the final pages. Based on the cliffhanger, the last chapter of "Origin of the Species" should be a doozy. The arc has generally improved over time, and Waid has the chance to end the Brand New Day saga with a bang if he can bring his loose threads together.
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It's unfortunate this issue had to come out in the same week as The Return of Bruce Wayne #5, though. Perez truly outdid himself there, despite only acting as fill-in artist for Ryan Sook. The level of detail and sense of style isn't as pronounced here. The script isn't perfect, either. Stephanie's dialogue comes across as needlessly annoying in several spots, particularly early on as she believes herself to be battling Amazo. The point of the current Batgirl series may be to showcase a happier, more bubbly sort of crimefighter in Gotham, but too often Miller takes Steph's personality to the extreme of ditziness. Still, this issue goes a long way toward cementing her place among the Bat family. Consider this payoff to the past year of Batgirl stories.
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This issue should mostly appeal to long-term fans of the Red Robin ongoing. It has the same writer and a similar focus. Those tuning in specifically for Bruce will find little of interest aside from a showcase of just how technologically advanced the new Batsuit will be. Oddly, Nicieza's narration, which read perfectly fine in the Batman and Robin issue, feels more awkward and stilted here. The Vicki Vale subplot is somewhat interesting, but also comes across as a forced attempt to build continuity between these issues. Also unfortunate is that Marcus To isn't present to continue rendering Tim's escapades. Instead, original Red Robin Ramon Bachs delivers a comparatively bland set of pencils. Though less scratchy and more attractive than his recent work on Azrael, Bachs' work is a definite step down from the previous Batman and Robin issue. Future installments will need to ramp up considerably if I'm going to be able to maintain interest for the latter two thirds of Bruce Wayne: The Roa
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As with the preceding issue of Red Robin, the core appeal for many readers might lie in seeing Bruce put his new suit to the test. It seems he's packing the entire JLA armory inside that thing, which is simultaneously awesome and a little weird. Unfortunately, this issue also suffers from some seriously lackluster art. Javier Saltares delivers some uncharacteristically loose and haphazard pencils. The fact that this issue was originally solicited without a designated artist may explain the rushed quality of the visuals. In short, if there is any chapter of The Road Home that can be safely skipped, it would be this one.
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Unfortunately, Fabian Nicieza doesn't shed much light on how Bruce's return impacts Dick and Damian. It's not even clear if they're aware of his return. Too much of the issue is devoted to other threads, such as Vicki Vale's exposé and Bruce's mission with Tim. However, Nicieza does handle the Dynamic Duo well, with plenty of playful banter to break up the butt-kicking. This issue reminds readers why it's so important these two remain partners. So this issue is hardly a total loss. It's just unfortunate that these various one-shots aren't one-shots at all, but pieces of a larger story. Those truly curious about how Dick and Damian will handle the return of Bruce Wayne might as well just wait until Grant Morrison tells that story next month.
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Even Giuseppe Camuncoli shines brighter on this series. While we don't get to see Daken's new duds in action, Camuncoli does provide a great deal of eye-catching imagery, from a battle with a flame-spewing Wolverine to a sexually charged rendezvous with Mystique. Daken's adventures have never looked better. The Mystique/Daken pairing is an interesting one, and hopefully one that will continue to be explored beyond the confines of this arc. And even if the series remains a little too preoccupied with Daken's monologues and manipulations, it's still a very enjoyable read. Wolverine might not be having much fun in Hell these days, but his readers have plenty of reasons to celebrate.
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Lapham doesn't always shine when working with licensed books, but thankfully this arc shows none of the flaws of his Modern Warfare series. The plot is tight, the dialogue catchy, and this issue offers plenty to keep readers coming back for the next two installments. It's debatable whether Origins can truly find its own identity when it so closely follows the Cobra formula. Still, more of a good thing is always welcome.
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This first issue is a fairly standard adventure, as a small band of Jedi Knights intervene in a Sith plot to take control of a planet. Main heroine Kerra Holt isn't terribly well distinguished at the outset, and many of her allies are fairly interchangeable and unremarkable. Luckily, the issue begins to pick up steam towards the end as the situation on Chelloa deteriorates. It's unfortunate that it takes Miller the majority of this first issue to really hook the reader and allow them to identify with Kerra, but ultimately he is successful. The art is also a bit awkward, given its heavy reliance on photo-referenced figures. Federico Dallocchio is far more consistent with his figure work than many artists who rely on that technique, but it still creates a disjointed, eerie quality in many panels. But despite the somewhat awkward visuals and a slow start to the Knight Errant saga, it looks as if Miller has a promising new series on his hands. The potential is certainly there. With any luc
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Turok: Son of Stone isn't quite the resounding success Magnus was in its first issue, but it makes for an enjoyable read all the same. Now that the premise of the series has been roughly established, Shooter has plenty of room to grow and build his characters. Hopefully he'll also find ample time for some good, old-fashioned dinosaur carnage.
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Mark Waid's scripting is somewhat haphazard. Humor has never been his strong suit with the series, so the straightforwardly dramatic tone of this issue is a boon. Waid still shows a tendency to overwrite his hero, though. Having Spidey voice his sense of personal torment isn't nearly as effective as having the issue show it organically. Waid had the opportunity for a truly memorable scene in this issue as Spidey and Rhino encounter each other for the first time since the latter's tragic meltdown in issue #625. While Waid mines the scene for some of its depth, it's difficult not to imagine how much more could have been done in a story that allowed the proper space. Paul Azaceta's art is also frustratingly haphazard. The action scenes have a dynamic quality, but Azaceta's unattractive figures and facial work tend to drag down the more dialogue-centered panels. Hopefully "Origin of the Species" can find its legs in these last two issues.
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The story doesn't disappoint either, particularly now that Brian Michael Bendis seems to have found his rhythm with the scripts. This issue begins the process of reuniting the three Avengers, allowing plenty of time for Steve and Tony to play off one another. The humor is admittedly a bit overdone in spots, with Tony's dialogue in particular being overwritten. But in general Prime offers exactly the sort of unfettered fun and adventure Heroic Age promised. I just wish the series didn't seem to so frequently fly in the face of recent events in the main Thor series. A script dealing with Hela and the state of the other Norse realms is bound to run into continuity conflicts at the moment. However, that should hardly prevent fans of classic Thor and Avengers stories from digging into Prime. This mini is steadily improving and continues to justify the bimonthly wait.
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Rags Morales' art continues to impress. His slightly exaggerated but highly detailed pencils fit in very well with the pulp aesthetic and retro-future tone of the series. Morales' line-work is a bit less precise and defined than it has been, though. The truly worrisome quality with this mini-series is that it doesn't seem poised to reach a satisfying and conclusive finale in two issues. This wouldn't have been a problem in the days when First Wave was still planned as an ongoing, but with the future uncertain beyond issue #6 First Wave needs to overcome its pacing problems and find a proper resting point.
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The real attraction in this issue may be for the art of Dan Brereton. Brereton's work has been saved for where it fits best in this series - rendering plenty of imposing, larger than life monsters and generally creepy visuals. The old-school horror vibe in this issue is much appreciated, and the painted style sets this issue apart from most Punisher stories that have come before. Sadly, the Franken-Castle era ends with more of a whimper than a bang. But on the bright side, Remender's epilogue story suggests it might not be so bad for the franchise to get back to basics.
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Whatever slightly underwhelming qualities this issue might have, it still very much represents a return to form for the series. G.I. Joe: Cobra Special #2 reminds readers why this books has been so creatively successful in the first place, and it certainly builds anticipation for the return of Chuckles and the rest of the gang.
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Perhaps most annoying about issue #4 is its decision to rehash the Martian Manhunter encounter from Brightest Day #10. That encounter lacks proper context within this issue. Krul's take also fails to offer anything new to the sequence despite it occupying a significant chunk of this issue. The decision to split the Brightest Day characters and conflicts across so many books was a dubious one at best, and instances like this only highlight the many structural problems that arise as a result of so much inter-connectivity. Green Arrow has enough positive traits at present that I'm perfectly willing to keep following along for now. However, Krul needs to focus more heavily on what works in this series while doing what he can to flesh out the supporting cast
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Chris Scalf's art isn't quite as successful as Taylor's writing. The painted visuals in this issue are often quite beautiful, but not always the most efficient at conveying action or the flow of events between panels. Scalf's paintings also lack consistency, and the level of detail can fluctuate from page to page. As nice as it is to see a Jango Fett who looks exactly like Temuera Morrison, a more traditional set of visuals might have served the story better. Still, Blood Ties is growing more and more enjoyable, and the second half of the series stands a good chance of outclassing the first.
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Phil Winslade's art backs up the story well. Winslade's pencils are nicely detailed and fairly close in tone to Mike Deodato's in Secret Avengers, though lacking in some of the same energy. Again, this issue won't shock and awe with its execution, but it proves to be a pleasantly solid read. Those hoping for Valkyrie to take the spotlight in Secret Avengers can at least tide themselves over with this one-shot.
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Carey has done more to make Paras a compelling character than I would have expected. The Children of the Vault also make for unique opponents, and their quirky slang puts Carey's dialogue skills to good use. The escapee Luz also continues to grow from snarky troublemaker to interesting, troubled teen. Clay Mann continues to fit in nicely with the series. His figures have a sense of mass and grace that is rare in the industry. Consistency of detail is sometimes a problem, but the strengths far outweigh the flaws. If anything, this arc could probably have stood to be one issue shorter. "Collision" has offered enjoyment, but the thought of one more chapter doesn't inspire the excitement it probably should. Legacy needs to refocus and center itself more on Rogue's story again.
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As far as the visuals go, certain points need reiterating regarding John Romita Jr.'s artwork. This is some terrifically dynamic stuff. Once again, the panels featuring Thor are the standouts, but Romita's general sense for action and choreography is nearly unmatched in the industry. Yes, his figures are somewhat blocky and unattractive. To some extent this is just the nature of his style. But the inking and coloring in this series are also to blame for lending an unnecessarily harsh edge to his figures. Romita's work in J. Michael Straczynski's Amazing Spider-Man was more effective because of the thinner inks of Scott Hanna and the brighter hues of colorists like Dan Kemp. It's unfortunate the visuals in this series can't fall a little more in line with those in Amazing, but the core appeal of Romita's pencils remains.
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Swiercynski introduces a number of minor complications throughout the issue that spice up the proceedings further. It's enjoyable, but even at three issues I'm worried this arc doesn't have enough steam to last to the end. It's also disappointing to see Swiercynski rely on one of the most overplayed cliffhangers in the industry for his first issue. This run could easily develop into something worthwhile for Widow fans. For now, though, it still has a ways to go towards establishing itself.
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"Three" has gotten off to a slightly more understated start than I might have expected, but I'm plenty psyched for the remaining issues of this arc. Hickman looks to be making good on the better part of two years of build-up. With Epting providing a bit of artistic stability to the series, Fantastic Four has nowhere to go but up from here.
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Silent issues are far less of a novelty now than they were in 1984. If Marvel's "Nuff Said" event from 2002 taught us anything, it's best when these projects occur organically rather than being pre-planned or editorially mandated. Whatever the inspiration behind this particular issue, Origins #19 will hardly leave the impact its predecessor did.
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As for Kyle, Soranik Natu, and the other Lanterns, few really seem directly impacted by the events of this arc. The one character who does come out the other side stronger and more interesting is Hannu. Adrian Syaf's art isn't very impressive in this issue either. Syaf's style is too traditionally superhero-oriented for a GL book in general, but this issue in particular is further plagued by anatomical inconsistencies and boring layouts. Like the Heroic Age-era Avengers book at Marvel, the Green Lantern books have needed to find their new voices and identities alongside the Brightest Day push. Whereas Geoff Johns' Green Lantern and Pete Tomasi's Emerald Warriors have done reasonably well in this regard, Green Lantern Corps is still searching. Hopefully Bedard can rekindle the series' fire as he moves into his second arc.
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Both Hulk books are clearly in a period of transition right now thanks to the new creators and new story directions. So far, Hulk seems to emerge on better ground, even if it isn't entirely free of flaws. What matters is Parker and Hardman manage to hit the ground running, and this arc could easily develop into something memorable depending what direction they choose to head in.
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Marco Rudy's pencils are also uneven, with impressive page construction but loose, lanky figures that lack power and presence. By no means should Superman look like Dick Grayson's teenage sidekick. This comic isn't without merit, but its time clearly came and went a long time ago.
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Bendis actually debuts a number of new Ultimate faces in this issue. Unfortunately, there's little indication any of them will impact the story greatly. There seems to be a general trend in the Ultimate line lately of bringing in new characters to directly replace the ones killed in Ultimatum. Hopefully Bendis has more ambitious plans for these new characters. Rafa Sandoval's work has the same strengths and weakness as usual. His page layouts and action scenes are dynamic, but his figures can be a little wonky by comparison. Ultimate Comics Mystery doesn't represent the pinnacle of Ultimate storytelling, but this issue does set the stage for bigger things in the near future.
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The flaws in his issue stem more from Whilce Portacio's art. Once again, there are some flashes of greatness here, but his work is far too inconsistent for its own good. The random occurrences of negative space on the page would be intriguing if they were put to better use. Portacio's figures are woefully unattractive at times, with jawbones that could slice diamonds and facial expressions that often run counter to the emotions expressed in the script. As exciting as the announcement of Portacio's return to Uncanny was, the end result has been sadly disappointing so far.
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The only real weakness in Stradley's final issue is spotty pacing. Certain scenes deserve more room to breathe than they are given. The ending in particular could have sorely used an extra page or two. Unfortunately, Three World War is too flawed to achieve true greatness, but it still provides ample entertainment and leaves the door wide open for future stories. With any luck, Dark Horse will pursue more sequels to this saga. If I can't count on the movies to do this concept any justice, I'll gladly settle for more comics.
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Cliff Chiang provides the art this month, following up Neil Young's Greendale with another Vertigo project. His work is as clean and expressive as ever. That said, the slightly more angular style in this issue is a step down from his usual look, and the darker, muted colors also knock the issue a notch below Greendale visually. But if this issue is meant to be a final farewell to Amina, I'm happy with what Wood delivered. DMZ is reaching the point where readers had best get used to saying goodbye.
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Marv Wolfman's script spends too much time mired in the past when the present day sequences stand a much better chance of offering God of War lovers what they crave. And when the issue does shift from one time period to the other, it provides precious little indication of the transition. This series is playing out like too many videogame comics before it - nigh unreadable at times, and a pale shadow of the source material.
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Not to be outdone, Morrison's writing remains as charming and oddly delightful as ever. Issue #7 offers some excellent emotional scenes for Joe, particularly when our hero is forced to make a very tough decision regarding his allies. Morrison is known for crafting epic sagas with heady themes that spend years building on past storylines and character developments. Series like Joe the Barbarian offer a simpler, more easily digestible alternative to that approach. This book is almost too simple and too quick of a read at times, but overall issue #7 hits enough high notes that I don't really mind. Hopefully Morrison has something big in store for the finale. And hopefully that finale won't be too long in coming.
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Leonard Kirk delivers some pretty impressive visuals in this issue. Kirk seems at his best in the quieter scenes. Some of the more crowded and chaotic panels set in Limbo lack the clarity and firm line-work of his earlier pages. Hopefully this won't be too much of an issue next month. Overall, New Mutants continues to entertain with the best of the X-Men line, and I'd strongly urge Second Coming readers to stick with the series in the aftermath.
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This is a fun and informative read, luckily. Early pages offer many twisting and diverging paths for readers to follow. There's even one abrupt ending sequence for those who veer too far off the path. And Carey does reveal quite a bit about Lizzie's history and how she connects to both Wilson Taylor and Tom. The Unwritten is a book that likes to keep its card close to its chest most of the time, making this tale all the more refreshing. After a bit the story does get set in its way and ceases to offer any choices to the reader. At this point the act of flipping back and forth through the pages does grow a bit monotonous. The novel presentation of this issue is a fun and thematically relevant experiment, but it eventually wears out its welcome. The result is a somewhat flawed but still highly enjoyable chapter in Carey's unfolding saga.
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Much to my surprise, X-23 is shaping up to be the best of the three new Wolverine books. Both Wolverine Vol. 4 #1 and Daken: Dark Wolverine #1 were solid first efforts, but ran into some storytelling snags as well. Meanwhile, this book moves easily and gracefully forward. X-23 has deserved her own book for a long time now. I'm confident that Liu and Conrad are the right creators to continue and expand her story.
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As a bookend to one emotional era of Peter Parker's life, OMIT is fairly successful in what it sets out to do. And yet, the arc failed to answer all the lingering questions surrounding current Spidey continuity. I'm fully content to put all this business behind me and get back to what Spidey does best. Hopefully the series will oblige as "Origin of the Species" debuts.
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Guy Davis' art helps keep the story moving, though it is a bit looser and scratchier than I'd like. Davis has done a better job in the past of adhering to the traditional Hellboy/B.P.R.D. style while allowing his own voice to shine through as well. "New World" isn't a terrible start for B.P.R.D.'s ongoing Hell on Earth direction, but it's taking too long for this series to establish itself and its larger purpose.
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Kyle Hotz also returns for this sequel. I find Hotz to be a much better fit for this wacky brand of storytelling than his more grounded Marvel work. Here, Hotz is given full clearance to be expressive and colorful in his approach, and the difference is clear. In addition to the main tale, Powell writes and draws a Goon segment wherein Frankie and The Goon attempt to have a relaxing day on the "beach". This tale should tide hungry Goon fans over for a bit longer, though I'm curious to see if it has the legs to stay amusing and peppy over multiple issues. But even if not, the main story is well worth the price of admission for anyone craving a few laughs and some oddball characters.
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It's difficult to judge whether Daken: Dark Wolverine will successfully address the flaws of its predecessor. For now, it does seem that this series carries the sense of purpose and importance Dark Wolverine lacked. Daken could be in store for a brighter future in the Heroic Age, even if he's no more heroic now than he ever was.
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Alex Cal's art also seem to be steadily improving. Like Robert Atkins, Cal provides a tone that strikes the middle ground between G.I. Joe: Cobra's gritty realism and A Real American Hero's flashy throwback style. Cal still needs to work on effective panel framing and finding more natural poses for his figures. That aside, all signs point to the next arc as being a worthy finale for Season 1. I just hope the addition of another iconic Cobra villain won't upset the delicate balance of storytelling Dixon has achieved in recent months.
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If I have any complaints this time it's that some of the sense of grand scale is lost with the story shifting away from the battle at the Fault. But aside from that, everything remains in top shape with this series. The lack of tie-ins and extraneous material have kept The Thanos Imperative lean, mean, and intensely focused on the endgame. These last two issues should be very good.
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Despite it all, Sex + Violence has been a fairly enjoyable read. By ditching concerns of continuity and the bigger picture of the X-franchise, Craig Kyle and Chris Yost were able to spin a yarn that aimed only to amuse and titillate. Sadly, the series just didn't push the envelope nearly as much as it could have. With Craig Kyle's involvement with the X-Men books coming to a close for the foreseeable future, I'm disappointed the duo couldn't give this incarnation of X-Force a more rousing sendoff.
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Issue #3 is more action-oriented than the previous two, with Wolverine bent on slicing vampire heads until he tracks down Jubilee. As usual, it all makes for a decent read, but an unmemorable one too. This new volume of X-Men is sorely lacking a unique identity. It's not enough that Blade and Dracula are hanging around if Gischler is going to continue to highlight the same characters we meet in Uncanny X-Men every month. At least Jubilee's presence provides a bit new ground for Gischler to cover, even if most of that ground is explored from Wolverine's point of view. Paco Medina's art in this series is clean and attractive, but it's debatable whether that sort of style is really the best fit for a vampire tale. Shouldn't their be a bit more grime and shadow in this book? It's hard to fault the creative team for wanting to involve the X-Men more heavily in the Marvel U. again. But if this series doesn't develop a stronger sense of personality soon, I'm going to lose all interest.
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Chee's art is as pleasant a surprise as the writing in this issue. Chee reminds me very much of the gritty, crime noir stylings of Michael Lark or Matthew Southworth. Strong, competent line-work, heavy blacks, and emotional energy are the name of the game here. Chee's work isn't quite monotone, but features different color washes depending on the scene at hand. This issue is a strong debut both visually and in terms of the story. I'm pleasantly surprised with 5 Days to Die, and I hope that readers interested in 1 Month 2 Live will also give IDW's weekly series a fair chance.
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If anything needs to be addressed in this arc, it's the pacing and framing of the story. Whedon is cutting back and forth between characters very rapidly. The frantic focus is justified to an extent, but it could still be toned down somewhat. The final few pages leave me hopeful this will be the case in later issues. Whedon had the chance to cut loose and go wild in this issue, but the arc shows signs of narrowing its focus a bit from here on out. There's plenty more to do and explore in these final issues. I just hope Whedon has room to explore it all while not ignoring the character relationships that have always been the backbone of Buffy.
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The attempts to integrate Deadpool's friends and enemies into the story are somewhat less successful. Cable and Stryfe as two rival FBI agents? Benson and Glass stick to the now-familiar system of dual narrative captions for Deadpool. Here, though, they actually have some relevance to the plot in addition to providing a bit of humor. Laurence Campbell's artwork is attractive in its deep blacks and moody tone, but in some ways it only further hinders the book's attempts to capture the pulp aesthetic. Readers may have to accept that Deadpool: Pulp doesn't provide exactly what the title advertises, but the story within shows promise regardless of that title.
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The script jumps between characters in the early pages, each dealing with their own weird, wacky conflicts. Even when the full team bands together, the issue can't seem to decide what the conflict of the story is. Is it the search for a fabled Confederate super-weapon? Is it the hunt for the kidnapped Vice President? Is it the presence of mysterious spirits within a remote mountain? Palmiotti and Gray seem to throw a wide array of situations and ideas on the page in the hope that some will stick. s a result, the series feels too cluttered and unfocused for its own good. Some of the dialogue can be downright silly at times, which only further screws with the tone of the book. Freedom Fighters isn't that far off from being a worthwhile read. The team is interesting, some of the ideas at play are clever, and the art is solid, if cluttered at times. What Palmiotti and Gray need to do is sit back, simplify things, and let the characters breathe. Hopefully issue #2 will mark a return to form
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The raw emotions at play as Hellboy leaves his newfound happiness behind for the uncertainty of battle are powerful. The Storm is easily one of the most emotionally gripping stories Mignola has told. It's a good thing he has Duncan Fegredo at his side. Fegredo's visual style and sense of composition are second only to Mignola's in the Hellboy comics, and his ability to convey emotion is even stronger. As excellent as the Storm has been, in the end it's but a prelude to Hellboy: The Fury. With a setup this good, I can't wait to read the next chapter.
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Remender's script is a bit uneven, but what matters most is that he's able to sell Sykes as a believable and identifiable protagonist. Some aspects of his origin story are a bit hackneyed, particularly in how he simultaneously gains his powers and a ticking death clock. But I found myself readily willing to overlook these sillier elements in favor of the bigger picture. Remender has quickly established Sykes as a character worth following amid all the gods and titans wandering the streets. I hope the incoming creators will be able to keep the quality of 1 Month 2 Live at a consistent level. Remender tends to set the bar high wherever he goes, but in this case there's still plenty of room for growth.
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Edginton does deserve some credit for crafting a story that doesn't depend too heavily on a knowledge of the first game, even if it does still help. Edginton also captures the dynamic between the two anti-heroes pretty well. The issue isn't overtly humorous, but there are some amusing exchanges between Kane and Lynch that keep the script moving along between firefights. Christopher Mitten's art is a little more uneven. Though better than the first issue in its storytelling quality, the art is still too flat, bland, and lacking in color variety. In short, Kane and Lynch is far from the disaster many videogame comics turn out to be. In a slower week like this one, that might be enough to entice some readers.
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While I'm becoming invested in Scarlet's fight, there does seem to be something missing in this story so far. The series leaves the reader with the feeling that Bendis still has a significant hook coming. Unfortunately, time is of the essence with a creator-owned series like this, particularly one that only ships every two months. Bendis ended issue #1 on a very interesting note, but Scarlet's plea for the reader's help is not touched upon in this issue. Perhaps what the book needs is less of a focus on Scarlet's origin and more on the present. If there is more at play in this story than one woman's quest for justice, and I have every confidence there is, the series needs to lay it all out as soon as possible.
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The quality of Billy Tan's art also continues to decline, with more cases of grossly exaggerated anatomy and flat facial work that fails to capture emotion or drama. It's really only the presence of Kingpin and Moon Knight that recall the better, more character-driven material of Diggle's pre-Shadowland issues. With these two opposing characters, the script is able to briefly rise above the mindless fighting and disappointing plot developments. That character-driven focus is something Shadowland sorely needs to adopt if it's going to stand a chance of improvement in these last two issues. I'm no longer looking for an enjoyable Daredevil-centric event out of Shadowland... I simply hope for one that won't do lasting harm to the character.
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In some ways, this book is an excellent home for Simone Bianchi. Bianchi's sense for surreal, medieval design and powerful heroes perfectly suits the tone of the story. His Asgard recalls the sci-fi-meets-mythology quality of Thor that is too often ignored these days. However, Bianchi is not a strong sequential artist. There's little narrative flow at work in these pages. Pretty though some panels may be, they often fail to mesh together and form a cohesive story. Thor: For Asgard has a lot going for it, but that's a pretty significant flaw to overlook. And with so much Thor content yet to come over the next year, readers can certainly afford to be picky.
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Neil Edwards' art has improved greatly in these last two issues, but it's still hampered by oddly framed panels, some inconsistent figure work, and the occasional and downright odd facial expression. The series should benefit greatly from the arrival of Steve Epting next month. After a year of highly enjoyable storytelling, the real payoff is about to begin.
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Whatever complaints I might have had about the slow pacing of the series in its initial weeks have mostly evaporated by now. This issue is also boosted by the artwork of Aaron Lopresti, easily the best of the Generation Lost bunch. As Dan noted last time, Keith Giffen's departure as breakdown artist has allowed the various pencilers to break loose and be more original with their layouts, which seems to be benefiting the book so far. Hopefully the clarity of the visuals won't suffer as a result of the artist having to tackle a heavier workload. But really, I see no reason to be concerned about Generation Lost's quality right now. This series is doing quite well for itself.
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A more distressing problem involves the art. The series is only four issues old, but already three separate artists are tackling different sections. Consistency and quality aren't as huge a problem as might be expected, but there are certainly passages that are far more vibrant and expressive than others. Sadly, these fill-in artists may be necessary evils for a book with this many densely packed pages. Levitz certainly provides readers their $3.99 on this one. That doesn't mean Legion couldn't benefit from a bit of streamlining.
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Moore's portrayal of Namor could stand a bit of work, though. There's nothing overtly wrong with how Namor is characterized. He's the same proud, haughty monarch who cares deeply for his people. The problem is that Moore doesn't build from there. Admittedly the present setup of the book isn't necessarily ideal for deep characterization, but given the entertaining work Matt Fraction has done with Namor in recent months, Moore should be capable of bringing a little more humor and flavor into his writing. The script sporadically provides narration from Namor, but it rarely has much to add to the story or to Namor's portrayal. This goes back to my general complaint about the framework of the series. Moore writes a competent first issue. I just don't sense a larger plan in the story yet, nor the intention to really dig in and explore Namor's character. Given how quickly some of Marvel's recent ongoing books have folded, Moore really needs to give this series a clear sense of identity and pu
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The arrival of Dash's father is an interesting addition to the series, but so far it's difficult to know what to make of Wade's presence on the Rez. R.M. Guera definitely carries this issue with his art. The aforementioned scene of Carol's recovery is particularly memorable, but there are plenty of other terrific scenes that hinge on Guera's ability to convey emotion and tension with no words to aid him. "Unwanted" continues to be another worthy chapter in Aaron's excellent saga.
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The art is a bit spotty, but so far I'm enjoying the storyline quite a bit. Blood Ties isn't the simple, cheap cash-in on the Fett name it could have been. Hopefully Taylor's conflict can grow and sustain itself over the remaining three issues.
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"Beautiful World" is a fitting title for the arc. Amid all the murder, oppression, and suffering taking place in this series, Dysart finally focuses his attention on some of the gentler, happier elements of Ugandan life and culture. and Couple this script with the always dependable artwork of Alberto Ponticelli, and you have yet another week where Unknown Soldier comes out on top. This issue proves why the series deserved to win our pick for #1 Vertigo book. It's just a shame we only have two more chapters left.
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Clay Mann's art is generally solid. His characters carry a sense of mass and motion that too many books lack. However, his renderings aren't entirely consistent in their level of detail, particularly when it comes to wide shots. Legacy's current arc is moving a touch too slow, but it succeeds in providing X-readers with a strongly character-driven focus that only X-Factor is able to match.
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As for the art, Mike McKone delivers another 22 pages of gorgeous art. This issue allows him to stretch a bit and render plenty of outside villains and a few new Avengers to boot. I have serious doubts about the ability of this crossover to sustain itself for very long. For now, though, part 1 has the distinction of being Gage's best issue of Avengers Academy so far.
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I don't want to get too much into the Sith situation, suffice it to say that Ostrander builds a very sinister threat for the galaxy even as he wraps up many loose plot threads. And even if the conclusion of this issue is mostly a foregone one thanks to the details revealed about Legacy: War, it's an effective finale nonetheless. I do wish Ostrander could have found a slightly more effective way of presenting Cade's final revelation. The narration proves a hindrance rather than a help in this case. Still, I think most long-time readers would find it extremely difficult not to be psyched for the next storyline. Legacy has long stood as one of the most interesting and original new additions to the Expanded Universe. That hasn't changed one bit in its final issue. I eagerly look forward to December and the continuation of Ostrander's futuristic Star Wars adventure.
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A powerful new foe has the whole gang trapped in Merlotte's, and their only hope of survival is to swap stories that reveal their deepest, darkest secrets. This issue offers a tale from Sookie and the beginnings of one from Eric. Sookie's tale isn't terribly dark, but it does shed some light on her character. I'm even more intrigued to see where Eric's tale might be headed. The only thing holding this series back at the moment is the visuals. David Messina's interior work is less precise and detailed than his covers. His actor likenesses aren't half bad, but as is usually the case the attempts at photo-realism result in some unnatural and awkward shots. Far better is the art in Sookie's flashback, where Messina and collaborator Elena Casagrande aren't bound by those same restrictions.
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New World lacks a hook, and it reads a bit dull because of it. Isolated scenes work well, particularly those involving Abe Sapien. There just needs to be more consistency and a larger driving conflict. Paper pushing and office politics don't really cut it. Luckily, Guy Davis is still around to keep the characters looking good. His thin, laid back line-work is complemented surprisingly well by the rich colors of Dave Stewart. Hopefully the story can kick into gear with issue #2. After last week's issue of Hellboy: The Storm, my standards are pretty high concerning this franchise.
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The actual continuity sync with Shadowland is a bit dubious, but it's nice to see more from Foggy and Dakota, Luke Cage and Iron Fist, and some of the more neglected women in Matt's life. The writers pack in more of the Hand conspiracy as well, but that only reinforces my fears that Shadowland is headed for a lousy end. In better news, Roberto De La Torre continues his welcome return to the book with some effectively moody artwork. This arc reads as if it's making the best of a bad situation. In an ideal world, Shadowland will improve to the point where that's no longer necessary. We'll see what actually happens over these next few months.
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Nathan Fox proves to be a good fit for the issue, tackling various points in Wilson's life with just enough visual variety to distinguish each. Credit is also due to Jeromy Cox, whose colors work towards the same end. These past two issues might have been a little more truncated than I would have liked, but it's clear "Collective Punishment" is going to be another memorable chapter of DMZ.
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The Dark Sun prologue by Alex Irvine is really too short to leave any sort of impression. At six pages, the readers is given little more than a vague sense that Dark Sun is a slightly more fantastical take on Gladiator with a bit of Conan thrown in. There's little humor to be had, and the art is pretty dull to boot. In the case of either story, readers just aren't given enough material to form a solid opinion in either direction. Rogers' series looks like it could have some potential, but until I can get to know the characetrs a little better I have no idea if I should be excited for the book's release. Be glad issue #0 is only a buck. It doesn't offer enough content to justify much more than that.
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Dixon's script packs a decent amount of suspense. Imagine if G.I. Joe crossed with The Poseidon Adventure. I particularly enjoy reading the fiendish extremes Cobra is willing to stoop to to protect their interests. As with many issues, however, I wasn't quite satisfied with the amount of story being delivered. G.I. Joe moves too slowly from month to month. With A Real American Hero back on the block, this book is facing even more stiff competition than usual. As Dixon moves towards his final story arc of Season 1, I hope he intends to turn up the pace considerably.
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But though issue #611 retains a few rough patches, this is easily the best issue of Incredible Hulk I've read in some time. I hope the new Incredible Hulks direction will be able to maintain this level of quality. If so, Hulk fans who have been cautiously optimistic of late might be able to finally let their guard down and embrace the series wholeheartedly again.
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Erik is certainly one of Wood's more memorable protagonists so far, both fitting and breaking the stereotypical Viking mold in many ways. Wood manages to build a great deal on the blossoming romance between Erik and Ingrid in this issue, which will inevitably pay off as Erik comes into further conflict with his enemies. Riccardo Burchielli jumps over from Wood's other Vertigo series, DMZ, to tackle this arc. By and large Burchielli is right at home in this vastly different world, though his character design for Erik is a little more goofy than I would like. After the the bleakly depressing and overly long "Plague Widows" arc, this sort of relatively light fare is just what Northlanders needs.
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Wellinton Alves also proves to be a pleasant surprise in this issue. I've enjoyed his work on Nova, but this proves he's capable of working in a grittier, more cinematic landscape. The inking could stand to be a little more consistent, though. Blood on the Streets is the sort of story that might actually work better outside the confines of Shadowland. But then the problem would be convincing readers to actually purchase the series. If you're going to suffer through he remaining three issues of Shadowland, why not give a small but earnest little book like this a shot while you're at it?
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In terms of the visuals, Miguel Sepulveda's art is quite up to the standard set last month, but still more consistent and detailed than it was in issue #1. Sepulveda has proven to be a far better fit for the series than I would have expected. And aside from one or two missteps this month, The Thanos Imperative is on very firm footing. These next three issues should make for excellent reading indeed.
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Visually, this is another standout issue for Peter Gross. The Dickens setting is even more impressive than Tom's world thanks to its old-school use of brush and ink. Gross' work is largely understated but highly effective as well. This series continues to wow me every month, and I'm keeping my fingers crossed it won't be going the way of Unknown Soldier and too many other worthy Vertigo titles lately.
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At this point in the Ultimate Avengers saga I feel like we should start to see a larger picture building. Vol. 3 just reads as business as usual. Steve Dillon's art is clean and attractive enough, with the artist seemingly more comfortable with the spandex crowd than he tends to be. There's nothing much to outright dislike in Millar's latest volume right now. I'm just disappointed that Ultimate Comics Avengers continues to play it safe and easy when the Ultimate Universe is supposed to be offering something new and different to its readers.
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In terms of visuals, this issue is also an improvement on Paolo Rivera's end. Rivera's work is allowed more freedom and room to breathe now that it doesn't have to share page space with Paul Ryan's panels. Rivera is given some very emotional scenes to work with, and he captures that emotion well. Quesada's framing art, on the other hand, still suffers from overly soft and extremely inconsistent character renderings. Ultimately, this arc succeeds as OMD damage control, but not quite so much as a simple, engaging story.
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Fortunately, the same chilling atmosphere common to most of Mignola's work is still present here. Scenes of vampire hunting should entertain, even if the characters themselves don't. Ben Stenbeck's art also helps matters. As with Witchfinder: In the Service of Angels, Stenbeck provides a very old-fashioned visual style that nonetheless evokes Mignola's own familiar style. For the most part, all this series accomplishes is to make me vaguely curious about the original novel. Perhaps that can be considered a success. Still, when held against the copious output of Mignola and his collaborators at Dark Horse, Baltimore falls somewhat short of the mark.
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DoomWar has been a nice treat for those Black Panther fans bored by years of lackluster storytelling. The series begins to fray at the edges in this final issue, but DoomWar still manages a decent finish. Jonathan Maberry certainly provides a mighty challenge for his two Panther heroes to overcome. My fears that the story lacked the legs to last for six issues have been assuaged. The problem is one that might be familiar to Panther readers - they overcome it a little too easily in the end. For all the massive buildup to the final battle between Doom and T'Challa, the whole thing fades away surprisingly quietly. That's not to say the series doesn't offer plenty of potential for future stories. Just don't expect this issue to devote more than a single page to the fight's aftermath. Also disappointing is how underutilized many of the guest stars were in the end. I nearly forgot the X-Men were a part of this story at times, and even Deadpool essentially keeps the bench warm in this issue.

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Augustin Padilla fits right in with his energetic pencils. His musclebound heroes and sinister villains are certainly more outlandish than what we're seeing in IDW's other books, but that's the whole point. G.I. Joe fans should find plenty to love with this series, and even newcomers may discover why everyone remembers A Real American Hero so fondly in the first place.
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Duncan Fegredo continues to prove himself a worthy companion to Mignola. Many scenes in this book depend heavily on Fegredo's ability to convey emotion with little or no exposition. He succeeds and then some. And there's still a healthy dose of violence as Hellboy battles a demonic hedgehog. That's right. Now you know you want this book. Hellboy: The Storm is quickly distinguishing itself as one of Mignola's watershed stories and a defining chapter in the plucky demon's life.
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However, the art doesn't do a tremendous job of capturing the action. Detail is lacking, colors are muddy, and many characters look similar enough that the flow of violence can become confusing. The plot, involving Kane's runaway daughter and a revenge plot by the 7, is solid enough, but not as involving as it could have been either. Writer Ian Edginton channels a bit of the humor and charm of his work in Victorian Undead. The script probably could have used more in that regard. In short, this issue could have been a lot worse. But even in a week as slow as this one, there are far better ways to spend your money.
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Magnus' man-skirt aside, the art also functions much better than the visuals in Doctor Solar. Like Shooter, Bill Reinhold aims for a more retro feel in his work. Wes Dzioba's colors also help offset the retro tone with a bit of futuristic glow and shine. I'm not holding out much hope for Doctor Solar's future at Dark Horse right now, but Magnus seems poised for a solid career of robot fighting at his new home.
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Where Jonathan Maberry goes astray is in devoting too much time up front towards explaining the origins of the outbreak. Too little shooting of zombies actually takes place in this issue. I won't say the origin of the plague and the personal nature of Frank's quest aren't intriguing, but those revelations should have taken a backseat initially. At four issues, the series really needs to offer readers more of what it advertises if it expects them to return for future installments.
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Whatever the case, Rich and I seem to be in agreement that the previous Daredevil arc did a poor job of building Matt to this point. The rest of the issue is more variable in terms of quality. Diggle is still focusing too much on scenes of other heroes standing around and casually debating Shadowland's merits. On the other hand, there are some cool scenes that involve various characters plotting the city's downfall. These few scenes are hardly enough to elevate the whole book, though. Billy Tan's art doesn't do much either. Tan's work is fine when the script calls for ninjas to fight superheroes. the rest of the time, his characters remain dull and listless. Two issues in, Shadowland continues to underwhelm and disappoint.
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With a smaller cast of characters this series might have stood a real chance of succeeding. At a bare minimum, this story needed to be structured in such a way that allowed individual story beats to appear for more than one or two pages at a time before the script jumped elsewhere. In that sense, it's likely "The Threat of Peace" reads better in its original web comic form. If so, it just makes the idea of paying $2.99 for the print version that much harder to swallow.
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This is one of those stories where I have absolutely no idea if the Batman I'm reading is supposed to be Bruce or Dick. Accessibility be damned, the two are different enough that that should never have to be a problem. The issue also suffers from Scott McDaniel's art. I've never been a fan of his loose, angular pencils, and nothing in this issue manages to change my opinion. Scenes that should generate drama fall flat thanks to a lack of detail and lackluster presentation. I'm very excited for what's to come with Detective, but it's clear I'm going to have to suffer through a few months of boredom to get there.
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It falls upon Hilary Barta's "Tales of the Fear Agent" backup to lighten the mood. The art is very solid, at least in the main segment. Mike Hawthorne and Tony Moore collaborate on the pencils. As with earlier issues, the two achieve a style that falls pretty close to Moore's solo work and captures much of the same energy and detail. As for the backup, though, the heavy blacks and distorted figures don't mesh with the quirky sci-fi setting of Fear Agent. Fear Agent is finally back and in fine form. Just expect to be depressed, rather than amused, by the events of this issue.
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Rags Morales also helps sell this new vision of the DCU as one to be remembered. His work is frequently gorgeous and always stylishly noir. Unfortunately, the presence of two inkers prevents the issue from achieving a truly consistent and cohesive visual tone. There are flaws in First Wave, but the strengths greatly outweigh them. I'm having a blast in Azzarello's new world, and I'm already feeling a twinge of sadness that the series is half over.
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Green Lantern Corps is riding taller this month thanks to a returning villain who clearly has more potential left to explore. the main cast isn't faring quite as well, however, and the series has a ways to go before it starts to rival Pete Tomasi's work of the past few years.
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Frank and Bullseye are clearly due for a major reckoning next month. Still, the central flaw remains - the book is just too shallow and light on story for my tastes. For $3.99 I feel like a Punisher book should be able to offer more. Bringing Steve Dillon aboard wasn't the wisest choice either. Though his work is clean and expressive, it's becomes that much harder to separate Aaron's Punisher from the silly, grotesque Marvel Knights version when the only visual distinctions between the two are a few extra wrinkles on Frank and an extra layer of blood and gristle on his victims. For nine issues now, I've come into PunisherMAX hoping Aaron can strike a proper balance between extreme violence and mature, thoughtful storytelling. At the moment, I'm still waiting for that to happen.
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Above all, though, it's Gillen's strong handle of language that makes the book function as well as it does - formal and layered, but not hokey. This issue also receives a nice boost with the return of Doug Braithwaite on art. Braithwaite handles the power and majesty of his godly characters well. Some of his underworld designs aren't quite as fearsome as they could be, though, and as usual the colors are too bright and shimmery. Still, with the current story continuing to impress, Gillen is poised to depart Thor in as fine a form as he debuted.
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Rafa Sandoval is quickly distinguishing himself on this trilogy. His work here outclasses even that of Ultimate Enemy, with wide, sweeping vistas and expressive character work. If he could but address the problem of the freaky, unnatural hair on his female characters, Sandoval would be on easy street. Ultimate Mystery is off to a stronger start than its predecessor. All the same, if the plot doesn't move forward quickly in the next issue I can easily see myself growing bored again.
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Uncanny X-men has some definite rough spots as it ventures forth from Second Coming, but Fraction gives his readers plenty to be excited about. As this arc progresses, I hope to see certain characters and relationships given more room to breathe. What's the point of having all these X-Books if the characters are going to hang around in one place anyway?
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Somewhat more entertaining is Way's backup tale featuring a meeting between Logan and Hope in a San Francisco alleyway. Way effectively builds on the antagonistic relationship between the two while also offering a more fitting exploration of the issue's running theme of looking towards the future. Ultimately, though, this final arc failed to deliver a satisfying conclusion to the Origins saga. I'm content to follow the book's message, put these 50 issues behind me, and embrace the Wolverine stories yet to come.
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When the fight finally begins, the duo spend more time cooing at each other and strutting about than actually making with the stabby and the shooty. Maybe that's just as well, as the art rarely does the action justice, with plenty of awkwardly framed panels and a jarring shift from artist Stephen Segovia to Paco Diaz. The promise of a third party joining the battle and further story complications ahead do nothing to ease my troubled mind. I look forward to improvement in the next issue as Rick Remender takes the reins of FrankenCastle again, but I fear this story has already been irreparably damaged thanks to the crossover.
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There are certain old school hitches in the writing, mostly with an overabundance of exposition in a few scenes, but by and large Hama captures that winning blend of grounded military conflict and over-the-top fun. The series is a nice companion to IDW's own continuity, focusing on all the classic Joe stars that don't always receive much face time in the current books. The dynamic is certainly new, though, as the series sees Cobra legitimized even as the Joes fall back and struggle to regroup. Augustin Padilla also fits right in with the tone of the series. His art is slightly "'90s" in its abundance of muscles and ink lines, but it works here. They say you can't go home again, but so far Hama's return to A Real American Hero proves that isn't always true.
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The series is still awkward to read for two primary reasons, though. First, Wolfman abruptly shifts into flash-forward mode in this issue after spending so much time focused on Kratos' past. Framed more effectively, this technique could have benefited the story, but instead it only muddles the plot. The other central flaw is a familiar one. The art in this series is far too abstract and hazy to tell a proper story. It's "stylish", and certain panels might look fine blown up into full-size paintings, but the storytelling flow is almost nonexistent, as is character detail. God of War has improved in its third chapter, but not nearly enough to truly live up to the games that inspired it.
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So far, the core appeal of New Avengers lies with Stuart Immonen's art. Immonen's work is as gorgeous and vibrant as ever, aided as it is by Laura Martin and Matt Milla's colors. This issue crams plenty of action and bedazzling visuals, but not much story content, plot progression, or character drama. With so many quality Avengers books on the market, New Avengers doesn't offer quite enough to justify its existence yet.
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My one real problem with the script is that Wells seems intent on mining the Pixie/Illyana feud for more gold, when I felt the Hellbound mini-series had put that conflict to rest. Leonard Kirk debuts on the series this month, and he proves to be an instant fit. Kirk delivers eclectic and creepy designs for his villains, and manages to capture all the various emotions and nuances the script demands of him. Hopefully Kirk will stick around for a while and provide this book with some much-needed visual consistency.
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Why IDW chose not to go the full "mature readers only" route on this one is baffling. The comic's greatest strength lies in introducing a new villain that far exceeds the capabilities of the show's limited budget. The art is also a cut above what I've come to expect from licensed books like this. David Messina injects plenty of detail and shadow into his work, and viewers will instantly recognize every inch of Merlotte's. Messina does struggle with inconsistent facial work, however, and characters don't always appear natural or organic in their surroundings. So far, it looks as if this series will be able to carve a comfortable niche in the True Blood mythos. Just don't come in expecting the same level of adult content you'd find on HBO.
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Meanwhile, the book looks better than it has since issue #200 thanks to the addition of Sebastian Fiumara. Fiumara's style isn't terribly different from artists like Valentine De Landro, but his greater sense of consistency, detail, and precision linework all help elevate this issue above the usual muddy visuals I'm used to. I expect this new arc will be a classic. Let's hope the art continues to remain on par with David's scripting.
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Ultimately, "Grim Hunt" wasn't quite the epic finish to "The Gauntlet" I might have expected given the creators involved. When it comes to Peter's struggle, the emotional core rings a bit hollow. But there are still plenty of admirable qualities to be found in this last issue, and I doubt many readers will feel their $3.99 was wasted.
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Mike McKone impresses once more with his detailed, precise pencils. Though the setting remains largely fixed, McKone is able to stretch his muscles a fair bit with a large cast. I'm still iffy on certain costume designs, but aside from that the series is very easy on the eyes. As long as Gage and McKone keep firing at this level I'm hopeful Avengers Academy has a bright future ahead of it.
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Gabriel Ba and Fabio Moon continue to cement their status as master storytellers and artists who have no real need of outside writers. Sorry Matt Fraction and Gerard Way, it's true. Daytripper #8 is beautifully rendered and full of a wide range of emotions. My predominate emotion at this point is sadness - sadness that the series will be over in two mere months.
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None of this is helped by some extremely disappointing artwork from Dennis Calero. I loved Calero's work on the X-Men Noir books, even as I acknowledged they danced a little too far into the realm of photo-referencing. Well, Calero is fully inhabiting that land now. Characters often appear traced and awkwardly posed. Backgrounds are almost nonexistent. It all leads to a very unattractive comic from an artist I know can do far better. The reprint of the original Doctor Solar #1 only illustrates how far short of the mark Vol. 3 has fallen. Doctor Solar's newest series has gotten off to a poor start, yet nothing suggests the book is fundamentally flawed.
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Unfortunately, the art doesn't do a good job of conveying the menace or physical power of the Predators. Allan Jefferson's Predators just look silly, even fat. Jefferson does a reasonable job of capturing Adrien Brody and Alice Braga's looks, but overall the issue is too dull and drab in appearance to pass muster. And Lapham's script is ultimately hampered by the fact that he can't ruffle any feathers or make significant changes to the characters. Preserve the Game fits into its little nook and will ultimately just be forgotten there.
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DnA have raised the stakes of this event mighty high, rivaling the darkest moments of the two Annihilation events after a mere two issues. I can only imagine how worse things will get from here. Miguel Sepulveda, hardly the first artist I would have thought of for such a project, is quickly proving himself at home among the cosmos. Thanks to a cleaner, more defined set of pencils than we saw on Thunderbolts, Sepulveda is able to capture all the energy, devastation, and Kirby-esque craziness of the conflict at hand. As usual, DnA provide a clear example of how to do event storytelling properly.
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Tom Mandrake's strength is a greater sense of visual consistency than Wildstorm's previous X-Files series was able to offer. However, his work isn't creepy or stylish enough to be held against the great 30 Days artists like Ben Templesmith. I would have killed for Templesmith's involvement on this book. Still, this crossover is off to a good start, and I'm looking forward to more vampire-induced hijinks from Mulder and Scully in upcoming issues.
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The other two segments are a little weaker. I wasn't entirely sold on Fraction's handling of Molly Hayes in the Beast segment, and the Hope segment seemed to just revisit beats from Second Coming #2, albeit with a more optimistic tone. On the bright side, Fraction teams with a trio of capable artists. Whilce Portacio, Steve Sanders, and Jamie McKelvie are all well-suited to their sections. There are quirks of course, not least of which being Sanders now familiar but still comical rendition of Hank McCoy. Though not mind-blowing, this issue is a solid effort from all involved. I certainly applaud Fraction for trying to bend the formula and offer a more cohesive set of stories.
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If you'd like to know my one real problem with Sex and Violence at present, it's that it isn't as violent or sexy as I would have expected. In all honesty, Mike Choi's issues of X-Force were far more graphic and bloody. Choi had a tendency to draw every last giblet and brain fragment spilling from the bodies of Wolverine's victims. Dell'Otto doesn't strive for that obsessive anatomical detail. As for the romantic entanglements, that side of the equation barely enters the picture in issue #1. Even curse words are censored. I wish Marvel had slapped a MAX label on the book and let Kyle and Yost really go to town. A book with the subtitle "Sex + Violence" is doing itself a disservice to settle for a PG-13 rated tone.
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When it comes down to it, the shipping schedule is the only valid reason for not snatching this issue off the shelf. Children's Crusade sees the original Young Avengers crew back in very fine form. I can understand why readers might be hesitant to follow the book from chapter to chapter for the next year-and-a-half. But assuming the quality stays this high, the eventual trade should be high on their to-buy list. As a Young Avengers fan, I've grown accustomed to waiting and being rewarded for it in the end.
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As much as I adored the original Image series' two-tone color scheme, I have to admit the new colors are a boon to Casanova. They lend more depth and vibrancy to Gabriel Ba's pencils. The scene of Casanova falling back into his original timeline alone shows how much the new color treatment can aid the series. Ba's work is clearly more rough around the edges than his more recent material, but the same core level of craft is still there. The backup feature is even more visually dynamic and a very welcome bonus. Only the new lettering leaves me a bit cold, as it often appears squished and out of place atop the original art and word balloons. Though occasionally a little obtuse and confusing, Casanova is a delightfully crazy sci-fi romp and a great addition to the Icon line. Don't make the mistake of passing it up a second time.
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Hitch's widescreen art is a plus, but it also suffers from the same flaws much of his post-Ultimate work has in terms of consistency and clarity. In a sense this issue reads like a leftover tidbit from Millar's FF stint. It's earnest in what it sets out to do, but the substance isn't there.
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G.I. Joe continues to carry its momentum forward even as haphazard pacing sometimes threatens to derail the book. The series feels very fractured at times as subplots surface and vanish and artists rotate in and out of the book frequently. This month's artist is Alex Cal, who manages to hit a bit closer to home when it comes to Robert Atkins' familiar aesthetic. Cal's work is quite attractive at times, but the often awkward, lifeless figures and poses suggest a bit too much reliance on photo-referencing. This is G.I. Joe, man. Leave that crap at the door. Dixon's script manages to generate a good amount of tension as separate factions of Joes investigate eerie Cobra goings-on in the middle of the ocean. It's frustrating that villains like Cobra Commander and Destro once again sit the month out. I also find myself wishing the plot could have been urged forward more than it is by the end of this issue. Still, what Dixon does offer is enjoyable. Plenty of minor characters are given time t
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It isn't too long before the literal and metaphorical storms begins brewing and Hellboy is horn-deep in danger and mysticism once more. Plenty of familiar faces crop up, both in flashback form and as active players. This issue could perhaps have offered a slightly more satisfying mixture of exposition, tension-building, and action, but I imagine the trade will deliver a better reading experience in that sense. Fegredo continues to establish himself as the strongest of Mignola's collaborators, with a moody style that strongly evokes Mignola's own yet rife with its own subtle nuances. This looks like it could be a good one, even by the normal Hellboy standard.
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I'm used to Jason Aaron taking a short break between story arcs of Scalped to focus on smaller characters and conflicts. The most recent break was longer than normal, with four issues taking us away from the plight of Dash Bad Horse, Chief Red Crow, and the rest of the main cast. That time away was well spent, however, and readers are able to jump back into the thick of things a little wiser and more seasoned in Aaron's world. Don't expect Dash to hog the spotlight even with his recent victory. Aaron instead focuses on his female cast, with Carol struggling to come to grips with her pregnancy and Granny Poor Bear stepping onto a wider stage. As always, there's plenty of excellent character exploration at play. It's hard to lament Dash's minimal presence when each and every character in the series feels so well-realized and full of their own unique hardships. R.M. Guera makes a welcome return to the book, offering just the write mixture of blood, grit, and sleaze to complement Aaron's w
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Whatever the case, the issue simply doesn't do enough to make me care about the characters and the latest galactic conflict raging about. With the storyline already a third of the way over, I find myself wishing Chestney had selected one or two plotlines and focused on those exclusively. The promise is that this cast will factor into the events of the game, rewarding those who read the comic in due time. Perhaps that will allow me to look back more fondly on "The Threat of Peace" two years down the road. It does nothing for me at present. I'm disappointed to see a Star Wars comic that doesn't make even adequate use of its very promising setting, and I hope future Old Republic-related projects will fare better.
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Chris Sprouse turns in predictably excellent work. Once again, his art helps cast the illusion that Alan Moore is still pulling the strings and that nothing has changed. Sprouse's economical art style does work against itself in a few instances, though. The final third of the issue features two characters that appear very similar to one another, and Sprouse doesn't always provide enough distinguishing physical features. But that aside, Tom Strong and the Robots of Doom continues to be an enjoyable romp that does justice to Moore's legacy with the franchise.
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Paco Medina's art is impressive enough, striking a similar clean and pretty aesthetic to that of Terry Dodson on Uncanny, but with a little more variety and nuance. If Medina's characters aren't as physically interchangeable as Dodson's, he still shares the problem of ineffectively conveying age. This isn't a bad start to what looks to be a fairly significant X-Men event. I just worry that the series lacks the potential for extended life and purpose beyond the present storyline.
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One of the benefits of following Mike Mignola's Hellboy universe is that even the spinoffs are generally worth reading. Abe Sapien: The Abyssal Plain doesn't break that trend. Mike Mignola and John Arcudi offer a tale less overtly steeped in horror and more plain creepy as Abe dives deep below the surface to seek out a lost artifact inside a sunken Russian sub. Peter Snejbjerg doesn't always capture the foreboding tone of his surroundings as well as he could, but there are some shots worth admiring. Those hoping that Mignola and Arcudi will shed new light on Abe's past might be disappointed, but the hero stands tall on his own once again. And those who just want more of those traditional clashes with monsters and demons should have their thirst quenched in issue #2. Though not an essential read, Abyssal Plain is just one more worthwhile and accessible entry in the increasingly vast Hellboy-verse.
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It seems the only consistent thing about Astonishing X-Men is its inconsistent shipping schedule. Even as Warren Ellis' saga has moved forward with the Xenogenesis mini-series, Exogenetic still needs wrapping up. Sadly, Xenogenesis' successes only highlight how dull and forgettable the previous storyline is. Ellis' X-Men lack the playful quality seen in Xenogenesis, instead spouting endless bits of snark and sarcasm. Painfully unnatural interactions between Cyclops and Beast only highlight how far behind the curve this story is working. As for the art, Phil Jimenez once again provides breakdowns upon which Andy Lanning finishes. Given how heavy and thick Lanning's inks have been over Jimenez's pencils in the past, the difference is scarcely noticeable. Between those heavy blacks and the unnatural colors of Frank D'Armata, the series is just too grungy and dreary for its own good. I've certainly read worse X-storylines, but Ellis has proven he can handle the team in a much more interest
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Unfortunately, as much as Beechen captures the flavor of the show in his writing, Ryan Benjamin is not so successful in his art. Benjamin's style seems to haphazardly replicate the look of the cartoon, neither offering the level of detail normally seen in a Bat book nor embracing the stylishly geometric character designs of Bruce Timm. The result is a hybrid style that doesn't upset the eyes but doesn't do much to draw attention either. Benjamin's work is far less plagued by the stray lines that ruined his Batman #675 work. That same inconsistency remains, however. Terry's body shape remains in constant flux. Coupled with his not entirely consistent face, Terry's age seems to vary between 12 and 30. Again, the art has its merits, but it's not the satisfying reproduction of the animated series that Beechen's scripting offers.
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IDW's first issue of Dragon Age didn't exactly replicate the storytelling success of the game, but it wasn't a total disaster either. One of its chief problems was an overly speedy pace that failed to properly establish character relationships. But with the focus of the series shifting nearly two decades into the future and onto the daughter of Sadatt and Veness, that poor pacing becomes at least somewhat justified. The pacing is far better in this issue, with a tale that flows more naturally and features a more likable bunch of characters. On the down side, Orson Scott Card and Aaron Johnston eventually overload the script with two significant conflicts where either one alone would have sufficed. Hopefully those two divergent plot threads will eventually merge organically. Another drawback is Mark Robinson's art, which, while not terrible, is far too stylized and exaggerated to match the visuals of the game or the tone of the story. But while still rough around the edges, Dragon Age i
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I've been waiting for an IDW G.I. Joe series that can capture my attention the way G.I. Joe: Cobra does. It seems I've finally found one in Cobra. On the surface this book is nothing too ambitious or unusual - merely an exploration of the psyche of one Joe and one Cobra member each month. But the appeal lies all in the execution. Max Brooks makes Firefly and Tripwire both shine through just the right combination of snappy dialogue and suspenseful storytelling. The outcome of these tales is rarely in question, but the journey never fails to be engrossing. Howard Chaykin and Antonio Fuso make the most of their scripts, though both artists do have their stylistic quirks. Brooks accomplishes quite a lot in both 11-page segments, never leaving the reader feeling there should have been more space allotted. That's not to say I don't crave more, of course. Brooks has proven himself a worthy addition to the Joe ranks, and I sincerely hope this isn't the last of his involvement we see at IDW.
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Invincible is a book that loves to shake things up every so often, and issue #73 is no exception. This issue is a surprisingly light-hearted affair considering that issue #72 ended with Mark killing Conquest and cradling his own intestines in his arms. This time around the Grayson clan kick back and relax on a remote planet while Mark's body slowly repairs that gaping chasm in his torso. This allows for plenty of humorous and endearing interaction between Nolan and Oliver. Allen and Tech Jacket also form a surprisingly amusing pair. This humor does come at the expense of the action at times. Much as in the latter issues of War of the Supermen, Kirkman's script teases at a great many epic conflicts that are only barely glimpsed on the page. Ryan Ottley's ever-gorgeous pencils practically demand more carnage and bloodshed, even if they do handle the character moments oh-so-well. I won't be at all sorry when the story picks up once again and the Graysons are back in the thick of things.
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At 80 pages, it's hard to say Invincible Iron Man Annual #1 doesn't justify the cover price. Even the unfortunately higher-priced digital version isn't a bad deal. Sadly, a few major caveats keep this issue from meeting the standard set by Fraction's work on the main series. I'm not sold on his interpretation of Mandarin yet. With the villain due to appear again in the near future, I hope that will eventually change.
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Northlanders is a series with an oddly contemporary voice despite its European Dark Ages setting. Issue #29 offers a standalone tale that explores themes instantly relateable to any modern reader - personal stagnation, the threat of globalization and the shrinking of the world stage, and the desire for personal freedom and the thrill of discovery. All of these ideas are covered as a small-time shipping merchant named Dag sails off the charted map and into the Western seas. Wood's strong ear for dialogue helps establish Dag as another find addition to the fluid Northlanders cast. His desires are real, even if his methods are often questionable. Fiona Staples provides excellent pencil work that manages to be both unique and still right in line with past artists. The muted color palette serves her far better than the one employed in North 40. Sadly, Wood doesn't quite bring the whole package home, as the ending left me a bit cold and underwhelmed. But still, issue #29 is another fine exam
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Dark Horse's Predators prequel goes out as in much the same fashion as it lived. It remains an enjoyable, if unspectacular, glimpse into the life of Drake both before and during his imprisonment in the alien jungle. Marc Andreyko's tale is fun and by far the most action-oriented chapter. The Predators finally emerge in full force. I am rather perplexed by the "What a twist!" ending though, and rather curious to see how this tale is supposed to fit within the framework of the movie. The art is also very lackluster with its lack of depth and poor ink work. David Lapham's tale, meanwhile, ends on a high note. If it doesn't manage to establish Drake as a likable character, at least it offers a powerfully grim finish. The art is once again much stronger in this half as well. Part of me wishes Dark Horse had geared the prequel more in Lapham's line of thinking, with multiple flashback tales depicting the exploits of the movie's greater cast. Still, I'm reasonably happy with what the publishe
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The latest arc of Star Wars: Dark Times has played out like a good spaghetti Western. Now comes the time to end like one. Writer Mick Harrison brings his hero Dass Jennir to his lowest ebb in order to build him back up again. It's the closing of a satisfying circle for the character, though one that resolves itself entirely too quickly. Harrison also offers up plenty of action in this finale, all of it stylishly captured by Douglas Wheatley. Wheatley remains Dark Horse's finest Star Wars artist and one of the few able to capture the realistic, lived-in feel of the worlds in the original movies. In terms of both character growth and ass-kickery Jennir has a banner month. It's just a shame Harrison cuts out of the story abruptly in a finish that Sopranos viewers would find all too familiar. As long as this arc was, issue #17 feels like a case of not having enough of a good thing.
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Kieron Gillen's run on Thor has been extended for several months longer than originally anticipated, but you wouldn't know it by reading issue #611. Everything here feels like a logical continuation of Gillen's past plot threads. While this new story arc doesn't exactly reward those who passed over Gillen's other recent Asgard-focused work (Siege: Loki and New Mutants #11), it does take Hela's new status quo in an interesting direction. As always, Gillen's finely-tuned language makes him a fitting successor to the J. Michael Straczynski throne. The only downside to Gillen's script is a continued focus on the question of Asgard's rites of succession, a beat I thought had been satisfactorily covered last month. Rich Elson takes over as full artist for the series. His new, non-painterly style is clean and accessible, but a bit lacking in depth and character. In short, this new arc probably won't blow readers away, but it looks to be a worthwhile way to pass the months until Matt Fraction

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The real test comes in the next two months as Franken-Castle begins its crossover with Dark Wolverine. I have my doubts as to whether the story justifies such a lengthy endeavor, but we'll see. It's not as if Remender has steered his readers wrong once since launching this direction last year.
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Green Lantern Corps is in good hands at the moment, but there is certainly a great deal of room for improvement in the coming months. I'm waiting for Bedard to unleash more of the creative energy that made him stand out in R.E.B.E.L.S. Once that happens, we should hopefully have a GL series that lives up to its legacy yet carves a distinct new path in the DCU.
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I'll probably never label myself a hardcore Legion fan, but it's books like this that show me what I've been missing over the years. Levitz goes a long way towards making the Legion fun and accessible for newcomers without alienating the long-term fans who have followed the team through its numerous incarnations.
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Issue #2 offers a respectable batch of tales. The real problem is all too familiar. The issue is a very quick read - ever more so than last month's chapter. With both the framing sequences and Moore's tale adding up to five pages total, and with neither of the other two packing in huge amounts of text, this issue can easily be devoured in a handful of minutes. As always, Mouse Guard is better enjoyed in trade format, where the reading experience can be extended to its fullest. But don't let that fact stop you from enjoying these stories in one form or another.
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The art is also far stronger in this story. Gabriel Guzman once again provides pencils that capture the likeness of Adrien Brody without sacrificing the look and feel of the overall story. His work is comparatively clean and crisp and far easier on the eyes than the main story. As I said last week, it's a bit of a shame Guzman wasn't tapped to handle the main story. The series needs more of a presentable face than it's been given.
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Though not quite as flawlessly paced as it could be, The Killer: Modus Vivendi #3 is another excellent installment of one of my favorite books on the market. The series is only half done, and I look forward to plenty of bloodshed in the second half as The Killer lives up to his name.
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This series desperately needs to find a strong, coherent direction, and fast. Hopefully the impending relaunch will bring with it a new purpose for this wayward mutant. Rarely has a character this well-written simultaneously been so boring.
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This isn't a "bad" storyline, necessarily. It's just a slow, plodding flashback tale that kills the pacing of the series at the exact point when it should be ramping up. All I can do is keep my fingers crossed that the flashback will end soon and Rose Red will get her lazy butt out of bed.
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Four Eyes #4 serves as a mostly excellent cap to a very strong opening story arc. It's a shame we couldn't have gotten this comic in hand a year ago. But at least now fans can rest easy knowing Kelly and Fiumara have delivered one complete story in this new world. With any luck, when Four Eyes does finally return the book will be talked about more for its high quality than its shipping schedule.
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With G.I. Joe: Cobra shifting its focus to Serpentor and other areas for the duration of the summer, this series has a chance to claim some more glory for itself. Dixon's writing has been on an upward trend for many months now, and I think the book maybe able to win over some readers bored of the slow pacing of late.
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But that aside, I'm keen to see how this storyline wraps up. The main storyline is improving rapidly, the backup feature remains as solid as ever, and it looks as if both will soon be converging in the aftermath of World War Hulks.
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This prequel would probably be more enjoyable overall if Lapham's story were the main feature. On the other hand, there comes a point where it becomes criminal to label a book "Predators" and not highlight the fiendish aliens. I've certainly complained enough lately about books not delivering what the covers promise. Whatever else might be said, Predators is not a series that fails to deliver what it promises.
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There's really nothing to complain about with this book right now. Kirkman's writing is as strong as it's been in a long time. Charlie Adlard's pencils remain consistently solid. The tension is simmering at the moment, and I get the feeling it won't be long before things blow up in a big way. This should be good.
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For a book that I wasn't sure would capture my interest, Avengers Academy manages an impressive debut. So far Gage in working has succeeded with his new cast. The true test comes now as he begins to flesh out the various personalities and build towards a larger conflict.
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Issue #700 doesn't seem to have a great deal of relevance to the greater picture. I went in expecting connections to The Return of Bruce Wayne. Though Professor Nichols' time travel device is suspiciously similar to Darkseid's Omega Effect, I was hard-pressed to find anything of real merit. Bearing that in mind, Bat fans should check out this book not as a vital piece of the puzzle, but more as a lighthearted celebration of Batman's long and storied career. Issue #700 allows Morrison to jam with some top-notch artists and cover a great deal of territory in a relatively small space. It's not his best Batman work, but still highly entertaining.
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Wade Wilson's War is a reasonably entertaining read, automatically putting it above 50 or so Deadpool books this month. But that still leaves another 40 to sort through. At this point it takes something really special to keep me invested in a Deadpool project, and Wade Wilson's War doesn't quite have it.
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The art in this section is also stronger. Gabriel Guzman does attempt to capture Brody's look, and manages to pull it off without simultaneously making Royce stand out in every scene. The art is surprisingly solid throughout this segment. I'm left to wonder if his talents wouldn't have been better served rendering the Predators in Andreyko's story. In any case, I expect the story to heat up even more once Lapham and Guzman unleash Royce on his enemies.
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Easily the most pleasant surprise of the week, Rawhide Kid #1 is a thoroughly entertaining little book that only promises better things in the future.
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I should preface this by saying I haven't been able to dive into every major release of the week, but I enjoyed Tom Strong and the Robots of Doom #1 enough that it qualifies as my favorite book of the week so far. Whether you've followed every issue of the original series and its spinoffs or have never been acquainted with the Strong family, give this mini a look. Its merits far outweigh the depressing lack of killer robots.
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Readers like me who were a tad discouraged by the relative lack of DuckTales elements in the main story will at least have the backup feature to fall back on. Penned by writers from the Disney Adventures magazine, this tale evokes much more of what I loved about the cartoon. Webby does appear in this one, as does Scrooge's accountant/superhero Fenton Crackshell. The plot involves Webby and the nephews attempting to build their own Gizmoduck suit. When the Beagle Boys stop by for another dose of attempted robbery, the quartet find the perfect opportunity to put their new toy to use. This segment is every bit as fun as the main story. Even better, it really does feel like a lost snippet of the cartoon. With any luck, future issues will manage that effect on a more consistent basis. But even if not, Uncle Scrooge continues to offer the same charming storytelling it has for decades.
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Young Allies isn't a disappointment, but it doesn't do nearly enough to distinguish itself right out of the gate. Again, until McKeever finds his footing with the series, it will be fans of specific characters that find the most enjoyment within these pages.
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I hope enough time has passed that the shock has worn off and readers ambivalent on the FrankenCastle concept have elected to give the series a shot. It's a strange and unique take on the character, one that is sorely needed after so many years of gritty crime adventures. Whether you start with this issue or check out the Marvel Must Have reprint also on the stands this week, give FrankenCastle a fair shot. You might just fall in love with this poor monster of a man all over again.
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Again, those that have a history with and a love for this futuristic setting will certainly extract the most enjoyment out of Twilight of a God. But if Marvel hoped to snare a few readers based solely on their love of Incredible Hercules, they'll probably be disappointed. Twilight of a God isn't a bad book. It's simply a slow, plodding one of limited appeal.
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Quick read or not, Invincible isn't pulling its punches with "The Viltrumite War". I eagerly await issue #73 to see how Mark and his allies manage to get themselves out of this latest pickle.
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Ultimate, Legends of the Guard #1 was a fairly short read despite the denser first story. Mouse Guard is not a book that particularly rewards monthly readers, and that doesn't change with this anthology. On the plus side, issue #2 looks to have some great content up for grabs with both Terry Moore and Gene Ha coming on board. Many readers might be happier waiting for the hardcover, but all fans of Mouse Guard should find something to love in this issue.
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I'll admit the pacing in this book can be a little odd. It doesn't help that The Killer was originally conceived as a set of 60-page issues. Breaking those issues further in half ensures that they neither begin nor end as well as they should. But if that's the worst complaint I can find to register against The Killer, I think the series is on very firm footing indeed. The Killer: Modus Vivendi lives up to the original and remains one of the best indy books on the stands.
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Mike Perkins' art continues to hold up well, despite not having much of a break between "Soul Survivors" and "Hardcases". The cast of this story continues to grow by the month, yet Perkins never seems to struggle with lending each character a unique visual appearance. Laura Martin's colors are easily the star of the show this time. From the haunting glow of the Gary blaze to the climactic trek through the desert, Martin's colors remain lush and varied. The only significant difference in this series when it comes to the art is that Tomm Coker has replaced Lee Bermejo as regular cover artist. If that's the most significant change readers will face in these last three mini-series, it should be safe to assume The Stand will be able to finish as strongly as it started.
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This issue offers little indication of where the series might be headed in the coming months. I hope Hurwitz can maintain the focus and drive shown in earlier chapters. With Moon Knight now an Avenger and being written by Ed Brubaker, the Vengeance of the Moon Knight crew will have to work that much harder to ensure this book stays relevant. Strong character focus is the way to do that. Light, fluffy superhero team-ups are not.
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But quirks aside, this annual manages to be quite a bit of fun. Were it priced at the expected $4.99 level, I might have a hard time recommending it. Luckily, Marvel is only charging $3.99. With many current books asking that much for far less content, I see no reason not to give this annual a shot. The Gauntlet may be a particularly strong example of how engrossing Peter Parker's life becomes in its darkest moments, but even Spider-Man needs a break now and again.
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God of War might have been that all-too-rare decently executed videogame comic if not for horribly mismatched art and a plot that needs some streamlining and focusing. I'm about ready to give up on this one, but Wolfman still has plenty of time left to kick his storyline up a few notches and at least attempt to make up for the series' visual flaws.
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The jury is still out on Johns' new Green Lantern conspiracy. But as far as pure entertainment value goes, the series is firing on all cylinders at the moment. I very much look forward to more from Atrocitus and Dex-Starr next month. Hopefully the rest of the regular cast will step up to the plate soon as Johns makes his long term intentions for the franchise more and more clear.
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Of the four newly launching Avengers books, I had the highest hopes for Secret Avengers. I'm happy to report Brubaker and Deodato didn't let me down. Even the ever-crowded landscape of superhero team books, this should be one interesting series to follow. It certainly provides a nice counterpoint to some of the brighter, shinier happenings in Marvel's Heroic Age so far.
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Invasion still faces the core problem of acting as a small prologue to a much bigger story that has already been told. It continues to lack any real sense of importance to the greater picture. That said, the second mini-series looks to be an improvement over the first, and there's no telling how much more it might improve over the next few months.
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Never has Ostrander had quite so many memorable characters and conflicts to work with in this series. At this point, my strongest worry is that he simply won't have time to resolve it all. The series really doesn't feel like it's in a proper place to be wrapping up. I worry that the final two issues will either feel incredibly rushed or fail to reach a satisfying conclusion. I'm almost inclined to hope now that Legacy is intended to continue on in a new form. This series has been one of Dark Horse's best forays into the Star Wars franchise. To give it anything less than a proper and fulfilling sendoff would be a grave shame.
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Little else will. Looking back on this issue and where it leaves the franchise, I'm hard-pressed to think of any significant status quo difference between now and the Superman books circa-2006. Was this all New Krypton was meant to lead us to? I think the most readers who devoted two years to this saga can hope for is that the franchise does touch on what few plot threads still linger. Superman's reintroduction to the world should not be an easy journey. As dull and plodding as New Krypton was at times, the story deserves better than to be forgotten two months after it wraps.
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All the trappings of a proper Terminator story are there - man vs. machine warfare, musings on fate, and tragic deaths. The story reaches its crescendo at the very end, as it becomes clear Whedon, or Dark Horse at least, have plans for this story beyond this lone mini-series. I hope this means we can expect a reunion between Whedon and MacDonald when the next chapter of the story unfolds.
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And therein lies the core problem. Age of Heroes doesn't offer enough bang for the buck. $3.99 is too much to ask for four short stories, only two of which are of significant length. If both of the longer stories were of equally high quality that might help to justify the price, but they aren't. And in a week with so many promising new releases, it seems particularly hard to recommend an anthology book that can't offer full value and consistent quality.
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Whether or not you care for the DV8 franchise, this is a mini-series well worth giving a look. The unique premise, Wood's voice, and the slick visuals all help the series stand out in the ever-crowded superhero market.
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Enter the Heroic Age proves to be a good bargain for the price. With most of the stories succeeding at both teasing larger projects and offering cohesive adventures in their own right, this is easily Marvel's most successful attempt at the format yet. If the series in question are as good as they look in these pages, I think Marvel fans have plenty to be excited about in the coming months.
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I hope this more character-specific focus to storytelling becomes the norm for the book. As aggravating as it can be to have characters drop off the radar for months on end, I'd rather see Dixon do justice to a few characters at a time rather than a disservice to many.
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Structurally, "The Journey Begins" has gotten off to a bit of a wonky start. But with the framing device out of the way I'm sure future issues will feel even more like a return to normalcy. There's still a great deal of story to tell about Roland's life before the Tower novels. As always, I trust this creative team to do that story full justice.
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Considering how many Marvel gods have died lately, it's interesting to see the themes Pak and Van Lente are laying out in this mini-series. Prince of Power sees one character trying to rescue a god, another trying to learn how to kill them, and a third uncovering the formula for becoming a god. I'm certainly curious to see how far the writers take their exploration of godhood. With any luck that exploration will persist beyond the four issues on tap here. I do miss Incredible Hercules, if only because it provided a nice, stable home for this ongoing saga. The creative team have made no secret that more is to come after Prince of Power. Hopefully the inner contents of the various series will continue to stay cohesive even as covers and titles change.
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Unfortunately, there is an artistic problem in this issue. Emma Rios steps in for Bachalo and handles the first third of the issue. It's disappointing to see any fill-in artist on this arc. Sadly, it's rare for any multi-issue story on this series to pass by without some fill-in work. I'm getting to the point where I'd welcome a hiatus for the series so that the Spidey Brain Trust can build a longer lead time. But worse is the fact that Emma Rios could not possibly be more different in style and tone from Bachalo. Luckily, she doesn't reuse the same manga-esque style seen on Mark Waid's Strange mini-series. There is a bit more depth and grit on display here, but not nearly enough. Rios isn't inherently wrong for the series, but to pair her with an artist Like Bachalo on such a violent, bleak story seems a very strange choice. The letters page admits that Rios was brought in so Bachalo could focus on issue #632. Hopefully that means the arc will finish on a strong note. Wells and Bachal
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Overly brief and cluttered, this arc nonetheless proves Daniel is a natural fit for the series. I look forward to his return later this summer and whatever changes that might bring.
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The Return of Bruce Wayne is off to a great start so far. It's a silly concept that is delivered with heart but also in a fittingly tongue-in-cheek manner. A surprise reveal towards the end also suggests this story won't be as simple or straightforward as it initially seemed. Now bring on Puritan Batman!
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But if smashing is what you came for, smashing is what you will happily receive. As stupid as the Hulked-Out Heroes concept is, at least it offers plenty targets for Red Hulk to clobber. The fact that Red Hulk is the only intelligent Hulk in the room helps keep the extended brawl from degenerating into a series of punches and poorly worded retorts. Scratch that - Red Hulk manages one line that rivals Iron Man's "Oh, the humanity" from issue #2 in sheer lameness. For the most part, I would recommend to ignore the words in this book and admire the punches. Ed McGuinness is in particularly fine form this month. The colors of Morry Hollowell and Chris Sotomayor lend an extra dose of energy that hasn't been seen in past issues. With all the new Hulks running around, this is certainly a visually diverse issue and a real feast for the eyes at times. Just not for the brain. Hulk has its merits, but those interested in emotional conflict and characterization had best turn their attention to Gre
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I have to wonder if PunisherMAX would evoke the same mixed reactions in me if Steve Dillon weren't illustrating the series. Of Ennis' Marvel Knights Punisher work, Dillon illustrated nearly every comic worth reading. The artist is simply too closely ingrained with that incarnation of the character. Dillon doesn't try to dirty up his style or do much of anything to reflect the fact that he is now tackling a very different sort of Punisher. Aside from the fact that the MAX label allows for more blood and nudity, there aren't any significant visual differences between Dillon's two takes on Punisher. Moreover, the emotion of some of Frank's scenes is somewhat diluted by Dillon's weak facial work. I do appreciate having such a clean, presentable MAX book after some of the murky, muddled Punisher stories in recent years. All the same, I'd really like the series to show more visual character.
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Ultimately, Siege #4 suffers from the same flaw most event finales do. It seems more intended to set up future books and storylines than it does to wrap up anything. Bendis lays the groundwork for most of the new Avengers books in the final pages and makes it abundantly clear who will be running the show in Osborn's stead. As for Osborn himself, the Asgardians, the residents of Broxton, and anyone emotionally or physically affected by Siege... not so much. As with Civil War #7, World War Hulks #5, and Secret Invasion #8, this issue leaves readers with the impression that the end point was intended to be more interesting than the journey. Siege was an intriguing experiment in event storytelling. It cut the crap out of the equation and attempted to tell a lean, action-heavy story in a shorter span of time. It accomplished all those goals, but the degree of success to which it did wasn't always to my liking. More than anything, I'm simply ready to welcome Heroic Age with open arms and bid
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Tom Raney was a sensible choice of artist for this book, considering he collaborated with Jenkins on Civil War: The Return. But much like the script, Raney's work is dull and mostly lifeless. His characters look sad, but none of the panels are framed in such a way as to make me feel their emotional torment. Though both Jenkins and Tom Raney have a history with Sentry, neither manage to turn in a truly memorable or worthy sendoff for the hero. I'm glad Marvel attempted this story. I just wish they had found a better way to execute it.
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This wasn't a bad finale by any stretch. All the same, I look forward to seeing Nightwing and Flamebird become more actively involved in the greater franchise over the next month. Anything after that remains to be seen.
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Rounding out the issue is a short story by Zeb Wells and Chris Bachalo that serves as a prologue for next month's "Shed". It's not much, but Wells turns in a haunting portrayal of Curt Connors. Maybe it's just Bachalo's pencils at work, but the Lizard is shaping up to be creepier and more interesting than ever when he returns. After an overly long jaunt outside the confines of The Gauntlet, I think "Shed" will be just what the doctor ordered.
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I certainly didn't dislike this arc. It had some interesting things to say about the Grand Director and the state of the country as a whole. But ultimately, it lacked the sense of immediacy and the engrossing struggle of Brubaker's better Cap arcs. I'm hoping the return of Baron Zemo next month will signal a true return to form for this series.
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No doubt many readers will be dropping Detective Comics now that Rucka and Batwoman have both departed the series. I'd urge those readers to reconsider. Detective is still in very good hands and remains one of the better Batman books on the stands.
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Like Walking Dead, Invincible has been a little sluggish in hitting stores lately. But considering the contents of "The Viltrumite War" are anything but sluggish, I see no reason to complain. Next issue looks to be a blood-soaked doozy for the Grayson family.
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On the whole, Public Identity rises far above the level of most movie tie-in comics. Sadly, the haphazard artwork keeps the series from gaining real altitude. While I don't expect these problems to resolve themselves, at least readers can count on a worthwhile lead-in to what should be one of the most fun movies of the summer.
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Vitti's artwork helps keep this issue in line with the main series. Vitti's style appears to have changed a fair amount since his last arc, and not necessarily for the better. The black lines are less pronounced, giving the issue a slightly lighter tone than is strictly warranted. More problematic is the coloring, which is too bright and cheerful. On the plus side, Vitti's choreography is pretty impressive at times, particularly during Phobos' battle with the Secret Service. I think this new look will fit the series better when Vitti comes on board for Heroic Age.
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The wait for issue #71 was a bit longer than I would have liked, but that in itself only heightens the tension even more. I fully expect the carnage to explode once more within the next few months. Part of me isn't sure I want to read the next issue, but I know full well I can't resist a book this consistently excellent. Just go easy on them this time, okay Kirkman?
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One issue in, and "Reckoning" isn't terribly concerned with moving things along. I hope this isn't a sign that the crossover is a simple matter of claws versus claws. Romulus is a character who has tortured and manipulated Wolverine's family for generations. As poorly executed a villain as Romulus has been so far, I'd like to think Way and Liu can find a way to bring the conflict to a proper and epic finish.
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This is another strong debut for Wood, but at this point it's rare for the writer to have anything but. Both Wood and Isaacs manage to quickly leave me engrossed in a set of characters I had no interest in before now.
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I found G.I. Joe #17 to be one of the more enjoyable installments of the series so far. It should be interesting to see if Dixon can maintain his newfound momentum now that the story looks to be veering in entirely new directions next month.
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Speaking of The Thanos Imperative, this issue doesn't overtly build towards that event as much as might be expected. Certainly Nova #36 was a more direct lead-in. But in the end I think Guardians fared better in its approach. Nova left too many loose threads dangling by the end, whereas Guardians #25 feels like a satisfying wrap-up to the past two years of storytelling. If the book really has to end here, I can be content with what Abnett and Lanning have delivered. As with Nova, I'm confident that we'll be seeing plenty more of this ragtag bunch of heroes and rascals throughout the year.
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Sean Murphy continues to be the true star of the book. Morrison's finest collaborators are the ones that can regularly match his imagination and wit with their pencils. Murphy is quickly elevating himself into this lofty bunch. His renderings of the fantasy world never lack for energy or imagination. His scenes set in the real world are suitably dark and dramatic. In short, there's very little not to love about this book.
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Honestly, I appreciate what Robinson is trying to do with the book at the moment. He has a self-admitted team of substitutes and D-listers. He wants to build the new JLA up through adversity and have them take their place in the annals of history. It's a noble endeavor. Sadly, the execution continues to come up lacking in nearly every way. Mark Bagley's art props up the series to a certain extent, but even Bagley's work lacks the personality and definition it once had on Ultimate Spider-Man. DC has made it apparent Robinson will be helming the series for a long time to come. At some point I hope he'll finally discover a grasp on his characters and morph them into something more than pale shadows of what they are in other books.
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Nova #36 is a solid outing for Nova and friends, easily the strongest issue of the series in some time. The only question is whether it will be his last. At the very least, Nova is poised to play a major role in The Thanos Imperative. Between that and Secret Avengers, I don't think fans have too much cause for disappointment.
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Though it continues to move a little slower than I would like, I'm nonetheless pleased to see Fables putting itself back on track. Issue #100 isn't so far away now, and this new arc shows every sign of being an enjoyable build-up to the next watershed moment for the series.
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Beyond the dialogue, what I really want to see from the writers is a developing thematic bond between the various characters. Were Richard III and the witches dragged into this story merely to fill roles, or do del Col and McCreery intend to use them to say something meaningful about Hamlet's quest and Shakespeare's work in general? This is ultimately where Kill Shakespeare will succeed or fail in proving itself to be more than mere fan-fiction. Issue #1 offers a fun beginning to what looks to be a rollicking adventure. Even so, the series has much more potential than that.
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Ultimately, this story probably would have functioned better as a lone one-shot than a two-issue series. I certainly had fun, but I was ready for Hulkpool's escapades to wrap by the end of the book. Hopefully Parker can keep the magic flowing in the second half later this month.
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Though his review of issue #1 was generally positive, Tim ultimately lamented the fact that his inner 10-year-old wasn't tickled by the plot of this book. I didn't find myself disagreeing with him at that stage in the game, but now Jesse Jr. is feeling quite happy and stimulated. And I'm only expecting this story to get more bloody and exciting from here.
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Whether or not you choose to buy this issue comes down to one question: Are you willing to lay down $3.99 for a superior take on a comic that has been printed and reprinted ad nauseum? One thing I would have liked to see from this book is evidence that Casey has a larger plan in mind. Presumably he won't spend the entire mini-series adapting old Avengers comics and nothing more. I'd just like to see signs that he has the same structured plan in place he did for Earth's Mightiest Heroes. As fun a read as issue #1 is, I wont begrudge readers who pass this book over.
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Hudlin seems to be much more in his element with this version of Black Panther, and the story greatly benefits as a result. Sadly, whereas the art was usually the saving grace of Hudlin's past Panther stories, here it proves to be the book's worst enemy. I think Panther fans will be pleased with this take on the first meeting of two Marvel icons, but the series can still do better for itself.
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In the end, Cinderella: From Fabletown With Love does exactly what it set out to do. It entertained me and left me wishing for more Cinderella stories. If a butthead like Jack can support an ongoing series for so long, why is Cindy left to slim pickings like this? Given the challenges the Fables face in the main series now, I sincerely hope we'll see her doing what she does best soon.
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Electric Ant is an interesting experiment on Marvel's part, but hardly the runaway success that their Oz and Dark Tower books have been. I fully expect this series will pick up when Mack's scripts move deeper into Garson's exploration of his own reality. I just won't count on the visual side of things to improve accordingly.
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After one issue I'm already inclined to label Marvel Zombies Vol. 5 as my second favorite entry in the franchise. This book only has the wonderfully wicked Vol. 3 to compete with now, and I have a good deal of hope it will be able to surpass it. The series continues to be a great outlet for Van Lente's twisted brand of humor and a worthy read for those who like their comics to amuse and appall in equal measure.
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I do lament the fact that the guest stars took up so much space in this issue at the expense of the flow of Nemesis' story. Hopefully this focus will pay dividends in the remaining chapters as our hero's mental state only grows more dire.
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Still not as rapidly paced as I would like but far better in its execution than before, New Krypton is winning back my love in the home stretch.
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Ultimate Comics X has its fair share of problems, but it also shows a great deal of potential so far. As long as Loeb keeps his focus squarely on characterization rather than attempting to mold this book into a run-of-the-mill replacement for Ultimate X-Men, I'll remain interested in where the creative team are headed.
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Ultimately what disappoints me about Blackest Night #8 is that it doesn't provide the satisfying, conclusive finale I hoped for. The story is surprisingly open-ended for what was billed as the culmination of all of Johns' Green Lantern work since Rebirth. Clearly, plans changed along the way, and I'd be interested to see how the series would have turned out if Johns didn't change his mind about leaving Green Lantern. The events and revelations in this issue are certainly interesting. The emotional payoffs for many characters are wonderful. But Blackest Night feels less like an epic finish to Johns' Lantern trilogy than it does a means to the end that is Brightest Day. I'm more pumped for Brightest Day than I've ever been. I won't deny that. But did it have to come at the expense of this story? Like so many events before it, Blackest Night is a flawed endeavor. Though certainly better than most, it ultimately failed to reach the bar set so high by The Sinestro Corps War three years ago.
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Unlike most videogame comics that are just fundamentally broken, Dragon Age shows real potential to become something worthwhile. In terms of the overly speedy pacing and the needlessly stylized art, it seems as if the creative team was just overeager in this first issue. I'd like to think things will settle down in future installments and that Dragon Age might become an example by which other, similar projects can follow.
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There isn't much to recommend about God of War the comic thus far, which puts it on equal footing with 90% of the videogame adaptations on the market. Still, I won't write it off just yet. Wolfman has only begun to dive into the meat of his story. There's a chance future issues will pick up as body parts start flying and epic showdowns unfold. But maybe I'm just setting myself up for yet more disappointment.
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The story is fairly by-the-numbers and the art is a bit uneven, but I was nonetheless pleased with how Terminator 2029 turned out in its first chapter. Whedon clearly seems intent on using what elements worked best for the franchise and ignoring much of the rest. It's an approach that I can wholeheartedly support.
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This isn't the most exciting start imaginable for "Reckoning". Still, it is a start. Way allows his hero to close the door on another part of his history while simultaneously moving forward into the future. We'll find out soon enough just what that future holds for Logan and his son.
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Surprisingly straightforward but very action-packed, Way's latest Deadpool arc comes to a close this month. It's clear Way intends to mine this "Deadpool as a hero" concept for a while longer. Hopefully as Heroic Age approaches we can see a little more humor return to the book even as Deadpool learns more about power, responsibility, and the art of monkey warfare.
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This series is generally a decent read. Issues like this veer more towards "good". The visual quality of G.I. Joe is certainly on the way up now that Robert Atkins' clean, slick pencils have returned. But the book needs minor adjustments to become great. The franchise as a whole is in much better shape than it was two years ago before coming to IDW. I just continue to hope that all of IDW's books can display the same storytelling brilliance as G.I. Joe Cobra.
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But this issue doesn't just recall the Thatcher era in tone. It very directly references it. Hellblazer is like Punisher MAX in that it allows its hero to age in real time. Constantine's rapidly marching age seems to be the theme of the tale. As he confronts old bandmates and rekindles the spirit of the punk era, Constantine's long years show themselves in a way they rarely have in this series. There are writers who feel Constantine should have been left behind when the grim and gritty '80s ended. Even if Milligan isn't a supporter of that idea, I get the impression he plans to explore it to its fullest in this arc. This is an interesting first half, to be sure. The ending left me a little ambivalent, but still plenty eager to return next month. I just hope Milligan is laying the seeds for another long-term adventure for Constantine. His past stories, and Andy Diggle's run before that, have largely soured me on the idea of short, inconsequential Hellblazer tales.
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Northanders #26 is one of the more memorable chapters of "The Plague Widow". I am feeling a little fatigued by the eight-issue format, however, and I'm still curious how Wood plans to fill his remaining two chapters. Hopefully he can reach a finish that reaches even higher levels than this.
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I would hope last month's stellar and highly accessible chapter of Scalped helped bring a few new readers into the fold. While the best course of action is to head back to the beginning and read all of Scalped, this arc isn't a bad place for the less patient readers to continue from #35. It too is accessible, well-written, and offers a fascinating character study. This arc may not shape up to matter much in the grand scheme of things, but rarely have I craved the next issue of Scalped as I do right now.
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Chapter 3 of "Last Stand of New Krypton" is a bit light on content and not without the odd bit of lame dialogue. But even still, the full Superman crew are managing to rekindle a spark of interest in the franchise again. Hopefully this saga continues to gather steam as it moves into its final month.
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The Guild is a fun, if sometimes depressing book that captures much of what I love about the great slice-of-life comics. Fans of the series will get a kick out of seeing these characters meet for the first time, as well as receiving a real glimpse of that digital world they spend so much of their waking lives in. I enjoyed issue #1 enough that I'm already curious to see Day and Rugg cook up some original comic book stories after The Guild wraps up.
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Soul Survivors #5 ends nicely and should leave new and old readers alike awaiting the fourth mini-series. It only gets better from here, folks.
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And next time, don't skimp on the dinosaurs.
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But if Nicieza is doing his job in building up both the book and its star, artist Ramon Bachs isn't. In theory Bachs should be suited for the series. He has a gritty style that ditches superhero tropes for something a little more grounded and believable. But his work is ultimately too flat and bland to really leave a lasting impression. Bachs' depiction of Lane as Azrael is often less impressive and imposing than it should be. Well, Lane's historical counterpart fares no better. I can't help but think the series could be more exciting and dynamic if only Bachs brought more vitality to the page. Given the heavy religious elements at play, I want the book to resemble nothing if not a bold Renaissance painting in motion. It doesn't help that Francesco Mattina's covers continue to ensure Azrael is the best-looking Batman book on the stands... until you open it. Azrael needs more visual style to go with the substance.
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Fade to Black isn't a total lost cause, but so far it plays out in a far more generic fashion than any book involving cannibals has a right to. I hope to see both creators push for a more unique style, or at least a stronger execution, in future installments.
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This issue ends on a rollicking cliffhanger that, unfortunately, will have been spoiled already for a great many readers. You certainly shouldn't let that dissuade you from reading this book. Guardians is now as entertaining and engrossing as it's ever been. The book may be going on hiatus after next month, but Abnett and Lanning have left me convinced Marvel's cosmic lineup is still in expert hands no matter what happens.
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Hercules: Fall of an Avenger has its entertainment value, but aside from the backup it lacks the true emotional punch of the better heroic tribute issues. Judging by the ending it appears the real meat of the story is being reserved for issue #2 anyway. Let's hope Pak and Van Lente have a stronger dose of drama planned for the second half.
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I'm doing my best to to keep a stiff upper lip as I look ahead to World War Hulks. All three Hulk writers - Loeb, Greg Pak, and Jeff Parker, have done good work on their respective books lately. But ultimately Fall of the Hulks was far more chaotic and disjointed than necessary. If Hulk #21 is any indication of the tone and execution of World War Hulks, I'm about ready to get out while the getting is still good.
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Incredible Hulk has a strong foundation. Banner is in a very interesting place at the moment. His relationship to his son, his ex-wife, and his fellow heroes is ripe for exploration. Paul Pelletier also has the book looking better than it has in a while. The problem is that Fall of the Hulks dilutes these strong qualities and drops too much extraneous clutter on the series. I'll keep my fingers crossed that War of the Hulks can offer a more streamlined and less disjointed conflict for both Hulk books, but at the moment I'm beginning to look to the faraway point when Incredible Hulk can be left alone again. Isn't that what Hulk always wanted for himself?
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This isn't the most complex or wacky story Morrison has ever cooked up, but it is a highly enjoyable one. I'm curious to see if the creative team can sustain the appeal for another five issues without the formula growing stale. But knowing Morrison, I'm sure he's keeping at least a few cards close to his chest. And I can't imagine ever growing bored of Murphy's visuals.
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I expect some readers will be surprised with how issue #3 wraps up. Those who expected Siege to hinge on a final brawl between Cap and Osborn or Spider-Man and Osborn will find the truth to be far different. The shift does come a little out of the blue, but on the other hand it can't be argued Bendis hasn't tipped his hand in the Avengers books already. However he chooses to wrap up this big event, I'm expecting plenty more memorable showdowns and dynamic visuals in issue #4. I'm just keeping my fingers crossed that the tidal wave of unnecessary text recedes next time.
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The A-Team: War Stories - Hannibal #1 is humorous, action-packed, and completely implausible. Everything a good A-Team story should be, in other words. I love it when a plan comes together.
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Upon finishing Batgirl #8, readers are invited to move right along to Red Robin #10. I would strongly recommend against that. These two books have constantly struggled to remain relevant or even readable among the current crop of Bat titles. Bringing the two together is clearly doing nothing to aid either character.
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Cable is a series that has accomplished little in its time. With issue #24 paving the way for Second Coming to begin, all I can do is breathe a serious sigh of relief. Should Cable live long enough to star in another ongoing book, I hope the shackles will be lifted and the creative team will be able to do something more with the character.
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But this isn't a totally introspective chapter either. The most effective sequences come when Matty ventures out into a particularly deserted part of the city. Here, with no Liberty News chatter and less dialogue altogether, Wood crafts some powerful material that showcases the truly deplorable state the DMZ is now in. The raw emotion and sense of desolation that Wood and artist Riccardo Burchielli can generate are incredible. This is easily one of the best chapters of DMZ in many months, if not the entire series. It functions well enough as a standalone tale, but I'm more curious than ever to see what Wood has planned for Matty in the rest of the arc.
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But good art can make a bad script more bearable, and that's what Lapham does for himself in issue #4. The writer turns in several pages of art for an extended flashback starring Riley and his father. Lapham brings much more style and flavor to his scenes, even if the material inside is arguable even less Call of Duty-esque than the rest of the book. At least here I can make believe I'm reading some lost fragment from Lapham's Young Liars. The writing has none of the charm of Young Liars, mind you, but the script does seem to slow down and become more readable once Lapham settles in to draw.
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I think it's no coincidence that every story in this book hearkens back to the classic Silver Age years of Doctor Strange. The character had no trouble supporting his own ongoing series back then, and I credit that largely to the energy and imagination that those comics and these stories share. Compared to the underwhelming Strange mini-series these past months, The Mystic Hands of Doctor Strange serves as a true testament to the character's lasting appeal.
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Though lacking some of the tension and conflict of the previous arc, these two issues have still proven very enjoyable. The more I come to understand Carey's vision for the series, the more I look forward to following that vision to its end.
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Batwoman aside, I did find this issue to be the most enjoyable since Frank Quitely was on board and Professor Pyg was doing his happy dance. Above all, I applaud issue #9 for raising new questions - not just about the state of Bruce Wayne - but regarding many of the mysteries Morrison has been building since the beginning. This won't be the first time I feel compelled to go back to the beginning and examine old stories in a new light. But it's always a good sign when a new issue leaves me with that compulsion.
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Riley Rossmo's art seems to have improved, at least. Rossmo hasn't necessarily stuck to a rigid style anyway, but here he seems to have a greater stylistic shift than usual. The rough, sketchy quality is diminished. In its place are bolder lines and a more refined sense of page design. Even the color washes are richer and more pronounced. These changes are all for the better, as far as I'm concerned. Cowboy Ninja Viking manages to retain its subversive tone while also telling a more coherent visual story.
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Apart from these flaws, the issue just doesn't come together in an altogether satisfying manner. The script shifts between flashbacks and present day sequences frequently. It covers several different conflicts at once. In its worst moments this book reads more like a distillation of everything Greg Pak and Jeph Loeb weren't able to fit into their own books. Issue #1 focused on the rebirth of Cosmic Hulk. This issue is all about Thundra and Lyra. Next month is A-Bomb's turn. Where's the connective tissue? Parker has proven by now he has the talent to take point on these stories. I would love to see him take on a Hulk book that allows him more room to breathe and tell a complete and satisfying story. As it is, this issue almost gets us there.
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At the rate things are going, I'll have no qualms about labeling Blood Line Marvel's best Halo effort yet. Van Lente isn't working with the most original premise imaginable, but he brings his usual charm and freshness to the book anyway.
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The one area Reed does succeed in this issue is with the Spider-Man/Ms. Marvel relationship. These two play extremely well off one another, and Ms. Marvel has been the main book to showcase that dynamic. The duo have a charming scene together where they share a New York lunch on a rooftop. These pages proved the most enjoyable of the issue by far. It's a shame Reed had to ruin them with an extremely hokey ending. I give him credit for trying to close the series on the same note he began it, but I'm truly hard-pressed to imagine a more cornball way of sending off Carol. Worse, the happy ending doesn't feel deserved. The issue and the series alike reach a rather anticlimactic finish. Carol has always had a spotty record when it comes to supporting her own books, and I suppose fans should be grateful this book lasted as long as it did. Still, for a heroine that set out to seize the world and hold it, her reach far exceeded her grasp.
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To be honest, Northlanders is probably not a book I'd be reading monthly if I weren't reviewing it. This is not a slight against the series by any means. It's merely recognition of the fact that chapters like this seem slightly disappointing out of context but tend to read better as part of the whole. I'm sure my requests for more of Hilda and Karin will be answered soon enough. Despite the currently slow pace, "The Plague Widow" still has the potential to be one of the book's finest.
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If anything, Kirkman overplays his hand towards the end. As much as he struck the right chord with Douglas and the other new characters, Kirkman goes too far in hinting at their darker natures. I just hope he has a few more surprises in store when it comes to the new cast. But looking back at these past 70 issues, it's rare to find a point where The Walking Dead played to reader expectations. This should be an interesting ride for our poor heroes.
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This issue doesn't wrap up the arc as well as I would have liked. Aside from the storytelling confusion that stems from the coloring mishaps, David left some characters and conflicts too open. Monet's search for her father is ignored this month, and I'm a little concerned how Layla's status is supposed to be resolved in the one issue before Second Coming begins. Part of me wonders if X-Factor wouldn't have been better off waiting until after Second Coming to make its fresh start. But that would have required us to wait a long time for new installments of David's quirky team of mutant investigators. That's not a sacrifice I think I could have borne. As long as the focus shifts back to the main cast more in the coming issues, I'll be a happy camper.
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Simply in terms of story and scripting, X-Force #24 is a relative high point for X Necrosha. But the script is nonetheless flawed in its execution. Coupled with the murky art, I find myself wishing more and more for this story to end and Second Coming to wipe the deck clean.
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While the story may have a plot hole or two, and while Deodato may prove to be his own worst enemy at times, I'm still enjoying Dark Avengers quite a bit right now. The book has come a long way in the past year. And whether or not this final story arc begins to tackle Siege more directly, I have no doubt Bendis and Deodato will finish on a high note.
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Unfortunately, I wasn't very impressed by Carlo Barberi's artwork. Barberi mimics Paco Medina's energetic style fairly well, but there are enough strange qualities present that I don't enjoy the visuals nearly as much. Barberi has a tendency to draw every character with bulging necks and gangly limbs. Every single person in New York is wearing clothes about four or five sizes too big for them. Barberi also goes overboard when it comes to rendering Spider-Man's uniform. I'm all for allowing artists a bit of creative license when it comes to movement and expression in Spidey's eyes, but Barberi overdoes it. In nearly every panel, Spidey is squinting or glaring despite his supposedly rigid mask structure. Little problems like these combine to kick the visuals down several notches. Like Kelly's Deadpool/Spidey crossover, the art doesn't live up to the quality of the script.
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Guardians is growing more and more exciting by the month. I have a feeling even bored readers will find their love for the series re-energized after reading this issue.
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The rest of the book's cast often strike me the same way. In general, Loeb seems more at home depicting his villains rather than his heroes. The X-Men rarely have anything memorable to say, whereas figures like The Leader and MODOK stand out far more. Given how pointless the X-Men's role is, I think this series could do with a bit of general pruning. Loeb has proven he's capable of more dedicated character work than previous Hulk storylines would have suggested, but only so many characters can receive the benefit of that work in one sitting. More and more, I just wish Fall of the Hulks was conceived as a smaller-scale and more tightly focused project. If this is supposed to be a means to an end, why do those means have to be so scatter-shot and unfocused?
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I'm surprised at just how pumped this storyline has gotten me for the post-Second Coming Uncanny X-Men. It's too early to say if Fraction will be around by that point, but whether he remains or not, the book has plenty of room to explore and grow in 2010.
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I'm plenty glad to be putting this crossover behind me. With its short length and status as a loose tie-in to a larger story, "Danse Macabre" never reached its potential. That said, the ending is just intriguing enough that I'm hopeful Simone can quickly set her series back on the right path in the next story arc. I hope so, because it was only mere months ago that Secret Six was one of the very best books at DC. There's no reason that shouldn't still be the case.
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With so little to recommend about this book, I won't blame Batgirl fans for giving up on the series. After seven issues I'm still not sold. And with a new Birds of Prey series set to return Barbara to her rightful status in the DCU, I have even less reason to stick around. Hopefully Miller has something big planned after the Red Robin crossover ends.
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And there's always the gorgeous art to enjoy. Once again, Moon and Ba don't shine quite as much when they tackle simple buildings and apartment rooms rather than rolling hills and sandy beaches. This issue is definitely understated compared to the last one, but the artists do stretch their muscles a bit towards the middle when Bras and Jorge visit a swanky new art exhibition. And if Ba and Moon take a bit of a backseat, it's only so that colorist Dave Stewart can step to the forefront. Stewart cycles between muted blues and greens for depressing scenes and warmer reds and oranges for the more cheerful ones. He very effectively conveys mood and emotion through strategic use of color. As much as Casanova proves the Twins don't need a full color palette to thrive, Stewart's contribution in Daytripper suggests otherwise.
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If the intent with this issue really is to bring in new readers, I think DMZ #50 will do a fine job of it. This comic offers fans plenty of what they like wrapped in an eclectic visual package and made accessible for newcomers as well. It isn't as meaty in terms of story as I would have liked, but this comic will certainly tide me over until Wood dives back into the escalating conflict next month.
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This new incarnation of Human Target is not a total disappointment, but it also fails to capture the spark of better projects to carry the name. I'd suggest fans of the show ditch whatever preconceptions they have about Christopher Chance and check out Milligan's Vertigo series instead. Perhaps the best thing about the show from a comic fan's perspective is that these stories are finally being collected in their entirety.
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Ultimately, I felt like Waid could have done much more with this story, but a combination of a short length, a bad start, and an artist not particularly well-suited to this segment of the Marvel U ensured that Strange lacked real magic. With the end of Ghost Rider, Doctor Voodoo, and now this series, it's not a terrific time to be a fan of Marvel's magical sector.
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The final portion of the book is all action again. Hurwitz gets a little too silly for his own good in these pages however. In between demonstrating a questionable grip on superhero physics and delivering an entrance that borders on slapstick, Hurwitz manages to work against himself every step of the way. All of this is capped off with a gratuitous and mostly pointless cameo by another Marvel hero. I hate pointless appearances like this, especially when they seem to exist only to provide the comic with an artificial ending point. Hurwitz shows some strong characterization in this issue, but that's frequently offset by a lot of pointless time-wasting. The series needs to hurry up and get to the point before even the gorgeous artwork fails to maintain reader interest. Opena won't be on the book much longer, and then the heavier burden will shift to Hurwitz's shoulders.
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House of Mystery still falls a bit short of the level I'd like to see it at, but the series is definitely on the rise with this arc. I just hope Strawberry doesn't stink up the joint in the same way Jack did his best to tarnish Fables. If the ending to this issue is any indication, I'm a little worried.
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This issue isn't necessarily the strongest of Wood's efforts to date. The story reads very quickly and isn't necessarily as substantive as the more densely plotted issues of Demo Vol. 1 or Local. Also a bit disappointing is that the ending is fairly predictable, compared to certain past issues of Vol. 1 that genuinely surprised me in their twists and turns. But predictable and content-light though it may be, Wood still impresses with his return to Demo. Though the premise never changes, I love the fact that readers never know quite what to expect from future installments.
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Art isn't normally the strong suit of the G.I. Joe books, but Origins #12 is one notable exception. Fans of Templesmith's work may get a kick out of the issue, but even Baroness lovers will be hard-pressed to find much enjoyment in the script.
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Greek Street doesn't immediately welcome new readers like other Vertigo books might, but it does reward those who offer a long-term commitment. By now readers should be able to decide if the book clicks for them or if it's time to move on. As for me, I'm quite content to stick around and see where the series takes me.
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I fear this series will be of very limited appeal to most readers. If you don't care or aren't aware of Hiro-Kala, or if you have no attachment to "Heart of the Atom", Realm of Kings: Son of Hulk might be a tough sell. But just know that series features an enjoyable story from a very promising new voice at Marvel.
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All in all, this is easily one of the most violent and chaotic issues of the series so far. There are deaths, and none of them are pretty. Significant changes are made to the lives of multiple characters. Towards the end of the issue I actually worried Aaron might avoid instituting many changes. For a time it seems lie everything wraps up a little too easily and neatly. But by the end it became clear I had no reason to worry. The series isn't close to being finished yet, but that doesn't mean the characters can't progress forward, for good or ill. Scalped #34 might have taken longer than usual to reach us, but Aaron and R.M. Guera didn't miss a beat. As always, I can't wait for the next chapter in this engrossing saga to unfold.
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For better or worse, this comic reads like a script for an unreleased Toy Story sequel as penned by Disney's corporate suits. It's painfully familiar at times, but also faithful to the characters and reasonably entertaining even for adult readers. Hopefully as this ongoing series wears on we'll see Snider take more chances and be a bit more adventurous with the license.
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Alberto Ponticelli's pencils are still strong and effective at communicating the utter suffering and despair of the characters. I do wish Ponticelli were better at differentiating his figures in terms of size and height. Starved those these Acholi tribesmen may be, it shouldn't be quite so hard to distinguish the children from the adults. On the plus side, Dave Johnson's colors are a great boon to the issue. With the interplay between night and day so vital to the script, it's good to have such a strong, well-defined color scheme throughout.
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Fortunately I still have enough brain function for that. I have issues with how Morrison executed his plot in this issue, but the core characterization remains very strong. As mentioned, Batman and Th Squire display a strong dynamic. Alfred once again steals the show in his brief scene. The villains are memorable in their own ways. Other than the out-of-place Batwoman, Morrison fires on all cylinders when it comes to his cast. Hopefully as the arc continues to grow and take shape, some of the pacing problems will be eliminated. Regardless of what happens, we don't have very long to wait for issue #8. It's a testament to how quickly Morrison won me over again that the thought excites me.
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I simply don't understand why we waited so long for an issue of this caliber. Dark Reign: Hawkeye #5 offers no satisfying story resolution and no justification for why it arrived so late. At this point I would have been happier if I had kept laboring under the misconception the series was already finished.
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If every issue of Echo can read like this over the next year, then I have no doubt this will go down as one of the greats in the indy world.
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Red Hulk haters take note - the character is far from the weak link in this issue. If it weren't for some lousy dialogue and the continuously loopy shipping schedule of Fall of the Hulks, this could easily rank as one of Marvel's better books this week. I expect the latter problem will iron itself out sooner or later, but it remains to be seen if Parker can find a better handle on A-Bomb and the other weaker characters in this series.
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I'm optimistic that Blood Line will only continue to get better now that the basic setup material is out of the way and the characters are beginning to be explored in greater depth. This is a worthy offering for fans of the games, but I'd like to think even non-gamers would find something to appreciate in this series.
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Above all, I can feel this arc beginning to wear out is welcome. Issue #24 is merely the halfway point of "The Plague Widows", and I'm already feeling the itch to move on to the next story. I can only hope Wood has a few curveballs to throw into this harsh winter wonderland soon.
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There are certainly kinks to be worked out, but so far I'm pleased with the direction this series is taking. It's not as if RoboCop fans have much else to look forward to at the moment.
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Good things are on the horizon for our heroes. That almost certainly means terrible things are soon to follow. Part of me doesn't want to be around when the s*** inevitably hits the fan, and that's exactly how I know this arc is going to be a winner.
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Azrael continues to be a surprisingly satisfying read that is unfortunately held back by sub-par visuals. Despite my fears, Michael Lane is a better character following his transformation. Let's hope the gulf between Lane and his alter ego continues to narrow in future issues.
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But I'll manage. Willingham delivers a fun and whimsical story. Even better, David Lapham settles in for a brief guest stint, and his pencils perfectly suit the tone of the story. Despite his tendency to take on darker stories, Lapham is equally skilled at humor and lighter conflicts. Between the two creators, Fables fans should find enough to sustain them until the series gets back to the Mr. Dark conflict.
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Whereas in its first year Hulk was just a big, dumb, fun book that usually forgot to focus on the last quality, the series is now in a far better state. I worry about the continued presence of some of Hulk's less redeeming qualities, but the improvement is undeniable nonetheless.
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But as long as you either don't give a hoot about Shulkie or ignore the backup, you'll find much to enjoy in this issue. Fall of the Hulks is having a very positive effect on the franchise as a whole, and nowhere is that more evident than with this series.
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In some ways I do wish the arc flowed more quickly. It doesn't appear as if this storyline is going to have much of a lasting impact on Realm of Kings or the greater cosmic Marvel lineup. This story could easily have been streamlined and shortened and probably would have been better off for it. Still, DnA are mining some real gold when it comes to Nova's psychology, and I'll be interested to see where his current troubles take him as Realm of Kings closes.
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It's easy enough to grow despondent over the seemingly fractured state of Marvel's cosmic titles right now. Luckily, Realm of Kings: Inhumans continues to prove that DnA are the right duo for the job.
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Dark Times moves slow and steady. Often it's guilty of moving too slowly for its own good. Yet it also manages to be the one Star Wars comic where characters and conflicts are allowed room to breathe. Newcomers may drop in for the Vader scenes, but if they stay it'll be thanks to Harrison's slick, introspective vision of a galaxy in turmoil.
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Like the games themselves, perhaps Army of War the comic is best enjoyed with a friend. At least then you can share a laugh over the silly, generic script and awkwardly framed visuals. Sadly, it seems videogame tie-ins like this are still the rule rather than the exception.
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With this issue done, Black Panther as we know it is ending. I don't know whether the series will return after Doomwar, but even if it does I imagine the changes will be significant. This issue has gotten me reasonably interested in Doomwar, so in that sense at least it was successful. Still, seeing how many problems remain in the overall execution, I plan on keeping my expectations in check over these next few months.
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Still, I'm pleasantly surprised with how Dante's Inferno the comic is turning out. Gage manages as much as can be expected with some tricky source material. Were the art a little more structured and a little less abstract, this project could even rival Marvel's Halo comics for entertainment value.
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I feel like I say this all the time, but Daytripper is another Vertigo book you should highly consider adding to your pull list. The series captures all the joy, beauty, and uncertainty that come when a young person struggles to find their place in the world.
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There's not much to say about Riccardo Burchielli at this point that hasn't already been said. He captures the look of a downtrodden and now war-torn DMZ like few artists could. This issue allows Burchielli a wider range than usual as events unfold on both sides of the DMZ border. Together, both Wood and Burchielli turn in one of their finest installments yet in the long-running series. Plenty of questions remain after the final page, and we can only hope that the oversized issue #50 will address some of them. Whatever the case, I can't imagine readers losing interest at this stage in the game.
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There are a few snafus to overcome, but there's no denying IDW's latest Transformers project is one of their strongest. As with G.I. Joe, it's good that there are some quality comics on the market to make fans forget the awful cinematic travesties of 2009.
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As a whole, though, this arc proved to be even stronger than the first. Carey has done a tremendous job of building up his cast and drawing readers into the story. And even if Peter Gross doesn't have as many chances to tackle the more fantastical aspects of the story as I'd like, his art is always pleasing to the eye. Now that the first trade is out, I hope more and more readers are falling in love with this smart, exciting, depressing gem of a book.
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Ultimately, this issue suffers from a slightly fractured sensation as Rucka drags Diana from scene to scene and battle to battle in rapid succession. But that does little to dampen the overall impact of this series. Between Wonder Woman and Flash, we finally have Blackest Night minis that are living up to their potential.
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I'm coming to like Shawn McManus' artwork more and more as the series progresses. McManus' art has an energy that suits the adventure and intrigue of Cindy's world. Issue #3 is probably the best we've seen from McManus so far. In all areas, this series only seems to be getting better. I just hope that the disparate threads of Cindy and Mr. Cordwainer begin to intertwine as the book moves towards its conclusion.
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This isn't a particularly noteworthy Deadpool adventure in any sense, But as always, the best part about this series is that you never know what might be around the corner.
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This series certainly has potential, but so far the familiar premise and dull as dishwater lead hero have conspired to drag God Complex down. This book needs to develop a strong personality of its own, and quickly.
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Redemption might be of limited appeal to those who haven't played the first game. Even still, new readers will be able to appreciate its rapid-fire plot and diverse menagerie of alien cultures. More than anything, Redemption proves Mass Effect has plenty of potential in this medium. And unlike most projects of this sort, it actually capitalizes on that potential.
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Orc Stain isn't the most complex story you'll ever read, but the gorgeous visuals are well worth the price of admission on their own. This is a series with copious amounts of personality, and I'm very eager to see how the saga of One-Eyes unfolds in future issues.
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I won't lie. I'm still very concerned that the overall progression of World of New krypton signals a lackluster and unfulfilling conclusion for the series. Still, Robinson and Rucka have set up some interesting threads for their finale issue. WoNK may yet redeem itself before the end.
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In many ways this is the weakest issue of Blackest Night yet. It's simultaneously overly serious and too goofy for its own good in points. It also fails to push the storyline as far as I would like. But despite these complaints, the core of what has made the Johns/Reis collaboration so great remains. I have a feeling things will quickly pick back up once issue #7 hits and Johns' endgame begins. Its just a shame we have to wait a full two months to get to that point.
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At this point I might as well call it a day, as I've probably written more words than are in the entirety of Siege #1. This is not going to be an earth-shattering, ground-breaking story that redefines the way fans look at their comics. What Siege is is a fun book full of spectacle and action. And even as darkness envelops the Marvel U. once again, readers can see the few shining points of light that signal the return of its greatest heroes. In terms of delivering just what was promised, Siege may turn out to be Marvel's best non-cosmic event in years.
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Image United is a chaotic mess of a crossover, and I doubt many readers will be surprised to hear that. There are those who will happily pick up each issue in order to relive their formative comic-reading years. Then there are others who will need to be especially careful to grab Invincible #69 this week, if only to remind themselves that Image doesn't still put out this sort of thing every week.
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"The Plague Widow" is easily one of the strongest storylines to come out of Northlanders so far. I'm curious to see if this conflict really has another five issues in it, but Wood has given no reason for readers to doubt him so far.
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Legacy looks to be headed into a very entertaining storyline. Many characters and conflicts are colliding, and I'll be interested to see just where this series winds up a few months from now.
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With the Superman books moving into yet another mini-crossover, I'm none too excited about what's coming. But if nothing else, I'm hopeful Robinson and co. are moving toward bigger and better stories in the near future.
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But that's hardly enough to derail the book. I never knew how much as I wanted to see Sherlock Holmes cleave zombie skulls in twain until I started reading Victorian Undead. The series has already gotten better in issue #2, and if that's who I think it is on the last page, issue #3 will probably be even better still. The game is afoot.
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This is easily the best issue of Hulk in its two-year lifespan, for whatever that statement is worth. It's probably no coincidence that Red Hulk is all but absent this month. However, it's really the art that steals the show, as Loeb is still struggling to find his footing. But with all the Hulk-related books in December performing well, I think it's safe to say Fall of the Hulks is off to a promising start.
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I think the Oz books will always have an odd quirk or two while broken up into individual issues. So while this may not be the absolute ideal format to experience the story, that doesn't change the fact that The Marvelous land of Oz is equal to or better than it predecessor. It's a visual feast for the eyes and a soothing dose of whimsy for the brain.
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Gates looks to be having a little fun with this new arc, particularly given the way this issue wraps up. I say that's just what the book needs right now. The battle with Silver Banshee may not have lasting ramifications for the Superman line, but it certainly allows readers a bit of breathing room.
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After the high point that was issue #29, this chapter comes across as a bit of a disappointment. That said, this is still The Brave and the Bold by JMS and Jesus Saiz. That's really all you need to know. If you aren't reading this series, I can only assume you hate quality storytelling.
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This comic is making me feel smarter all the time.
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The Savage She-Hulk back-up is decent, but fairly underwhelming in its conclusion. I definitely get the sense the story was dragged out longer than necessary. Still, it establishes Lyra's role in Fall of the Hulk's and offers more gorgeous Michael Ryan art, so it accomplishes its mission in the end. I'm really hoping to see the entire Hulk family kick it up a few notches and wow readers in Fall of the Hulks. I'm feeling some gamma-powered excitement for this franchise again, and it's been far too long.
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Let's end this review with a completely random pop culture reference. In a recent episode of Friday Night Lights, main character Matt Saracen had his artwork critiqued by a drunk guy in underpants. The drunk guy ripped Matt's figure sketch to pieces and held up a scrap of paper with a hand on it. The man said something to the effect of "This is the only part of your picture that doesn't make me want to puke. Concentrate on that". That's some sage advice right there. This series needed to be torn apart and the few worthwhile sequences expanded into the primary focus.
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This might not be quite the strongest issue of Phonogram 2 yet, as I think others have offered a more consistent overall package, but that hardly matters in the end. This is easily the best book I've read all week. But praise like that should come as no surprise to the Phonogram faithful by now.
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I'll be very happy to get back to the proper flow of the story, but I was pleasantly surprised in just how much I enjoyed this interlude. The Unwritten continues to hold me in rapt attention every month, not unlike the children who are so in love with the saga of Tommy Taylor. Just one more chapter before bed, Mr. Carey?
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This arc has also thrived on the strength of Wellinton Alves' art. Alves has done some strong work on Nova in the past few years, and he proves to be equally adept in this corner of the Marvel U. The characters have a sense of visual depth and consistency that they've generally lacked in recent months. Alves also handles the spectacle and chaos of the action sequences very well. Sadly, these two issues are all we'll get from the artist. Once again, if War Machine had been this strong consistently, I don't think we'd be bidding the series farewell so soon. Should Rhodey be granted another chance in the future, hopefully these two issues will offer the creative team in question some strong inspiration.
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The Eli Bard and Mortis sections aren't quite so impressive, but they still offer a decent set of visuals. I wouldn't be unhappy to see any of these artists take a larger role in the X-books. X Necrosha: The Gathering doesn't add much to the overall crossover, but it still proves to be a worthwhile purchase because it's so pleasing on the eyes.
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So far, Cinderella is a bit more shallow and familiar than I would have liked, but I'm still having a good time. And luckily, Roberson still has plenty of time to veer in unfamiliar directions and give Cindy the wild, fantastical romp she truly deserves.
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It can be difficult to accept how Marvel Boy has evolved in recent years. With the events of this issue, Bendis may have finally given the character the edge he needs to stand out from the pack. Unfortunately, the real benefits of that change won't be felt yet. This annual is ultimately a divisive, but not unenjoyable, look at an evolving hero.
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If you're not already on the Existence 2.0/3.0 bandwagon, be sure to keep your eyes peeled for the eventual trade. And don't be surprised when this blockbuster movie adventure gets plucked by Hollywood and turned into an actual blockbuster movie.
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Overall, Parker and Pelletier make a fine team, and it's a shame we won't be seeing more of them as Fall of the Hulks progresses. The Alpha issue isn't a perfect beginning to the event - it provides an awful lot of setup for what seems (for now, at least) to be relatively little payoff. But in and of itself this issue entertains, and that's more than I've been able to say about a lot of Hulk stories lately.
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Luckily, issue #13 is only two weeks away. I sincerely hope that a new arc will give Dixon a fresh focus on his characters. The last thing this book needs is more Joes or Cobras. I could happily go another year or more without a glimpse of Cobra Commander. I simply want standout characters like Destro to become the norm rather than the exception. And is it too much to ask than something blow up more than once an arc?
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Artist Davide Gianfelice continues to hold his own. With so many faces in the book, it must be challenging to set each cast member apart visually, but Gianfelice manages well enough. The aforementioned trippy sequence also allows Gianfelice to cut loose and have some fun for a few pages. There are times when certain panels could certainly benefit from stronger, clearer background details, but on the whole Gianfelice continues to be an apt fit for the book.
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More and more, I just want someone to come out and say "Here's what Realm of Kings is really about, and this is why you should care". I'm not enthralled by Guardians because of its tie-in status. I'm caught up in the plight of the characters I've been following all these months. With the diminished entertainment value of Nova lately, it doesn't have as much in the way of laurels to rest on. Next month needs to bring more Sphinx and more solid answers. Then maybe we'll be in business.
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Ultimately, this issue offers a bit of a slow start compared to past mini-series. The pacing of these books has been a frequent problem over the years. The Fall of Gilead ended too abruptly and now Jericho Hill opens too lackadaisically. I'd probably be better off waiting for the trade, but who the heck wants to do that? I'm looking forward to one last hurrah with Roland and company.
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Let's level here. I don't have a particular fondness for Image of the '90s. I don't appreciate the storytelling conventions of the time. With Image United celebrating many of the same qualities I disapprove of, I was clearly never the intended target audience. Most readers will know before ever picking up the issue if Image United is really for them. If you can find real enjoyment out of this project, I salute you. For my part, I'm going to go huddle in the corner with my Absolute Sandman books for a while.
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Invincible Iron Man is firing on all cylinders at the moment, thanks to strong characterization, improved art, and a snazzy new cover design. Like Ed Brubaker's Captain America proved, sometimes the best thing you can do for your book is to take the main hero out of the game.
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Powers fans have reason to celebrate these days. Their beloved series is back, hilarious letter column and all. I wouldn't really recommend new readers make Vol. 3 their point of entry, but they should look at it as incentive to begin catching up. Far from being an old horse at the track, Powers remains Bendis' strongest current book in many respects.
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On the bright side, we need only wait one week to see how well Gillen will carry the torch. Judging solely by the preview, I have high hopes for the series going forward.
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Maybe it isn't fair to complain too much about this book. It's a simple throwback story, and it knows it. And if you choose to read The Black Knight #1 as one of the perks of Marvel's digital comics service, then that's all it needs to be. But those who actually pick this issue up in the store and plunk down their $3 may be less satisfied.
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I won't go so far as to say that Dark Reign: The List - Amazing Spider-Man is the best installment of the series. The Wolverine issue still holds that honor. But that issue also had little impact on anything bigger than itself. As a total package - one that offers a captivating Spider-Man adventure and one that advances the events of Dark Reign - this issue comes out on top. This is a story that perhaps should have come several months ago, but this is one comic that is certainly better off late than never.
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This book may not be as troubling a read as that other Hulk book, but I'm beginning to enjoy the series less and less as time passes. Incredible Hulk needs the benefit of one artist and a clearer focus on the path ahead. Issue #604 doesn't seem as if it accomplished much of anything. With Fall of the Hulks looming so closely, that just perplexes me.
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The two highlights come at the end, however. In both cases the scenes could clearly have benefited from more space. The final page in particular seems woefully out of place with the largely upbeat tone Kirkman presented in the rest of the issue. Even still, they offer some intriguing new material for fans to mull over and make it abundantly clear that Kirkman has plenty of surprises in store even before "The Viltrumite War" begins. To top it all off, Ryan Ottley is back on art. It was nice to have Cory Walker back for two months, but at this point Ottley has really defined the look of Invincible and made it his own. Whatever pacing issues I might have had, this was one darn fine installment, and certainly one of the better books this week. I would suggest potential new readers start getting caught up now before the crap inevitably hits the fan in a few months.
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All of this coupled with an intriguing cliffhanger ending means Realm of Kings is off to a solid start. Unfortunately, this prologue issue just doesn't do a very good job of laying out the nature of Realm of Kings or what readers should expect from the various tie-ins. At this point I'm not even sure this story wouldn't be better served as an arc in Nova or Guardians. DnA have plenty of potential to mine. Let's hope they don't wait long to offer a clearer picture of where they're headed.
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There are a few sticking points with the script. As mentioned, it's tough to gauge what this story has to do with Realm of Kings. Like the opening chapter of Imperial Guard, the tenuous connection is that Medusa is dispatching a team to investigate the Fault. Just how heavy a focus that team will receive in future issues is a mystery. The script also falls apart a bit in its final pages. DnA make the mistake of moving away from the character driven sequences and political scheming to toss in several new physical threats at once. The series doesn't really need the same balls-to-the-wall action War of Kings showed so readily. It has enough going for it already. As a tie-in comic this issue is sort of weird, but on its own merits I enjoyed Realm of Kings: Inhumans #1 quite a bit.
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More than anything, this issue just lacks purpose. The extended combat sequences only serve to reiterate character relationships we've grown familiar with already. The final pages, which set up a larger conflict and a new opponent for the T-Bolts, could probably just as easily have bumped to the next issue, leaving this chapter open to be eliminated entirely. It's not an auspicious start for Parker, but given what's coming next I have to give him the benefit of the doubt for now. He still has the chance to pull this ailing book out of the gutter, and I hope for the T-Bolts' sake he can do it.
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This is definitely a zombie book that shows some promise. If nothing else, it's sufficiently different from the pack. With the setup hopefully behind us, next month we'll see just how the esteemed pair of Holmes and Watson can handle the undead hordes.
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This isn't Way's crowning achievement with Deadpool, but it's still a fun little romp. If nothing else, issue #17 is worth a read just to see Deadpool's prank. Hopefully the laughs will pick up a bit more and this arc can close out in style next month.
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But in any case, thick lines can do very little to dampen my enthusiasm for a resurgent Fables. The series continues to engross me with every issue of "Witches", and I very much look forward to the finale next month.
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But that doesn't imply Tomasi forgets to work in some key character moments as well. Tomasi continues some solid work with Kilowog, who shows a rarely-glimpsed vulnerable side. Tomasi also continues to make me both love and hate the Alpha Lanterns. Amid all the chaos, it's telling that the Guardians continue to be their own worst enemies. But the true highlight involves a much-loved character who takes charge and attempts to strike a mighty blow against the Black Lanterns. Whether they actually succeed you'll have to see for yourself. The important thing is that, by the end of this issue, Blackest Night will have become that much more engrossing and memorable. I'm sure many readers are already firing up their computers and venting various emotions across the Internet. But don't let the upset cries fool you. Green Lantern Corps #42 is easily one of the best chapters of Blackest Night yet, if not the best. And I'd like to think that things will only get bleaker and thereby more engrossin
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There really isn't much to dislike about this issue, unless you were hoping for a more rapid progression of events. It is a little painful knowing Hill apparently has 68 issues planned for the series in total, and I do wonder occasionally whether that much content is really necessary. All the same, I would hate for this conflict to have been glossed over. The Locke family can afford to take the month off. Hill probably has plenty of nasty surprises in store for them in the coming months.
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And the visual goofiness is only further accentuated by the backup feature, which is drawn by Jamie McKelvie. McKelvie aims for a similar clean, spartan look, but his characters all appear exactly as they should. The backup feature looks very slick, and I wish the main book was more in line with it. I hate to trash Sander's work, because it works perfectly well in Beast-less scenes, but those are few and far between. Clearly, Beast would like us all to understand that it ain't easy being cheesy. Well, it ain't easy enjoying S.W.O.R.D. either, but its strengths are such that I can manage well enough for now.
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There is fun to be had in this first issue of Strange, but not a terribly significant amount of substance. Hopefully Waid has a bit more character development in store for the next three issues. As it stands, I think Rick Remender said more about Strange as a character in the opening pages of Doctor Voodoo than this issue offers in its entirety.
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The Ghoul #1 isn't a very auspicious start for this new anti-hero. The issue suffers very much from a "been there, done that" mentality. But if Niles can shake those Hellboy comparisons, ditch the pointless captions, and strike out on his own, the series might have something to offer horror and mystery fans.
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I also have to commend Charlie Adlard and Cliff Rathburn. Despite the fact that Walking Dead has probably shipped more regularly in 2009 than it ever has, the art quality never seems to suffer. Kirkman paces this issue slowly, allowing the duo to pull back and really have fun with the landscape. We're treated to a wide shot of a zombie infested town, as well as several more intimate emotional moments. Again, despite the lack of zombies lately, the book is never dull, visually or otherwise.
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Greek Street continues to be a challenging book, rewarding those who either know their Greek myths or are at least willing to keep a browser tab open on Wikipedia. This is a book that can be thumbed through quickly, but just like 100 Bullets, true appreciation can only come from a slow, methodical read of each issue. Milligan has created a fascinating playground for he and Gianfelice to explore. For however much this issue might have slowed the momentum, I'm eager to see characters and conflicts heat up in true mythological fashion.
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So far, Haunt hasn't shown me it matters enough to warrant such an upheaval. The book is slowly getting better, but it continues to leave a bad taste in my mouth all the same. It will be some time yet before the Spider-Spawn accusations die away.
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Stumptown is one more solid noir tale from Rucka. I'm not sure it really demands to be read in monthly format, but fans of Rucka or the genre owe it to themselves to check out Stumptown in some format.
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Without a doubt, this is the most successful of the Dark Reign: The List books so far. It also happens to be one of the less important chapters. If major plot twists and developments are your desire, The List: Punisher has you covered this week. If you simply want a fun, slightly twisted adventure in the style of Morrison's New X-Men, this issue won't disappoint.
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All in all, issue #48 is one of the stronger issues of Green Lantern this year, but it isn't perfect. As mentioned, there are times when the shifting focus detracts from the flow of the script. Johns focuses a single page on John Stewart, which does little but remind readers that John has a role to play in Blackest Night. Also, the transition between Atrocitus' role early in the issue and his later appearance is poorly handled. I was left wondering if Johns skipped over some vital piece of the story, and if he plans on revisiting it later down the road. But that aside, Green Lantern #48 was a satisfying read and just one more sign that the Lantern books are firing on all cylinders these days.
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Helljumper #3 is a satisfying read, but also a brief one. Much like Uprising before it, Helljumper is a project probably best left for the trade. But given that it helps flesh out some of the stars of ODST very well, fans of the game owe it to themselves to check out Helljumper in one form or another.
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Bendis took the series in a weird direction over the past couple months, but it didn't take the creative team very long at all to put New Avengers back on track. This issue does value style over substance to some extent. Still, it's an exciting read that sets up plenty of interesting conflicts in these final months leading up to Siege.
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This arc has been drawn out and plugged with needless guest appearances. But as bad as it was, the final few pages of this issue show there might be better days on the horizon for War Machine readers, if not War Machine himself. I feel like I spend more time hoping this series will pick up steam than actually enjoying it. Once again, all I can do is hope that the next arc offers more of the War Machine readers have been led to expect.
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As for the rest of X-Force, I can't say I found much enjoyment in the plight of Wolfsbane or the other minor struggles. After waiting so long for Rahne to rise out of her funk and do something, I'm tired of seeing her do just the opposite. In general, everything not involving X-23 seems intended to set up the events of Necrosha, which does nothing to dispel the notion that "Not Forgotten" has been a transitionary arc first and foremost. Whatever you wish to call it, the strengths of this arc have less to do with X-Force itself and more to do with the story of X-23 Kyle and Yost have been weaving for most of this decade.
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What this arc needed more than anything was some helpful trimming. By toning down the flashbacks and eliminating Screwball's presence altogether, this story could probably have been comfortably told in two chapters. Still, I suppose there's always hope that Guggenheim will have some surprises in store for the third and final chapter. We'll see.
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The ending of this issue is especially interesting. It could either spell very intriguing possibilities for the future of Norman Osborn, or mean absolutely nothing at all. Whatever comes of this new development, I just hope we won't see Dark Avengers treading water for the final few months until Siege begins. The series is strong, but there is still room for improvement and expansion.
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I'm not asking that Dixon suddenly cram Cobra Commander, Storm Shadow, Serpentor, and every other major face into this book, but I would like to see the series speed itself along. The dragging pace is killing the series, and it only causes projects like G.I. Joe: Cobra to stand out even more. This should be the flagship title in the Joe franchise, not its weakest link.
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It didn't have to be like this. The G.I. Joe Movie Prequel comics were very well-written and superior to the ongoing G.I. Joe series in certain respects. Unfortunately, though this book may be similarly conceived, it accomplishes nothing the Movie Prequels managed.
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This short arc has been a nice respite from all the harsh drama, but I think I'm ready to dive back into the heat of battle. Kirkman looks to have an epic conflict brewing for future issues, and I welcome the return of both the title hero and regular artist Ryan Ottley with open arms.
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Still, I've gotten used to those foibles by now. The one nagging flaw of this finale issue is that it doesn't provide enough closure. There's the aforementioned problem with Maria. Also troubling is the resolution of HAMMER agent Walsh's betrayal. I hope Fraction has plans for this character during the course of "Tony Stark Disassembled", because to write him out of the series at this point seems wasteful. Coming out of issue #18, I'm sure many readers wondered how Fraction could properly resolve all of his open plot threads. Well, the truth is that they aren't all resolved, and that "World's Most Wanted" doesn't end so much as lead right into the next arc. Make no mistake - this is a powerful finish to an engrossing, yearlong saga. It just doesn't slap the big exclamation point at the end of "World's Most Wanted" I might have expected.
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I kid because I love, but it's true that this series frequently has no idea what tone it wants to strike or what age its readers are. The juxtaposition of naughty language and occasional gore with the otherwise straight-laced characterizations is strange. I'm always able to derive a certain level of amusement from any given issue of Tales of the TMNT. But is that really enough? I've seen some readers on this site complaining that Mirage is publishing this series in favor of TMNT Vol. 4. I'm inclined to sympathize with them. Mirage needs to be publishing a Turtles book with a true sense of direction and a consistent style of storytelling. Tales is fun, but readers deserve more at a time when the other arms of the TMNT multimedia empire are doing so much to draw attention back to the franchise.
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I understand the need to keep these Stephen King adaptations coming out as quickly and efficiently as possible. With no real jumping on points in The Stand, Marvel is essentially only going to lose readers as time goes on. Still, the release schedule appears to be taking its toll on the book, and as a fan of everything that has come so far, it's a bit depressing to watch.
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Mahmud Asrar's art also managed to disappoint in many ways. In general, Asrar doesn't appear all that comfortable with Marvel's heroes. They appear gangly, disjointed, and several characters sport out of date costumes. I'll agree with Bryan that Asrar does handle Danny Rand's martial arts wizardry pretty well, but on the whole this issue disappointed as much visually as it did in its script. Remender has proven himself a top-notch writer and a huge asset to Marvel's lineup this year. I have no doubt he could turn in a winning Thunderbolts story. This, however, is not it.
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This opening arc has been pretty weak, all things considered, but I see no reason why the book can't make significant strides in future arcs. As long as Miller can strike and maintain a proper dynamic between his leading ladies, the rest should eventually fall into place.
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So, in the end, what was the point of this? Like too many Blackest Night books, the story behind Blackest Night: Batman comes up sorely lacking. The Black Lantern reveals were fun, but it's become painfully clear at this point that these reveals are a poor substitute for true substance and conflict. The most Blackest Night: Batman has to offer is the art of Adrian Syaf. Syaf is a solid addition to the Andy Kubert/Tony Daniel school of Batman art, and I have little doubt we'll see him return to Gotham soon. That said, Syaf's art could just as easily been showcased in a one-shot special. This mini-series offered about enough content for one solid issue. I can only hope at this point that the next round of character-specific mini-series will be able to claim more than that.
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It should be interesting to see where Wood takes the story from here. As I mentioned in my Scalped review this week, it almost seems as if Wood is building towards a big finale in the near future. However, this issue does move a little more slowly than I'd like at times, so I'm not sure just how soon that end would be coming. Still, we're seeing a lot of familiar faces at significant crossroads in their lives. DMZ is beginning to pay off in a major way for those that have followed it from the beginning.
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But other than that, I loved this issue. Fables is just getting better and better by the month. Artist Mark Buckingham is firing on all cylinders. New characters are standing tall and carrying the burden of the spotlight with ease. Fables is in a great state right now, and I once again feel the need to implore lapsed readers (that includes you, Phillips) to get caught up and see what you've been missing lately.
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Don't get me wrong, all of these creators are doing fine work with their respective characters. I love the attempt to show the Vertigo universe as a cohesive whole. There's a certain Seven Soldiers-esque quality to the overarching storyline as various heroes confront a vast threat without ever really meeting one another. But to some extent, this issue feels like a case of wasted potential. Why not shake up the creative teams a little? Why not have Milligan write Madam Xanadu and Wagner tackle Constantine? As enjoyable as the issue is, it could have taken a few more chances. The sense of connectivity is fun, but no characters from any franchise are really permanently affected by the events of the issue. But above all, this annual is a fun celebration of all things Vertigo, and I hope it inspires some similar collaborations in the future.
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There's little to be said about R.M. Guera's work these days, other than that it's still great. Guera effectively blends the aesthetics of crime noir and Western together. The series has sometimes been a little too gritty and dusty in appearance for its own good. But one thing I've noticed lately is that Guera and colorist Giulia Brusco seem to be playing around more with varied colors and lighting. This issue is a nice showcase for different moods and and visual tones, so the variety is definitely on the rise.
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All in all, I can find no reason to dislike Web of Spider-Man, but perhaps equally little reason to care about its existence. For all the hype surrounding the return of a venerated Spider-man book, the series feels exactly as if Amazing Spider-Man Family and Brand New Day Extra were rolled into one book. So far, the book is doing no better at finding its own identity. Perhaps that will change in the future, and perhaps not. But if nothing else, it does fill that once-a-month void when no new issue of Amazing hits the stands. That's certainly something.
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"Exogenetic" is a step in the right direction, but on the whole Astonishing just isn't succeeding on the level it should considering the talent involved. As an X-fan who is frequently invested in the direction of the franchise, I recognize the necessity of an accessible book like this. I only wish the finished product was as attractive as the concept.
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Under far different circumstances, I could see this story working well enough. As an extended one-shot, with an increased focus on Batman, there might have been potential. Instead, what we have is a fairly uneventful first issue with a terrible new villain. I can't imagine this dragging on for another four issues. And unless Moench has a serious ace up his sleeve, I doubt I'll be sticking around that long anyway.
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There isn't necessarily much wrong with this issue aside from the aforementioned flaws. The central problem with issue #8 is that there simply isn't enough material there. The series practically demands a quicker, more eventful pace right now, both because of the fallout of "Codename: Patriot" and the simple fact that only four issues remain. Superman is an outcast from Earth and a reluctant leader of a planet that barely trusts him. Why is he wasting his time chasing moons? World of New Krypton has just experienced its most boring chapter yet at a time when it should be reaching new heights of storytelling. When the series isn't dealing directly with the tensions between Earth and New Krypton, it seems content to feature a revolving door of DC power players. I hope Rucka and Robinson have something more in mind for the final four issues. World of New Krypton has remained the most intriguing of Superman books, but I could easily envision a scenario where that no longer holds true.
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Luckily, the good outweighs the bad by a huge margin in this series. Ultimate Spider-Man remains the place to go if you want to see Bendis at his best. Finally, the Ultimate line is living up to its promise once more.
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As I said last month, Moon Knight was not necessarily a book in need of drastic fixing. The intrusion of Dark Reign into the series isn't even doing it any favors thus far. Luckily, Hurwitz has avoided the mistake of throwing the baby out with the bath water. And with such a slick set of pencils backing up his writing, Vengeance of the Moon Knight is a book that's quickly rising to the top of my stack.
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Hopefully Schigiel will tip his hand more next issue and prove that he has a purpose behind crowding the series with outside faces. But even if not, it'll be worth it just to kick back and have fun with the X-Babies again for another 22 pages.
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This newest Aliens comic got off to a very rocky start, but it seems to be doing pretty well for itself now. I'm disappointed we don't have an Aliens book that looks more like an Aliens book should, but at least it satisfies all those baser desires for blood and gore. Perhaps it satisfies them a little too much...
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As a tie-in to the four Die Hard movies, this comic is a resounding failure. I have no doubt many buyers will throw down this issue in disgust when they realize they didn't receive what they thought they had purchased. But if you're willing to ignore the license, more or less, and just focus on an interesting crime story, Die Hard: Year One is not so disappointing.
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Haunt may not have turned out exactly like I expected, but it still proves disappointing nonetheless. I'm willing to give the creative team another chance to see if Haunt merely needs a few chapters to pick up steam, but I only have so much patience for these sorts of shallow, grim and gritty comics.
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Problems aside, I do truly look forward to whatever follow-up Marvel and the creative team have planned. It's just incredibly frustrating to see the series halt on such an unfulfilling note.
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With 48 pages of story and no ads (apart from a single fake one), Shang-Chi: Master of Kung Fu #1 is one of those rare books that fully justifies its $4 price tag. I would have liked to see some level of contribution from classic Shang-Chi writers, but that's a minor complaint. Easily the most pleasant surprise of the week, I find myself wondering what could be done with a more long-term Shang-Chi project in the future. With the right creative team behind him, this hero could experience a resurgence every bit as big as Iron Fist's.
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If you consider comics like Sky Pirates glorified advertising material for the games they're based on, I don't know that I'd call this issue successful. I don't feel a desire to run out and pre-order Sky Pirates. Based on this issue alone I'm still not even sure what sort of game it's supposed to be, honestly. But does that really matter? Sky Pirates offers up a dose of good, clean fun with some Eastern influences. That's enough for me.
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Spider-Man: The Clone Saga is an interesting little experiment that should no doubt make good on its promise to retell the Clone Saga in a less ridiculous fashion. But given its throwback feel and not entirely new reader-friendly premise, I'm not sure this series will appeal to anyone but die-hard '90s fans.
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Legacy has plenty of untapped potential waiting to be exploited. The problem is that the same thing could have ben said four months ago. This arc failed to accomplish much in its four issues. Hopefully the next will begin to capitalize on the boiling tensions and dark conspiracies that make the Legacy era of Star Wars such an interesting time.
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This isn't the strongest issue of Guardians to hit the stands, but it still managed to be one of the better books I've read this week. I'm just crossing my fingers that the two halves of the team reunite soon and begin dealing with the giant ball of chaos brewing in the 21st Century.
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Eric Nguyen's art is solid, if not as impressive as David's script. As I noted last month, Nguyen's figures tend to appear very flat and dull when not bathed in light. This quality tended to drag down issue #2, as most of the action took place in dark corridors. Luckily, as most of this issue takes place in a bright desert setting, it's not so much a problem this time. Nguyen also does a good job in employing various tricks and techniques to ensure the Helljumpers aren't dehumanized by their full body armor and covered faces. Assuming the lights don't go out again, I don't think we'll have much to worry about from either creator in the remaining chapters. If you happen to grow bored with Firefight mode this week, I'd recommend giving Helljumper a glance.
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Don't get me wrong, I'm enjoying this series quite a bit. It's funny, it's action-packed, and it features some quality characterization of Banner and Skaar. It's also pleasing just to have a Hulk book that doesn't make me want to retch for a change. Although, with the way the art has been so far, I may not be able to say that much longer.
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I won't be sad to welcome Ottley back at the end of the year, but I'm certainly enjoying Walker's return and the shift in narrative focus while it lasts.
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"War of the Marvels" is turning into something of a disappointment, with an increasingly silly mystery, seesaw visual quality, and at least one growing example of shoddy characterization. But there are other areas where this arc continues to impress, and I'm holding out hope Reed can pull everything together for the big finish.
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I've always accepted that Guardians was generally superior to Nova. "How can it not be?", I ask as Rocket Raccoon holds a large gun to my head. But sadly, the gap between the two books seems to be widening lately. I sincerely hope Abnett and Lanning can put the series on track before Realm of Kings upsets the status quo once again.
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By comparison, the art in the Hangman backup feature is more along the lines of what I'd like to see. Tom Derenick isn't the star of the show, but rather inker Bill Sienkiewicz. Sienkiewicz lends a nice gritty veneer to what might otherwise have been a very standard visual presentation. In terms of the script, Hangman still proves the most underwhelming of all four Red Circle heroes. His struggle continues to feel far removed from the other three characters, and nothing besides Sienkiewicz's work does anything to sell the character.
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Sadly, this issue ends on a real sour note. The ending cliffhanger beckons readers to come back in three months for the rest of the story. Three months! Apparently the upcoming Halloween issue is a higher priority. The plot in this issue does little to convince me I should I even stick around that long. On the other hand, Casey shows enough promise in his writing that, assuming he'll be the one penning the follow-up chapter, I may just have to bite the bullet and give this story another shot.
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No, the real frustrating element of this arc is that the conflict between Wolverine and Romulus is brought to an abrupt halt. With possibly as much as two years left to go in the series' lifespan, Way can't allow the plot to advance too far at once, no matter how welcome that might be. Until Daken crawls his way back into Origins and the final showdown between father, son, and creepy old mastermind begins, Origins is going to continue limping along as it has for four years now. But I suppose if I've lasted this long, what's another 20 issues?
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Luckily, Vaughan doesn't completely ignore the developments of last issue or the newly empowered Suzanne Padilla. Vaughan continues to build on the growing conspiracy against the mayor, which is good. But as for Padilla herself, I'm not quite sold on her new role. She seems a bit two-dimensional as a villain, and I hope Vaughan has bigger plans for her than this issue might indicate. The problem with knowing (more or less) how a series ends is that the climax is in constant danger of fizzling out. That said, this is Ex Machina we're talking about, and Vaughan has never given us any reason to doubt him on this book. As long as Vaughan and Tony Harris maintain their creative synergy in the remaining five issues, I see no reason not to expect a finale to rival Y: the Last Man.
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Overall, this is one of the strongest issues of Fables I've read in a long time. There is literally no excuse for lapsed readers not to come back and remind themselves why they loved Fables so much in the first place.
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This series has some pretty significant problems at the moment, but it's not as if they couldn't be addressed simply enough. Slott and Gage have the scope and scale down pat. With a greater focus on characterization and fleshing out of background faces, Mighty Avengers could truly live up to its name.
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Were this arc to go on much longer I think the series would be dragging, but fortunately Kirkman looks primed to wrap things up next month. By the time our heroes do continue their march to Washington, I can only imagine the state they'll be in.
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I'm not entirely convinced Ultimate Comics Armor Wars will achieve the creative heights it could, but there's still time to prove otherwise. If nothing else, this series is a visual stunner and proof positive that Marvel are putting the Ultimate line back on track after the past disastrous six months.
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Sadly, the art continues to drag down the series at points. That should come as no surprise by now. This issue does benefit from the fact that there are only one penciler and one inker on board. The visual consistency is superior to recent issues, and generally the art is successful when it doesn't zoom into close focus. On the other hand, figures have a fairly loose quality about them, and there are one or two moments of cringe-worthy facial work that recall last month's horrendous portrayal of Monet. Given how superb De Landro was earlier on in this series, I really get the impression that he just needs more time to work. Hopefully, when X-Factor goes on its brief hiatus, De Landro and his collaborators will be able to work out a more efficient division of labor that doesn't lead to the occasional but recurring instances of artistic meltdown we've been seeing.
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In the end, Exodus brings the battle to a close and sets the stage for both "Nation X" and Dark Reign: The List. As I said, there aren't a whole lot of surprises to be had on either front. It remains to be seen how Fraction steers Uncanny from this point and whether he can truly make good on his promise to take the team in a direction they've never been before. But, if nothing else, Dark Avengers/Uncanny X-Men was a good start to what could be better times for the oldest and most uneven of X-books.
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It's clear already that Dark Reign: The List is just a middle step on the road to Dark Reign's real climax. The lack of any running threads throughout the series other than the core "Osborn's list" premise may end up dragging these books down. On the other hand, this issue features some of the better character work Bendis has done in his long tenure on the Avengers books. Even if I have to wait a few months to see where this issue leads, Bendis has done plenty to pique my interest.
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Were I able to read this whole mini in one sitting, I'm sure Id have a blast. But as slow moving and split apart as it is, I worry Command School will have a hard time holding my interest despite its strengths.
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If the script nods off a little in places, at least the art is as strong as ever. Patrick Gleason is a master of epic layouts and generally dynamic storytelling. His one flaw - an inconsistency in facial work, is far less prevalent here than in many issues. So far it appears Blackest Night will be showcasing Gleason at his best. Hopefully the same will be said for Tomasi in the end. Make no mistake - I enjoyed this issue a lot. The scope of the conflict is certainly there, but the pacing lacks some of the breakneck speed of The Sinestro Corps War. Hopefully the next issue will speed things along.
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Unfortunately, I do prefer at least a little character building time with my humor, and that's one area this Thorcules arc is falling behind on when held against the Amadeus Cho story from last issue. Herc loses a bit of his luster when Cho isn't around to serve as a foil. Young Zeus is a decent enough replacement, but it's still not quite the same. I think Greg Pak and Fred Van Lente would have done well to connect the two arcs together in some way. s it is right now, they're completely independent of each other. Both offer a lot of what I love about the series, but not quite all in one package. More than anything, I just look forward to the inevitable reunion between Herc and Cho.
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Marvel Zombies Return #2 is a definite step down from the first issue, but I expected as much. If all you crave is more carnage and bloodshed, this issue will probably satisfy. Still, after all these years, I think the franchise is past the point where it should be allowed to coast by on such superficial qualities.
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World of New Krypton isn't necessarily the best of the Superman books, but it still manages to be the one I look forward to most each month. Robinson and Rucka have a wealth of potential to mine in this series, and so far they're doing a respectable job of it.
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Also featured here is a backup story starring fellow Red Circle hero Inferno. Brandon Jerwa does a reasonable job in the space he's given. He too strikes a tone that is far more grounded and realistic than the preceding one-shot. Unfortunately, the script seems to lack a real sense of purpose. And agonizingly enough, it too ends with a surprise appearance by a random DC hero. I would much rather have had these pages devoted to The Shield's story than this little diversion. Rather than try to build up all four of these Red Circle heroes at once, it may be better for DC to stay focused on a good thing and build slowly from there. And so far, it appears they have a good thing in Trautmann's take on The Shield.
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Black Panther remains on the lower end of the Marvel spectrum, but it admittedly shows some level of improvement with the new creative team. I'd like to think that Maberry will eventually settle into his new gig, and that once the series escapes from under the shadow of past Panther storylines, it will become something I can truly recommend.
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This could easily be hilarity in the making or just the beginning of another bum story arc. You can never really tell with this book. Way certainly has a lot to live up to in the humor department, but at the same time I hope he's able to raise the bar in terms of characterization.
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The backup feature from Duane Swiercynski and Travel Foreman is more enjoyable, luckily. Foreman's art is every bit as dynamic as it was on the main book, even if Swiercynski seems to be aiming a little low in Danny Rand's current adventure. With the feature 40% over, I'm not expecting many surprises out of Danny's hunt for a missing child. Still, it's entertaining, and that automatically puts it one or two steps above the main portion of the issue.
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Marvel Zombies Return #1 is not a deep comic, even by the standards of past stories. It is, however, a huge amount of dark, twisted fun. I still have my concerns about the mini-series as a whole, but at least the franchise is showing it still has legs. That's more than a lot of zombies can say.
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Davide Gianfelice also returns to revisit Sven. His line work isn't what I would normally describe as tight, but compared to the almost abstract pencils of the previous arc it definitely stands out in that way. Gianfelice depicts a feud that is both wholly unglamorous yet strangely graceful, a perfect fitting for the book. I'm actually starting to miss his work on this series, and I hope we'll see him return before long. I'm perfectly happy bidding farewell to Sven now, but Wood and Gianfelice make a worthy team that shouldn't be so quick to depart.
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In discussing this book, Corben has revealed that he, Way, and editor Axel Alonso constructed the story in the "Mighty Marvel Manner", which essentially means that Way constructed a basic outline, Corben drew the issue, and then Way filled in the dialogue afterward. This certainly isn't a common approach anymore, and for good reason. Perhaps in a misguided attempt to make the writing stand out in this art-centric comic, Way has needlessly burdened the script with unusual narration and pointless homoerotic humor. It would have been better for all involved if Corben's art had been left to carry the day on its own. What worked perfectly well as a short, dozen-page story is not working as a longer mini-series.
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As a whole package, Strange Tales is easily on par with Wednesday Comics. The variety isn't quite what I would have liked. All the stories feature a humor angle, and too many artists gravitate towards the Hulk. But for me there's no question that Strange Tales is the most fun read of the week. As troubled a development phase as this mini-series had, I hope Marvel is already looking into a sequel. This is an anthology book done right.
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The art is also significantly improved as well. Patrick Berkenkotter turns in a very detailed set of pencils, that showcase every last line and wrinkle on Thinker's face. Overall, his style is reminiscent of Ed Brubaker's partners in Captain America, making it that much easier for cap readers to jump over to this book. Not that they should need much motivation. This series may have no direct tie to Ed Brubaker's saga, but it shows a similar love and care for some classic WWII heroes. The Torch #1 is definitely one of the pleasant surprises of the week.
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Widening Gyre is not going to be high art. The first issue makes that abundantly clear. What it doesn't make clear is what the overall story is truly about. But despite all this and some rather serious storytelling flaws, I'm willing to keep an open mind about the series. Smith and Flanagan display just enough flashes of brilliance that I'm willing to hold out hope for something better.
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There is, in the end, one central flaw with this series that has yet to be addressed in its first three issues. I still don't care about Daken as a character. The appeal so far is all in the situational drama his powers create. I don't have a proper sense of who Daken is or what he wants in this book. Does he actually care about his father's legacy one way or the other? Does he have any goals at all other than screwing with his teammates? There's no emotional connection to be had here. It's actually a similar problem Way has in his Deadpool book, only more pronounced. Deadpool is zany enough that readers don't always need something deeper. Daken is not the same way. Bearing all that in mind, this arc seems to function better as a Dark Avengers story than a solo tale. Hopefully that won't always be the case, otherwise I foresee a short future for the series.
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If Way's series has had any one fault over the past months, it's that he hasn't attempted to give his lead hero any depth. We love Deadpool because he's crazy, not because follows a classical hero's journey or plumbs the depths of his subconscious. And for the most part, that's always been enough. However, late in this issue there comes a point where Deadpool has a Spider Jerusalem-esque moment of epiphany. He calms down and quits being zany long enough for readers to see the human being underneath. It appears Way will actually be exploring this side of the character in the next arc, and I'm very interested to see where he goes with it. I hardly want to abandon the meat suits and tug boats, but a stronger attempt at characterization might just push this book to the next level.
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At least David's impeccable sense of dialogue is still present. The writer doesn't have much time to flesh out his heroes, but he makes the most of what he does have. By now readers should have no problem caring for partners Dutch and Romeo as they fight to stay alive against increasingly overwhelming odds. Last issue was a bit light on the action, and this issue maybe slips a little too much in the other direction. I'm not even sure it's a problem of striking a proper balance so much as it is that the story will read better as a completed graphic novel. Halo: Uprising certainly worked better as a whole, and the same may apply to Helljumper. It has its weak points so far, but on the whole I'm finding Marvel's second attempt in this universe every bit as engaging as the first.
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One significant area of improvement we've seen in the past two issues is the art. The series has been on a relative slump most of the year, and more than anything I lay the blame at the rotating cast of artists. The series just hasn't looked very stylish since the conclusion of "Love and War". Luckily, Rodney Buchemi brings a huge step up in visual quality. The art is noticeably more sleek and bright. And any Cho-centric story calls for some oddball visuals amid the floating numbers, all of which Buchemi handles well. Considering he'll be the artist for Assault on New Olympus, it's pleasing to see Buchemi turning in good work. However much Incredible Hercules might have tapered off in the first half of 2009, I'm looking forward to big things in the remainder of the year and beyond.
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Whether or not issue #14 is the last installment of Runaways for a while, I think Immonen and Pichelli have given fans plenty to be excited for. I just hope the conclusion of this tale isn't as obvious as the cover to issue #14 makes it out to be.
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And the slick pencils of Andres Guinaldo don't hurt matters. Guinaldo is given a great deal of content to play around with. There are alien monsters mixed in strange architecture and all manner of other surreal sights. I find myself wishing Marvel had brought Guinaldo into the fold sooner. His composition skills rival Ron Garney's, yet sport a more defined sensibility. The only fault I can find is that Guinaldo's panels vary little in size and shape on each page. This causes some shots to occupy too much room while others feel cramped. Bu for the most part, Guinaldo injects the book with a fresh vitality. There's no logical reason this series should be succeeding at the moment, but it is anyway. I look forward to seeing what Jenkins has in store for this strange new member of the Hulk family.
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Issue #39 isn't the strongest effort from Ostrander, despite the heaping dose of fanboy appeal, but it does manage to remind readers that Cade still has an epic struggle ahead of him. I look forward to moving beyond this arc and reaching the next stage in the war between the Skywalker clan and the Sith.
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But backup feature aside, I'm getting quite a bit of enjoyment out of Streets of Gotham. Given how much good work Dini is doing for the villains of Gotham, I almost wish Batman and Robin would take on an even more diminished role. The series has its faults, but the strengths outweigh them by a significant margin.
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Tony Harris' art continues to shine in this arc. Whereas past storylines saw Harris' work vary in quality, he has been far more consistent lately. Couple that with the fact that Vaughan is throwing an increasingly bizarre and memorable series of visual requests at Harris, and you have an issue whose art ranks among the best in the series. That goes for the script, as well. This finale is easily one of the better issues of a series that has never, ever been bad. If Vaughan and Harris manage to keep improving in their final storyline, we could be looking at a truly classic finish for this series.
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Kirkman leaves readers with plenty to chew on regarding future threats to Invincible and friends. That scheming Cecil is still up to no good, but he's only the tip of the iceberg at this point. After reading this issue, it's hard not to be excited for the upcoming Viltrumite War next year. Given how much action and drama readers have been subjected to over the past year, it should be a real doozy. And with any luck, Kirkman will be able to strike a better balance of said action and drama next time around. As much as this issue sends "Conquest" off in style, a more even dispersion is not a bad thing.
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It's impossible to ignore the redeeming qualities in The Outsiders right now. The series is host to a top-notch creative team. Unfortunately, Tomasi is making some very questionable storytelling choices at the moment. I hope they eventually pay off. But for the time being I can only lament that, after nearly two years, The Outsiders is still struggling to find its identity.
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What I can't quite forgive are the subpar visuals. Paul Azaceta manages dark and gritty well enough. The overall aesthetic is very similar to past Marvel Noir books, though Azaceta's linework could use a bit more definition. But what truly sinks the story in its more dramatic moments is the lack of emotion on Azaceta's faces. It's difficult to feel much of Frank's pain when he doesn't appear to be that put out by his situation. Noir is dark and brooding, but there's also a certain passion to it that I'm not seeing in this book. Like with the story conflict, I can only hope that passion begins to boil in future issues.
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But all these complaints aside, the crossover is poised for a terrific finish. Gates arranges his pieces well, and artist Jamal Igle ensures that the visual transition from Action Comics to Supergirl is as smooth as could be hoped for. Hopefully once issue #45 rolls around, Kara we'll have an interesting new set of problems to deal with.
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Crossover is increasingly becoming a dirty word in the industry, but it doesn't have to be. So far "Codename: Patriot" is a strong example of how to do these stories properly.
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In its first three issues, Winick's new Batman run has impressed me far more than I would have expected. It offers a nice counterpoint to the visually stunning but sometimes light-on-content Batman & Robin. As a Bat fan, it's hard to imagine being more satisfied at the moment. Let's hope Batgirl doesn't go and ruin everyone's high spirits next week.
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It's certainly nice to have Mark Buckingham back where he belongs after so many months away. Buckingham returns to a more familiar art style compared to what he offered on Jack of Fables, with wide pages and storybook collages forming the borders. Buckingham's return lends the book a comfortable sense of familiarity. With the series now back on track, Willingham and Buckingham can resume shocking and awing as the series builds toward issue #100.
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This issue is pretty much a mess all around, but there's no reason it should have been. Though Helix has almost no standing in the G.I. Joe universe yet, I could easily see myself growing to love this character. However, her sophomore appearance will need to offer a significantly better show if this new heroine has a hope of catching on.
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As much as I enjoy having the Countdown crew back in action, Star Trek: Nero just doesn't elicit the same feelings it prequel did. The writers have yet to convince me that there's a real story to be told here. With any luck, that will change in issue #2.
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When viewed as an outlet for stunning revelations and new answers, The Marvels Project will probably disappoint. At times it feels as Brubaker is treading material readers have become all-too familiar with. But in its better moments, it becomes clear that Brubaker really does have something new to say about Marvel's Golden Age heroes.
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Issue #64 doesn't necessarily offer Charlie Adlard any particularly strong visual opportunities, but he makes the most of what he is given. This is a very dialogue-heavy issue, with characters hiding in shadows and talking to each other at great length. However, the action picks up a little towards the end, and I can only assume Adlard will have plenty to work with as the arc winds to a close. Unlike Invincible, which lately has felt light on story content from month to month, Walking Dead continues to offer just the right dose of human suffering and zombie carnage.
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All in all, Revenge of the Fallen #1 does a very poor job of selling the mini-series as a whole. Knowing that future issues will tie heavily into what Simon Furman is planning for Transformers: Nefarious, I still have some interest, but that's despite everything I read in this comic, not because of it.
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Once again - gun-toting apes. Flying saucers. Talking dragons. Buy this book. You're only robbing yourself of great amounts of fun.
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So issue #1 is fun, most certainly, but not wholly satisfying given how long we've been waiting. I also picture a bit of righteous anger when readers realize they're now paying $3.99 for what is still really a $2.99 story. Heaven's On Fire can get by on sheer kinetic energy for now, but if Aaron really wants to hammer home the idea that this is Johnny Blaze's final stand, he'll need to turn up the character drama in issue #2.
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But as top-notch as the contents are, the issue doesn't offer nearly enough content to justify a full $2.99 price tag. The story itself occupies less than half the pages. A few more pages of concept art are included, along with a full reprinting of Wheatley's pencil art. This would make for fine bonus material in the trade, but as filler? Pfft. I suppose anyone who bothers to pay three bucks for something they can easily snag for free might not care so much about value, but it still seems Dark Horse could have done better than this. By all means, check out this material on the web if you're interested in reading one of the better Star Wars comics available. But buyer most definitely beware with this one.
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So far, there isn't much at all to set Star Wars: Invasion from the pack. I'm not convinced the series has anything meaningful to add to the Yuuzhan Vong conflict. And yet, I'm hoping I might be proved wrong over the next couple issues. This series isn't a lost cause, but merely a battle with the odds stacked highly in favor o defeat.
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But art problems aside, the Superman writers seem to have cooked up an engaging crossover that never feels forced or unnecessary. I'm keen to see how "Codename: Patriot" develops over the course of the month. I can only hope that the writers make neither the mistake of aiming too low, nor of attempting to cram too much into too little space.
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I've read worse comics than Mayhem this month. Hell, I'm considering asking for a prescription of Zoloft after reading Ultimatum #5. But that in no way means Mayhem is worth your hard-earned dollar. If there is a bright center of originality in the comic book universe, Mayhem is the star that it's farthest from.
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War Machine has great potential to offer something different to Marvel readers. That's why it's so disappointing to see Pak fail to capitalize on that potential every month. If I want epic, superhero action and witty banter, I can turn to three different Avengers books and countless other outlets. What War Machine does best is also what it does the least.
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Detective Comics is a gorgeous, gorgeous book with two of the most interesting females heroes in DC's stable. At this point, I'm glad Bruce Wayne took an extended vacation, if only because it paved the way for a series like this.
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Issue #29 is not a bad start for the new creative team. However, this series suffers from a few problems that, as of yet, aren't really being addressed. Hopefully the book will settle down and evolve into a leaner, meaner version of itself in the coming months.
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Ultimatum is one of the worst comics I have ever read.
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Blackest Night: Tales of the Corps still has its problems, but its pleasing to note that issue #2 is already significantly improved over the first. I'm hoping Johns and Tomasi have saved the best tales for last.
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Issue #44 isn't quite as good as the superb issue #43, but it easily ranks among the best of the week. I suppose the complaint could be voiced that this issue doesn't fully stand on its own without the need to read Blackest Night #1. But frankly, if you're reading GL and not Blackest Night, you're doing something wrong. My excitement for this event has only grown in its first two weeks.
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In the end, as much as the dialogue and character interaction impress, the real test of this new series will come as the conflict heats up and the battle between the ODST troopers and the Covenant truly begins. This comic has a good chance of topping Marvel's first Halo effort, and I'll be interested to see if it accomplishes that much.
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Iron Fist fans should embrace this issue wholeheartedly. It offers a lot of great kung-fu content, and it succeeds, if only for a while, in making us forget that there isn't an ongoing Iron Fist book on the stands. Vote with your dollar, and maybe we can fix that.
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You'll probably hear this from me a lot in the coming months, but Runaways deserves a second shot from anyone who has written the series off in the last year or two. Immonen and Pichelli are a breath of fresh air to a book that never should have grown stale in the first place.
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The Wonderful Wizard of Oz is one of the finest comics I've read in a long time. It doesn't matter that it's an adaptation of children's novel or that it doesn't have spandex-clad heroes slapping each other. This series evokes pure joy in the reader. I'm very much looking forward to the next chapter. As long as Shanower and Young are on board, I expect more greatness from Oz.
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All in all, it's hard to find fault with Blackest Night #1 itself. Most of my problems stem from being too bombarded with pre-release information, and all that eventually melts away in favor of the actual joy of reading. The Sinestro Corps War Special left a slightly bigger impression on me in the end, but there's something else worth noting. That storyline hit its high mark with the opening installment. With Blackest Night #1, I feel Johns and company are only scratching the surface with this issue. This event has nowhere to go but up from here, and that's quite a rosy thought to last me through the rest of the year.
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If these stories were inserted as back-up material in the other Lantern books, I would be able to overlook their flaws. But the fact that DC are charging $3.99 for three short, lackluster stories and some reprinted bonus material makes it more problematic. The most I can hope for is that the remaining two issues have more to offer from a storytelling standpoint.
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Still, this is definitely the best Deadpool book you'll read all month. The art is very solid, and Way gives Paco Medina plenty of room to play thanks to the numerous delusion sequences. In a strange way, this issue actually caps off everything Way has done since the beginning. The book isn't being canceled (Marvel doesn't hate money, after all), but it certainly feels like the end of one era and the start of something stranger and, hopefully, even more wild and fun than before.
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I've said many times that Fables became more exciting and unpredictable after the end of "War and Pieces". This issue is a shining example of the creative avenues Willingham is able to explore now that practically anything goes in this universe. If you've fallen off the Fables wagon in 2009, pick yourself up and give it another go.
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This issue is pretty solid in and of itself, but it isn't terribly vital as a Blackest Night tie-in. Look at it as more of a prelude to a tie-in. If that actually sounds worth you hard-earned money, then by all means give Titans #15 a look. Just don't pay any attention to the silly and misleading cover and you'll be all set.
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And Ba and Moon certainly don't disappoint. The two are just similar enough in style that it can be difficult to distinguish between them at times. As best I can tell, Ba handled the first half of the issue, while Moon handled the second. The overall look is loose and kinetic compared to the normally dark and oppressive tone of many B.P.R.D. comics. Both artists tend to inject their comics with a unique sense of energy. All the same, there are certain B.P.R.D. trademarks to be seen in the art. Overall, Moon's later pages are the strongest. He manages to build tension both with his inventive panel structure and with the assistance of colorist Dave Stewart. The stark lighting and dense, eerie fog seen in the final pages are definite visual treats. I can't wait to see how the art fares once the crazier story elements begin to crawl out of the woodwork. Once again, this is a fairly slow start, but still a promising one for the latest B.P.R.D. tale.
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Green Lantern has remained one of DC's best books despite the past few months of relatively lackluster installments. But with Blackest Night here and Mahnke on board, I'm hopeful those days are over. Unless you allow this issue's cover to shape your expectations, I can't imagine readers walking away disappointed.
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Mike Perkins' art continues to hold up well, in turn. His sequence depicting the spread of the plague in Captain Trips was easily one of the visual highlights, and the script this month allows him to revisit that sequence with a slight twist. Also very effective are his renditions of the prison meeting between Lloyd and Flagg. The only real complaint I have involves Perkins' rendition of Harold. His design seems to forcibly induce hatred of Harold, lending him an almost sinister, evil aura. And while that's not technically inaccurate given Harold's role in the story, I still feel a more even-handed visual approach to the character would have been better. But overall, both Aguirre-Sacasa and Perkins are firing on all cylinders in this series. As long as you don't expect much, if any, deviation form the source, The Stand: American Nightmares continues to please.
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The writing in this issue isn't always flashy, but overall War of Kings: Warriors #1 is a solid read with some better-than-solid artwork. While $3.99 is a bit much to ask for a collection of stories that were originally released as part of Marvel's digital comics service, ultimately this issue is a nice way to tide yourself over until the big finale in a few weeks.
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I was content to follow X-Men Forever with the understanding that it would offer an entertaining and nostalgic story told in a very dated fashion. Sadly, this issue proves I can't even count on that much. With each issue of Forever, Claremont moves these characters further and further away from how I remember them from 1991. I suspect within another issue or two, this series will be almost totally unrecognizable in that context. Change can be a very good thing, but only when that change is tempered by logic and restraint. Maybe it's better to let the past stay dead.
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Deadpool: Merc with a Mouth #1 is hardly the worst Deadpool story I've ever read, but nor does it include quite the level of amusement one would expect. In this very crowded Deadpool market, any new project is going to have to work quickly to prove its merit. Hopefully Gischler has something more up his sleeve for issue #2.
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This issue also ends on a very abrupt and unsatisfying note. I don't get the impression this mini-series is really meant to be divided as such. IDW has a habit of releasing trades of movie adaptations before the single issues even finish shipping. With that in mind, the trade might be worth checking out for those truly curious about this project. For the rest of us, however, IDW is doing too much good, original work with the franchise to waste much time on a movie adaptation. This project isn't shaping up to be as bad as some similar efforts, but that in itself isn't much of a compliment.
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What sticks with me most about this issue, though, is the steadily deteriorating condition of Tony Stark's mind. I'm hard-pressed to think of a time where I've felt more sympathy for a suffering Marvel hero. Fraction spends a great deal of time exploring Tony's predicament through dialogue exchanges between him and Pepper. These scenes add a touching new layer to their relationship, even if Pepper eventually does something I found to be a little out of character. It was also strange to see most of Tony's mental impairment suddenly melt away as madame Masque entered the scene. But by and large, Fraction is demonstrating some very nuanced character work here. Once again, I'm annoyed at the thought of having to wait a month for my next dose of Iron Man. I guess that signals a job well done.
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I don't want to sound like I hated this issue, because I didn't. Taylor has a winning premise on his hands. For now though, the story just lacks the depth it needs to make good on that potential. I'm glad to have a more visual glimpse of this era of Star Wars for once, but it's going to take more than that for this project to stand out from the pack.
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So while I wish Vulcan wasn't such a putz, almost every other facet of this series has been and continues to be very strong. The art is gorgeous, as always. Paul Pelletier is turning in some of his best work with War of Kings. The characters and conflicts feel real and important. This is a story that could have been simplistic to a fault, but the entire creative team have molded it into something much more. I can't wait for the final chapter. Nor can I wait to learn what comes after.
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Though the visuals don't quite hold up to the script, this is still a Mignola comic set in the Hellboy universe. I'm not sure I'll ever reach the point in my life where I don't consider that to be a very good thing. This may not be the biggest Hellboy release of the month, but it's a very solid effort that fans should get a kick out of.
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This is just one more book where trade-waiters may have more fun than monthly readers. Having waited several weeks for this issue, and faced with the prospect of waiting several more for issue #500, I just don't feel totally satisfied with the penultimate chapter of "Return of the King". It was a solid story, but strangely subdued given how close to the end we are now. I just hope that, as a complete package, "Return of the King" will become the classic DD epic I know it can be.
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Freddy vs. Jason vs. Ash: The Nightmare Warriors #1 isn't a great comic. And at $3.99, there are certainly better ways to spend your money this week. However, if you've been following the saga of Ash through all its twists and turns at Dynamite, I doubt this issue will disappoint. The creative team takes a winning concept uses it to pave the way for what should be a fun mini-series.
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Blackest Night is now only a few weeks away. I truly hope the beginning of this massive storyline and the introduction of Doug Mahnke on art will help put this book back on track. It's never been a more exciting time to be a Green Lantern reader, but that hardly means there aren't significant problems to be addressed.
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But in the end, Bendis does a fine job of establishing Doctor Voodoo as a hero to watch. More surprisingly, this issue actually holds real ramifications for future Dark Reign storylines. I was surprised at the state Bendis left the Hood in at issue's end, and it should be interesting to see where the character heads next. Bendis also sets up a thread that will lead into Dark Reign: The List and rather blatantly hints at what could be Marvel's next big push after Dark Reign. New Avengers #54 is a disappointment if you want real Avengers action, but as a gauge of what is to come for Marvel in the coming months it's not bad at all.
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Arcudi still has time to make something more of this mini-series, but for now I'm going to assume this "relaunch" won't go down in the annals of Predator-dom as one of the better comic projects.
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There's also the matter of the much-vaunted character death. Personally, I feel the last thing this series needs right now is more death or reduction to the core cast. I won't deny that the death tugs at the heart-strings. It left me feeling glum for hours, in fact. But in a way the character seems chosen in a very cold way in order to elicit that exact response from the readers. I'm not convinced the book will benefit from the death in any way over the long run. But considering how well Immonen handled herself in this issue, I have no choice but to give her the benefit of the doubt for now. This is a great start for the new creative team, and I'm finally feeling that old love for the series being rekindled again.
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All in all, this issue was quite the wild ride. All the same, there are certain things I wish this series would deliver. Chief among those are stronger character development and a real focus on the team whose name appears on the cover. I want to be fully invested in the core cast of heroes if I'm going to stick around with this series for the next 60 issues. So far, I simply haven't been able to connect with the Secret Warriors.
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Planet Skaar may have been billed as the long-awaited follow-up to Pak's past Hulk events, but it lacks the scope or importance to stand with those tales. I'm certainly keen to follow Skaar's journey as Pak takes over Incredible Hulk in a few months, but it annoys me that this series has offered only crumbs since its debut. At some point I really want to settle down to the full meal, and I hope Incredible Hulk is the place where Pak finally obliges.
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I'm just glad to see things getting back to normal. I seem to recall there was some fellow named Mr. Dark who was busy making trouble for our heroes. I wonder how that's going?
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Messiah War has proved a disappointment through these past weeks. I'm really hoping Kyle and Yost have a huge payoff waiting in the wings for the finale issue. Messiah Complex fell apart in its home stretch. It would be nice if this sequel could at least break the mold in that respect.
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With any luck, we'll get a stronger show on the art side of things as well. Leonard Kirk continues to impress as always, but it's been quite a while since we've seen him pencil an entire issue. Adrian Syaf helps fill in the gaps. Syaf is very competent at replicating Kirk's style, but a certain special magic is absent from his pages. Kirk generally shows up whenever the action gets hot and heavy, which is wise, but that only accentuates the gap further. At this rate we've only got a few months left before the series dies an unjust death. I hope Cornell and end this wildly entertaining but slightly flawed arc on a high note.
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Vaughan's script leaves us in agonizing anticipation of the next chapter. I don't exactly relish even a month-long wait, but there's no question Vaughan and Harris continue to deliver with every issue.
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I'll reiterate my final point from last month. As a trade, I'm sure this storyline is going to shock and amaze Invincible readers. It packs plenty of hardcore action and emotional impact. But when read individually, these issues are over far too quickly. I envy trade-waiters some weeks.
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As usual, it's hard to find much of anything to complain about when it comes to Fraction's scripting. This series finds him very much in his element, full of espionage, intrigue, tragedy, and off-kilter humor. But also as usual, the art never quite holds up its end of the bargain. Salvador Larroca's pencils are light, wispy, and don't bring enough to the table. They do too little, so Frank D'Armata's colors end up doing too much. There has been some improvement in recent months, I'll admit, but the same unnatural look to the human figures remains. Armored characters are much better off, with the lone exception of Pepper's hideous suit. The flow of action in this series is fluid and often gorgeous. It's a shame the garish coloring and wonky characters so often detract from the story. Invincible Iron Man is getting better and better each month. With the art the way it is, though, the series is quickly going to hit a ceiling it can't crack. Not even with an Iron Man leading the charge.
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But that's a quality that the series has shown from the beginning. I've grown more or less accustomed to it by now. The real problem with this issue is that it doesn't quite satisfy after such a long wait.The story is surprisingly straightforward, and the conclusion lacks a bit of the emotional resonance it might have shown. It's always refreshing to be reading more new indie work from Hickman, but this particular issue perhaps isn't the greatest showcase for his talents as a writer and designer.
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Not to mention that Jamal Igle is more than capable of conveying all necessary emotion on his own. Igle is easily the best asset of this series right now. His art has only improved since coming on board last year. It's very clean and expressive. Despite a large cast of characters, everyone has a very distinct look. Igle's continued presence helps elevate this book over the rest, where artist switch-ups have often been the name of the game lately. Supergirl isn't a perfect series by any means, but I'm certainly interested to see where it heads in the next arc.
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This is one book where I have difficulty finding any fault with. It's just so lovingly crafted it sees wrong to complain. That said, there are a handful of nitpicks to be had with this issue. The script comes to an abrupt halt at the end. This isn't the first time that problem has arisen, either. This story would probably work better as an OGN rather than a segmented mini-series. Also, with some two-thirds of the script being set inside the dark confines of the Emerald palace, Skottie Young's art just isn't allowed enough time to sparkle and shine. Make no mistake, this is still a beautiful comic, but it doesn't quite measure up to the other issues. Still, this issue is a definite favorite of mine for the month. Oz never ceases to put a smile on my face, and I usually hate smiling.
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Like the script, the art is all over the map and not exactly befitting of what this series needs. Pak has proven himself capable of amazing character-driven pieces in the past. Unfortunately, all this cyborg-on-robot action is obscuring the real purpose of the book. War Machine is less a high-tech Punisher and more just one more superhero with a big gun.
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Dan's Score: 7.7
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Diego Olmos handles the pencils in this issue. It's nice to have one single artist handling the interior, at least. Olmos is no substitute for Barrows, but he's pretty competent in his own way. His pencils are a little more grounded and in keeping with Rucka's espionage flavor. In the quieter story segments and those focusing on human characters, Olmos is a solid fit. His page layouts and overall storytelling are fluid and easy on the eyes. On the other hand, his figure work is a little underwhelming, and this really starts to drag the book down in the more action-oriented sections. Olmos is a good match for Rucka, but not necessarily a good match for Action Comics.
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I'm also enjoying the silly dynamic between the human Fables and animal Fables on the Farm lately. Silly is the name of the game when it comes to this issue, except when Rose is involved. I like where Bill Willingham and Matthew Sturges are taking her character. I'm just not sure I like that Jack had to be so heavily involved in her downward spiral. Overall, there are bits and pieces of this issue I liked quite a bit. It's a shame the larger crossover had to get in their way.
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If nothing else, I'm crossing my fingers that the unique setting will allow for a few interesting avenues for Gischler to explore. I don't recall the Louisiana bayou being the setting for many Marvel books. So far, though, these new villains just don't compare to some of the great and terrible scum Frank has faced in the past 70 issues. The problem with Ennis setting the bar so high, as always, is that it becomes that much harder for subsequent writers to match him. This arc could easily develop into something interesting and exciting, but overall this first issue is a disappointment. Despite the fact that Gischler only has four issues to work with, his opener is slow, plodding, and not a good sell for the story as a whole.
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The ending of this issue seems to hint that Skaar and his minions will have some future role to play in War of Kings. While that would seem to indicate Savage World of Skaar is indeed relevant to the greater saga, I highly doubt anything will really come of these events. It's pretty late in the game at this point, and War of Kings has plenty of characters and threads to juggle as it is. It's better if amusing little side-stories like this are kept as just that - amusing little side-stories.
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Though these past two issues have been fairly uneven in terms of overall quality, I'd say Wolverine Vol. 3 has been given a proper send-off. I'd almost start feeling sad and nostalgic, but the nice thing about Wolverine is that there's always another book on the stands when the current one is done.
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I've accepted by now that X-Factor will never carry the level of visual polish it deserves. The story itself almost never fails to disappoint on a monthly basis, and for that the series will remain one of my favorites. Thanks to a resurgent Madrox, X-Factor has been on a roll lately. I don't see any reason to believe that trend will halt anytime soon.
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I have little doubt Batman and Robin will rank among the best of the Bat family once all the respective books have had their chance to debut. Even in its early stage the series is a huge amount of fun and, for the most part, a visual stunner. But this issue didn't bowl me over like I hoped it might. It's certainly not Morrison's strongest debut on a series. Let's just hope that doesn't matter when held against the bigger picture.
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Dark Avengers is already quickly improving in its second storyline. Next month looks to ramp up the action again and hopefully shed some more light on the Sentry situation, both of which should hopefully bring about more improvement. I'm confident Bendis can close his first six issues with a bang rather than a fizzle, leaving the team in a solid spot when it comes time to call on the X-Men.
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McCann leaves his heroes at a new crossroads and with plenty of potential for future stories. Whether those stories are picked up in a follow-up project or just in the pages of New Avengers, I hope to see more of the duo. I'm always up for a story that can offer compelling drama and a healthy dose of action without taking itself too seriously. Regardless of what happens with these characters, I think both McCann and Lopez have proven themselves to be creators worth watching.
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I have a good feeling about Planet Skaar. The visual quality isn't quite on the level of the previous two Hulk epics, but the story is already beginning to outdo the somewhat simplistic WWH. Next month promises a full-scale father/son brawl, and that sounds like just what the doctor ordered for this chronically troubled Hulk fan.
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But while the duo paint a nice picture, the story comes up a bit lacking. In particular, the final few pages probably could have done with some sort of dialogue. This is certainly a major issue in terms of its importance to the ongoing saga, but it never really feels like a proper finale or sendoff for the characters. Perhaps its best to look at this merely as an appetizer before the main course that is USM Requiem. This issue works decently enough, but it's a fairly low-key finish to what was one of the series' best arcs.
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Many readers have complained about how the Ultimate Universe has lost its way in the past few years. I don't necessarily disagree with them, but all the franchise ever needed was fewer and better stories. Ultimatum falls about as far from that mark as humanly possible.
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I can see potential in this series. Arcudi and Howard are both talented. The problem is that neither creator really put their talents to good use in this issue. Hopefully that will change soon.
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Still, I can appreciate the unique visuals, even if they don't always succeed. My main problem with this issue is an all too common one at this point. Johns frequently interrupts the tale with snippets of other stories. We see Torquemada, the Green Lantern hunting for the Anti-Monitor's corpse, for the first time in many, many months. Sinestro also randomly stops by for a single page. These scenes work well in and of themselves, but in the context of the issue as a whole they feel random and out of place. I realize Johns needs to keep all his plates spinning leading into Blackest Night, but there has to be a better way to structure his arcs without so many unexpected cutaways. As usual, though, I can forgive this series its mild digressions. I'm too captivated by everything going on in front of me to care.
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It's hard to say whether this complaint holds any water until next week. On its own merits, Guardians of the Galaxy is still standing tall and strong. And is that Cosmo andRocket Raccoon I see on next issue's cover? This is going to be awesome...
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The Last Days of Animal Man has no surprises to offer at this point, but the first issue is a solid effort that should appeal to fans of the character. It's probably too much that Buddy will be breaking the fourth wall or anything, but it'll be interesting to see if Conway has something more up his sleeve.
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This issue feels like a culmination of many of the threads Abentt and Lanning have been working with over the past two years. I'm very interested to see where they go from here, even if War of Kings will likely dominate the proceedings over the summer. The writers have shown no problem making the most of big events when it comes to Nova, and I see no reason to believe War of Kings will prove any different.
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"The Great Fables Crossover" is not great in any sense. Willingham was in the middle of a far more interesting conflict over in Fables before all of this started. And though Mark Buckingham is present this week, his work lacks the charm and creative detail of his usual output. I can take solace in the fact that this story is now two-thirds done, but I'm not yet seeing the light at the end of the tunnel.
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I thought I knew what to expect from a book called Ultimate Wolverine vs. Hulk. The series rarely delivered on those preconceptions, often to my chagrin. But though Lindelof's story was all over the map in terms of focus and quality, it did offer an interesting perspective on some familiar icons. Maybe next time the road will be filled with a few less bumpy patches.
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This issue is a wild, crazy ride from start to finish. The final pages are some of the strongest of the entire story. At the same time, they lead me to wonder how Millar will be able to fill an entire Giant-Size issue. I have no choice but to assume the writer still has a few curve-balls to toss out before the end. Giant-Size Old Man Logan will probably be a quick read, just as the rest have been, but I have no doubt it'll serve as a worthy end-cap to "Old Man Logan". This isn't deep storytelling, but darned if it isn't entertaining every step of the way.
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"Spider-Man 24/7" proved to be far more underwhelming than I would have expected. But my enthusiasm for "American Son" and issues beyond hasn't diminished, so I'd say the series as a whole is still riding a pretty nice wave at the moment.
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Ex Machina isn't moving along quite as fast as it could be. Though there are still 8 issues left, it feels like Vaughan could wrap this story up in half that time if he so chose. But as engrossed as I am at the moment, I'd hate to suggest he hurry things along. Let's just hope this improved shipping schedule isn't merely a passing fad.
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Though certainly not soon enough for my tastes. I fear the leaves will be turning yellow by the time Four Eyes #4 hits. Even if that proves to be the case, the wait will undoubtedly be worth it. Four Eyes boasts a unique story and some of the finest artwork in the industry. Kelly and Fiumara can take as long as they need to put this story together.
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Issue #62 is light on content but heavy on visceral thrills. I'm sure the trade-waiters will have a blast with this one. Us monthly readers, however, may be left wanting for another few weeks until issue #63 hopefully offers up a stronger dose of plot progression.
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I'm at the point where I just want this crossover to end. Kevin Thorn may be the most powerful foe the Fables have ever faced, but he's far from the most interesting. "The Great Fables Crossover" is turning out to be little more than a three-month exercise in wasted time.
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Still, this issue is action-packed and heavy on carnage. Remember that scene in the beginning of Punisher: War Journal where Frank decked Rhino with the Satan Claw? I was eager for Matt Fraction to follow up with more of that craziness, but he never really did. Remender finally makes good on that promise as Frank takes on a gaggle of villains with some wacky gear at his disposal. The major showdown with The Hood is effectively shoved aside, but Remender offers up a suitable placeholder. I fear this series will continue to be held back by its own lack of importance in the grand scheme of Dark Reign. Regardless, I'm having a lot of fun, and that's what really matters.
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Not to mention that the entire time travel plot is pretty underwhelming. It technically accounts for why our 2099 heroes seem so different, but it doesn't make for a terribly interesting conflict. Couple that with some wildly inconsistent and often muddy art, and there isn't much at all to distinguish this story beyond the initial premise. I fully believe the world of 2099 has a place in today's market, but this isn't it at all.
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Vertigo took a huge gamble by putting out an extended issue at such a low price. It shows the publisher has great faith in Carey's newest series, and I can already see why. Unless you end up blowing every last dollar on superhero books this week (in which case - shame on you), there is absolutely no reason to not give The Unwritten a fair shot. I'm already hooked.
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This issue makes no secret of the fact that Lane's story as Azrael is only beginning. It's unclear when or where we'll see him next, but I'm hoping the wait won't be too long. Azrael: Death's Dark Knight has proven to be a great pitch for a longer story, which is more than I could have hoped for from a mere tie-in project.
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As much as I despise Jack, I can't claim this issue was a total waste. Still, "The Great Fables Crossover" seems to have hit a major stall in its second act. Hopefully I can turn to Jack of Fables next time and receive everything I didn't get out of this issue - more adventure and less Jack being chief among those things.
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The writing truly makes a lot out of what could just as easily have been a simple, by-the-numbers spy story. Crown made the comparison to Greg Rucka's Queen and Country last month, and I think it's an apt one. This is a very methodical and tempered look at the war between former Saturday morning cartoon characters. The dialogue is crisp and well thought-out. The art is moody and understated, forgoing superheroes for simple men and women of action. The series is entirely unlike what we might have expected from a Cobra-centric story in years past, and that's a very good thing. Even if the idea of IDW's Joe relaunch doesn't appeal to you, I highly recommend giving Cobra a shot. This is one particular battle the bad guys are more than welcome to win.
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Frankly, the only real appeal for me when it comes to Cap: White is Tim Sale's art. Howling Commandos lacks that, and it doesn't have enough merit otherwise to make up for it. The story is only just barely tied to White from what I can tell, so it doesn't even function as a proper tie-in. At most, I might recommend this issue to newer readers who picked up Secret Warriors this week and wanted to learn more about the Howling Commandos. Even then, there are certainly better options available.
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Again, Oracle: The Cure provides a solid foundation for which to design an ongoing Oracle series. It's just not very clear how much of that foundation will play into the new Batgirl book that launches later this year. This series assuaged some of my fears about DC's ongoing plans for Babs, and I hope the Batgirl crew take at least a few cues from this solid treatment of the character.
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Issue #1 gets off to a somewhat slow start. Between that and the lack of Jae Lee's pencils, I simply can't rate this issue as high as some other Tower installments. While the art will likely remain the same, past stories have given me no reason to doubt the plot will pick up in pace soon enough. Whatever pitfalls it may face, Dark Tower is still one of the best series Marvel is putting on the stands.
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The only reason I can imagine a reader being disappointed in this issue is if they had their heart set on a full-fledged appearance by the mysterious Hunters the ads have teased. Or maybe they're just tired of all the carnage. If it's the latter, you might as well get out while you still can. The rest of us have no choice but to eagerly await the next issue.
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Once again, this arc is saved by some solid Mike McKone art and a few bright spots amid the underwhelming portions. I like what is being done with the new love birds, and the new Vulture has the potential to be another quality addition to Spidey's rogues gallery. But the core premise of this arc continues to fall flat, and nothing can really make up for that.
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This issue is a bit light on action, but there are still a few scenes where both masked goons get to cut loose. And that's where artist Paco Medina shines best. Medina doesn't always paint the most convincing portrait of man when man isn't wearing full-body spandex, but he does have a real knack for colorful, off-the-wall action. As the feud between Deadpool and Bullseye heats up, I expect Medina's art to follow suit. It's a good start to an arc. I just hope Deadpool's shtick of running and gunning with Osborn's goons doesn't grow stale.
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Despite some interesting developments and a solid take on both Barry Allen and Wally West, the Johns/Van Sciver duo is starting to disappoint me given the high quality of their Green Lantern work. As mentioned, I have every hope that this issue's ending spells the beginning of greater things for Rebirth. However, with the story now 40% over, the clock is ticking for the Fastest Man Alive.
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Overall, these movie prequels are a bit light on story to really justify the cover price. That said, they're well put together and further proof that IDW knows how to do right by the franchise. I'm sure I'll be able to wholeheartedly recommend the trade, but in individual spurts I'm not quite as confident.
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But if not, I have plenty to keep me entertained anyway. This story is delightfully funny (thanks in no small part to Deadpool's head), sports a slick set of pencils from Kev Walker, and it spotlights some cult favorite characters who deserve more attention. There's a lot to like about Marvel Zombies Vol. 4. Is it too early to start looking ahead to Vol. 5?
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The only real problem with this issue is that it leaves too much left open for the final installment. Morrison easily could have accomplished this leg of Seaguy's journey in half the length. The fact that only one issue remains leaves me to believe we'll be left with more of a cliffhanger ending than a conclusive finish, much like with Vol. 1. But that's okay in the end. If Morrison wants to slap me across the face with this sort of silliness for a while longer, I can't bring myself to complain.
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By and large, League of Extraordinary Gentlemen is in its usual fine form. In and of itself, Century 1910 doesn't offer quite the rousing epic I was expecting, but it does lay seeds for what could easily be the greatest LoEG yet. The series continues to challenge and delight all those readers willing to commit the time and mental energy to fully appreciate it. And as the League moves now into the Swinging '60s and beyond, I can only imagine what craziness Moore has cooking for the next issue.
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War of Kings has deftly placed Marvel's cosmic lineup back on top of the pack. Given all the developments in this issue, it's safe to say the war is really going to heat up next month.
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It's been a bit of a rough start for Dark Avengers. I'm still not convinced Bendis has a great handle on his cast of characters aside from Osborn and one or two others. But I can't deny I'm excited to see where the series moves from here. Bendis has plenty of potential to work with with these villains-turned-heroes. As long as he keeps Morgana Le Fay out of the picture, he just might do alright for himself.
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But overall I'm satisfied with how Agent Orange is shaping up. With a terrific new villain and the promise of great character moments to come, as well as the looming release of Blackest Night #0 this weekend, it's a great time to be a Green Lantern reader.
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And it's also pleasing to see Andrea DiVito return to the pages of the series he effectively helped jump-start. Nova has lacked a consistent visual tone for too long, but with DiVito on hand this arc has seen serious improvement. While I sometimes have trouble distinguishing one Corpsman from another, the sheer epic scale and vibrant sheen to every page is well-appreciated. If Abnett and Lanning can wrap up the Worldmind mystery and focus their full attention on War of Kings and their hero's new status quo, I'll be a happy camper indeed.
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Though Skaar lacks visual punch, there can be no denying Pak has finally kicked the series into high gear. I'm jazzed for the beginning of Planet Skaar and what will hopefully be the continuation of something fresh and exciting for the Hulk-verse.
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Disappointing or not, this issue can't do much to dampen my enthusiasm for Legacy. The series thrives when it keeps readers on their toes and offers stories that haven't been done before in the crowded Star Wars mythos. The potential is stronger than ever, so let's hope Ostrander is better able to make good on that potential as the next arc opens.
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So yes, I'm having fun with "The Great Fables Crossover" so far. I'm just not seeing what's so "great" about it at the moment. The first chapter was pretty darn exciting, but the past two issues have proved comparatively underwhelming. I sincerely hope this won't be one of those crossovers that only ever thrives in one specific book. Otherwise, what's the point of having a crossover in the first place?
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Again, the rampant humor and zaniness isn't entirely unwelcome but it doesn't feel well-suited for the type of story Lindelof is attempting to tell. Ultimate Wolverine vs. Hulk looks solid and manages to make me laugh, and yet I still can't wholeheartedly embrace this project. We'll see in a few week if Lindelof managed to pull all these disparate elements together for a satisfying finale.
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Spider-Man 24/7 certainly has its merits so far, not least of which being more slick pencils from Mike McKone. However, issue #592 offers up a far more mundane beginning than I would have expected. I'm hopefully the next issue can do better. Until then, I'm going to busy myself trying to scrub all memory of the final page out of my brain.
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I sincerely hope we don't have to wait long for issue #42. As the book enters its final year I find myself more excited about the plight of Mayor Hundred and friends than ever. Making us wait another three or four months would just be cruel.
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As usual, Ryan Ottley lends his own touch. Ottley's specialty has always been figure work more than detailed backgrounds, but there are several instances where Ottley goes the extra mile in rendering the full scope of the devastation. And the last page alone has me excited for the visual delights Ottley will spin in issue #62. It's a very good time to be an Invincible fan, and I highly doubt the excitement will be dying down anytime soon.
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I guess it's safe to say I'm fully on board this crossover now. If Willingham and Sturges can get me to tolerate Jack, the rest of the story should be smooth sailing.
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In some ways Kick-Ass is one of the stupidest books I've ever read. In no way is it a realistic examination of costumed vigilantes or modern crime. But the series rarely fails to amuse, and considering that this issue is more meaty than past efforts, that gives it a leg up in my book.
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I'm pleased to have a Star Wars book besides Legacy I can wholeheartedly look forward to each month. You were missed, Dark Times.
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Far more flashy than Northlanders and potentially more interesting, I'd say Viking is off to an excellent start so far. Given the strong pre-order sales on this series, I'd venture I'm not the only one who feels that way. Do yourself a favor and pick up a copy of issue #1 while you still have a chance.
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In short, this is an arc that has proven woefully short on both story content and logic. Why did Cyclops abandon all common sense and strategy when choosing to confront Daken? Why didn't he dispatch X-Force, a team who seems tailor-made to confront threats like this? That could have made for an interesting story, with Wolverine forced to battle the same squad he was intended to lead. Instead, Way has cooked up a story that seems predominantly concerned with setting the stage for Dark Wolverine and much less so with furthering the story of its title character. I'm all for kicking Daken out of this book and letting Wolverine get back to basics.
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Now will someone clean up all this blood on the floor?
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Thanks to Slott's last minute twist, Mark Waid has a treasure trove of material to work with as he embarks on the next arc, "Spider-Man 24/7". I'm looking forward to it quite a bit. Now that the series seems to be striking a better balance of fun and revelation, I'm optimistic the future will stay bright for Spidey's readers, if not Spidey himself.
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So far so good. I'm liking where this Fables crossover is going. That said, the real test will come when Jack of Fables and The Literals join in on the fun. Until then, I can't allow myself to be more than cautiously optimistic about the project.
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I'm increasingly bemused to see so much of what is great about G.I. Joe being relegated to outside books. Why can't Dixon's Destro be written this well in the main series? This issue managed to restore some of my faith in the movie after a glimpse of the design for Cobra Commander very nearly killed it. That undoubtedly makes it a success, but I'd much rather be able to reserve this praise for the main series.
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As crowded as both Lantern books are these days, it's almost enough to make one wonder if a third series isn't necessary. The fact that I'd so quickly accept a third lantern book is proof enough that DC is doing right by this franchise. Things are only heating up as Blackest Night looms closer.
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In the end, Halo: Uprising managed to rise above and reach a surprisingly solid conclusion. I'm hopeful the crews behind Marvel's upcoming Halo books will learn from the mistakes made here and craft stories that can consistently capture what makes Halo fun. At the very least, let's hope we don't have to wait a year between issues anymore.
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In this case, I look forward to next month's inevitable shake-up as a means of cleansing the palate and getting yet another fresh start. What proved a major weakness this month could easily become a huge bonus next time around.
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Despite the pain of losing Lee, I'm convinced the Dark Tower comics will be able to soldier on as before. The biggest drawback of Dark Tower: Sorcerer #1 is the absence of peter David's snappy dialogue, and that won't be a problem when The Fall of Gilead debuts in a few weeks.
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Leonard Kirk continues to hold his own as well. Especially impressive are Kirk's renderings of Castle Dracula and its dank hallways. His Earth settings are a bit dull by comparison, but in general the book is quite pleasing to the eye. Once again, I'm convinced this is Marvel's best team book on the market, and you're doing yourself a serious disservice if you pass it over in favor of another.
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Suicide Kings #1 isn't a total strikeout, but it's performance so far is lackluster enough that I'm none too keen to read the remaining issues. If Benson doesn't spice things up significantly next time around, I think I'll be leaving this game early.
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Many of the developments in this issue are intriguing. Unfortunately, the series can't seem to shake a growing undertone of silliness regarding all the warring colors. Can't everybody just turn into White Lanterns or Rainbow Lanterns or whatever and get it over with? Green Lantern is a book i continue to look forward to eagerly each month, but I worry it won't truly return to its former glory until the Black Lanterns take the stage.
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Ignition City offers an interesting new world for Ellis to explore. I'm not immediately sold on the series in the way I was with Planetary, Transmetropolitan, or many of Ellis' best works, but it's a good start.
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With an opening issue full of violence, carnage, black humor, and a terrific set of pencils from Kev Walker, Marvel Zombies Vol. 4 is poised to to weave a zombie epic on par with the best in the franchise. Marvel Zombies has been around a long time now, but hasn't gotten long in the tooth just yet.
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Overall, I'm finding that World of New Krypton is really growing on me. The writing alone makes it one of the better Superman books in years, and I'm convinced the creative team will be able to take Superman to some new and interesting places in the next 10 months.
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It's no Eisner, but have another IGN.com Editor's Choice Award. You earned it, guys.
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There are two issues left in this book. I expect a lot less talking and a lot more fighting next time around. Lindelof has shown he doesn't have a unique enough take on these characters to justify all the talking, so let's just try to have a little fun with what remains.
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For however dated and stilted the writing could be in these issues, they offer some of the greatest trials and tribulations the X-Men have ever faced. Whether you consider yourself a hardcore Wolverine fan or just enjoy a nice claw fight every now and again, your collection is incomplete without the mini-series that started it all.
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The best issues of ASM lately have been the ones with the highest fun factor. Issue #590 has fun in droves, but it unfortunately carries some of the more annoying qualities of the Brand New Day approach along with that fun. I really hope this is the arc that finally answers some of those burning questions. Not so much because I crave the answers, but because I'm sick and tired of being teased with them. The series has too much to offer at this point to dwell in the past any longer.
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Sorry, Marvel. I enjoyed the 65th Anniversary Special much more. Better luck in five years.
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Iverson's Score: 9.0
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I will say, though, that I'm enjoying Robert Atkins work on the book. Though it carries a bright, cheery tone that doesn't do much to dispel the idea we're reading a toy commercial, it's a much more detailed, thoughtful, and consistent take on the Joe-verse than he various other books have demonstrated. IDW clearly saved the top artistic talent for this series. I wonder why they haven't reserved the top ideas in term of storytelling. Everything we're seeing in G.I. Joe: Origins, G.I. Joe: Cobra just seems to outdo the events in this book. Heck, even Dixon's own take on Destro in Movie Prequel #2 puts this one to shame. Clearly something is wrong here.
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And yet, Butler and Petrus can't quite squash all the charm out of this story. Austen's biting wit is still heavily apparent. Mr. Bennett still remains one of the most amusing creations in all of British literature, even if his visage is now enough to inspire terror in small children. However, I can think of no reason why first-timers would want to experience this humor through this comic. They'll likely never understand what so many people see in this story. And experienced Austen readers will probably just lament at how poorly this landmark novel was adapted. The only type of reader who might be satisfied with this adaptation is the one who needs to cram for a last-minute book report. And if that's your only reason for reading it, you deserve whatever you get.
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Joining the writers is Darrick Robertson, whose productivity in this industry never ceases to amaze me. And though I've often seen Robertson's work suffer in the pashttp://nibop.ign.com/NIBOp/dBlade/nib/article_admin.jsp?article_id=968582&submit=edit&form_type=article_editt as he took on multiple gigs, his pencils here are very solid. They certainly accentuate the mature tone and darker aspects of the story. It should be noted that the credits don't specify whether Matt Jacobs provided inks or finishes to Robertson's work, so it's entirely possible Jacobs is due credit for making the visuals pop as much as they do. Whomever was responsible, this is easily the best looking videogame adaptation I've seen in a long, long time. And that helps keep me interested for future issues even as I acknowledge the story could lose my interest at any time. The connection to the game is tenuous, at best, but as a standalone comic book Prototype isn't half bad.
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I might not have batted an eyelash when I first learned that Seaguy was coming back, but I'm certainly glad I gave this series a second chance. Morrison has made something more out of this little project. I'm certainly excited for the remaining two issues now. After all, there simply hasn't been enough weird in my pull list since Final Crisis ended.
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But despite a fairly predictable finish and a slight rushed quality to the art, I found this issue to be one of the better reads of the week so far. I sincerely hope IDW has learned a few good lessons from this project. Countdown is ample proof Star Trek can succeed in the realm of comics. Let's hope more creative teams will boldly go where few have gone before now.
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Van Lente could really bring something to this series, but he needs more to work with than one D-List villain and a band of generic thugs. Though this issue leaves the doors open for further developments, I can't say I have a huge interest in a sequel. Let's keep the biting humor and move onto something more interesting.
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Unfortunately, the art is the real factor that drags this series down from greatness. On the plus side, Tom Feister only contributes to the cover this month, leaving Mike Hawthorne to handle the interior work alone. Though the visuals are more consistent as a result, they simply aren't very good. The detail is sorely lacking in many instances, as it falls on the colorist to provide many of the finer shadows and highlights. Given that Hawthorne himself is that colorist for much of the book, you can see the problem. When Erik Swanson steps in to provide colors, the page suddenly comes alive for a brief time. The great benefit of dividing art duties among a penciler, inker, and colorist is that each is allowed to focus on what they do best. I wish more IDW books would follow this division of labor, because it seems to be a problem plaguing many of their licensed properties on a consistent basis.
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Unfortunately, we have a few more weeks to wait before reading the next "real" chapter of Immortal Iron Fist. That said, there's no reason to complain when the filler issues are this consistently entertaining.
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The way I see it, if you can't focus on the iconic, godlike heroes of the JLA that have been a mainstay since the Grant Morrison days, your best bet is to assemble a ragtag band of misfits that channel the glory of Justice League International. This appears to be the stage McDuffie is laying out, and I'm very excited to see where the team is going from here. I just hope we won't continue spend three out of every four months mired in some pointless new event along the way.
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One thing I'm hoping for as the artistic roster changes is a more consistent look to the pencils. Khoi Pham hasn't exactly been at his best in this series. His pencils are much more rough than what I remember from his Incredible Hercules work. His facial work has admittedly improved from earlier issues, but there are still more than a few wonky panels to be had. Pham also seems much more adept at certain characters than others. His Iron Man and US Agent are dumpy-looking, while Pym and many other supporting characters look pretty snazzy. I'm not quite sure what to make of it, but I hope for a more unified look in the future. There's no reason Mighty Avengers can't carve out its own niche in the swelling Avengers franchise, but it has a few growing pains to shake off first.
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Sure the quirks are there, but Oracle #1 is still my favorite thing to come out of Battle for the Cowl so far. As predictable as the main mini-series was in its first issue, I'm including that as well. I think this issue shows the potential for an ongoing, Oracle-centric series. Let's hope DC recognizes that potential as well.
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And yet, these nine issues have done their job well enough. I am excited for Planet Skaar despite my prior disinterest in the series. Pak and his artist Ron Lim make for a solid team when they hit it on the nail. Lately, the hits have been coming more often than the misses.
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Long-form projects like this are typically best when at their most chaotic and unpredictable. I have no idea where Legacy might be heading from here, and I couldn't be more excited at the prospect.
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War Machine appears finally ready to capitalize on its potential, and I for one couldn't be happier. This arc is really ramping up now, and it's not done yet.
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Still, Guggenheim has tossed out enough juicy nuggets that I'm keen to keep reading. More than anything, I'm just anxious to get back to the clean, simple, and, most importantly, devilish good fun of the stories we saw in November and December. "Character Assassination" didn't raise the bar, but it did ultimately come close to brushing it.
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For the most part, this is what I want out of my G.I. Joe comics. It's very disappointing to see IDW's side projects find so much success while the main series takes it easy on the opening stretch. Let's hope the example G.I. Joe: Cobra is already setting will be followed by future stories.
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This little story could easily be inserted anywhere within the last few years of Hellblazer stories with no trouble. I remain hopeful that later arcs will somehow build upon "Scab" and lend new meaning to these events, but I'm no longer expecting that to happen. Milligan cooked up a decent opener to his run. Let's hope he's gotten warmed up and has something truly magical in store next.
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I had no need of a major upheaval like Invincible #60 to renew my interest in the series. It's been on an upswing for a year now. But explosive storylines like this certainly don't hurt. The series only became more compelling thanks to issue #60, and I look forward to see what Kirkman has up his sleeve next.
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But I can live with that. Star Trek: Countdown is a fun read that actually does more to get me hyped for the upcoming movie than the trailers have. Star Trek has teetered on the brink for several years now, but with projects like this I have hope 2009 will finally see that trend reversed.
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With Dark Times and Rebellion returning before much longer, KOTOR really needs to get it in gear. These past few issues haven't been devoid of entertainment, but I don't know what Star Wars fan would want to pass up a story about Darth Vader's campaign of slaughter for one about Gryphy Grub. Maybe it's just me.
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Having read through this issue, I really want to know when I can have more of this ongoing saga and more of the Jones/Harmon partnership. The ending was strong enough, but certainly didn't do much to wrap up the story in a satisfying way. Tales of the TMNT is a different series every month, and in this case I'm viewing that as a bad thing. Perhaps this issue did its job a little too well.
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Ultimatum #3 is now the clear front-runner for my worst comic book of the year. At this point, the only real competition I expect it to face are issues #4 and 5. I want this whole travesty to be over, and it depresses me to no end that I have two more issues and countless more months to trudge through before the big Ultimate relaunch ushers in what I can only assume is a far better status quo. I don't care how improved the Ultimate Universe may or may not be following Ultimatum. The greatest of ends don't even begin to justify means like this. I know Ultimatum won't end in a reboot, Marvel, but is it too late to change your minds?
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I really do want to like Origins, which is a drastic change from the days I would just as soon have ignored it altogether. I think Way's writing shows potential, but he really needs to work on his characterization. Until I care whether Daken lives or dies, this series will always be a distant runner-up to the other, better Wolverine books on the stands.
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As is usual by now, Brian Denham's art proves disappointing. It's clear Denham should have been one member of a rotating cast of artists alongside the various writers. His work never reaches the standard of quality set by the first two issues. Actor likenesses are decent, but Denham increasingly relies on similar and bland facial expressions throughout many panels. His use of lighting and shadow is now all over the map. One particularly noteworthy panel has Mulder partially bathed in shadow, Scully almost totally lit, and a third figure completely blacked out in silhouette. I would very much like to see the sort of light bulb that can accomplish that feat. In general, the heavy shadows come across as artistic shortcuts. As I've said before, the show relied on this device as a budgetary necessity. For all that comics are lauded as having unlimited special effects budgets, I don't see why that need be the case here.
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The one real problem stems from the art, as Leonard Kirk is joined by fill-in artist Mike Collins. Collins' scenes are pretty obvious. He's relegated mainly to the slower, more dialogue-centric scenes, but the downgrade in visual quality is still very noticeable. Kirk, for his part, continues to put out solid work. Seeing that this series has already offered 11 issues since its launch last summer, I wouldn't mind it if Marvel chose to slow down a bit. As with many books, I would prefer a less-than-monthly schedule if it meant fill-in artists could be avoided. Captain Britain and the MI:13 remains one of Marvel's top books after all this time, and I see no reason to mess with a winning formula.
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Overall, this is a nice little appetizer as I wait for more Ex Machina. I just hope the chefs won't be working in the kitchen too much longer. I'm still hungry.
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I was hoping for "The Dark Ages" to finish off on a high note, as I'm none too excited at the prospect of a three-way crossover. I hope I don't find myself in a situation where I'm forced to go four straight months without a truly stellar issue of Fables. Even if I do, it's going to take something far worse than this entertaining but underwhelming story to turn me away.
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G.I. Joe continues to be a solid read, but it also continues to play things by the book. Maybe that's a good thing considering where this franchise was a year ago. Playing it safe may help put the Joes back on track, but they're never going to be true American heroes again until Dixon tries for something new and exciting. I'd like to think he's cooking something up as we speak. We'll see over the coming months.
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So far, both of Chuck Dixon's current G.I. Joe projects have offered pieces of what I want in a Joe comic, but neither has assembled the full package. This is a decent comic, but it accomplishes nothing beyond explaining the events that led to Duke joining with the Joes. I honestly don't care so much how these events play out in movie continuity. The simple truth is that, for whatever Rise of Cobra #1 accomplishes, it's being beaten at its own game by G.I. Joe: Origins. As the series fans out to focus on the other main Joes, I hope it can find something more to offer readers.
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The art has remained a slight sticking point for me. Travel Foreman can draw dynamic fight scenes like few others, but his figures tend to be exaggerated well past the point of visual clarity and good taste. I'm not quite o bothered by his more exaggerated qualities now. It may simply be that the story arc calls for exaggerated features. Danny and friends have been put through the ringer, and their bodies show every painful encounter. In any case, there are moments where Foreman really shines in this issue. Unlike Swiercynski, Foreman doesn't carry over the tone of the Fraction issues, but at his best he establishes his own unique look for the series.
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As the first Marvel Noir project, X-Men Noir has set a high bar for subsequent mini-series. I hope future creative teams can rise to the challenge and similarly succeed in trying new things. There's no reason marvel Noir need be the impetus for more of the same, tired methods of storytelling.
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It's pretty clear to me the new volume of Black Panther could easily be a solid read. The potential is there. Between the bubbling conflict with America and the imminent arrival of a certain vampiric Spider-Man foe, there's no reason I shouldn't be foaming at the mouth for the next issue. But the continual poor writing, odd structuring choices, and uninspired art conspire to keep this series well behind the rest of the pack. But hey, what else is new?
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There's not a great deal worth complaining about when it comes to Gotham Gazette - Batman Dead? #1. It's a mildly entertaining look at some of the smaller supporting characters in the Bat franchise. However, as a primer for Battle for the Cowl, Gotham Gazette kicks off this event with a whimper rather than a bang. As far as I'm concerned, the fun doesn't start until next week.
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The guest stars will clearly continue as this mini-series soldiers onward. As long as Kolins doesn't continue to neglect his hero (villain?), I'm eager to see where this story goes. I've never craved a Solomon Grundy solo series in my life, but I must admit I do now.
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As The Depths comes to an end, I'm fully satisfied with the latest Marvel Knights offering. Milligan told a quality tale with a strong emotional finish. Ribic turned in some of the best work of his career. And I now have another book that will rest of the top of the list when it comes to making recommendations.
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I certainly don't despise this book. It's a better showcase for these Ultimate characters than some other books I could name. However, it's clear to me the long delays have been unkind to Ultimate Wolverine vs. Hulk. I no longer feel like I'm reading the same series. What issue #3 does offer feels like a case of too little, too late. Fortunately, I need only turn on the TV tonight to remind myself what storytelling heights Mr. Lindelof is truly capable of.
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I haven't always loved Brubaker's DD run, but I think he's hit on something very special here. "Return of the King" is off to a rousing start. If this issue is any indication, we may be in for one of the finest Daredevil stories since the Frank Miller days.
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I hate to complain so much about what is still one of my favorite superhero books on the stands. As jumbled as this issue is, it still does a lot to get me excited for the future, both "Agent Orange" and Blackest Night. The characters themselves are still strong. Johns reveals the crippling flaw behind the power of the Blue Lanterns, making this already intriguing Corps even more compelling. Johns even ties his script into the events of Green Lantern Corps, making me all the more happy I read both books. I just fear Johns is treading a thin line between intrigue and outright silliness with some of this color-changing nonsense. The idea of seven colors of Lantern Corps could have easily been a ridiculous one, and it's been through the combined efforts of Johns and his artists that it has instead succeeded so well. I'd hate to see the War of Light devolve into a farce just as Blackest Night is looming.
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From all indications, it sounds that next month may finally bring the shake-up I've been waiting for. I'll believe it when I see it. With scant few issues of this series that have truly entertained me, it's going to take something massive indeed to finally kindle my love for Ms. Marvel.
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Nova has been playing second fiddle to Guardian of the Galaxy for a while now. I'm pleased to see the series on an upswing again. I have no doubt that War of Kings will prove beneficial to both books, but I'm even more pleased that Abnett and Lanning have the chance to put Nova back on the map without any outside assistance.
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I'm not sure this series benefits from focusing on two separate conflicts. I think a tighter script that followed either Team Alpha or Grayson would work better. That said, this comic is proof positive that great hings can be accomplished by bringing over videogame properties to the world of comics. I hope all publishers are taking notes. This is how it should be done.
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In any case, the series has progressed beyond the meager days of the first half dozen issues. Skaar is locked in an epic final battle with Axeman, one involving lots and lots of dragons. Dragons are always cool in my book. And it's easier to empathize with Skaar now that he's become more than a greener, dumber version of Conan. I also find myself preferring Ron Lim's art to Ron Garney's. Lim's style is quit a bit more bland than Graney's, but it also displays a much more solid artistic foundation. Maybe I'm just glad to see some actual inking in this book. It may be bland, but it gets the job done and then some.
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The art is also up to par with what I expect from the series. As with last month, Omar Francia's figures aren't quite as realistic as I would like. On the other hand, his vehicle and creature designs are quite impressive. The brief sketchbook pages in these past two issues are a testament to the amount of thought that went into what could easily have been a forgettable story arc. When the so-called "filler material" is this enjoyable, I really look forward to what Ostrander has in store when Legacy shifts its focus back to the main cast and their conflict.
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As we move ahead into 2009, the Superman books are finally settling down and consolidating characters and plotlines. As I said, I don't agree with a lot of what is being done. Certainly, removing Superman from these books is about the most counter-intuitive move I can imagine. At the very least, though, issues like Superman #685 prove this new direction has potential. Everything might just be alright for Superman readers after all.
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Team is always the operative word with these books. The five names behind these Dark Tower books - Stephen King, Robin Furth, Peter David, Jae Lee, and Richard Isanove - all bring something vital to the table. The result is something truly magical; something that never fails to number among the best books of the year. As we come closer to the end game, I want to know that the Dark Tower books will continue to remain as strong as they have been so far.
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But it's not all bad. Origins is in a far better place than it was the first two years of its life. The book is slightly more fun, and certainly a lot more exciting than it was in those days. Other than Cyclops, Way displays a solid handle on his characters, which admittedly only number at two this month. The potential exists for an entertaining story arc that could shake up the simmering tensions between Wolverine and Daken. Assuming Way can avoid complicating matters too much in the process, he just might pull it off. And even if he doesn't, at least Origins is looking good.
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Alan Moore's Saga of the Swamp Thing is an undeniable classic of modern comics. It's a creative run that absolutely should be read by all. That said, I can't wholeheartedly recommend this hardcover as a means of doing so. $25 isn't a bad deal for a 9-issue hardcover. However, I would have gladly paid an extra $10 or $15 for a true deluxe treatment, one with oversized pages, improved coloring, bonus material, and a dust jacket that doesn't make me want to wretch. If you already have the trade paperbacks, I see little reason to upgrade. However, if you've never ventured into the swamps before, Saga of the Swamp Thing, Book 1 is a suitable starting point. I don't care how you experience this story as long as you do it one way or another.
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Issue #0 does a decent job of selling Dynamo 5, even if the entire experience is over almost as soon as it begins. If this issue intrigues you enough to give the series another chance, I'd suggest skipping the boorish recap pages and start from the beginning. Jumping-on points are a poor excuse for real, honest reading.
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From a writing standpoint, this is what I expected from IDW's G.I. Joe relaunch. It's a shame Hama hasn't been given the main Joe series, because I fully expect he could return the characters to a sort of glory they haven't enjoyed in years. Let's hope Origins is just the start for Hama.
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Aaron has the potential to take this book in a new and interesting with the next arc. However, issue #33 won't be quite the fresh break we were all expecting, and it remains to be seen whether that's a good or bad thing for Ghost Rider.
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And there it is. I reviewed Invincible. And given the interesting direction the series is heading in, I don't think I can go back to trade-waiting anymore. And no that doesn't make me feel angry.
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While this arc offers a compelling, if not terribly creative tale, the real selling point for me is the art. I absolutely love Jefte Palo's style. It carries a stronger superhero flair than might be immediately apparent. Characters display a fluid sense of motion, and detail is sacrificed to generate mood. I do dislike some of Palo's figure work, particularly with the overly masculine lead female character, but on the whole I think he's a great fit for this book and its new surroundings. If you've forgotten all about Moon Knight in recent months, now would be a good time to jump back on and see what the current creative team has to offer.
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And I have to say, a decent set of pencils really makes all the difference with KOTOR. Even if I found the art to be technically proficient in past reviews, the general style of this series always strikes me as wrong. Star Wars needs a certain level of grit and realism in its visuals, otherwise it's not really Star Wars at all. Dean Zachary fulfills this need nicely. The characters are rendered in a far more realistic manner than usual. The heavy use of shadows works well with the issue's general sense of foreboding. All in all, I really hope to see more work from Zachary on this series. Issue #38 proves there's life o be had with KOTOR, but only when the various pieces work with in tandem and not against each other.
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After reading these past two issues, I yearn for some sort of director's cut that obviously doesn't exist. It frustrates me that Wildstorm has finally found a formula for a quality licensed comic, and yet they continually fail to properly capitalize on it.
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Daniel's Score 8.9
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And not enough can be said about the art in this arc. Willingham has mentioned how he has started to allow Mark Buckingham more freedom in his page layouts, and I think this has been a tremendous boon to a series that already looked pretty darn good. The emotional qualities of this issue wouldn't have been so palpable if not for Buckingham's pencils. And then there's the little matter of this being James Jean's final issue as cover artist. This cover is certainly one of the more complex and intricate Jean has turned in. Jean has helped define this book in a way few cover artists ever have, and I'm going to sorely miss him as the series continues on. This is an issue of goodbyes, but also one of new beginnings. I'm pretty confident that Fables can only get more interesting from here.
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Once again, the new issue of G.I. Joe shows plenty of promise, but it just doesn't reach high enough to fully convince me IDW can succeed where others have failed. Perhaps once the other Joe books launch I won't be left so wanting each month. Or perhaps not. But I'm willing to stick around and see if these Real American Heroes have the right stuff.
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Patrick Gleason's art is a bit of a mixed bag, unfortunately. There are a few breathtaking scenes to behold, especially when the page opens and Gleason can focus on wide, epic shots. However, his figure work suffers a fair bit, particularly with a series of flat, disjointed faces. But problems aside, this series is unquestionably required reading for Lantern fans. This franchise is now too wide in its scope for one series to have a hope of covering it all. Now bring on issue #34, DC. I needs me some Mongul vs. Arkillo action.
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R.E.B.E.L.S. has a lot going for it right now. Among others, it has an engaging lead character and a sleek set of visuals. But the series might as well be a solo book for all the supporting cast is accomplishing. For now, I'm willing to give the series the chance I never gave it all those years ago.
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And yes, this new character does have an important connection to the ongoing saga of Dash. I've noted many times how odd it's been to see so little of Dash in recent issues, but I think this arc will end up dragging him back to the forefront in a major way. Aaron lays the seeds for something pretty cool in this issue. And with the always-gripping pencils of R.M. Guera, there are plenty of reasons to be excited for "High Lonesome". I've started to wonder if Unknown Soldier might not unseat Scalped as my favorite Vertigo book. With this new arc, it's clear the two books are going to have quite the epic clash.
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But I did mention a flaw, didn't I? Frankly, I'm beginning to notice that this story isn't especially well suited to the monthly format. The issues tend to just end without much fanfare and then pick right up the next month. This certainly doesn't diminish the many high points of Oz, but I really think the trade will prove to be the ideal reading method for this series. However you decide to read Oz, just make sure you do it.
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Bryan's Score: 9.1
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The backup story, set in the original era of the team and guest-starring Wolverine, is more along the lines of what I want from this book. It's humorous and filled with plenty of sci-fi B-movie cheesiness. It even manages to use its Wolverine appearance to great effect, which is not a particularly common occurrence in these types of stories/ Even the retro-flavored art style seems more suited to the tone of the series. To be fair, I think Carlo Pagulayan turned in some great work with this issue. Particularly thanks to the coloring of Jana Schirmer, his pencils pop in a vibrant way they haven't in some of his recent work. I just find Benton Jew's style to be more along the lines of what this book can and should be. Agents of Atlas shows great promise in its first issue. I'm really just hoping that the book can move from underneath Dark Reign's shadow as Captain Britain did and establish itself as something truly unique in Marvel's catalog.
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Bang! Tango is certainly interesting, but it also doesn't hook the reader immediately in the way Kelly's best work tends to do. I'll need at least another issue in the can before I'll feel comfortable in making a firmer judgment. For now, I'll just say that it was a fun first dance. Same time next month, eh?
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Not that this should come as much of a surprise, but Black Panther has changed very little in its latest transition. The series is still plagued by an overly simplistic and often aggravating portrayal of its characters. With a less than compelling mystery that will likely persist for many months to come, I see no reason to get excited at the prospect of more Black Panther. This long-term fan continues to pine for the good old days.
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At this point, I'm torn as to whether I should start reading the original Ender's Game novels. I imagine they would enhance my enjoyment of the comics and flesh out some of those gray areas. On the other hand, reading the novels might blind me to the instances where the comic just doesn't tell its story well enough. At times Ender's Game seems predominately aimed at fans of the novels. But really, if you're only targeting the hardcore audience, what's the point of creating an adaptation in the first place?
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But all this aside, Immortal Iron Fist is by far my favorite work from Swiercynski since his arrival at Marvel. He continues to prove that the Fraction/Brubaker run was more than just a flash in the pan, and that Danny Rand is more than capable of supporting an ongoing series for years to come.
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I wasn't sure how Stefano Caselli's art would suit such a dark and gritty espionage book, but I was quite pleased with the results. Caselli's work is still fairly exaggerated - like a cartoon transferred to the printed page - but it carries an extra layer of shadow and grime that sets the series apart from Avengers: The Initiative. Caselli, like Hickman, is an unusual choice for the 21st Century equivalent of a S.H.I.E.L.D. book, but the choice pays off well in the end. Secret Warriors is still rough around the edges in some ways, but it's one of the more interesting new books I've seen from marvel in years, and I'm eagerly looking forward to the next few months to see where the creative team moves from here.
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But that's really the only complaint I can muster as I look back at all five issues. Am I bothered that this was a Magneto story in name only? Somewhat. Does that really matter when you consider that Pak - with the help of the crushingly effective art of Carmine di Giandomenico - has turned in one of Marvel's finest mini-series ever? Nope. Magneto Testament is a powerful story that will haunt me for a long time, not unlike a certain rodent-flavored Holocaust comic. Holocaust historians always warn us to never forget. Thanks to books like this, I can't imagine I ever would.
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I don't get the impression that this issue will factor as heavily into later ASM stories like the first one did, but that doesn't mean it isn't worth checking out. Wells and Rivera turn in exactly the kind of entertaining Spidey adventure I crave more of. If the other half doesn't measure up, at least it doesn't fall flat either.
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Once again, this issue sets up a compelling story and then snatches it away from readers. Thankfully, the issue offers a more or less complete story, unlike the glorified teaser trailer that was Faces of Evil: Solomon Grundy. Brandon accomplished what he set out to do, which was to pique my interest in future Kobra stories. I just wish I knew when and where to expect the snake's return.
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Morrison has done some amazing things with Final Crisis. It serves as his ultimate statement about heroism in the DCU and the very nature of the universe and storytelling. His ambition has been amazing to witness, but too rarely has it been tempered by basic rules of narrative storytelling. Thanks both to Morrison's questionable storytelling decisions and the wonky art, Final Crisis will always be a diminished work of greatness. It's painful sometimes to think of what could have been, but it's equally painful to think that this epic saga has come to a close.
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With only half a compelling storyline and art that neither offends or truly impresses, I find Ms. Marvel in much the same state I left it. I'll stick it out for a while in hopes that Dark Reign eventually grants the series new life. But without even Machine Man to fall back on, I'm not holding my breath that this will be the time that hooks me.
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In the end, Frank finally unravels the mystery of Ma Gnucci's return some 3 issues after the readers were informed. What he does from there is pretty predictable. I will say that Ennis pays homage to "Welcome Back, Frank" in his final scene, so it's nice to see the writer come full circle in a way. This series has done little to fill the void left by Ennis on Punisher MAX, but I never really expected it to. War Zone is merely a love letter to a simpler era of Punisher comics. It was a fun, wild ride, but I think I've had my fill by now.
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In a nutshell, I like this arc, but it's not exactly what I want to be reading in Legacy right now. I'm just thankful we only have one more issue before getting back o the good stuff.
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With as much good material as Robinson has to work with, it's a shame to see the series utterly fail to come together on a number of levels. It wasn't more than four months ago that I thought the Superman line was in one of the best states it's ever been in. Since that time, DC has dismantled a great deal of that progress in a misguided pursuit to make the books bigger and more exciting. They need to sort their priorities with these books. Moreover, they need to ensure I'm not forced to read three or four different books a month to experience a full story. I don't feel that's too much to ask.
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I think Treachery #5 hits that perfect blend between new material and a faithful adherence to the source material. It's certainly one of my favorite issues of Dark Tower so far, and I'm expecting even greater things from the finale next month.
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That said, Aguirre-Sacasa deserves a lot of credit for so aptly weaving various chapters together into a cohesive narrative. The writer has covered a lot of ground in a short time, and I'm not sure there has ever been a point where the comic has come up lacking. Marvel certainly picked the right creative team for the job in this case. This adaptation holds no surprises for fans of the novel, but I just don't care. If there's a more faithful literary adaptation out there, I've never seen it. Bring on Part 2, please.
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Want to experience all the drama and carnage of Ultimatum but retain your brain cells in the process? I have just the comic for you, friend.
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Despite these few problems, I really enjoyed my experience with Superman Beyond. It has proven itself the most important of the Crisis tie-ins, and it offers a tantalizing glimpse of how the story as a whole could have played out. I may very well be in the minority on this one, but I'd say your Crisis reading experience is incomplete without this one. For better or worse.
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When all is said and done, this issue is somewhat less than a rousing start, but hardly an unenjoyable one just the same. For now I plan to keep my expectations firmly in check in hopes that Milligan and crew will pleasantly surprise me in the coming months.
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The script isn't too shabby either. After attracting attention in a bare-knuckle boxing match, Jake accepts a commission to rescue the daughter of a local landowner to rescue his daughter. The mission is more than it seems, obviously. For one thing, Moonie has attracted the attention of Frank Castle, who for some reason has traveled down south... again. I'm not sure I approve of the guest appearance. It seems these days that Punisher is a quick and easy solution to drum up interest in Marvel's dark, gritty, and under-appreciated stable of books. This series is showing a great deal of improvement with this arc. It doesn't need the plug. Let's hope what failed to work for Foolkiller can work for Moon Knight.
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There is certainly a great deal of potential to be mined here. If nothing else, I'm certain Swierczynski will be able to break the all-too-familiar Punisher mold. However, most of what this issue offers is merely potential. Frank doesn't do a lot of talking, nor much killing. It's a good primer, but future issues are the real key. And unfortunately, Swierczynski's past work forces me to rein in my expectations. His characterization in Immortal Iron Fist is excellent, but other books like Cable are a bit more bland in that regard. I hope the writer will be able to hearken back to the Ennis issues and use this sticky situation to delve deep into Frank's psyche and show us something we haven't seen before. No matter how many Punisher books come and go, I know there is still more to be explored.
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There's nothing wrong with this book, really. It just fails to utilize the Marvel Noir concept as it should, and thus proves a major disappointment to me. With Marvel pushing this new line pretty hard, I hope Spider-Man proves the exception and not the world.
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Against all odds, I'm genuinely excited about Star Trek: Countdown. Regardless of its movie connections, it offers a compelling new Trek figure and an engaging story, qualities that are far too rare in the Trek comics.
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That said, there continues to be a lack of what I would deem essential Star Wars elements in this series. Aside from the occasional lightsaber and reference to Banthas and Mandalorians, this comic could just as easily be set in a completely separate sci-fi universe. Part of the problem, as always, is the art. I complained through the first four issues of "Vector" that the bright, cheerful, and exaggerated visual did not suit the Star Wars-verse. Bong Dazo's art is much more appealing from a composition standpoint, but it's still not a style I would consider particularly well-suited to Star Wars. I don't mind a story that strives to be fun, but fun alone doesn't cut it in this universe. Until Knights can offer the same compelling, complex mythology Legacy does on a monthly basis, it's going to remain on the bottom of my reading pile.
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Leonardo Manco struck me as an odd choice for a superhero book, given his past slate of work. Manco doesn't entirely transition well from the world of Vertigo. His characters generally look great, but his storytelling becomes muddled in the larger action scenes. I also don't particularly care for his interpretation of the War Machine armor. It's essentially a recolored version of the Iron Man movie armor with about 50 cannons strapped to the shoulders. Pak has hinted a new suit by be forthcoming, and I hope it is. Overall, I chalk up the book's visual problems to Manco's inexperience in the area of super-heroics, and I'm hoping we'll see some steady improvement to the storytelling aspects.
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Still, issue #3 is a return to form in some ways. I only hope issue #4 doesn't spiral toward a quick and dirty conclusion once more. Mulder and Scully deserve more than that.
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Thanks solely to the fact that Vulcan continues to underwhelm, I'm not sure Kingbreaker will prove terribly vital to appreciating War of Kings as a whole. But despite its flaws, this story is doing exactly what it set out to do. It's making me salivate for more of the story, and leaving me hopeful War of Kings will be the worthy follow-up to the first Annihilation I've been waiting for.
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Deadpool continues to impress, even if it isn't quite as exciting or relevant as it was in the first arc. I'm sure that will change, temporarily at least, with "Magnum Opus". For now, I can't be too down on one of the few Marvel characters who still remembers how to have fun in the wake of Dark Reign.
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Though at times it appears that DC hired a rotating cast of artists to barf on the page and call it a day, I can't help but label Final Crisis #6 as my favorite installment of the series. Everything Morison has been attempting to do with this story really starts to hit home for me. Some may complain that certain plot elements are wrapped up too easily, but I find that to be a bonus. With so much out of the way, Morrison has set the stage for a truly epic and unpredictable finish in two weeks. I can't wait.
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Unlike Barbara, I hope we readers won't have to say goodbye after this mini-series. I'm looking forward to an increased focus of Kelly's Four Eyes, but I also hope we'll see another collaboration from this duo. And whether that collaboration is a Giants sequel or something else entirely, I'm going to be first in line to read it. Sorry Batman, you may be facing more competition in the future.
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Resistance #1 isn't a great read, and it's no substitute for playing the games, but it isn't without merit either. If nothing else, it's nice to have a book like this come along and remind me that not all videogame adaptations are inherently lousy.
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I guess you can have originality with these Dead of Night books, or you can have quality, but not both. For my part, I know which one I prefer.
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The Wild Hunt #2 offers a hellish amount of fun and quality content for $3. It makes me all the more reluctant to start forking over $4 or $5 for mainstream comics. If you love Hellboy, you'll love this comic. If you haven't fallen in love with the series yet, I highly recommend getting caught up soon.
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I realize Conan still has his fans, and I count myself among them, but if you're reading Conan the Cimmerian and not Kull, you need to reevaluate your priorities a bit.
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Perhaps there really is a fan out there who has always dreamed of a Spider-Man/Man-Thing team-up. If there is, I'd still recommend against buying this issue. If Spider-Man: Fear Itself enables Marvel to retain the copyright on Man-Thing for another few decades, then it will have accomplished something. Beyond that, it strikes me as utterly pointless and not at all memorable.
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I'm not saying Trinity is worth reading all of a sudden. I do feel that it shows just enough occasional promise that real improvement isn't entirely out of the question. Even Countdown turned things around at this time last year. Why not Trinity too?
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Fortunately, the backup story is quite a bit more entertaining. Mainly this is thanks to Juan Doe, whose art is always a treat to behold. Between his unique, animated visuals and the general wacky tone of Gregg Hurwitz's script, this short story proves far superior to the title story. In the end, I was pleased to see it's still possible to tell interesting, off-the-beaten-path stories with this chronically over-exposed character. I just wish readers weren't required to pay such a steep price to read it.
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Minor quibbles aside, I'm having a blast with X-Men Noir. The series is a huge dose of fun, even as it offers one of the darkest and most depressing takes on the merry mutants I've ever seen. At this point, I think a few of the core X-books could stand to take a page or two from X-Men Noir.
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One area that sees significant improvement from the last issue is the art. Shane Davis handled the pencils for the Crisis special. While he did a pretty good job with the issue, I found his work to be a significant step down from series regular Ivan Reis. Fortunately (and in defiance of what the solicits said), Reis is back for this issue. It's unfortunate that he didn't return in time to render the epic space battle between the Green, Yellow, and Red Lanterns, but Reis can make even the most boring of situations look dynamic and interesting. And whatever small problems I may have with this arc, it's certainly not boring. Green Lantern is back, baby. Let's hope it sticks around this time.
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War Zone continues to be a regular weekly source of amusement for me, and I can say with certainty I'll sorely miss it once January draws to a close.
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Nothing about "Vector" makes me think a crossover need impact the Star Wars comics for a long time. But, at the very least, it served to remind me that there are plenty of quality stories to be had from this universe. Legacy continues to thrive in its own little corner of the Star Wars-verse.
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"New Krypton" is a huge missed opportunity, as far as I'm concerned. Though it's managed to work wonders or Supergirl, the rest of the cast seems worse for the experience. I have low expectations for the finale, and even lower expectations for what is to come afterward. 2008 was a terrific year for Supes, but I already worry 2009 will be anything but.
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I had my worries about a project that purported to stay so close to its source material. Fortunately, The Stand: Captain Trips has assuaged my fears at every turn. It doesn't reinvent the wheel. It merely takes one of the better sci-fi horror novels ever written and does it full justice in a new medium. What more could you ask for?
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Bendis is rarely stronger anywhere than he is on USM. Stuart Immonen continues to shine as well, even though this issue is somewhat light on action. Ultimate Spider-Man seems to be going against the grain of the Ultimatum universe at the moment. Ultimatum would have you believe that the Ultimate Universe is fundamentally broken, and that the only way to fix it is to break it even further. USM doesn't take any of that guff. It's thesis is much simpler. Tell quality, compelling stories, and the Ultimate U. will fix itself. I happen to like USM's approach better. It's just a shame that no one else at Marvel seems to be listening.
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After a full year and 36 issues, Marvel has shown us what to expect from Amazing. When the scripts ignore the jangled mess of continuity and retcons that make up Brand New Day and just tell fun stories, the series works marvelously. When they get too caught up on exploring the new status quo, we get issues like this. I hope Marvel takes these examples to heart in 2009. There's no reason these past two months can't be the norm rather than the exception.
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Like I said, I never really expected to be this engrossed by a Ghost Rider book, but it's clear that all Johnny Blaze needed these many long years was the right creative team. Finally, at long last, he has one.
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On its own, this issue is a reasonably amusing collection of Christmas stories. It just so happens that "reasonably amusing" isn't what I want from Hellblazer at the moment. Incoming writer Peter Milligan didn't quite impress me here, and I can only hope that this issue isn't an indication of things to come.
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These constant art problems continue to upset me. There's no reason Invincible Iron Man shouldn't be declared one of Marvel's best books. From a writing standpoint, it rivals anything Ed Brubaker is doing on Captain America. Artistically, though, each issue has been a major disappointment. Until Marvel addresses this problem, the series will have to settle for a second-class existence.
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With one arc and one creative team down, I can't say I'm very excited for this new Punisher MAX direction. The series continues to satisfy on a basic, primal level, but I need more than that if I'm going to keep reading. Frank Castle is a complex character in the right hands. I just hope the next batch of hands are more up to the challenge.
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Thor God-Size Special #1 may not be quite the best effort from Fraction this year, but it's still a Hel of a read and a great way to cap off a year of terrific stories. I'm extremely interested to learn how Marvel plans to outdo their 2008 Thor output next year.
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It's becoming less and less frequent that Mark Bagley's art really impresses me. Particularly with this issue, much of the visceral excitement is saved for the back-up tale. Tom Derenick, on the other hand, is rising to the occasion admirably. His art is probably the most detailed I've seen in the series, and certainly the most dynamic. Sure, many of his characters look like they're stowing a wad of chewing tobacco in their lower lips, but I can forgive that. Truly, Derenick's art is about the only thing in this series I still find enjoyable.
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It really doesn't help that Brian Denham's art take a significant dive from the previous two issues. Denham employs photo-referencing to capture the likenesses of the actors, but he managed to do it in such a way that added to the feel of the series rather than detracting from it. Unfortunately, his art just seems rushed this month. The detail isn't quite there, and the the tightly-constructed lines are loose and unfocused. To my eye, more time is all this issue needed to appear on par with the last one. More time all around would have done wonders for this story. So far, the comic is the first quality, authentic X-Files experience I've had in years. But if every story is going to end so abruptly, I worry that won't be enough to keep me coming back.
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The simple fact that an issue like this is taking place so late into "New Krypton" leaves me seriously worried about the overall impact of the crossover. At this point Johns and his collaborators have precious little time to accomplish what they set out to do. Forget matching the impact of "The Sinestro Corps War," at this point I'm just hoping for a crossover that doesn't fizzle out.
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Still, I'll take this black-and-white drama over colorful Marvel work any day. Moore is truly at home in Echo, and I sincerely hope that whatever fans he may have attracted with his Marvel books will wander this way.
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It can still be argued that this arc is moving at a snail's pace. The characters have been trapped underground for months and show no signs of emerging yet. I just can't bring myself to be bothered much by the slow pacing like I would with other books. Issues like this tell me that Matthew Sturges is crafting something special with House of Mystery. I'm all too happy to let him go about it at his own pace.
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Bryan's Score: 6.6
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Craig Rousseau continues to impress, as long as you don't mind the fact that his figures tend to resemble bobble-heads. They may have large noggins, but Rousseau is able to extract quite a bit of emotion from their faces. Overall, I prefer Rousseau's style to the more manga-influenced look the series used to sport. Moore and Rousseau make quite a pair, and it's a crying shame this is the last we'll see of their collaboration for the foreseeable future. That's right, Marvel has seen fit to cut this enjoyable little book short just as it was hitting their prime. I sincerely hope they see the error of their ways at some point down the road. The industry needs more books, and more heroines, like Mary Jane.
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I wish this book made me feel like a Blue Lantern rather than a Red one. I wish I could actually feel hope for its future. And I wish I didn't have to resort to increasingly goofy analogies just to keep myself amused while writing these reviews. But I can't say any of these things are going to be happening. Barely halfway into this book, I'm almost completely burnt out on Trinity.
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Unlike Roar, the last one-shot, the art here is pretty forgettable. Honestly, a quality set of pencils is all any of these one-shots ever have to offer. When that end comes up lacking, I just don't see the point. Jerome Opena's work is so-so at best. His storytelling is clear, but his figures are pretty wonky and often needlessly exaggerated. I don't think the "Popeye arm" look suits Wolverine. If you absolutely, positively need a Wolverine story this month that doesn't feature the rest of the X-Men, check out Jason Aaron's Wolverine: Manifest Destiny. Even as a casual diversion, Flies to a Spider just isn't that appealing.
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The atmosphere is assisted by the able hands of Duncan Fegredo, definitely one of the better collaborators Mignola has worked with. Fegredo's style is very reminiscent of Mignola's, yet still carries a unique quality. It's unfortunate that Mignola can't illustrate more of his scripts, a la In The Chapel of Moloch, but I rarely find his artists to be poor compromises. The Wild Hunt is not nearly as accessible as 2008's other offerings, and it plays out as a very simple tale i this early stage, but I still think Hellboy fans will enjoy themselves here quite a bit. Hellboy is one of those good things you can never have too much of, after all.
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Though the script doesn't exactly suffer from being so laid back and subdued, the quality of the artwork seems to drop. In general, Will Conrad doesn't provide the sort of wide, epic panels that characterize much of the Conan stories. His page layouts are more traditional by comparison, giving the series an unnecessarily claustrophobic feel. His figure work is generally strong though, and he captures that loose, scratchy feel that Cary Nord first set way back in the early issues of Conan. These Howard books may not all reach the same level of quality, but they do manage to maintain a certain visual consistency that I admire.
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While the pacing may very well improve over the course of the book, I have t say I'm more worried about the art. As I said, the sequel faces a huge and immediate hurdle with the loss of Alex Ross. Jay Anacleto takes over instead. Had you asked way back in the day when I first glimpsed preview art for this series, I would have set I was intrigued. Anacleto is a far different artist than Ross, but his work still evokes that sentimental Norman Rockwell feeling taht the original series had in droves. Unfortunately, Anacleto lacks the sense of raw scale and framing that Ross possesses. In the first book, these Marvel heroes felt like gods as they towered over mortal men and waged wars that the average man on the street couldn't comprehend. There seems a concerted effort to bring the heroes down to the ground, both in the writing and the art, and in my opinion it works against the purpose of Marvels. Couple that with the fact that the painted colors seem to muddle and obscure Anacleto's penc
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So the only question you should really be asking yourself is whether it's worth your time and money to follow this series on an issue-ti-issue basis. Personally, I think Mouse Guard is one of those series where trade-waiting is the sensible way to go. The delays are interminable, and Archaia should seriously reconsider how they market and deliver this book. If another six months has to pass before issue #5 sees the light of day, how many fans will have lost interest in the meantime?
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The issue isn't perfect, as I do have some worries about the art team, but for me it's probably the highlight of the entire series since Luke and Jessica were married in the first annual. When he finally does loop around to connect back to Secret Invasion, Bendis offers a dangling plot thread that I can't wait to see explored as the series moves on. If you've grown tired of everything Skrully, New Avengers is waiting to welcome you back with open arms.
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Two things are clear to me after reading this issue. One is that Punisher is suited to done-in-one stories in a way few characters are. The other is that Marvel needs to keep Aaron's name on speed dial for when they need to fill gaps. Aaron has worked some storytelling magic on several characters since coming to Marvel, but I think this Christmas special may be his best effort yet.
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Only in a few cases where Russell ditches the narration and dialogue do his pages truly stand out. Russell is an incredible artist - one who never seems to waste a single line in his drawings. He's able to wrestle an incredible amount of emotion and power in his characters. These sequences need no dialogue because the art speaks for itself. I believe Russell could have pushed these segments further. Perhaps The Dream Hunters can't work as a completely silent comic, but I would have liked to see Russell conjure up text only when absolutely necessary. It's rare that he actually needs it.
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Bryan's Score: 6.8
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Please put this book back on track. I'm tired of clinging to the few bright spots and trying to convince myself they'll still be there the next week. Trinity has almost half a year left in its life, and I just don't think I can stomach listening to that boring old man and his stories much longer.
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I think the one saving grace of this entire issue is the backup tale, which is part one of "What if the Runaways Became the Young Avengers?" The concept sounds a bit silly at first, but C.B. Cebulski really makes the most of it. He has a nice handle on the Runaways, for one thing. The art here isn't terribly impressive either, but it gets the job done. Most notably, the short, fractured way in which Cebulski is telling this story appears to work in its favor. I'd say it's a sign Marvel needs to alter its approach to these What If? books. Rather than attempt a series of swift one-shot tales, they might want to look into a more serialized approach. After so many years of resounding disappointment, something sure needs to change.
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I really wish I could force myself to enjoy this book for what it supposedly offers, but I just can't. Red Hulk is a terrible, terrible character without an ounce of depth. Green Hulk is a pale shadow of his recent self that takes a gamma-irradiated dump on all the good work that writers like Peter David and Greg Pak have done. You can call Hulk simple, stupid fun, but I've yet to discover where the fun is.
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With "Vector" finally heating up and nearing its conclusion, I find myself anticipating the next issue of Legacy i a way I haven't since the "Claws of the Dragon" arc. Again, this series should serve as an inspiration to other Star Wars writers, as it's one of the few projects to truly make this galaxy far, far, away seem unpredictable again.
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Slow start or not, I think most fans of the first mini-series will enjoy this issue. Way doesn't paint a clear picture of what he has planned for Umbrella Academy: Dallas. But if the first book taught us anything, it's that we can expect a fun ride along the way.
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Unfortunately, things are looking pretty bad for Trinity. It's been half a year now, and I feel like we've been trapped in a holding pattern for longer than we've actually been moving anywhere. Six more months is still a long time to find improvement, but when has Trinity given evidence to suggest it can steadily improve for any great length of time?
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And, if nothing else, this month is a real showcase for the talents of Stuart Immonen. The three-way battle between Spidey and his symbiotic enemies is a true sight to behold. Bendis and Immonen click together in a way I wish other Ultimate creators would. With Ultimatum so far doing nothing to redeem the imprint, I continue to look to this series as the sole source of light in a very dark universe.
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Beyond that, Lwanga's conflicted nature and desire to do good clash in an interesting way. This series is bloody and visceral, yet also makes a larger political commentary. Consider it the successor to Garth Ennis' Punisher MAX. Regardless of whether this book ends up raking in any "Best Of" awards this year, this is going to be one series to keep an eye on.
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Honestly, Ender's Game: Battle School is one series I'd recommend trade-waiting for unless you already count yourself as a big fan of the books. It's an interesting and unique read among the massive glut of comics each month, but it simply moves too slowly and methodically for its own good at times.
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Though a little underwhelming as a whole, this issue has its moments, and it leaves me with little doubt that next month will be an improvement.
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That aside, Diggle sends Constantine off in good form. I truly hope his run serves as a lesson to the editors at Vertigo. Hellblazer needs more extended runs like this. It's no coincidence that all the best Hellblazer writers - Jamie Delano, Garth Ennis, and Warren Ellis included - stayed on the book for years at a time. Constantine may be a prickly, hard to love character at first glance, but when you spend some time getting to know him you'll never want to leave.
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I can only hope Greg Pak's series will offer that substance. Gage has laid some interesting ground work for the character, so no on can complain there isn't potential for plenty of compelling stories in the coming months.
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Note to Marvel - more of this, please. This is how Moon Knight should be.
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More disappointing than anything is this issue's ending. Hurwitz drags in a familiar character for his first MAX appearance. I find it totally unnecessary, as there was a good reason this person had never showed up before now. Every month, the qualities that made this book stand out are being drained away, and I'm afraid it hasn't hit bottom yet.
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This issue is interesting in many ways, but also familiar in others and just downright annoying in others still. I really hope the upcoming relaunch puts the series back on track. There's no reason top-level writers like Fraction and Remender should be inspiring such a mixed set of emotions in me each month.
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And with that, I'm left with my usual monthly list of non-complaints. the characterization and dialogue are as strong as always. It really doesn't matter who Aaron thrusts into the main role of an issue, because he always finds ways to make his characters instantly compelling, regardless of how despicable they might be. And R.M. Guera's art is as perfectly suited to the gritty, dusty hills of the Rez as ever. Aaron would have to do far worse than employ some wonky narrative structure to turn me off Scalped at this point.
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I wanted very much to enjoy this issue. The concept hooked me right away, but very little of what I saw in the issue felt like quality payoff. Peter David's New Frontier mini-series notwithstanding, IDW has done nothing to convince me they're the right publisher to handle Star Trek. If they can't make a seemingly winning project like Last Generation work, what hope do we troubled Trek fans have?
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But, as I said, the real treat this week is the backup tale. This story actually feels like it's moving somewhere important. Even better, the Trinity are directly referenced, helping remind readers that, yes, Superman, Batman, and Wonder Woman did used to be a part of this series. The thought of Alfred gathering a group of unlikely heroes in a quest to restore the proper time line is just about compelling enough to get me interested in this series again. This segment is also helped by the addition of Mike Norton. Norton manages to replicate Bagley's look and feel better than any previous artist, yet also strikes a clean, pleasing style all his own. I hope DC has a few more segments lined up for Norton. With more material like this and less filler, Trinity could actually accomplish a thing or two in its second half.
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It certainly helps that artist Brian Denham is so good at capturing the look and feel of the show. Granted, he clearly relies on a great deal of photo-referencing to render his characters and locations. That said, most artists go that route use it as a crutch. Denham's pencils are nothing if not consistent, and this is one case where I feel photo-referencing is a benefit to a book. Like the show, the panels are bathed in shadow and cast a perpetual gloomy mood. Like the script, Denham's art isn't groundbreaking, but it's very faithful to the show, and I imagine most fans will be pleased all around.
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Overall, I'd say Thunderbolts fans have little to be worried about. Diggle's first issue feels similar in tone to Ellis' work, but not so close as to lose its own voice. And those excited for Dark Reign need not worry about being spoiled. This issue doesn't spoil anything so much as it merely confirms what was already being made obvious by other books. I'm sure many Marvel readers will be happy to leave Skrulls behind for a while, and this issue is a good way to start fresh.
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Crown's Score: 8.7
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J.M. Ken Niimura really shines this month thanks to a few gorgeous splash pages. As the book grows progressively more dark, Niimura expands his scope and makes it seem as if an epic brawl between girl and giants is finally at hand. Niimura's loose style is occasionally tough to decipher, but generally he makes for an excellent artistic complement to Kelly's writing. I'm anxious to see where the duo is headed with this story in the final two issues. Whether or not Barabara's fantasies are real, this is going to be one fight to remember.
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These Tales issues are generally self-contained. However, it becomes quickly apparent as the issue wears on that the story is too big for one issue. This is both a good and bad thing. I'm pleased to see the team attempting something a little more ambitious, and it gives me a reason to keep checking back in the future. On the other hand, the next chapter of this story is listed as taking place in issue #58. By my calendar that's five or six months away. It seems a questionable decision to leave readers hanging that long. I'm sure I'll enjoy #58 when it finally hits, just as I enjoyed this one. I'm just not sure I enjoyed it so much I'll remember what happened six months from now.
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As much as the script improves this month, the art also helps carry Treachery to new heights. It's hard for me to ever find much fault with Jae Lee and Richard Isanove's work in these books. Together, they've come up with the definitive portrayal of Mid-World. The only real change comes from the variety in settings and locales. I feel like issue #3 allows the two artists to stretch their muscles a bit more. We see characters only shown in barest glimpses before, like gunslinger drill sergeant Cort and Roland's mother Gabrielle. We see entirely new locales that offer a great deal more variety than the simple, relatively cheery backdrop of Gilead. Lee and Isanove are always good, and it's really just a matter of how good at any given point in time. The same goes for the book as a whole. The dark Tower comics are always good, no matter what faults I may find at times. This issue just shows the series in one of its better moments.
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As long as you don't mind a slow, methodical build-up to an impending disaster, this issue of The Stand won't disappoint.
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Trinity continues to suffer from a haphazard focus, a glut of characters that quite don't disguise the absence of Superman, batman, and Wonder Woman, and a generally convoluted presentation. All that aside, issue #24 is a definite step up from the last, and I'll hold out hope that issue #25 will be a further improvement still.
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Bryan's Score: 6.7
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This issue is a terrific capsule of the whole project, because it provides everything a reader needs to understand how a young Jewish boy in Poland could grow up to become something as great and terrible as Magneto.
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This issue certainly represents a step in the right direction for a book that has faltered in recent months. If nothing else, Gage proves he has the chops to continue on his own, and that's a good sign to this tired reader.
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The art is similarly torn between the good and the bad. At times Andrea Di Vito's work is almost maddeningly bright and cheerful. It conflicts with the tone of the book, and I truly wish Mike Perkins were available to continue his work from last year's House of M: Avengers. Di Vito moves from being a liability to an asset during the many battle sequences. In the sense that both are weighed down by some pretty serious flaws, the writing and art are two peas in a pod. This series will likely never break from mediocrity, but even mediocre books can have something to offer readers who are willing to put up with the lousier aspects for a while.
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I still enjoy House of Mystery, but it seems to me the book is hitting a sophomore slump of sorts. Sturges needs to inject some life into his portion so that it doesn't continue to lag behind the side stories. We are to believe the House offers a few worthy stories of its own, correct?
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This whole issue is good stuff, really. Kull #1 did a much better job of attracting my attention than Solomon Kane #1 did. Judging by first issues alone, it outclasses Conan the Cimmerian #1 to boot. This is a strong first effort, and I look forward to the remaining issues.
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Assuming next issue doesn't dip in quality just like this one rose, Marvel Zombies Vol. 3 may actually rank as the best in the series. I know that doesn't say a whole lot, but it's encouraging to see a concept as seemingly played out as this find new life with a new creative team.
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So if Russell's script holds up to the source material, the art falls a bit flat in comparison. I'm happy if this comic influences readers to experience this relatively lesser-known area of the Sandman mythos. In my opinion, however, this isn't the best way to experience it.
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Maelstrom is only interesting inasmuch as her mission is a tad unusual. She wants the love and affection of Darkseid, and she hopes to win it by killing Superman. I don't know what in the last 30 years of DC books would convince her such a thing is possible, but Palmiotti and Gray are under no delusions as to her intelligence. Her goals are fairly compelling, but the character is never painted as much of a threat. By the end of the issue it's tough to ascertain where the book is going to move from here, or what Maelstrom's role will be. I'd like to think Palmiotti and Gray have something better up their sleeves, but issue #1 hardly gives me any reason to hope. This concept, beyond being outdated, is being done much better in the various ongoing Superman books. Don't bother with this one.
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But all of this hardly justifies yet another purchase of this plodding weekly series. The story makes little attempt at progression. The main development in recent weeks has been Morgaine le Fay growing into a bad Power Rangers monster and stomping around. That's essentially where this week leaves her still. I guess I can measure progress by how many buildings she knocks over divided by the number of weeks that have passed. Let me get a calculator...
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Bryan's Score: 6.6
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Most glaring of all is the fact that neither story carries much of an X-Men flair. Switch out a few familiar faces and the stories could easily be taking place in another Ellis book like Planetary. Is that all Ellis' Astonishing run is going to amount to - a series that seems culled from unused plot points in other books? His work carries an inherent charm regardless, but I expect a lot more given the pedigree of Astonishing X-Men in the past.
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Without Michael Turner, I really don't think Fathom has anything to offer the industry. I'd like to cast this issue off into the ocean where it belongs. I figure the dolphins and sea turtles can't choke on it any worse than I have.
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And, most importantly, it features some gorgeous art. Mignola's work always carries a very Gothic quality, and the fact that the story involves an old chapel and a series of Goya-esque paintings only makes it seem all the more fitting. There's nothing in this issue as ambitious as some of the more major Hellboy stories, but it's very pleasing to the eyes nonetheless. Long term fans will be pleased. Newcomers probably will be as well, though they may be better off starting with the first trade, if only to witness a more epic Hellboy tale. In any case, it was good to have you back Mignola. Let's do this again sometime.
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With a solid script and characterizations that fall right in line with past arcs, there's less and less to distinguish Swiercynski's writing from Fraction's. The art, however, is markedly different. That's not entirely a bad thing, but the art is one area that still feels like a significant step down. Travel Foreman's pencils are vibrant and expressive, but this is sometimes taken to an extreme. Occasionally figures are over-inked to the point where they appear to be roughly chiseled out of wood. Foreman is obviously capable of shifting his style, so I'd like to see him tone down the more extreme qualities in future issues. Aside from that, I'm more satisfied with the current direction of Iron Fist than I ever would have expected.
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Even if the majority of the issue played to convention, I can honestly say I loved the ending. Millar comes ever closer to breaking the fourth wall in his wrap-up, and the ultimate fate of Toby and his family left a big smile on my face. It's a shame the series as a whole couldn't do that more often.
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Ideally, that would be my cue to switch off the brain and ogle the numerous fight sequences. Here's where the book stumbles once again. Though the fight scenes are numerous in quantity, they don't look that great. They should, by all rights, considering Ron Garney's talent for such things. Unfortunately, Garney seems intent on sticking with his scratchy, un-inked style, much to the detriment of the book. The pencils are seriously lacking in definition, and I'd seriously urge the creative team to consider bringing in an inker. Skaar needs something to keep me interested, and I'm not finding much to like at the moment.
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Star Wars: Legacy continues to impress, almost indifferent to the fact that it's part of a larger crossover at the moment. "Vector" weaves into the ongoing events very well, so I guess that means the crossover wasn't a total loss.
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Ultimate Captain America Annual #1 is, at best, a flawed comic. The writing is problematic and fails to prop up an otherwise solid concept. The story feels woefully incomplete, essentially telling readers they'll need to fork over more money for a proper conclusion in some unknown future project. But the art is gorgeous, and the core appeal of these characters shines through much better than it did in The Ultimates 3. If every section of the Ultimate U could show this level of improvement, the imprint's problem days would be over.
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I felt the art was particularly strong in this issue, mostly because Moore pushes himself beyond his normal boundaries a bit. We're treated to some great shots of the stormy desert, and even a ferocious monkey for good measure. I do often wonder if this series wouldn't benefit from a splash of color, though. On the other hand, hat would probably slow down the production process. I enjoy having such a dependable, solid series from Moore to look forward to every month, and I'm not sure color would be an entirely worthy trade-off.
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Dan's Score: 8.7
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Ghost Rider fans, and Danny Ketch fans in particular, are in for a wild ride over the next few months. Ghost Rider: Danny Ketch #1 offers hope that this mini-series will prove to be more than a quick cash-in, and that the character's return was motivated by more than mere nostalgia.
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With Diggle's run nearly wrapped up, I'm inclined to feel every bit as nostalgic as the main character at the moment. It can be hard to make such a well-trodden hero stand out these days, but Diggle makes it seem easy.
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Hulk is like a train wreck that keeps getting worse as more and more trains pile on top of each other. Now that Black Panther and The Ultimates 3 are thankfully gone, there's no question in my mind that Hulk is now officially Marvel's worst ongoing series. That hasn't dulled its sales any in past months, and I doubt even the absence of McGuinness will do much to harm it at this point. Still, I can keep hoping.
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It's nice to have R.M. Guera back on the book, particularly as he attempts to play with his use of color a bit more. The book is dominated by brown, grimy tones that further the Western feel. This month, Guera throws in sun-drenched reds and oranges in the flashbacks, lending the issue a more versatile feel than I'm used to seeing. The coloring in Scalped doesn't always win me over, but this issue is a example of when it works.
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Dan's Score 6.7
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This issue intrigued me just enough that I might make a habit of of reading Tales of the TMNT. The next installment promises a return of the C.O.W.boys of Moo Mesa, which is fine by me.
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As always, the same basic complaints remain. The pace is almost maddeningly plodding at times. The backup tales, while far more interesting than they used to be, often seem to get in the way of the core tale. At this point I'd much prefer it if Busiek would simply expand the main tale throughout the full book and let Bagley share pages with the various co-artists. Then I might actually feel as if I'm getting a full dose of story material each week.
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All told, I think New Krypton Special is a decent way to kick off a crossover. I'm certainly intrigued to see where Johns and his crew are headed in the next three months. But despite all DC's promises, this is no Sinestro Corps War. At least, not yet.
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Air has the potential to be something really great. For the time being, though I feel that the series is still struggling to find its rhythm. Call it some early flight turbulence if you like.
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It's hard to deny the core appeal of Conan, no matter what the pace of his stories may be. Even with relatively disappointing issues like this, Truman proves himself a more than capable Conan writer. I'm just feeling let down because the book is beginning to lag just as it should be firing on all cylinders. The creative team has the potential to make Conan the Cimmerian the crown jewel of dark Horse's lineup. All the book needs is a quick kick in the loincloth.
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For better or worse, the entire issue is really nothing more than setup for the larger story. As such, it's hard to judge the faults too harshly, because it still shows the potential to be a worthy continuation of the Ghostbusters mythos. The Other Side #1 will prove at least mildly amusing for most fans, and I'm hoping the next few months can manage a great deal more than that.
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Speaking of which, it appear as if this arc will be delving into the mystery of Rhodey's cybernetic body parts before it ends. I'd say that's as good a reason as any to follow this story until the end. The arc falls flat as a Secret Invasion tie-in, but as a primer for what should hopefully be a strongly character-driven solo series, it's not half bad.
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With little credit to its leading hero, Moon Knight is quickly gaining appeal for me. I'm very interested to see where this arc leaves the main cast. With any luck, "The Death of Marc Spector" will mean very good things for Moon Knight.
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It's hard for me to recommend any of the X-Men books these days. Legacy is a good read, but it only appeals to long term fans. Wolverine is even better, but I'll be putting my unborn children through college before the current arc wraps up. NYX may be the only one of the books that I would unequivocally recommend to all readers. It's very far removed from the rest of the line, and it's a bit depressing in its darkness, but it's also proof that compelling new stories can be told with such familiar concepts.
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Laurence Campbell feels right at home with this series, even if his art isn't entirely without flaws. His pencils are dark and brooding, with every panel slathered in black inks. The heavy blacks tend to obscure the finer details, though, and at times the shadows seem applied without any mind paid to rules of lighting. His Punisher is plenty ominous, though, and that goes a long way towards striking the right visual tone. If the writing feels like a significant step down from Ennis' run, at least the art manages to improve in some ways.
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With a dull cast of characters and a bland approach to tie-in storytelling, front Line really has nothing to offer readers, even if they still crave more Secret Invasion goodness. I really hope Marvel thinks long and hard before giving the green light to the next Front Line project.
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Star Wars comics are increasingly becoming a valid outlet for fans disenfranchised by the more mainstream projects. The Clone Wars comic manages to outdo the source material, and in the process becomes one more oasis in a desert of dreck.
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I do acknowledge that Trinity has generally improved since the first few months. The general storyline is more interesting. The backup artists are doing a better job of standing alongside Mark Bagley. However, the one thing Busiek has utterly failed to do is convince me that Trinity needs to exist as a weekly book. So far, a more confined, structured format appears to be what the story really needs to thrive. An upward trend is good, but without a tighter focus this series will hit a ceiling very soon.
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The end of this story feels less like an ending and more like an open request for readers to buy more Ultimate books. To see a proper conclusion to this story, I'll likely need to pick up the Ultimate annuals and Ultimatum, as well as whatever other tie-ins Marvel has planned. The sheer fact that I'm willing to do so means Bendis did his job with this one, but that doesn't mean I have to be happy about it.
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Don't buy this book. Do yourself a favor and read The Twelve instead.
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I will say that the art continues to hold its own for a second month. What Chris Samnee's work lacks in detail it makes up for in tone and choreography. I enjoyed his panel layouts, particularly in the way they display more energy than the usual static, gritty work from many mature books. I just wish the story had more to offer. There's still potential with Devil-Slayer, as evidenced by the first issue, but future installments are going to have to do a much better job of striking a balance between realism and horror. The latter half is far too weak at this stage to have a hope of carrying the book forward.
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As far as I'm concerned, Detective Comics offers the only Batman R.I.P. tie-in worth reading. That has nothing to do with its tie-in status and everything to do with the fact that Dini is putting out what may be his best work on the series so far.
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Unfortunately, this issue's most glaring flaw is that it never really offers enough material to satisfy as a done-in-one story. It doesn't even technically qualify, as it ends with a cliffhanger that could just as easily be resolved in a single page. At best, Simon Dark #13 feels like a brief prologue before a much longer and more interesting tale. If that's enough to hook some new readers, then I suppose that's good enough for me.
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If anything, Treachery strikes me as a a story languishing between one big development and the next. With Roland's diminished presence, a seemingly pointless glimpse into the lives of the other gunslingers, and an all-too-brief look at Roland's father, Treachery is a comic lacking in focus. I'm sure many will argue that I simply need to give the story more time. I'd argue in turn that two issues are ample time to communicate the story's core conflict. I have no idea what ultimate direction Treachery is headed in. Perhaps the writers have more ambitious plans in store. I certainly hope they do. But until they prove as much I'll continue to be worried.
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Though The Twelve seems to slip further and further behind schedule, each issue makes the wait well worth it. Straczynski has set up numerous interesting conflicts as the series moves into its final quarter, and I'll be right here waiting patiently to see what happens.
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In the end, Year One suffers from its brief length. Though both issues were double-sized, the series only amounts to a four-issue book overall. Had the story more room to breathe, it might have been able to become more than "solid" and "satisfying." I guess we'll just have to wait a decade or two until DC decides it's time to revamp Two-Face's origin once more.
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The issue moves very methodically, as if it's fully aware the story has years and multiple mini-series in which to be told. I imagine many readers, mainly the newcomers, will be left sorely wanting for more. Battle School #1 is a good start to what looks to be a very long and consuming investment. Unfortunately, given the problems I found with issue #1, I look forward to the prospect of reading the novels more than I do of following the comics. Mission accomplished?
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An extra benefit of a quick end to Civil War: House of M would be the freedom for Andrea Di Vito to move onto other projects. I enjoy his work a great deal. Di Vito is an expert at laying out action sequences and all the hallmarks of the traditional superhero comic. Unfortunately, this book doesn't really call for that traditional look. Though I had problems with the execution of Mike Perkins' art in the previous House spinoff, that darker, grittier tone is really what this series needs. Civil War: House of M needs something to set it apart, in any case. So far, it's a passable but uninteresting return to a universe that would be better off left alone for a while.
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The art isn't exactly doing the series any favors now, but the core of Eternals is very appealing. The Knaufs are following up on Gaiman's plot threads much more aptly than I would have expected. While I wouldn't sugegst starting with this issue, take advantage of the slow week by catching up with Ikaris, Thena, and friends.
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Naturally, a book featuring dragons better have some damned good dragon art, and Max Fiumara certainly deliver in that regard. The few pages that offer glimpses of these figures are impressive to behold. Luckily, that sense of detail extends to quieter sequences as well. The art is fairly exaggerated, yet also impressively detailed and laid out. After only one issue, Kelly and Fiumara have proven themselves to be a winning team, and it's one I plan on supporting, hopefully until the very end.
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Perhaps House of Mystery is just going through a series of growing pains as it ventures into a wider world. It's certainly too early to claim the book has lost its way. Still, too many months with an incomplete product will force me to resort to trade-waiting instead.
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That aside, Jonah Hex continues to be a solid, consistent part of DC's lineup. I'm not sure what more I could ask of this particular Western anti-hero.
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Crown's Score: 6.8
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And while the art is flat out offensive, the story is just more plain rehash of a not-so-terribly interesting story. Zeb Wells needed to do something to make readers sympathize with Brock. That never once happened in the past three issues. Brock's feud with Spider-Man is poorly defined, so that the reader is forced to identify with his girlfriend when she calls it into question. Dark Origin seems to operate under the impression that you'll ignore all these glaring faults because it's a story about Venom. That certainly doesn't work on me, and I'd like to think the number of readers it does work on has dwindled in the last decade.
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Vixen brings artist Cafu over from Black Panther, another Africa-centric series. If nothing else, he lends a nice coat of paint to an otherwise bland mini-series. Cafu's art isn't especially well-suited to superheroes, which is why it's a relief once the focus shifts away from the JLA. His work carries a very fluid sense of motion that's unfortunately wasted by the script. Too much of the story involves talking heads, and Cafu's facial work isn't quite up to snuff. Overall I was impressed, though, and I have a feeling future issues will give Cafu a greater chance to shine. I don't think I'll be sticking around to find out, though. Vixen does almost nothing to break out of the mold of forgettable solo mini-series. Neither an engaging character piece nor a heartfelt political statement, this is one Return of the Lion I'm not celebrating.
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I'm sure some readers will disagree with a lot of what I've said here. All I ask is that you consider what you really enjoy about this book. To me, All-Star Batman & Robin is a joke. Just because it lets you in on the joke doesn't mean you should be laughing along with it.
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The Initiative had the chance to stand as one of the better Secret Invasion tie-ins. Instead, a glaring lack of focus and an unfortunate rotating casts of artists have bumped it to the other side of the spectrum. There's still room for a bit of redemption, but I'm not holding out hope this series will ever again be as entertaining as it was in its first year.
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Whatever the ultimate fate of this book, I'm pleased to have finally encountered a Black Panther story that recalls some of the glory of the Christopher Priest days. If the book is gone, then at least I know it died much better than it lived.
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In the end, Hulk leaves readers with the promise that the series will soldier on much as it has for the past year. That's probably the single worst message I could have hoped to take away from these proceedings. I desperately want a proper Hulk book that carries on from previous storylines. Instead, this series resurrects a simpler, played out version of the character and forces him to play second-fiddle to a vapid monster that would be more at home in a Dragonball Z movie. What's a Hulk fan to do?
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Still, Orson Randall himself is as compelling as ever. His latest adventure looks good, and it has plenty to offer fans despite all its faults. If I'm required to wait a while for the next installment of the main book, I can think of far worse ways to pass the time.
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This arc, and this issue in particular, won't appeal much to readers just looking for more Skrully goodness. However, long term Nova fans will continue to get a kick out of the soap opera that is Richard Rider's life.
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I suspect most Conan readers will feel right at home with this series. Solomon Kane #1 is a respectable first attempt by Dark Horse, and it gives me continued hope in their numerous Robert E. Howard projects.
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Now that recent issues have finally taken the time to flesh out supporting characters like Sin and Blue, the entire crew of the Mynock begins to to display signs of a compelling team dynamic. I'm also enjoying the inclusion of several Imperial Knights, though I have to wonder if most of them will do anything more than serve as Rakghoul fodder in the end. All I know is that Legacy is quickly picking up steam and reminding me why I consider it to be the best Star Wars book on the stands.
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I want to be able to say I'm psyched for Ultimatum. Despite all the huge missteps and poor storytelling decisions in Ultimates 3, Loeb has set himself up for a potentially compelling storyline. Therein lies the problem, though. Loeb will be writing Ultimatum, and nothing in his work in this series leads me to believe he'll be able to pull it off.
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Crown's Score: 8.2
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Still, this book has improved significantly in just one month. I'm hopeful that it'll continue to do so as the main conflict becomes more clear. We still have a long flight ahead of us, after all.
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For a book that takes place in the dark depths of the ocean, Fathom is agonizingly shallow.
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Ghost Rider is quickly becoming a book I actively look forward to each month instead of just casually flip through. For once, it feels as if the series is actually moving somewhere. I can only hope that somewhere is a place worth seeing.
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The only drawback to the confined setting is that Paul Pelletier's artwork suffers a bit. Pelletier's strength has never been in his figure work, but rather his exciting landscapes and background vistas. He isn't given much chance to work in that area, and his figure work is about all that's left. Still, that's hardly enough to drag down this book very much. Guardians continues to develop into one of my favorite ongoing books, and that's something no amount of event tie-ins are going to change.
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With Diggle's run drawing to a close, I feel like I have to savor every single page of each issue. It's probably going to be a long time before Hellblazer becomes this enjoyable again.
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By all means, read this arc if you want a decent, no-frills Punisher story. However, even if MAX looks better than War Journal, the latter is by far the more well-written story. In all honesty, both books have so many flaws at the moment that I'd rather just curl up with my Ennis hardcovers and pass the hours with the definitive portrayal of this vigilante crusader.
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The storytelling this month is as strong as it's ever been on the series. Dino and Chief red Crow are both compelling figure, and they carry the story magnificently. Truthfully, there are no bad characters in this book. Even the mindless thugs and addicts have something to offer the story. And, of course, it's great to have R.M. Guera back on the book. His art meshes perfectly with Aaron's writing, and the end result is one of the very best crime dramas on the market. I say some variation of this statement this all the time, but your pull list is incomplete without a smattering of Scalped.
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This is not what I hoped for or wanted from the new direction of Uncanny X-Men. The series desperately needs a new artist and more ambitious plots to work with. As it stands now, I can name half a dozen X-books I'd rather be reading than this supposed flagship title.
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Even after six issues, it's exceedingly difficult to tell where Young X-Men is headed. At the very least, this issue lends a small bit of confidence in the series' future. I was really starting to worry for a while.
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Ultimately, the very title of this series seems to betray Marvel's own lack of faith in it. House of M is supposed to be the main title, not the subtitle. Perhaps Civil War has more brand recognition, but if the House of M name can't sell books any longer, then maybe this project was ill-advised from the start.
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This is a slick little book, but the high price tag might turn a lot of potential readers away. This issue is geared very much towards a particular target audience, and they already know who they are. Everyone else would be better served waiting for a trade.
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Kalman Andrasofsky also holds up his end of the storytelling load. I wondered at first if he was but a mere clone of previous artist Josh Middleton, but he isn't really. The two have certainly stylistic similarities, but Andrasofsky's work is far more grounded and, if anything, better suited to the tone of the book. The two creators come together to produce what I feel to be a very quality effort. I'd love to see what these two could do on more high-profile books like Runaways. At least then they'd receive some much-deserved notice.
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Bryan's Score: 9.0
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I'm unsure as to the continued fate of this book. Current rumors suggest it may be due for the chopping block. That's unfortunate, as the end of the first storyline really feels like a beginning for the characters. Now rid of his saboteurs, Simon is now free to move onto new things. I can only hope I get the chance to see what the future may hold for him.
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This issue chronicles the fight for Kiros, a planet very much up for grabs in the battle between the Republic and the Separatists. We see plenty of droid-smashing action, and also glimpse why Obi-Wan was once known as The Negotiator. It all makes for a good start to this new series, but it's not without fault. The story hearkens back a bit too much to the movie, presenting an oversized alien character with annoying speech patterns. This issue's bad guy can rubs me the wrong way almost as much as Creole the Hutt (or whatever his name was). There's also the larger problem, one that can also be levied at the cartoon. What's the point of all this? What can The Clone Wars offer to Star Wars fans that they haven't already seen? So far, I'm noticing very little. This series is shaping up to be a strong adaptation of the source material, but neither medium has really justified its existence yet.
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Perhaps this chapter of Dark Tower isn't quite as immediately arresting as the last two. I can certainly live with that. I had my reservations about the opening of The Long Road Home, and the end product quelled every last one of my fears. I would be foolish not to give the creative team the benefit of the doubt right now. In any case, despite any flaws issue #1 may have, there's no doubt it'll be one of the strongest books of the week.
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Dan's Score: 9.3
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Ultimately (no pun intended), this issue does absolutely nothing for either team. I would have greatly preferred Marvel had chosen to keep the two annuals separate. Instead, I find myself merely looking forward to the day when Ultimatum is done and these books are granted a merciful death.
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If anything, sequences like these demonstrate why the book as a whole isn't quite as good as it could be. The ending page strives for a campy pulp tone that would suit the series well if it were employed more thoroughly. With any luck, the Knaufs will come to this realization. It took them a while to come into their own on Iron Man, and by the end of their run it had become one of Marvel's best books. There's no reason why the same can't happen for Eternals.
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This is definitely my favorite Vertigo series launch since Scalped. I can understand why many readers would choose to trade-wait House of Mystery, even if I have no desire to. When Vol. 1 rolls around in a few months, do yourself a favor and dive into its many mysteries.
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Jonah Hex #35 is a good entry point into a long-running and oft overlooked series. The story is entertaining enough to keep you reading, but it's really the impressive art that will enthrall you. Whether that's enough to keep the interest alive once Williams is gone, I just don't know.
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As I mentioned, this arc feels very much like the end of an era for War Journal. The Jigsaw conflict definitely comes to a close. Most of the plot threads Fraction has been toying with come to an end as well. If I didn't know better, I'd think the series was actually ending with this issue. It'll be interesting to see where the book goes from here. Remender has my vote to take over fully once Fraction leaves in a few months, but Marvel had better find a more suitable artist. As much as I'm enjoying this take on Punisher, particularly with Punisher MAX no longer being a viable alternative, I have no problem dropping the book if need be.
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As for the art of Marco Castiello and GG Studios, I'm not sure how well suited it is for such a supposedly grounded story. Castiello's slightly exaggerated pencils would feel more at home in a book like Avengers: The Initiative. Actually, Marvel might want to keep him in mind next time Stefano Caselli needs a break. It's not bad, I just don't feel it serves the story well. One segment has a Skrull hunting humans in the confines of Stark Tower. This segment should carry a horror/slasher movie feel, but the proper interplay of shadow and camera angles is never there. Juan Doe's cover, though exaggerated itself, is a much more fitting example of how this story should look.
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Buy this book, please. It's quite possibly the best Spidey book your money can buy at the moment. I'd like to send Marvel a message that the industry needs and deserves more quality, all-ages work like Mary Jane so that they'll extend Vol. 2 beyond its five-issue limit.
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If you want to consider these last few issues of Trinity an "arc," then this arc has been the highlight of the book so far. I sincerely hope the story doesn't take a nosedive as it veers away from the Crime Syndicate. The book hasn't won me over enough yet to have faith, so we'll just have to wait a week and see.
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If you're following this book, I highly recommend you stop. Just reread the original Venom stories and move onto something else. The industry got along just fine without Eddie Brock, and it's gained very little through his return thus far.
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Unfortunately, as much as I'm enjoying this story, I do have to question its importance. This arc is similar to Secret Invasion: X-Men in that it really doesn't need more than a single, oversized issue to tell its story. Both books are extremely well-crafted, but neither really amounts to anything more than entertaining fluff in the end. However, the sheer novelty of having a decent Panther arc should be incentive enough for most readers.
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Dan's Score: 8.8
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I don't want to sound like a total BND-hater. Amazing Spider-Man has improved pretty significantly since those rough early months. However, that improvement only causes lackluster efforts like this to stand out even more. Secret Invasion: Amazing Spider-Man simply offers too little, too late to this frustrated Spidey fan.
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That would be an apt enough description for the series as a whole. Rebellion has been solid enough in its short life. I'm a bit sad to wave it goodbye as it goes on hiatus to make room for Clone Wars. Assuming this series returns, I'll be more than willing to follow the interim adventures of Luke and the gang once more.
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The fact that Robinson has improved this much in such a short time gives me hope for the future. This whole New Krypton thing could be something special with Robinson and Geoff Johns at the helm. Regardless, the Superman line is as good as it's ever been. The fact that this series is "worst" of the main books is ample proof of that.
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I realize it's impossible to expect Busiek and Mark Bagley to churn out a full-length issue each week, but I'd really rather pay half price for a shorter comic than trudge through the backup tales each week. With as much money as I'm dropping on Trinity, I'd really prefer to pay for quality storytelling and nothing else.
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I will say that Clayton Crain is being put to good use with this book. His paintings are gorgeous, and he sure knows how to draw a scary, berserker Wolverine like no other. The fight sequence between Bastion and Wolverine in this issue is probably the highlight of the series so far for me. However, that hardly redeems what I consider to be an unnecessary and potentially harmful book. The industry was supposed to have moved beyond comics like this years ago. The thought that they might be making a comeback - and worse, that readers will still buy them in droves - is disheartening.
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The only major drawback I can see with Legacy is that it appeals to older, more seasoned X-readers thanks to its numerous flashbacks and simmering plotlines. All the same, Carey is in true top form with this book, and even a total newbie should be able to recognize that.
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M.K. Perker is another source of mixed emotions for me. I love his page layouts. Though he relies on a very traditional six panel structure, Perker's work is compelling and easy on the eyes. I only wish his figures were able to measure up. Thanks mostly to his flat, uniform inking style, the characters stand out in odd ways, almost like they were carved out of wood. This was a problem in Cairo as well, but it only becomes worse through the addition of color. I don't know if a separate inker would be able to turn things around, but I'd like to see vertigo give it a try. Air certainly has potential, but it really needs to be held on the runway for maintenance right now.
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I also wish I could have seen more of Tomas Giorello in these past issues. Giorello has filled in for former headliner Cary Nord better than I could have expected. I hate to see him relegated to a few pages a month. Hopefully future issues will change that. This story has cemented a new direction for Conan, and I'm eager to see where the creative team takes our favorite Cimmerian next.
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Frankly, the only connection I can form between Final Crisis and Legion of Three Worlds is that both books are packed with characters and not overly accessible to new readers. Both are rewarding experiences to those with a reasonable knowledge of the DCU, however, and that should be enough for most readers.
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I really hope this issue is a sign of better things to come for Ghost Rider. There's no question now that the series has potential, and I'd love to see Aaron and Huat continue to capitalize on it.
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I think the biggest flaw with this arc is that it failed to significantly advance any characters. Tony's Alpha Team was ripe for some quality face time, but they still come across as little more than grunts in Iron Man suits. I'm sure Moore was very limited in what he was able to do with this story thanks to its placeholder status, but the book deserved more. Only in the poignant final pages do I feel like Tony Stark receives a fitting send off. I'm going to seriously miss this book, but not because of anything I read in the last four months.
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So while this issue has certain redeeming qualities, there's an awful lot to hate on. Worst of all, the story takes a sudden shift in the last few pages. As it turns out, the real villain of the story has yet to present itself. I thin kit's more than fair to wonder what the heck the point of the last few issues were. If Justice League of America wants to achieve any sort of creative success, it needs to find its purpose in the greater DCU.
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Unfortunately, there's still a lot to complain about when it comes to Trinity. I can enjoy superhero fight scenes as much as anyone, but I really expect something more from a book as supposedly as major and all-encompassing as this. I hate to keep using 52 as the gold standard after all this time, since that series was hardly without its flaws, but why can't anyone seem to craft a weekly book that manages to be as consistently interesting? Busiek and his co-creators literally have the entire DCU to play with. And though they've certainly extended their reach to numerous characters, none seem to have much to offer. The knowledge that I'm supposed to follow this story for another nine months is disheartening. It's going to take a lot more improvement than this to cheer me up.
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Naturally, Johns's story achieves a similar level of success. I really enjoy the looming sense of peril Johns is slowly building up. It's comparable to what Morrison is doing with Final Crisis, except simpler and.. you know... better. It's hard to ignore the feeling that something truly terrible is going to happen to Superman's loved ones, something that will likely kick off New Krypton at the end of the year. If this issue's story has any weak point, it's simply that fact that it doesn't move as quickly as I'd like. Johns spends the first half in the shadows, allowing Gary Frank's art to do all the talking. I really can't blame him for that, and yet I can't help but want more. This is, without a doubt, the best in-continuity Superman tale in a very long time. I'm always going to want more.
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If you're in need of a simpler, more light-hearted Batman tale, I doubt this arc will disappoint. It's good dumb fun that's not too heavy on the dumb. And it looks spectacular to boot.
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It always helps to have Hitch on the job. I'm not sure how many other artists at Marvel could properly depict the scale and variety of characters Millar throws out. Hitch, when he hits the mark, turns in some of the best work of his career. And while he usually does hit this mark, there are troublesome flashes. Certain pages, most notably a conversation between Sue and Elyssa, appear rushed. Carefully placed lines suddenly become haphazard. I hate to think of this series falling to Ultimates-level delays, but I hate even more to think that Hitch is rushing in order to turn in pages faster. The wait for new issues is hard to bear, and that's precisely why I want to see top-level work from both creators when they do finally arrive.
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If you've been looking forward to Fathom's return, I suspect this issue is just what you're looking for. It looks and feels much as it did under Michael Turner's hands, which is a fitting tribute to the late artist. As for me, Fathom pretty much sums up everything I don't want from my comics. I'm prepared to send this series to its watery grave.
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It's almost amusing to see Chief gravitate towards weapons like the Mauler and Bubble Shield in his battles, as if Bungie made that a specific story requirement. Actually, I'm pretty certain they did. Once the thrill of seeing Alex Maleev doodle master Chief wears off, the comic comes across as more of a promotional tool than a legitimate, worthwhile story. And considering there's nothing left for Bungie to promote, one has to wonder why anyone is even bothering anymore.
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Dan's Score: 8.7
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Hopefully Simon picks himself up a few more fans this week. The poor guy certainly deserves it.
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Mostly, this issue is meant to appeal to fans of Mayhew's art (of which I'm sure there are plenty) and those who really want Jean back in the X-books (no clue on that one). Those two groups will be satisfied, so I suppose that means mission accomplished.
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More annoying than anything, this issue ends on a pseudo cliffhanger with the promise that Avengers/Invaders will return in October. I really don't find the series to be worth waiting that long. It's already drawn out and lacking in substance as it is. I suggest readers spend this two-month vacation catching up on The Twelve and learning how this type of series can be done properly.
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In its best moments, House of Mystery reminds me of the World's End arc in Sandman. Not quite as literary and finely-tuned maybe, but the core concept is similar, and Sturges and Willingham kindle a similar appreciation for stories in all their varied forms. I have no idea where this series will end up in twelve months, and the thought makes me happy indeed.
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Bad dialogue, poor pacing, maltreated characters - the only saving grace for Hulk continues to be Ed McGuinness' art. However, this book has passed the point where I can just cover the word balloons with a Sharpie and stare at the pictures. I hate that this series is my only outlet for Hulk stories, and I hate that so many great Marvel characters are being dumped upon for no apparent or meaningful reason. Most of all, I hate the fact that this series will sell more copies in a week than many smaller, deserving books will all year. So if you're in the shop this week, staring at this issue and wondering if you should add it to your stack, think twice. It'll make me angry, and you wouldn't like me when I'm angry.
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Even Granov's art disappoints. Compared to his work in Extremis, Granov's art is lifeless and lacking in style. The characters are far too pretty – no blemishes at all on these underwear model frames. The Iron Man suit continues to stand out against the rest of the world, as if Granov cut out a few frames of the movie and pasted them into the comic. I'm able to forget many of these problems when Iron Man and Foom square off, but that only saves the final few pages. At most, those pages give me hope the second half of this series will be an improvement over the first. Still, it should be clear by now that Viva Las Vegas is not what we were expecting or hoping for from this collaboration.
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I was less than pleased to see that Season 2 is now being solicited as a mere five-issue mini-series rather than the ongoing it was originally pitched as. I'm sure Marvel is reserving the right to expand the book as they see fit, but this still means Moore is required to fit his story into this five-issue structure. Mary Jane has spent far too much of its life in limbo already. If Moore's take on these young characters can't win over readers, I'm not sure anything can.
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Actually, the backup story manages to outclass the main story all around. As much as I like Abnett and Lanning's take on the characters, it's hard to get a sense of where this series is headed. Christos Gage's backup tale is tightly scripted and focused, and more representative of what I want from this universe. Abnett and Lanning succeed just well enough that I want to know what they have in store for the characters. I hope they can bring The Authority back to life again.
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With only Johns' own Action Comics to rival this series as DC's best ongoing book right now, this issue of Green Lantern gets another unequivocal recommendation from me. If you've skipped over "Secret Origins" for any reason, you're going to be plenty sorry when Blackest Night arrives.
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The backup story looks a bit better, but all it really does is recount Planet Hulk from the viewpoint of the slaves. Pak really should have taken those extra pages and added some story material that would make me care about Skaar. I want to. I'd like to be able to enjoy a Hulk-related book these days (not counting Incredible Herc, of course). However, it seems as if that's not in the cards for a while.
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Thanks to some solid writing by Rob Williams, the characters read like they should. Luke is perhaps a little more confident in his role as Rebel leader than he should be at this stage, but at least Han is every bit the rogue and scoundrel he needs to be. Thanks to Dustin Weaver, the characters largely look like they're supposed to as well. Capturing likenesses can be a tricky game when the story isn't based on any preexisting material. Weaver manages to nail most of the actors without skimping on other details. The overall look isn't as sharp as Dark Times, but it certainly gets the job done. If you've stuck with Vector this far, you'll find no reason to quit now.
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I strongly disapprove of this series' continued existence. Trinity ain't great, but it sure beats the snot out of Superman/Batman. I continuously get the impression that Green and Johnson have a decent amount of potential in them to craft a compelling story with these characters. The problem is that their energies are entirely unfocused. If only someone at DC would tell them not to churn out issues like this, the entire comic reading world would be a lot better off.
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I'll live, though. Even if Bendis is taking his sweet time getting to where I want him to go, I'm having a blast with USM. This series is singlehandedly keeping the Ultimate flame alive.
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This series isn't without potential, but the creative team is going to have to do a lot better if they want to hold my interest. At the moment I'd just as soon go back to a world with no Wildcats.
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As for the second story, it will only really appeal to fans of the original New Mutants. The story is pretty bland, but it does show readers how much superior the New Mutants' team dynamic is to certain other junior squads. *cough* Young X-Men *cough* The story is old-fashioned in every regard, but not without its merits. The same applies to the whole issue, really. As lackluster as the writing is in spots, it's nice that Marvel gave Cockrum a proper send off. If only more classic creators were afforded the same privilege.
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Bad jokes aside, the look and feel of this comic is very similar to past efforts from Giffen and Fleming. Giffen provides pencils, which are a bit scratchy but plenty good enough to show you why DC's weekly books relied so heavily on him for art direction. The man still knows how to lay out a page like no one's business. As much as I know he loves Bug, I can't help wishing he was devoting his time to something a little more important. Or, at the very least, something funnier. Year None is not comedy gold, but for hardcore Ambush Bug fans, it's probably good enough.
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Still, it's hard to deny that this issue doesn't have certain merits. Pointless as it may be in the end, the clash with Mongol was pretty cool. In a week where it seems like every major superhero book is filled with fight scenes, GLC tops most with its engaging characters and some eye-catching art by Patrick Gleason. In terms of detail and scene composition, Gleason seems to get better and better by the month. I think GLC has a lot to offer fans who still need more after each month's installment of Green Lantern. All the same, I feel like this series could be doing more to quench that thirst.
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So, while the writing is generally a pleasant surprise, the art is more of an unpleasant one. I thought Marvel made a good choice in selecting Travel Foreman to be the new regular artist. He really nailed it in his past Iron Fist work. That's why I'm so confused. Foreman drastically altered his style in the past few months, to the point where I don't even recognize it. I didn't realize the cover was actually representative of what the interior art looked like. Characters are are dark, grimy, and literally bulging with excess muscle. Compared to the graceful, flowing art of artists like David Aja, this series looks all wrong to me. The one thing that can be said is that Foreman shows versatility. Unlike past issues, he handles flashbacks as well, and his style shifts markedly. And for the better, luckily. It's good to know that Foreman is capable of altering his style so easily. With any luck, the general art style will improve sooner or later. The series may never again reach that earl
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I don't know if the series is just treading water until it's allowed to reflect the events of Final Crisis. In the end, I don't care. That's no reason we shouldn't be given more compelling stories to follow. This is supposed to be an assembly of DC's greatest and most iconic heroes, after all.
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If you were ready to drop this book so quickly, you might want to give yourself more time to decide. If Robinson can improve this much in a single issue, I'm eager to see where this book will be in another few months.
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Any Batman book is going to be a disappointment coming in the wake of such a spectacular movie. Fortunately, Two-Face: Year One ignores the hype train and simply delivers a satisfying account of a well-trodden subject. If that doesn't bother you, then you should find this issue to be $6 well spent.
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Generally, this issue leaves me with just enough to feel excited about that I'm not going to drop the book outright. That's far from the glowing praise I was hoping to lavish upon it. I do suspect that the book will improve once the writers and artists pair off and focus on their own individual arcs. Still, Astonishing X-Men #25 left a much better impression on me using a very similar cast and premise. I really do have to wonder why both books still exist. The major benefit of a huge franchise like X-Men is that there are always alternatives to mediocre books.
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All in all, issue #0 has sold me on the prospect of an ongoing X-Files series. The world deserves more classic tales with Mulder and Scully, and this comic appears to be the right outlet. While I'd like to see some longer, more in-depth tales in the future, this issue hit all the right notes for me. If you're a fellow X-Phile, I can't imagine you not enjoying this comic.
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The story isn't entirely watertight, unfortunately. For one thing, Guggenheim inserts an unnecessary tie-in to the original Kraven's Last Hunt in the form of Vermin. The character does absolutely nothing other than keep several characters busy and pad out the pages for a while. The connection to KLH is also problematic because of the many unanswered BND continuity questions. I know answers are supposedly forthcoming, but it's mid July now. I think we've all waited long enough.
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It's not off to the greatest start, but Conan the Cimmerian succeeds on the same strengths all recent Conan comics have. It may not draw in many new readers, but long time fans won't be too disappointed.
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At this point, my biggest worry is the upcoming guest appearance by Punisher himself. I can't imagine why a story like this needs such cross-promotion, other than the inevitable boost in exposure. Foolkiller continues to be a strong part of the MAX lineup, and Marvel definitely needs to let Hurwitz keep doing his thing.
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Ghost Rider still has a long way to go before I'm happy with it, but I wound up enjoying the latest storyline more than I expected. I have no idea if the imminent return of Danny Ketch means better tidings or doom for all mankind. All I know is I'll continue to give the series a chance for a while longer.
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A huge draw of this issue is a guest stint by Mike Deodato, Jr. on art. I was admittedly worried about the actual quality of the pencils. Marvel has been throwing a lot of work at Deodato lately, despite the huge delays on Thunderbolts. The final issue of Thunderbolts felt rushed, and I was worried this issue would to. Luckily, Deodato is in fine form. His work is extremely moody and detailed – a perfect fit for Moon Knight all around. His rendition of Jack Russell in particular is amazing. I know Marvel has bigger plans for the artist these days, but I'd certainly welcome a longer tenure on the book. It would help me forgive a lot of the flaws that are sure to crop up as Benson returns to writing full-length arcs. You've come a long way, Moonie, but you're not there yet.
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Obviously an issue #10 can only do so much to draw in new readers. I hope the Johnny-come-lately's inspired by The Dark Knight will leave enough room in their stack of comics for the first trade. Simon Dark proves that Gotham City has more to offer than one vigilante hero. With Catwoman down for the count, this series has become all the more important in my eyes.
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So, really, my only complaint is that this issue doesn't offer enough. Given my general opinion of Loeb's work output lately, that's a nice complaint to have. By all indications Captain America: White is another destined classic. I hope the creators don't let me down now.
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By all rights Eternals should be one of Marvel's best books. The Knaufs' last few issues of Iron Man: Director of SHIELD proved they have what it takes to stand up to the giants of the industry. And while their first two issues of Eternals are solid, they don't come together well enough to stand out from the pack.
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DC has released surprisingly few Crisis tie-ins so far. For whatever problems this issue may have, it still managed to impress me with its quality. I really hope Requiem will set the standard for the numerous tie-ins that are to come.
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I'll admit I didn't even realize Dale Eaglesham was off the book last month. That's how closely Fernando Pesarin resembles his style. Now that I know I can see certain differences. Pesarin has a tendency to draw his characters as fatties. Everyone seems to sport a size 52 waist. On the other hand, Pesarin has a great knack for facial expressions. Overall the the differences balance out, and Justice Society of America continues to look good. And now that it reads well again, I'm a happy JSA fan.
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Bryan's Score: 8.3
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Whether this specific hardcover appeals to you or not, comic readers have one less reason to avoid delving into the world of Hellboy. The Hellboy Library Edition Vol. 1 is a (mostly) well-crafted package that brings together two of the best storylines into one terrific package. Much like the recent Art of Hellboy hardcover, this book is a terrific showcase for one of the best artists working in the medium today. If you feel the need to catch up on Hellboy in preparation for the new movie, I can't imagine a better way to get started.
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Then again, the winds sure do change quickly.
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Here's the real problem with Astonishing at the moment - I don't know why I should care. The series no longer fills a niche. This same group of A-list X-Men will also occupy Uncanny on a monthly basis. The only real difference there is that Uncanny will substitute Pixie for Armor as the current "peppy female student with everything to prove." With no real story to speak of yet and art that's firmly in the good-but-not-great category, Ellis has his work cut out for him in the months ahead. I don't blame anyone who chooses to trade-wait this book.
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Given Alex Ross' involvement, I was hoping this series could at least impress on a visual level. Sadly, Ross doesn't appear to contribute much beyond cover images. Steve Sadowski's work is decent enough, even if he shows a far better handle on human characters than superhuman ones. Mostly, I just can't help but hold this book up to The Twelve, which aims for a similar look and tone. Unfortunately for Avengers/Invaders, it fails to measure up in any area. I'd tell potential readers to just hold out and trade-wait this series, but it's actually going to be more expensive to go that route. Instead, I'd recommend ignoring Avengers/Invaders altogether. Several current ongoing books are telling the same basic story, and they all seem to be doing it better.
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The simple fact that this issue ends on a cliffhanger is proof enough that Kunkel and DC are taking this book seriously. It may be family-friendly and set apart from normal continuity, but in this case that's a very good thing. For the first time in a while, Captain Marvel fans have something to get excited about.
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It may be slow going, but House of Mystery is quickly shaping up to be one of Vertigo's better books. The final few pages go a long way to keeping my interest kindled. If you aren't following this book monthly, you may want to go ahead a pre-order the trade now. I doubt you'll be disappointed.
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It's a slow week, with only one Secret Invasion tie-in to be found. Take advantage of that and give Patsy Walker: Hellcat a shot.
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On the whole, I think I'd be a little more receptive to this arc if it wasn't so darned ugly. To be fair, Howard Chaykin is pretty talented at depicting movement and action. It's just that his figures are so darned horrendous. I can only hope that Marvel has a satisfactory replacement in mind for Fraction's final arc. As troubled as this series has been I'd really like to see it go out with a bang.
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Let's just hope it never comes to that. The Dark Tower is some of Marvel's best work. They seem perfectly aware of this, and they're delivering the next chapter in September. As the comics continue to venture farther out of King's original realm, my excitement continues to grow.
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While the script is strong, the art unfortunately lags behind. I'm continuously amazed at how well the Cap crew has managed to achieve a consistent visual tone amidst multiple artists. If Steve Epting needs assistance in any given month, he tends to share pages with his collaborators. That approach worked well in the past, so it's bewildering to see it change this month. Roberto de la Torre steps into the driver's seat and handles the entire issue to less than pleasing results. It's strange to think I recently praised de la Torre for making Iron Man such a visual stunner. Little of that talent shines through here. Given that the original solicitation listed Epting as the artist for this issue, I'm inclined to blame it on a rush job. Last month proved that de la Torre can be better integrated into the book than this.
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Despite all my complaints and criticisms regarding this issue, Morrison and company don't need to bend over backwards to fix this book. The core story is still ripe with potential. When the New Gods actually appear, which is all too rarely, many of my complaints temporarily evaporate. The main thing this book needs is a tighter focus and less extraneous nonsense. That said, the project is probably too far along at this point for any major changes to be made, and the most I'll allow myself to hope for is that the story will pick up once evil wins the day. I never expected to be rooting for the bad guys.
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If Hulk were just one of many ongoing books featuring the Green Goliath, I could easily write it off as a harmless little action romp. However, this is your only real source for the character in Marvel's entire catalog, Marvel Adventures Hulk notwithstanding. At a time when the character should be hitting new levels of quality and exposure, that's a hard pill to swallow.
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I'd really like to see what Jenkins and Rivera could do with a full-length mini-series. Like each issue before it, the story is immediately constrained by the limitations of a single-issue format. There's really no reason the duo can't inherit the throne of Loeb and Sale, even as the latter team is hard at work on Captain America: White. I know Cap would approve.
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While I'm enjoying Vector much more now that it's shifted to the future, that has less to do with the state of the crossover and more to do with the general quality of Dark Times itself. At this point I've much of my former interest in Vector and its ultimate resolution. At the very least, though, I'm hoping that the worst is over.
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A little extra time might not have done anything for the story, but it would at least have helped out Deodato's art. Deodato really hit a new level with Thunderbolts. His pencils have been impressively detailed and moody. This month, the issue sports an annoyingly rushed feel. Generally, smaller panels are fine and retain Deodato's knack for detail. It's in the larger, more ambitious panels that the quality dips. I can understand Marvel wants to move the series forward, but a climactic issue like this really deserves the time it needs to shine. No offense to the writers that come on board in the future, but I'll probably always be looking back on these 12 issues and wanting more.
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All in all, I'm pleased at the return of one of my favorite Ultimate villains. After four or five years I'm keeping my fingers crossed that Venom's return can live up to the original arc. Bendis has his work cut out for him, but both writer and artist have been on a roll for so long I have little doubt they can pull it off.
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I can only hope Young Avengers Presents is a sign of good things to come. These characters deserve all the exposure they can get.
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Vaughan also begins to connect back to past events, leading me to believe a big payoff is on the horizon. I assume it has to be coming sooner or later, as this series has a mere 13 issues left. That's a sobering thought. Good thing the series is in no danger of stumbling so far in its final stretch.
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With two other Aaron-penned books on the stands today, it's only that much harder to put up with mediocre efforts like this. I'm not sure anyone can enjoy Scalped and claim to be fully satisfied by Ghost Rider. The gulf is just too wide.
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Whatever flaws Guardians may have, though, I forgive them for the sheer sense of fun and excitement the book delivers. Between this series and Nova, cosmic Marvel is undergoing a new golden age. That alone is enough to pique my interest for Annihilation 3.
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It's unfortunate to realize that neither of the two ongoing Iron Man books have much to offer in the way of art. It's all the more unfortunate in this series considering that three different talented pencillers all contribute to this issue. The problem comes in the attempt to meld all three styles into a cohesive whole. The subdued coloring really doesn't do Carlos Pagulayan any favors. He's always been more of a bombastic superhero artist. Roberto de la Torre is fine as always, and he seems to be the happy medium here. Steve Kurth almost manages to blend in, but his oddly exaggerated use of perspective ends up preventing that. I can understand Marvel's desire to rush this arc out of the gate so that the Secret Invasion tie-in isn't too delayed, but surely there's a better way. I imagine the series will be greatly altered in the wake of SI, so this arc has potential to serve as a send-off for this particular era of Iron Man. I hate to see some of that potential squandered.
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JLA continues to display flashes of greatness that are ultimately buried under a heap of missteps and bad decisions. The creative team has the talent, and I'd like to see them put it to better use.
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Davide Furno replaces R.M. Guera this month. I think it's safe to say some readers won't even notice the difference. The two artists share similar styles - dark, gritty, and muted. The main difference is that Furno lends a bit more of a loose, sketchy feel to his work. This issue won't dispel the idea that most Vertigo comics look alike, but at least it gets the job done.
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With competent, if not amazing, art and a storyline that continues to move at a brisk pace, Legacy is in no danger of losing its status as my favorite Star Wars book. At this point, the only thing this series has to fear is Vector itself.
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Rich and the podcast guys hit the nail on the head perfectly last week. With Trinity off to a successful start there's literally no reason for this book to exist. Were it not for some spiffy artwork, Superman/Batman would be a serious contender for DC's worst ongoing book.
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Ultimately, Local #12 is an acceptable but slightly shallow conclusion to a brilliant series. Wood is content to wrap up Megan's life with a neat bow. I'm not always a fan of ambiguous endings, but I would have preferred something less happy and tidy. I like to picture Megan out there somewhere, roaming the roads and back alleys of America. In this case I don't think any ending would truly satisfy me.
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Still, it must be said that Moon Knight is in a better place than it was prior to this arc. Benson is well-suited to the series, channeling Charlie Huston's noir-flavored dialogue without its sillier aspects. And the art from Mark Texeira and Javier Saltares has grown on me with each issue. Though the series really should have fallen into its groove by now, I think the potential is still there. One of these days we'll find out for sure.
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Despite a prevalence of slightly two-dimensional characters with wonky faces, Newuniversal: Shockfront is an excellent follow-up to an under-appreciated little gem. With relatively little else from Marvel hitting this week, I highly suggest giving this new universe a try. You won't be sorry.
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Next, please.
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These stories don't accomplish much, which is unsurprising given their short length. They do all manage to look good, though, particularly the Agent Brand and Marvel Boy segments. If you need a snazzy-looking SI comic to tide you over for the next few weeks, Who Do You Trust is probably right up your alley.
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The most pleasing element of this whole project is actually Chris Weston on art. I don't know where Weston has been hiding all these years, but I'd love to see more of his work in the future. In his best moments Weston reminds me of uber-artist Brian Bolland. The stark, clean composition and linework is extremely impressive. Weston's storytelling isn't quite on that level yet, and he does tend to over-exaggerate his facial expressions, but generally The Twelve is one of the best looking books Marvel has to offer. I know it seems like these Golden Age revival series are a dime a dozen these days. Don't let that keep you from following along with Straczynski's latest opus. It's books like this that make me incredibly excited to see what the writer can manage in his return to DC.
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With a main character who is dull at best, Pak has to fall back on his setting to carry the issue. The planet Sakaar was an interesting place during Planet Hulk. For the most part, it still is even after Hulk's departure. Chaos rules the day, and roving bands of warriors now pillage the land and make life miserable for the survivors of Hulk's kingdom. What I found myself frequently wishing for was a greater sense of context. Where is this tale going? Why does Skaar matter? How will this series close the book on the journey begun by Planet Hulk and World War Hulk? None of these questions are addressed enough to satisfy me. As such, Skaar is well on its way to becoming just another Hulk book to flip through every month. Marvel has plenty of those already.
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"Old Man Logan" suffers a bit from a derivative feel even as it charts new territory for the character. In the end, it's still a huge improvement over everything we've seen from the Wolverine books since last time Millar was writing. I'm hesitant to add another Millar book to my pile of recommended reading, but I honestly have no choice. This story is already shaping up to be a wild ride.
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Those pluses aside, this issue would have fared a whole lot worse if it wasn't for Marcos Martin. Martin is, put simply, one of the best artists to handle Spidey in many years. His art is fluid, dynamic, ad everything you could hope for in a Spidey comic. It manages to hearken back to the classic days while still retaining modern storytelling sensibilities. If only I could say the same for the writing.
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House of Mystery is taking its sweet time getting anywhere, but that's okay by me. With some of Vertigo's finest at the helm and a setup where just about anything is possible, I'm becoming hopelessly enthralled by Vertigo's latest series.
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For the most part I love this new series. As with nearly every character he touches, Fraction displays an innate understanding of Iron Man and his world. But as long as the art continues to look like this, the book will be forever held back from true greatness. Hopefully Marvel addresses the problem in one way or another.
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I'm not quite sure what to make of this new story direction. At the very least, Justice Society of America appears to have turned a corner and is on its way to matching the quality set by the first arc. Here's hoping.
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With a series of memorable character moments and some truly epic artwork, Secret Invasion #3 helps put Marvel's event back on the right track. That said, I'm still not happy with the overall story flow, and most of Bendis' Avengers tie-ins continue to run circles around the core series. Hopefully a last-minute introduction we've all been waiting for is a sign Secret Invasion will continue to pick up steam.
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Classic Star Trek scribe charts the final frontier: comic books.
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Against my better judgment, I'm excited about DC's latest venture into weekly comics. With a top notch cast, both in terms of creators and characters, Trinity has all the makings of a winner. Let's just hope this one doesn't fizzle out halfway down the track.
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Issue #1 hinges on a single twist that I imagine will divide many readers. It's interesting, if not entirely unexpected, and something that could go horribly wrong if not handled properly. For now we'll just have to wait and see. The biggest fault with the story in this issue is that there simply isn't enough of consequence. After waiting for over a year to read Ultimate Origins, I simply wanted more than I received.
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If ever a series needed to hurry up and get to the point, it's Young X-Men. Perhaps once Guggenheim reveals his inevitable twist and we find out what the series is "really about," the book's prospects will improve. Until then, I could think of plenty other X-books more deserving of your time. Any of them, as a matter of fact.
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The best solution is simply to allow him the time he needs, however long that might be. Infinite Crisis derailed because DC valued a prompt shipping schedule over a quality product. Final Crisis, despite its various birthing woes, has already proven itself a superior comic in my eyes. I can only hope it will earn better treatment.
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As good as the first third or so of the King Size Hulk #1 looks, I can't imagine anyone will come out of this issue feeling like they got their money's worth. I suggest picking up a copy in the store, flipping through the pages, and going back to waiting for the next issue of Incredible Hercules to come out.
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Millar and Edwards managed to hook me line and sinker with this issue. I told myself I no longer cared about Marvel 1985, and I was proven dead wrong. I'm tempted to call it the best of Millar's work this year, but I suppose we'll just have to wait a couple more issues to make sure.
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The only real problem I found with this issue was a fairly substantial one. "Vector" is only stopping in this era for a mere two issues. With the last few pages taken up by a lightsaber battle, I'm left with the funny feeling that nothing of consequence will happen from this arc. With one issue left, I can't see how Harrison will have time to do anything more than have Vader slam the lid on Celeste's coffin and send her packing. I'd love to be proven wrong, but I don't expect to be. Even with all the improvement "Vector" has seen in a single issue, that leaves me very worried that the entire crossover will accomplish nothing.
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While this issue ends up being a relatively quiet moment in an time when the series needs anything but, it's hard to deny the creators are firing on all cylinders at the moment. Next month begins a storyline that documents the "worst day in Peter Parker's life." Based on what has happened to the poor kid so far, I look forward to it with equal parts excitement and trepidation.
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Legacy deserves more love. Most of the X-books seem to be pacing around in circles waiting for the next big thing to happen. Carey and crew don't care to wait. Neither should you.
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All in all, Grevioux keeps Young Avengers Presents afloat better than I might have expected. If only Marvel would see reason and cancel New Warriors. I have faith his talents could be better put to use in a series like this.
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So while Giant-Size Astonishing X-Men isn't the best installment of the series, it's still a satisfying and mostly fantastic conclusion to what may well be the greatest X-Men run ever. I may have a soft spot for Grant Morrison's New X-Men and the Chris Claremont/John Byrne days, but there's only one real candidate for best story in my mind. As far as I'm concerned the series is done now. I'll probably be first in line to snatch up issue #25 this summer, but it won't be the same. Whedon and Cassaday have set the bar astronomically high. Any team that can top them would be astonishing indeed.
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If recent covers of Captain America had you feeling ill at ease, cast those feelings aside. Brubaker once again proves he's not a man to take the obvious routes, and his story continues to thrive because of it.
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Easily the highlight of this issue is seeing Hitch flex all his muscles once more. The fog of war is lifted and the issue is much better off for it. While Hitch can't seem to draw classic Iron Man to save his life, every other person, place, and thing in this issue is flat out gorgeous. While still not as satisfying as the first two issues, Millar and Hitch deliver a major improvement that leaves me eager to see where the next arc may lead us.
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That being said, I'm more than ready to drop this book now. Aaron and Boschi have had an entire arc to win me over, and they haven't. At this point even a halfhearted Secret Invasion tie-in would be an improvement.
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Once again the Secret Invasion tie-ins prove themselves to be superior to the main event itself. This arc gets off on the right foot precisely because it blends so well. I was left with the distinct impression that this story would have proceeded as it is regardless if Secret Invasion existed. At the same time, the tie-in allows for a couple neat little Skrully revelations. The best recommendation for tie-in books has always been to follow the books you normally do. Those are some sage words of wisdom. If you've been having a blast with Herc so far, that won't change one bit. If you've passed the series by each month, what the heck are you waiting for? God Squad!!!
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It's disappointing, but not entirely unexpected, to see that Roberto de la Torre's art isn't quite up to the standard he set last issue. It's becoming apparent that de la Torre's art requires more time and care than a monthly schedule will allow. More disappointing is that he shares art duties with Carlos Pagulayan. The inker and colorist do a decent job of masking the random shifts, but it's still pretty noticeable. By and large, though, this issue was a pleasant surprise. If nothing else, Stuart Moore is doing a bang-up job of keeping the Iron Man chair warm.
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That doesn't mean the book isn't without its flaws. Reza's art gets the job done well enough, but not much beyond that. The various characters in this issue are almost completely devoid of any facial expressions. I suppose that helps add to the humdrum suburban malaise, but that still doesn't make it forgivable. More glaring is the fact that I still don't care one way or the other what the future of this series is. The problem with grounding your book in the boring realm of reality is that nothing interesting ever happens. I'm happy with Twilight Guardian #1 as a slice-of-life story - something that provides a brief glimpse into the life of an unusual person. Beyond that, I can't imagine how an ongoing series could stay afloat for long.
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I hate to see Legacy derailed when it only really started to come together over the last year. The recent "Claws of the Dragon" arc set a high benchmark, and the current story needs to develop a better sense of identity soon if it hopes to compete.
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So do yourself a favor. All of you who keep throwing your money away on Origins - stop right now. Let your experience with this series end on a high note. Things will only get worse from here.
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But Ba will tide me over well enough. I'll miss Casanova while he's gone. I just hope I won't be kept waiting too long before Cass' next adventure. When it comes to Matt Fraction comics, I just can't seem to get enough.
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Guardians of the Galaxy further proves there's plenty of life in the Marvel Universe out among the stars. With a rip-roaringly good cast, trippy visuals, and a great cliffhanger to cap it all off,this series has all but cemented its place in my pull list permanently.
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That's not to say I don't look forward to future installments. I like to think that the first volume of North Wind has been a learning experience for the creators. Hopefully the sequel will throw a more interesting batch of characters into this compelling setting. That Wind would be a breath of fresh air indeed.
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That aside, Simon Dark is a worthy horror book that gets better with every issue. If you want to duck out of the whole Batman RIP/Final Crisis business but still stay in a familiar locale, this is probably the book for you.
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All in all, this chapter does a surprisingly decent job of setting up the next act of the story. That's something I honestly wasn't expecting. I can now go into the next issue of Dark Times with a certain semblance of optimism. If the weakest link in the chain was able to hold out, the next leg of the journey might just be worthy of the Star Wars name.
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I do support Mike Deodato, Jr. 100% at least. Deodato is quickly morphing into a comic god with this book. I'm half convinced Ellis is on a mission to completely destroy the team by the end of his run so that no other writer will want to touch it. Given how integral Deodato's pencils are to the success of the series, I'm not sure that possibility bothers me much. Ellis and Deodato have set the bar for Thunderbolts impossibly high. I pity the team that tries to pick up the pieces after Secret Invasion.
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The story itself is nearly as manic as Sadie, and it begins to suffer as well. I'm not particularly enjoying the constant skips in chronology. I'm still not entirely sure why the gang is being hunted down by colorful assassins sporting bad Austrian accents. The series sports all sorts of outlandish qualities without ever quite justifying them. Most of the time I'm too enthralled to care. Not always, though. I'm hoping that Lapham merely needs another couple issues to allow everything to fall into place. If the series continues to be as haphazard, there could be a day in the future where I'm forced to dump the book just like Danny should dump Sadie. Let's hope Young Liars and I don't have to go through a nasty breakup.
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One thing that might make this series instantly better is if Wagner provided the illustrations. He provides "art direction," but, unlike John Cassaday's Lone Ranger work, it doesn't seem to do a lot of good. The art is generally as bland as the story, and it doesn't have to be. A few core changes could do wonders for what could be one of the better licensed books on the market.
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More problematic is the fact that these stories never change. Apart from the Skrull story, I could have sworn I've read each and every one of these adventures before. How many times can Franklin accidentally break or steal something from his dad's lab and be forced to clean up the mess? At this point I've just reached my total saturation level with these comics. I don't expect earth-shattering revelations or major upheavals in an all-ages book like this. I do, however, expect the reading experience to evolve a little from issue to issue. If more of the same is all I can expect with each issue, maybe it's time Marvel found a new formula.
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All in all, I can find almost nothing to complain about as far as the writing goes. The compelling post-modern feel of Ultimate Iron Man is present here, only applied to much more familiar and likable version of the character. Fraction understands Tony very well, and my concerns over the existence of two Iron Man books have already been quieted. It's unfortunate, then, that the art doesn't quite live up to the writing. Salvador Larroca constantly seems to be on the cusp of real greatness, but his faces continue to be problematic. His Tony Stark only bears a passing resemblance to the real character. When Tony suits up the unnatural tone of the book immediately melts away. That rarely happens, though. Perhaps it's too early to call for a change in artists, but I'm going to do it anyway. I sense the beginnings of a truly classic Iron Man saga, and I'd hate for the visuals to hold it back.
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If nothing else, Logan has been a terrific showpiece for Eduardo Risso. Risso doesn't dip into superhero work very often. I wish that weren't the case. He proves himself more than suited to the bloody and poetically tragic world of Wolverine. In fact, if I rated comics solely on the art I'd be tempted to dole out a perfect 10. That's not how it works, unfortunately. Alongside his insanely talented artist, Vaughan makes the best of a very limited premise. I can only imagine what the two might have accomplished on one of the Wolverine ongoing series. That would have been something.
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I'm hopeful Secret Invasion itself will pick up next month. Even if it doesn't, the event has already given birth to a handful of memorable tie-in issues. The core event can crash and burn, but with books like this the whole experience will be worth it.
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Bendis doesn't completely disappoint, either. He's always been a master of snappy dialogue, and his talents are put to good use as the factions of heroes begin to splinter and divide. Every line leaves you to question what you read, and certain revelations may not be as clear cut as they appear. The sense of dread and paranoia among the heroes is quickly leaking out from the page. And lest I forget, this month's two-page cliffhanger spread is even better than the last. That's a good thing too. As disappointed as I was in the overall package this month, those last pages still manage to leave me eagerly anticipating the next issue. Let's just hope that book will prove a better value.
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This issue shows promise, and I'm hopeful Syn and Deliah will enjoy the face time they need. It's just hard to tell where the story is going at this point. Many deserving characters are thrown off to the side with no real indication of when we might see them again. I've only recently begun following this book monthly, and it's going to take more than a decent effort like this to keep me from reverting back to the trades.
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Not really. Just read it.
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Ben Oliver has popped up in various corners of the Marvel U over the last couple years, but I've never really felt like he was able to find his niche. Maybe Thunderbolts is that niche. Oliver brings a laid-back, European flair to his figure work that suits quieter, interpersonal moments well. His main problem has always been rendering action sequences. Perhaps he's worked on that problem over the past months, because I actually liked what I saw all around. Just as I could grow to accept Gage as the regular writer for Thunderbolts, I wouldn't be upset if Oliver became regular artist. The biggest problem with Reason in Madness is that the page count limits what should have been a slightly longer story. With more room and greater freedom to tell stories, Gage and Oliver could do some very interesting things with these characters.
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My problems are two-fold. One - and this is something that doesn't necessarily concern me personally - this issue isn't quite the primer for new readers DC wants to think it is. It's definitely cluttered, and I imagine readers new to the DCU won't even make it past the Legion section before wanting to put the book down in favor of Ex Machina or something. Two - I wasn't a particularly huge fan of the reveal that the Associated Press has already harped on. Frankly, those few pages could have been better devoted to the other characters. Overall though I can't imagine finding a better use for your two quarters this week.
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All told, this issue is priced just right and does a respectable job of putting the fledgling publisher on the map. I just have serious reservations about the ability of the next four issues to keep that trend going. Once the price shoots up to $3 or $4 a pop, I expect a legion of readers will simply slip away to the greener pastures of the other Herc book.
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I truly pity the self-professed comic fan who isn't following The Immortal Iron Fist. With a mere two issues left for Fraction and Brubaker, every last moment with these characters is made all the more precious. I don't think I'd trade those last issues for all the Secret Invasions and Final Crises in the multiverse.
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I sincerely hope the wait for the final issue isn't as bad as this one was. Even though it will spell the end for one of my favorite indy books, I'm dying to know how Wood's saga will finally end.
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At least Fraction is writing to his full potential. This is one fantastic comic and any self-respecting Thor fan should throw it in their weekly pile. Perhaps it's too early to be thinking about the future of Thor after J. Michael Straczynski leaves. Even so, I now know who I want to replace him.
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I really hope the other Ultimate writers take a long, hard look at what made this mini-series succeed. Ultimate Human could have easily been a simple four-issue smash-fest. Instead, thanks to the skillful writing of Ellis it exceeded those limitations and became something greater. It pains me to see that such talent isn't being utilized on the Ultimate books that "matter." Readers complain constantly that the line isn't what it used to be. Well, Ultimate Human proves it isn't that hard to recall the glory of the good old days.
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At this point, I'm very glad Grant Morrison is doing such a stellar job of pitching Final Crisis to his readers. This botched weekly series has failed over and over to do anything of the sort. Here at the end, it gives almost no indication that a Crisis is brewing in the first place. With 12 months of boredom leading up to a fizzling payoff and no tangible connection to what will likely be DC's biggest book in many years, I can only say that Countdown has proved itself a failure on nearly every front. I hate to say it, but I'm glad I won't have a weekly DC book to look forward to over the next couple months. I need a break.
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For the first 11 issues of this book part of me has wondered why Mighty Avengers exists at all. For once I'm able to quiet that little voice in my head. Perhaps this issue doesn't completely justify the book's existence, as the story could have just as easily taken place in New Avengers. I don't really care. Tie-in books like this make the entire Secret Invasion blitz well worth it.
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Classic Star Trek scribe charts the final frontier: comic books.
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I'm not feeling optimistic at all about the continued future of Vector. At this point, the best I can hope for is the shift to Dark Times will give the storyline a desperately needed shot in the arm. As for KOTOR, the battle is already lost.
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Some of you out there seem to think we at IGN hate Star Wars comics. Well we don't. Not all of them anyway. Star Wars: Legacy is one of the most successful efforts to bring George Lucas' creation to the world of comics, and fans who aren't giving it a look are only cheating themselves out of a young but engrossing saga.
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In the end, I feel this arc is trying to accomplish too much while falling victim to both editorial mandate and the relative inexperience of all involved. With a tightened script and an extra splash of originality this could have been the arc that reaffirmed Superman/Batman's place in the DC lineup. Instead, I fear I'll only be following the series until Trinity comes along and hopefully offers something better.
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Still, that aside, this is another terrific issue in what is quickly developing into one of Marvel's best series. I can only hope Straczynski has even bigger plans for his next major storyline. That would be a book fit for the gods.
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Mark Brooks is not an artist I've paid much notice to. This issue changes that somewhat. While I'm not enamored with every element of his style (particularly in regards to facial details), he's certainly the best artist to work on this mini-series so far. Even better, the colors provided by Christina Strain really allow the art to sparkle. Truly, this is a creative team that fires on all cylinders. If I could get a YA book of this quality every month, I'd be a very happy reader indeed. Teen superhero books are hardly a rare commodity, but issues like this show how high the bar can be set.
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As for Wells, his dialogue is as amusing and well-crafted as ever. However I was just struck by a few odd lapses of story logic (something that seems to be all-too common in Brand New Day) and an ending that lacks the necessary oomph. Other than advancing a few mundane details of Peter's life (he has a roommate now! Yippee!) it can be argued that nothing of consequence happened in this brief arc. Consequences be damned, though. I'm just glad that, for three weeks, Spidey once again became the headline character he deserves to be.
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Frankly, the best thing this issue does is set up the new Guardians of the Galaxy ongoing series. Individually, many cosmic characters have benefited greatly from some Conquest exposure. The fact that we're now getting a book starring Star-Lord, Rocket Raccoon, Drax, and Cosmo makes this all worth it. Collectively, though, Conquest has been one bungled opportunity after another. It's one thing to have tie-in books that follow along with an event comic. It's another entirely to literally force readers to follow everything to fully comprehend what's going on. And trust me, unless you've been reading Nova you're going to spend more time scratching your head about the presence of Warlock and his buddy Tyro than you will actually reading the issue. The most I can hope is that all creators involved have learned some valuable lessons from this project. The next Annihilation event - and we all know there will be one - needs to kick things into high gear if the cosmic Marvel renaissance is goin
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Praise Darkseid this bloated whale of a book is almost done. I still don't know precisely what Countdown is actually counting down towards, and I really, truly don't care. The end of this book means the beginning of far more interesting projects at DC. Hopefully once Final Crisis and Trinity kick off I can look back on this series and chuckle. Maybe while I use every issue to fuel a bonfire and dance around it.
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I wouldn't mind all of this so much if the book were more of a looker. Characters lack the detail and menace that made previous regulars Mark Texeira and Javier Saltares such a winning team. If anything, Roland Boschi's art has gotten even less detailed than last month. Even hiring a separate inker would probably do wonders for what has become an extremely bland looking series. When you consider that his looks are all Ghost Rider has at the moment, that's a pretty huge problem.
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I'm not going to waste more space complaining about the lackluster use of red coloring again. It's something that has bugged me from day one, and I've learned to live with it by now. For all its unchanging faults, this book still has much to offer the discerning Grendel reader.
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I've read a lot of comics this week, and I have no qualms in saying that Iron Man #28 is the best of them. I hope that statement is enough to convince more people to run out and buy the trades. With so much focus on Iron Man the superhero this spring, I fear the Knauf's vision of Iron Man as a scientist, a politician, and a darned cool secret agent may be numbered.
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For whatever scripting faults this issue may possess, Ennis has a great handle on the tortured and naive Kaufmann. I already find myself hoping the Phantom Eagle's first flight won't be his last.
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I feel like a broken record in mentioning again how ill-suited artist Steve Dillon is for a superhero book like this, but I'm not actually complaining this month. Dillon catches a break from all the fight scenes and spandex and instantly becomes more suited to his role. My only remaining complaints with the series this month are the drawn out pace, which will probably never change at this rate, and the introduction of a new player at the end. This character is annoying, needs to die a painful death, and threatens to erode all the good will I've built up towards the series over the past few months. Hopefully Way can still wrap up the storyline, annoying new guy or not, because this might be one arc of Origins I'd actually like to display on my shelf in the future.
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The one thing I was really hoping for, and something that Natsume still stands a chance of accomplishing, is providing a glimpse of Bruce Wayne's training period in Japan. Even after Batman Begins, the comics have done a surprisingly lackluster job of exploring the pre-Batman years of his life. Unfortunately, this issue withholds any such flashback material, perhaps hoping to entice readers to follow the series completely. I'm rather doubtful that's going to work with me. I simply don't think I can stand anymore "earth-shattering" revelations about the nature of Batman.
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I was somewhat impressed by the art, at least. On the whole, Countdown has managed to outdo 52 in the art category on a semi-consistent basis. At his best Freddie Williams II manages to evoke Ed McGuinness' bombastic work. The rest of the time, characters randomly develop over-sized heads and clench their teeth far too much. I guess I'd clench my teeth constantly if I were trapped in a book as bad as this. When you consider that just one year ago 52 was delivering the big World War III climax, this is just pathetic.
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I can already sense that many potential readers are losing interest in following this series on a monthly basis. I can't exactly blame them. I do think that if issues #1 and 2 were bundled together the overall impression might have been better. However, it's too late for that. I'll continue to give this book a chance for now, but I can't promise I won't join the ranks of the trade-waiters eventually.
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If only Ennis were given a more flashy artist for his grand finale. Goran Parlov's pages are as competent as always, regardless of shifts in setting or timeline. Aside from that, nothing about Parlov's style is very impressive. I accepted the need for Ennis to rotate regular artists on past arcs to maintain a brisk shipping schedule. However, Parlov will have drawn 10 issues in a row by the time Ennis takes a bow, not even counting his work on the Barracuda mini-series. Surely Marvel could have found someone with more pizazz for this final arc. Had they done so, I could easily see this arc scoring in the 9 range. Everything about the script reminds me why I fell in love with his Punisher in the first place.
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So why don't I rate this issue higher? While the art is purchase-worthy, it doesn't exactly hide the fact that the story development is pretty minimal. This issue feels like a small segment ripped from a much better graphic novel. It doesn't even end particularly strongly, which only furthers that impression. I like The Goon as much as the next guy, but there's a good reason you don't often see it reviewed here. Feel free to resume calling me stupid, but that's just how it is.
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As for Lapham's art, it's no more or less impressive than you average Vertigo book. If anything, it could do with a heavier splash of color, but again, that's a problem many Vertigo books seem to have. I respect Lapham for managing to put out Young Liars on a monthly basis (so far) while writing and drawing the issues. However, I won't complain if Lapham is forced to far out the art duties to someone else in order to maintain the shipping schedule. As unmemorable as the art may be, the story is rapidly growing on me, and I'd hate to left waiting any longer than necessary for the next installment.
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Sure, the villains (what little we see of them) come across as goofy, and the Wolverine guest appearance is a bit pointless, but this is by far the most fun I've had with BND so far. It seems a lot of seasoned Spidey writers could learn a thing or two from the relative rookie Wells.
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However, Fraction also layers this issue with a surprisingly profound look at death in a universe where super-science and trans-dimensional travel can render one functionally immortal. This is partially accomplished through a series of poignant flashbacks. It's here that artist Fabio Moon stands out even more than usual. Moon brings back the olive-green tone of the previous arc, Luxuria, and deftly bridges the gap between storylines. As much as I love Fraction's quirky writing, I'd gladly buy a wordless issue of Casanova as long as I could continue to admire Moon's gorgeous drawings. Together, Fraction and Moon make for the sort of indy comics dream team I never knew I wanted but can't imagine going without again.
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Basically, everything good about this book stems from the main character himself. As such, my problems with the book pertain mostly to the supporting cast. Take ex-girlfriend Marlene, for instance. She was present for Marc's face-wearing dance party, and understandably ran off screaming into the night. Now she comes crawling back hoping she can "patch things up" with her psycho boyfriend. Then there's that one mysterious guy who looks like Dale from King of the Hill. Why is he still around? What was his purpose in the first place? I've never been able to figure that out. I'm also not too big on the current villain. Between this arc and the recent "Midnight Sun," I fear the writers are resurrecting old villains for no other reason than because they can. Moon Knight is great and all, but when he doesn't have two worthy supporting characters to rub together, the book becomes stagnant pretty quickly.
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As for the script, I can only say this issue didn't play out how I expected at all. In some ways that's a good thing. I'm hoping this arc will prove to be the Jigsaw story to end all Jigsaw stories, and that's not going to happen if the two killers spend six issues shooting at each other. On the other hand, this issue pretty much boils down to an exchange between two characters - a mysterious hitman and a hapless pawn shop owner. The way Fraction crafts the killer's dialogue is... interesting, but I think aggravating would be a more suitable word. It reminds me of someone so intent on replicating the distinct dialogue of a Brian Bendis comic and going way overboard in the process. It's frustrating when I know Fraction is capable of more. Hopefully this arc will pick up immensely once Punisher decides to put in a real appearance. He's been effectively on vacation for three issues in a row now. Until then, I'm going to keep counting down the days until the next issue of Punisher MAX.
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So that was a novel experience. I actually found something negative to say about Scalped. That probably won't happen again anytime soon, so I'm going to sit back and enjoy the feeling for a while.
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And where would a Dark Tower review be without complimenting the art. This is some of the most gorgeous imagery I've ever seen in a comic book. Jae Lee's vision of Mid-World is beautiful and terrifying and ethereal all at once. Richard Isanove continues to prove he might well be the best colorist in the industry. Many pages in this issue don't have much in the way of background detail, but the eerie use of color and haze more than makes up for it. If Marvel can't keep the two artists around for the remaining four Tower projects, I'll be literally heartbroken. The same goes for the entire creatie team, really. Dark Tower comics represent a creative perfect storm of sorts, and I can't imagine future installments without every last one of them.
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Essentially, I wish the creative team had more closely followed a book like Lone Ranger as inspiration. There's no reason to try and burn through Zorro's backstory at such a breakneck pace. The character is appealing regardless if the reader knows exactly how he learned to fight or ride a horse. The potential is certainly here. The art is generally pleasing, and Wagner has proven himself time and time again in his creator-owned works. The execution of this book just calls for more grace and finesse, something the real Zorro would wholeheartedly understand.
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It's a sad, sad time when I find myself wishing one of my favorite comic book characters would just die already. Obviously Priest had the right idea by giving Panther an incurable aneurysm. In all honestly I would rather have Panther die or turn Skrull so some other character could take up the mantle. It wouldn't excuse the many problems this book faces each month, but at least I could stop caring so much.
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Lapham does play with readers' emotions a bit in that we never quite know when Uncle Ben will kick the bucket. Brian Michael Bendis did the same thing in his early issues of Ultimate Spider-Man, and it worked wonders for his opening arc. Unfortunately, Lapham ends up relying on silly cliffhangers and plot twists too often to pad out this story. Again, I'm ecstatic to see Tony Harris drawing Spider-Man, but I wish Marvel could have found a better vehicle for his talents. As it is, With Great Power... is a slick-looking waste of time.
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Unfortunately, the art falls more in line with what I've come to expect from Star Trek comics. Stephen Thompson makes the same mistake a lot of artists do on licensed properties like this. He struggles to accurately capture the likenesses of the "actors" at the expense of everything else. Given that most of the characters in New Frontier never even appeared in the television shows, but only on dust jacket covers, this seems like a futile act to me. I also wish IDW had hired someone else to ink Thompson's art. Frankly, the inking in this issue is messy and really detracts from what should have been a shining example of how to do Star Trek comics right. This mini-series is already so close to greatness, and I'd really like to see it get there before the end.
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The pieces that will connect all four books together are starting to become obvious. That's one good thing I can say about Vector so far. That isn't nearly enough, however. The first arc of Vector is shaping up to be such an underwhelming experience that I expect many readers to just lose interest and drift away. Let's hope something immensely cool happens, and soon.
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Even the art is surprisingly good in this issue. I found myself wondering for several pages if Andrea DiVito was drawing the issue. Turns out it is him. It's not the best work I've ever seen from Divito (certain background elements are pretty bland and lacking in detail), but it's still the DiVito we know and love. The only real concern I have for this series is that the level of quality may not stay so high for long. Both DiVito and writer Fred van Lente are pretty popular at Marvel right now, and it seems unlikely their attentions will stay with this book for long. Still, X-Men: First Class has managed to stay pretty consistent so far, so I have hope Wolverine's class will follow suit.
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One area I feel no conflict with is Lee Weeks' art. This is some good stuff. Detailed, consistent, moody, and perfectly suited to the subdued nature of the story. I sincerely hope marvel will continue to make better use of Weeks in the future. Even if I don't approve of the overall story direction, both creators are turning in some of the best work of their respective careers.
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Aaron's knack for gritty characters and gritty situations shine through, and the book's strong points manage to outweigh its faults. I'm glad to be feeling an emotion resembling joy after reading Ghost Rider again. I'm just not sure how long that feeling can last without some sort of major shakeup or upheaval.
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It's going to take a lot to convince me that the comics market needs two ongoing Iron Man books. With the strong political/espionage angle this series has taken, though, it just might be possible. I just know I don't want to see this series canceled anytime soon.
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The real draw of this issue is simply Kelly's pitch-perfect portrayal of the World's Finest. Kelly is an excellent writer, and one that doesn't get nearly enough credit for his humorous yet complex portrayals of classic characters. Whereas most issues seem content to while away the page count with endless dual monologues, Kelly dispatches with this tired writing element after the first couple pages. His take on the heroes is much more subtle and endearing than I'm used to from this series. Is it too much to ask for Kelly and Kolins to take over the book permanently? Apparently so, but I'd really like to have something to look forward to between now and next year's annual.
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Howard Chaykin has bounced from one Marvel project to another lately, often drawing the wrath of many readers not used to seeing his harsh, gritty style in their superhero books. I admit Chaykin's art did and still does have its problems. The artist always seems to struggle with his facial work, for one thing. Luckily, I think Chaykin has found his perfect gig at Marvel. His thick black lines and detailed mechanical objects are perfectly suited to the world of fighter pilots and their machines. And while books like Wolverine showed Chaykin at a less than consistent level, nearly every page in this issue is as impressive as the last. If you like war (or are interested in the subject matter at least), prepare to sit through hell and love every minute of it.
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Whatever. It's not like I've cared what Wolverine does in this book for the last year or more. All I really care is that Way has stumbled across a storyline full of laughs and those wacky Garth Ennis-style hijinks he does so well. Deadpool's schemes are amusing, and his off-kilter humor is fully intact, complete with the occasional breaking of the fourth wall. I've said it before, but even the Way-haters have to acknowledge he does this type of story pretty well. And unlike the last two issues, the ending is nicely executed. That's not to say it's any more meaningful in the long run, or that it somehow justifies yet another three-issue arc being stretched out into six. Still, if you've been wading through the last two dozen issues of Origins hoping for a good time, you may have finally hit the jackpot.
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I'm doing my best to keep my spirits up as far as Brand New Day is concerned. The next arc definitely sounds intriguing, even without its contents being alluded to on every other page of this issue. However, I can't keep wading through arcs like this in hopes of finding something better at the other end of the tunnel.
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I really can't think of a reason why someone wouldn't want to read this series now. Then again, some people give me the impression they just don't like reading good comics. Regardless, Millar and Hitch are making good on their promise to morph Fantastic Four into the World's Greatest Comic Magazine again.
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If you've ignored Lone Ranger so far I don't imagine this issue alone will win you over, but it manages to be another solid effort from a crew who puts out some of the best Western stories in the industry.
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Overall, I'm not liking the direction this series is headed in. The worst part is that the ending of this issue only ensures that yet another massive shakeup will occur next month. I'm keeping my fingers crossed that Secret Invasion will dictate the folding of both Avengers books back into one, because little about Mighty Avengers is justifying its continued existence.
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I was more than a little disappointed that Paul Pelletier had been announced as the regular Nova artist starting with this issue. That's not to say I dislike Pelletier's work; I was just very enamored with the work artists like Wellington Alves and Brian Denham had been turning in. Pelletier isn't quite as talented in the area of figure work as artists like Alves. Especially after ogling Alex Maleev's cover for several minutes, Pelletier's version of Nova doesn't quite measure up. Where the artist does succeed is in the landscape of the Phalanx homeworld. Pelletier throws out some trippy visuals in this issue, which perfectly complement the off-kilter nature of Abnett and Lanning's storytelling. However reluctantly, I'm willing to trade a sleeker, sexier Nova for more of Pelletier's crazy visuals. Of course, with Pelletier quickly leaving to join Guardians of the Galaxy, maybe my old favorites will get a chance to shine once more. As long as this series sticks around with Abnett and La
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The one area that truly disappointed me this month was the art. I've never been a huge fan of Goran Parlov's art in the series. It simply lacks the detail of other regular artists like Leandro Fernandez. While I could at least accept the need for rotating artists on each arc, Parlov has been on the book for two arcs in a row now (three if you count the Barracuda mini-series). It's unfortunate that Ennis' swan song couldn't be accompanied by a bigger name. Frank Castle deserves at least that much.
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Though not without its problems, Cable #1 is a very enjoyable spinoff from an equally enjoyable crossover. Cable fans of all sorts should be pleased. Even the die hard Rob Liefeld supporters have been blessed (is that the right word?) with an alternate cover. Aside from X-Men: Legacy, this series could quite possibly be the most important X-book on the market for a while, so there's no real reason to avoid it.
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The only trouble with the sparse dialogue and heavy action is that the issue blows by even more quickly than normal. Each issue of Casanova is a mere 16 pages long. Between the low price tag and dense storyline, usually that's plenty. This month... not so much. I just love my Casanova too much to be entirely satisfied with 16 pages of shooting and eye gouging. Hopefully the next issue will have more of a timely arrival.
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There's little point in me even reviewing this book going forward. If you've started reading Clandestine, you should know by the end of this issue whether you want to keep reading. If you haven't started yet, don't even bother.
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And that's all there is to be said for now. Moore's legion of fans certainly won't be disappointed by his new project. Newcomers might not see what all the fuss is about, though. With a six week waiting period between issues, I have to recommend that curious newbies check out the numerous SiP trades first. At least then they'll be able to form a strong opinion right away.
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The story itself is decent yet unmemorable. Frank's partner in killing, Stuart, becomes the star for a month. I would have expected any story featuring Stuart in such a heavy capacity to touch on the dangling plot thread from issue #10. If you don't know what I'm talking about you probably shouldn't be reading this review anyway. Instead, this is simply a tale of Stuart running afoul of an ex-girlfriend. We learn some interesting tidbits about why he hates Iron Man so much and why he was imprisoned in the Raft, but nothing mind-blowing. Once again, Frank appears for all of two pages. I don't mind him taking a backseat now and again, but the story needs to be of a high enough caliber that I don't feel his absence on every page. The next arc will surely solve that problem, but with Chaykin sticking around I can feel my enthusiasm dwindling all the same.
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Everything else about this series continues to excel. Aaron has a talent for communicating the sad, harsh side of life. The reader can't help but sympathize with the various cast members, even though most of them are deplorable examples of humanity. R.M. Guera continues to impress with his artwork, even though it occasionally appears too dark and gritty for its own good. I continue to enjoy reading this book, but I have to wonder if there will come a point where even my support starts to waver. Hopefully not.
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So, despite my reservations about the general story, I couldn't help but be blown away by this issue. New readers who come into the story without those reservations may possibly love it even more. All that really matters is that The Dark Tower is back, and for the next five months we can all sleep easy at night.
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I don't know if I should actually dock the issue any points for this, but it does manage to spoil the upcoming finale of Astonishing X-Men pretty severely. I do feel bad for the rest of the X-writers for being forced to tiptoe around that storyline for so long. Just be advised that spoilers are afoot, and consider whether this enjoyable and whimsical storyline is worth the spoilage. At least Uncanny X-Men #496 offers plenty to make up for it.
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Lapham is one of the few Vertigo creators to both write and draw his series. His style certainly fits in with the majority of Vertigo's crew. I guess I was just hoping for slightly more creative panel layouts or an overall greater sense of style. The main benefit of having a creator write and draw their own series is that their artistic vision never gets lost in translation. Lapham's art will certainly suffice. It just won't visually stand out from its fellow Vertigo books. If you can accept that, as well as the fact that we probably won't be seeing new issues of this series nearly as often as I'd like, then Young Liars should prove a very satisfying read. Suddenly Vertigo's future looks a little brighter.
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If this issue has a flaw, it's the slightly weak ending. This isn't the first time in recent months Brubaker has relied on a slightly forced ending to cap off an issue. I sympathize that ending issue after issue on a satisfying cliffhanger is one of the more difficult aspects of writing comics. However, when a series is as good as this, lone flaws stand out all the more.
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In the end though, I'll be the first to admit that originality be damned Kick-Ass #1 is an entertaining comic, and I'll definitely be coming back for more. Just don't tell me it's original, or I might try to kick your ass (sans costume).
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It's too soon to make much of a judgment call with this book. Just make sure to pick up isse #0 (if you can still find it), and you'll (probably) be guaranteed a pretty satisfying, full reading experience.
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Generally I enjoyed this first issue, and I'm eager for the next one. Therein lies the main problem. Smith has already admitted the series won't be sticking to a very constant or consistent shipping schedule. Given how little storyline this issue offers, I can't help but recommend most readers wait for the trade. I'm sure this story will read quite well in the eventual RASL: One Volume Edition, but individually this issue is just doesn't offer enough bang for the buck.
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Every month since his run began, Peter David has given me the impression he's just phoning in his work. I can appreciate that he has a close creative connection to the Jade Giantess, but if he's not going to try harder I wish Marvel would find a new replacement. She-Hulk simply deserves better.
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If you enjoy the series, you'll probably enjoy this issue. I did, but I couldn't help feeling that the $4 price tag was a bit of a ripoff. Flawed as they are, the games aren't very expensive at all, so you may be better trying to get your Silent Hill fix from them instead.
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Issue #2 is a definite improvement for a mini-series that was already decent. It still fails to feel necessary in any way, and I doubt at this point that's going to change in the remaining three issues. Just enjoy it for what it is and you'll be happy.
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What a difference an issue can make. In the past, despite my enjoyment of the series, I found myself secretly wishing a different writer would take over Thor - and soon. After this issue, Straczynski has won me back completely. Hopefully the rest of the naysayers will feel the same way.
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I suppose it could be argued that not much happens in this issue. Regardless, Carey delivers a few well-written glimpses into Xavier's past, some nuanced dialogue between the Acolytes (even though a few sequences feel forced in their attempts to get new readers up to speed), and a terrific cliffhanger. Trust me, this is one X-book you'll want to keep on your pull list.
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The worst part is that, instead of taking more time to explore the Menace mystery in the next arc, we'll be subjected to yet another new villain. It's nice to have a fun, relatively happy-go-lucky Spider-Man again, but the Brand New Day approach clearly values style over substance. If I don't see more improvement in the coming quarter, I fear a pink slip may be in order.
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Every month Dan makes it clear you should be reading this series. This time it's my turn, and I can only hope I converted a few new readers. The book certainly deserves them.
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The upward trend started when the story began to focus exclusively on the Challengers. That focus has broadened since, which resulted in a span of issues that weren't
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Even with the absence of most of the regular creative team, this issue is another fitting entry in the Iron Fist saga. Short of Captain America, The Immortal Iron Fist is easily the best Marvel book that ships on a monthly basis.
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Though this issue suffers from a small handful of comic book cliches (it can't quite be helped when the hero/villain showdown occurs) and a lousy, forced cliffhanger ending, I still highly enjoyed my Iron Man experience this month. Get your kicks in now, because there's no telling ho much longer the book will actually be around.
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It's good to see Ellis doing his part to keep the Ultimate universe alive. If it weren't for the occasional flash of brilliance like Ultimate Human, I'd be tempted to give up on the line altogether.
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With the flashbacks gone and the violence turned up to 11, Origins has actually become a pretty enjoyable reading experience. Deadpool is as crazy and amusing as ever. How many other opponents have resorted to dropping a piano on Wolverine? I only wish Way would balance out the fights a little more. Both combatants have healing factors, so why not let Wolverine slice off Deadpool's nose or something instead of just growling and lunging for 22 pages? The other big problem with this arc is an all-too common one - the pacing is terrible. As much as I enjoy seeing Deadpool's brand of slapstick, I cringe at the thought of this battle dragging out for another three or four issues. There is indeed such a thing as too much of a decent Wolverine story.
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Zorro #1 is something of a disappointment for this longtime fan, and that's a shame. Wagner is one of the true greats of the medium, and I can only hope he'll be able to iron out the many kinks in future issues. There's no reason Zorro can't rival Lone Ranger in quality.
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Captain Marvel #3 took a noticeably long time to hit stands, and it's probably safe to assume the art played a role in the delay. Even if that isn't the case, Lee Week's pencils seem a little rougher and less refined than the first two issues. I still love his work, and his style fits the book a lot better than I would have expected, but issue #3 is a bit of a disappointment. That goes for the issue as a whole. While some mini-series like Sub-Mariner have benefited from their connection to major event storylines, I can't help but feel Captain Marvel would work better if it were a little more removed from the hustle and bustle of Secret Invasion.
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Like most issues in recent months, I can find neither anything to commend or to complain about as far as the art is concerned. The overall look of the series is vastly improved over the early months, and I think it's jst one more sign that DC has finally decided to give Countdown the editorial and artistic attention it deserves. Bring on the next issue, guys. I want to know what happens next.
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That's all there really is to hold against Fantastic Four #554 anyway. A lot of little things keep it from reaching Ultimates or early-Civil War level. I'm still incredibly excited about the next 15 issues, and you should be too.
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This issue is a no-brainer for fans of the classic FF. Less dedicated readers may scoff at the $5 price tag, and rightly so. Marvel packs in both Kirby's original pencils and a reprint of Fantastic Four #108, but not every reader is going to find those extras worth the price hike. The latter addition especially is a pretty poor read, and only serves as a testament to the fact that Marvel should have published Kirby's story as it was originally intended. This is likely the last collaboration between Lee and Kirby we'll ever see, and I just find myself wishing for more.
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Despite the huge improvement that comes from Aaron's debut, Ghost Rider just isn't his best work. If you want to see Aaron better handle a major Marvel icon, check out this week's issue of Wolverine. Clearly he'll be fighting an uphill battle with Ghost Rider in the future.
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I guess if you just can't wait for Ennis' next issue and Matt Fraction's stories aren't enough, then this issue is worth a look. There are just far too many other good Punisher stories available for me to give it much of a recommendation.
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I realize DC series set in Gotham are never in short supply. However, this is one book that is slowly but surely trying something different with the dark vigilante routine. As long as we start getting some answers soon, consider me a monthly follower.
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Beyond that, what else is there to say? Titans fans may get a kick out out of it, provided the can reconcile the fact that Aqualad, Starfire, and Miss Martian are all part of the same team. I just can't imagine this series holding anyone's interest for long, particularly when a second Titans ongoing is about to debut. Enjoy Tiny Titans while it lasts.
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For once I was even left with the impression that the story was actually edited to work as an actual issue. The previous two issues left me feeling Card simply wrote a single graphic novel and Marvel chopped it into four parts. My only complaint now is that the book is almost over. I'll be a sad Ultimate reader indeed if Ultimate Spider-Man is my only outlet for good, progressive storytelling.
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At this point Conquest stands little chance of living up to the original in any sense except the butt-kickingly cool covers. The most I'm hoping for is that Conquest will spawn at least one new series that impresses on the same level as Nova. The potential is certainly there.
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Given that this is a fairly slow week for Marvel, there is little excuse for not throwing this issue onto your weekly pile. If you're anything like me, you could always use another pleasant surprise in your reading list.
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But, like I said, it's not all rosy in Moon Knight's neck of the woods. On one hand, I think the art has improved greatly in the last month. Mark Texeira's distinctive style shines through much more, and it lends the book a very nice visual tone. On the other, I'm growing more and more annoyed at the amount of times I mistake one character for another because they're drawn so similarly. I don't understand why this has been such a consistent problem for every artist that has worked on the series. And, as much as I'm enjoying the registration conflict, I don't get the impression that the writers will be able to do much more with it. Either Moon Knight will get thrown in jail, leading to a ripoff of Ed Brubaker's first Daredevil storyline, or Iron Man will stop by for yet another brawl. Here's hoping I'm proven wrong on both counts.
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But at least we have the twist ending, and I think that's all a lot of readers will need to see. It's certainly interesting, but a couple interesting pages can't prop up an entire issue. I'm hoping the twist will allow for an increased focus on th book's ensemble cast. That's all I really want from a Ms. Marvel comic anyway. Whether that's a sad statement on the title character, I couldn't really say.
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I don't think enough praise is poured on artist R.M. Guera, so I'm going to commence with the pouring. Guera is among the best of a breed of vertigo artists who specialize in dark, gritty, and violent imagery. Like the similarly-named Pia Guerra in Y: the Last Man, this Guera excels in bringing each character to life. I picture a real-life Dash exactly as he appears in the comic, just as I always picture Yorick Brown exactly as Pia Guerra draws him. Let's hope the collaboration between Aaron and Guera persists just as long. If I can sit down to read Scalped #60 in four years, I might just die a happy comic fan.
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Despite my endless praise of this mini-series, I'm sure many of you flat out ignored it. I highly recommend buying the trade once it comes out. Just like Requiem last year, you'll find a transcendant comic book experience that few other recent Marvel works can rival. With any luck, Marvel will bundle both mini-series together in one hardcover. Bundled or separate, you really can't go wrong with In Thy Name.
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Other than that, I see no reason not to give Avengers: The Initiative a big recommendation. Few series manage to blend the light and dark elements of the Marvel universe with such grace.
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The rest of the issue is well worth the price of admission. Jason Todd is quickly becoming an interesting character after his recent metamorphosis, and I'm left wondering just what the DC higher-ups have planned for him after Countdown. We also enjoy another glimpse of Darkseid's grand scheme, followed by the promise that future issues will deliver much more in the way of answers. Once again, at no point do the more boring elements and characters of the series rear their heads. These other plotlines haven't all been resolved yet, but I'd gladly have them fall by the wayside if it means the remaining three months of Countdown can be as good as these past two weeks.
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I can't complain too much in the end. Even if Daredevil isn't Brubaker's best work, it still blows the majority of current superhero series out of the water. One scene in particular - the confrontation between Daredevil and Ox - proves that Brubaker understands our hero and is willing to push him just as far as necessary to serve the story. I only wish I could stop waiting for the series to improve and just enjoy a quality DD yarn to rival Brubaker's Captain America work or Brian Michael Bendis' Daredevil stories. I know it's possible, and I feel like we're on the verge of something truly satisfying again.
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There isn't much else to be said about this issue. The art is competent as always, and I'm particularly impressed with Paul Pelletier's design for future Doom's armor. In the end, this issue and arc aren't meant to do much more than tide us all over until Millar's first issue. It does that well enough, so I bid farewell to McDuffie. Now how about transferring him over to Black Panther, Marvel? That series could use a few more intergalactic wrestling matches.
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I can appreciate the amount of work the creators put into this issue. The fact that their website contains a guide for the various religious and astrological symbols hidden in its pages is proof enough. However, I just didn't find New World Order to be worth such a deep examination. It tries far too hard to bring something new to the industry, and in the end feels more like a barely comprehensible patchwork of stories we've seen before.
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Can future weeks get even better? It's quite possible, but I won't get my hopes up too high. As I said before, the optimism I felt way back at the beginning has long since drained away, and even a huge improvement like Week 14 won't earn the Countdown writers and extra slack.
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As per usual when Roberto de la Torre handles the art for this series, I'm impressed by the level of detail and atmosphere, yet also underwhelmed by the action sequences. De la Torre's strengths lie in facial work more than body gestures - not such a good thing for a superhero series. The action is kept to a minimum, however, so I really don't have many complaints this month. In the end, it's another month, another solid effort from the Iron Man crew.
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At this point you should have a firm idea of your own opinions on Marvel Zombies. If you liked the last three issues in this story, you'll get a kick out of the penultimate issue. If you've been on the fence the entire time, you might want save your $3 and go buy an issue of the superior Robert Kirkman zombie comic. Or maybe something with no zombies at all. There's a novel thought.
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It's clear She-Hulk won't be one of the books where Peter David fires on all cylinders. That's hugely disappointing considering how good David's stories are capable of being. More than that, the man built his career working with She-Hulk and her cousin. I just can't understand why David's return to the character has been so lackluster. At this point, I just don't care enough to stick around and see if the series improves.
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All that aside, Dark Times is easily one of the better Star Wars comics to hit the market in the last few years. I wouldn't rank the story above Legacy's, as that series is probably the best bet for readers who only want one Star Wars comic a month in their pull list. At the very least, Dark Times is the best looking Star Wars book on the market, and the first trade is just further proof that Dark Horse is doing right by the license.
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The popular rumor is that Ultimate Fantastic Four will be one of the books on the chopping block after Ultimatum. If this is the type of story I can expect from the series moving forward, I say good riddance.
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Towards the end of the issue the only nagging concern I felt was the lack of any crucial impetus to the plot. The pieces quickly fall into place, leaving the reader to wonder if they really will be forced to flip through two more issues of superheroes picking up trash. Just then McDuffie throws a wrench in the form of several new characters who really deserve to have a greater presence in Marvel's books. If the preceding 22 pages weren't enough, I was certainly hooked by that point.
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More than anything, I'd like a few more answers regarding Spidey's new status quo. I've been compiling a growing list of questions regarding the many changes to his history which, at this point, could probably fill a novel. I need to know that Marvel isn't simply building towards a big "Spider-Man is really a Skrull" revelation later this year before I can allow myself to become fully invested in a promising but flawed new direction for the character.
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Countdown only moves in one direction for so long before an errant storyline returns from the depths of obscurity again. This week, we're reminded that Karate Kid, Una, and the original OMAC still have a mission to accomplish in Bludhaven. How long is it going to take them exactly? This particular storyline isn't necessarily uninteresting either. I just hope the writers wrap it up before it manages to bleed into Final Crisis. It's becoming obvious now that the various Countdown storylines are shaping up to converge in something very derivative of Infinite Crisis. For whatever amount of quality I've come to expect from Countdown, I'd still rather have as little of it touch Grant Morrison's upcoming story as possible.
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Take this issue, for instance. Dt. Fell jumps at the opportunity to work as a hostage negotiator. The majority of the issue takes place in a dank hallway outside the criminal's apartment door. However, Ellis finds creative ways to show the reader what is happening inside the apartment without actually showing them. It doesn't hurt that Ellsi has Ben Templesmith's art to rely on. I'm sure Templesmith could make just about anything look interesting with his unique watercolor style. This issue only grows more interesting once Fell gains entrance to the apartment and saves the day with his own unique brand of justice. I'm sure it's been said before, but a $2 comic like Fell often feels like it offers more bang for the buck than regular $3 series. If you can't spare the scratch for something this good, maybe you need a new hobby.
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Jesse
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So this issue sounds pretty much perfect at this point, right? Unfortunately, there's a third artist on board this month, one that doesn't mesh well with the other two. Javier Pulido was probably chosen for his ability to mimic Aja's style. Mimicry it may be, but none of the subtleties are present in his work. Compared to Aja or Kano, Pulido's pencils are a downright bore. Hopefully with a new one-shot issue taking the place of issue #13 next month, Aja will find enough time to avoid unnecessary fill-in artists for the big finale.
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At this point the only things keeping Incredible Hercules from ranking as the best book of the week are the unfortunately-timed Immortal Iron Fist and the slightly underwhelming pencils of Khoi Pham. I don't want to be too hard on Pham. This is some of the best work I've seen from the artist so far. Still, it doesn't quite measure up to what we're seeing in some of the other Aftersmash books. If only Ed McGuinness were drawing this series instead of Hulk. I think I'd be in comic book heaven.
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So this is definitely a major upswing for Wolverine's troubled second series. The only downside is that it mainly works in Deadpool's favor. I'm now interested in reading the new Deadpool series, but once this arc is finished I can only assume Origins will go back to being a monthly chore in my giant stack of comics. Of course, I'm more than happy to be proven wrong.
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While it's nice to have an artist on this series that is more than capable of meeting deadlines, I'm not going to pretend I don't miss the sexy artistic stylings of Frank Cho. Until the alien symbiotes finally show up, Bagley's art never really stands out. Bagley was always better at drawing relatively realistic, down-to-earth heroes rather than iconic, muscular archetypes. The problem is that this series is staffed chiefly by the latter. It's hard to blame Marvel for wanting to get this series out on time for a change. I just hope that the eventual regular artist, if there ever is one, will manage to merge the best qualities of both Bagley and Cho and give this series a serious makeover. Until then, I'll continue to question why Mighty Avengers needs to exist at all.
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Nova doesn't need Annihilation: Conquest to tell a compelling story. Rather, Annihilation: Conquest needs Nova. I'll continue to lament the downturn Conquest has taken lately, but at least I can rest easy knowing Nova gets better and better every month.
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Teen Titans: The Lost Annual is too stupid for the normal "It's just Silver Age" excuses to hold much water. When you consider that this was the last Teen Titans story Haney ever wrote, it's a bit depressing. I like to see classic writers collaborating with modern artists now and again, but too often these projects prove it's better to get out of the industry while the getting's still good.
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Perhaps it's a sign of weakness that Straczynski chooses to leave readers with a surprising cliffhanger pulled from later in the series. I think he realizes as much as anyone else that The Twelve is getting off to a fairly slow start. I don't really care, though, because it's this cliffhanger, more than anything else, that has me anticipating the next few issues. The Twelve has a real chance to shine even with the other major events taking shape in the Marvel universe at the moment. Let's just hope the highly competent duo of Straczynski and Weston can make this series live up to its potential.
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In the end, Guggenheim attempts to permanently change Wolverine by bringing him more in line with how he used to be 15 or 20 years ago. I'd almost be interested in this development if I wasn't 99.9% certain that no other writers will pay attention to it. Let it not be said that Guggenheim didn't attempt some new things with a very overexposed character. The downside to all of these changes is that other writers are required to do something with them before they can become truly fascinating. In the end, what does any of this matter if it will all be forgotten in two weeks?
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If you buy this and not the next issue of The Order, I'm taking your allowance away. Consider yourself warned.
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If Marvel had simply allowed this sequel to ferment for a few months longer I think we all would have been much happier. Conquest originally began as a story arc in Nova, and I think its defining flaw is that it never quite grew out of those smaller limitations.
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This problem could be alleviated somewhat if the writers would simply ditch some of the side characters for better ones. Why are "Stereotypical Ex-girlfriend," "Conflicted Former Partner," and "Creepy Guy in Sunglasses" even a part of the book anymore? None seem to add anything of substance to Spector's adventures. Maybe Moonie should head downtown and steal some of Spider-Man's Brand New Day friends. He appears to have plenty to spare.
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Amusing, well-plotted, and good-looking to boot, the only thing really wrong with this series at the moment is that Ms. Marvel is less interesting than many of her new co-stars. Between Machine Man, Sleepwalker, and Wonder Man, this book hardly qualifies as a solo comic anymore. The series might actually improve if Marvel changed the name to The Marvelous Machine Man and His Fleshy Cohorts or something. Just a thought. At least that way I wouldn't feel compelled to still look to the comparatively lackluster Carol Danvers for excitement.
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Truly, this mini-series has the sad misfortune of languishing in the shadow of one of the greatest Silver Surfer stories ever told. That's too bad, because In Thy Name still happens to be one of the best in years, just not the best.
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The art should be enough to justify a purchase for most readers, but I still think newer readers would be better off checking out the classic Marv Wolfman material or the newer Geoff Johns trades instead. I, for one, would rather read about these teens actually beating up bad guys than chatting about beating up bad guys online.
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Other than a select few characters like Warpath, I think just about every X-Man has benefited tremendously from Messiah Complex. Cyclops is finally a compelling leader outside of Astonishing X-Men, even as former mentor Xavier is getting dragged through the mud. The Marauders and Acolytes are equally compelling as villains. Yes, that includes that degenerate thief Gambit. And, frankly, I don't think I've ever been as fascinated by Bishop as I am right now. Let's just hope the overall storyline moves a lot faster next week, because I'm growing impatient.
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Bryan's Score: 2.0
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I think some readers will come into this issue with a slight amount of unconscious resentment. We've all been waiting for issue #34 and its big reveal of the new Captain America's identity. I know that's how I felt. I want to know already, darn it! Well, don't be surprised if you come out of this issue knowing more than you expected. All I can say is that 2007 was a truly great year for Captain America, and I'm sure 2008 will only be better.
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Lee Weeks is a name that hasn't graced many Marvel covers lately, but I hope that will change after this mini-series. Weeks is one of many similarly-accomplished noir artists at Marvel. His stark, realistic pencils aren't what I would have initially expected from this book, but his style wound up being a perfect fit. I highly recommend giving this series a look if you're still on the fence. I just don't think any supposed connection to Secret Invasion should be a motivating factor.
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As is increasingly common in recent weeks, the art manages to impress. Scott Kolins stops in for a guest stint, and his new, improved style works quite well with the overall story. I'm starting to believe that Countdown's one, true advantage over 52 when both completed series are held together will be its generally superior art. I miss the older weekly series, but it was kind of a fugly book.
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At this point, the only thing I don't like about Iron Man is Tony Stark. Stark has reached an unprecedented level of saturation in the Marvel universe lately thanks to his role as S.H.I.E.L.D. director. After reading the recent Iron Man Annual, I realized what I really want is a more light-hearted take on the character. Stark has enough problems to deal with in about 50 other comics right now, so it would be nice to see him kick back and act like a billionaire playboy secret agent once in a while. As the Joker might ask, why so serious, Mr. Stark?
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While I'm pleased to see Wagner illustrating one of his greatest creations again, I'm a little underwhelmed by the finished product. As part of Grendel tradition, every Hunter Rose story is colored in black, white, and red shades. Typically, this leads to some rather interesting effects as pages become more and more drenched in blood. However, Wagner just doesn't go far enough with this series. Most pages are completely lacking in any shades of red, resulting in a fairly bland overall look. If Gotham City can have a red skyline in Batman: The Animated Series, why not Grendel's New York?
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It's doubtful Incredible Hulk's new status quo will last for very long, so I'd strongly suggest hopping on board while the fun lasts. Who would have thought Hercules could carry the weight of a book like this on his burly shoulders?
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Though derivative almost to a fault, this issue might just give you a little boost in holiday cheer. Provided you still have $4 after all your Christmas shopping, you may want to clear out some space in your stocking for Marvel's Holiday Special 2007.
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With bland art and an even more bland adaptation of The Iliad, we're only left with one question - aren't we just better off taking the time to read the original story? It can't be any less painful.
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So I have a lot of nice things to say about this finale issue, but I could throw out at least as many complaints. I'll keep them brief for fear of sounding like a broken record. Basically, this book in no way lives up to its sister series, New Avengers, which has its own fair share of flaws. The team dynamic isn't nearly as interesting, the types of threats they face pale in comparison to Skrulls and The Hood, and the overall execution is just disappointing. While Bendis makes some inroads into rectifying these problems, it may come as too little, too late for readers who have been hanging on since March.
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It's hard not to review any issue drawn by Humberto Ramos without getting into a heated debate about his art style. I don't really feel like getting into that right now. You know by now whether you like Ramos or not. Regardless of that, I think we can all accept Ramos' style is too sharp of a departure form the overall artistic tone of Messiah Complex. If the creators failed in any one area of this crossover, it's in achieving a consistent look. Something to think about for the inevitable follow-up crossover. We all know there will be one.
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At least David has a pretty good handle on She-Hulk herself. He should considering how much work he's done with the character in the past. However, I'm also disappointed he isn't focusing on Shulkie's human side at all. Slott did so quite heavily, even leaving the gamma gal temporarily without powers for a few issues. I hate to say it considering how loudly I cried for Slott's exit form the series, but I'd rather have his stories again than what we're being given now. At least the art has improved significantly since the switch. Shawn Moll has a much more familiar superhero style than the European look She-Hulk has sported from day one. It doesn't break any new artistic ground, but at this point I'm just glad to have some element of the series that still feels comforting.
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I'll tell you one area it did succeed, though. Ed Brubaker and Marko Djurdjevic collaborate on a handful of small snippets depicting the real Tony Stark in his post-Civil War mourning phase. While on one hand the duo's efforts are wasted in these small scenes, I'm always happy to see Djurdjevic try his hand at interior work. I can only imagine how great What If: Civil War #1 might have been had these two been solely responsible for its content. Maybe I'll write my own What If? story about it someday.
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The only reason this issue didn't rate higher is the very lackluster backup story. It has something to do with Wolverine rescuing a rich man's son form the clutches of an evil cult. Besides hitting the same territory as the main story, this segment is just poorly executed. The art, in particular, is very ill-suited to a Wolverine story, or a superhero comic in general. I would have been much happier if Marvel simply cut this story completely and shaved a dollar or two off the cover price. I spend enough money on Wolverine comics as it is.
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More than anything, this issue feels like an atempt to emulate Paul Jenkins' WWH: Front Line. The bland but serviceable art does nothing to destroy that illusion. I have no doubt that a small amount of readers really enjoy the adventures of the Warbound. They'll probably find a reasonable amount of enjoyment in WWH: Warbound #1. The rest of us are better off just ignoring the various Aftersmash offshoots and concentrating on Pak's Incredible Herc stories instead.
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It's going to be a while before Astounding Wolf-Man ascends to the level of quality seen in Kirkman's best books, and I'm not entirely sure it ever will. However, even if it doesn't, the likable cast and constant stream of surprise twists should be enough to tide Kirkman-junkies over between issues of Invincible.
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At least the art leaves me with few complaints. Granted, it's far less flashy than what we've seen in books like Lone Ranger, but John Severin packs in a pleasing amount of detail into each panel. From a visual standpoint, Bat Lash fits in quite nicely with fellow DC cowpoke Jonah Hex. The story is somewhat less successful so far, but it shouldn't do anything to kill the latest cowboy craze sweeping the industry.
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The worst part for me came at the end, when I suddenly realized McDuffie only has one issue left to wrap up both the current storyline and his entire run on the title. Maybe he can pull the rug out from underneath his readers at the last moment, but I really doubt it at this point. McDuffie's run has been far from the worst to besmirch the title over the years. I was just hoping for more from the writer than Black Panther wrestling the Silver Surfer in space. February and Mark Millar can't come soon enough for me.
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What else? The Hellcat story is vastly improved now that I have some idea of what the heck's going on. The Weapon Omega story, while slow-moving at times, is a significant leap over the recent Omega Flight mini-series. I only wish USAgent wasn't the only other Flight member to make an appearance. And, finally, the original story for this month deals with The Outlaw Kid, one of Marvel's many, many cowboy heroes. While I pointed out in my review of Bat Lash #1 this week how overcrowded the cowboy market is becoming these days, one short story is hardly going to tip the scales towards overexposure. Much like the "Vanguard" story, I was pleasantly surprised with Christopher Moeller's painted art. Marvel is packing each issue of MCP with a terrific level of talent, and that's precisely why the series satisfies so consistently. Open your wallet and fork over the 5 bucks. Trust me.
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I realize this arc requires a bit of readjustment on the reader's part, but don't let that chase you away. Nova has become one of Marvel's best new series on the strength of more than just its Annihilation: Conquest tie-in. It also has Cosmo. I love Cosmo.
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But that aside, I truly enjoyed Moore and O'Neill's latest foray into this fascinating universe. The endless delays were all worth it in the end. If you have no experience wit the League yet, Black Dossier wont exactly welcome you with open arms, but once you've become properly acquainted with the previous volumes I'm sure you'll join me in declaring Black Dossier the clear winner for best original graphic novel of the year.
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For whatever complaints I might have, Ultimate Iron Man Vol. 2 is off to a surprisingly good start. The only reason I can imagine someone not wanting to read this issue is if last week's The Ultimates 3 #1 turned that person off from the entire brand (I know I wasn't happy). Consider Ultimate Iron Man Vol. 2 a small bit of redemption for the Ultimate line.
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Looking back over the last few years, it seems like Marvel's writers have done Logan a lot more harm than good in the exploration of his past. Guggenheim is one of the few to do justice to the character in all that time. If that doesn't convince you to give the current arc a shot, you probably should give up on solo Wolverine stories altogether.
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And thankfully, Madrox and Layla Miller finally return to the forefront. One complaint I have almost every week with this crossover is the fact that certain characters spend too long hiding in the shadows. That complaint can still be directed towards other characters, but that's just a given at this point. What I would like, however, is less of a focus on the Reavers and/or Predator X. Both Deathstrike's team and Predator X seem to be fulfilling the same function, and I'm not sure both are necessary. More than any other issue of Messiah Complex, this issue is guilty of dangling juicy bits in front of the reader and snatching them away before they're fully satisfied. I don't know if that can be considered a legitimate complaint. I just know that I want more, and I don't want to wait another week to get it.
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So really, I have very few bad things to say about about Conquest. I am a tad bit disappointed in the art. Tom Raney isn't one of those artists whose style has a significant amount of overt flaws to pick out. As long as you don't mind certain characters having different jaw structures every panel, there's little to complain about. At the same time, there's nothing especially praise-worthy about this issue. When compared to Andrea do Vito's masterful work in the original Annihilation, the art is one aspect of this sequel that just doesn't measure up. The story fares better, though. Superior in some ways, slower and more restrained in others, Annihilation Conquest manages to stand out as one of the best event books of the year. Whether it will retain that title when Secret Invasion hits next year is another story entirely.
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Nothing about Avengers: The Initiative Annual #1 is poorly done in any way. It's just the overall execution that falls a little flat, and it leaves me to wonder if we really needed it in the first place. Assuming we see a follow-up next year, Slott would do well to focus on telling a single, fulfilling story rather than a handful of forgettable tales. After all, annuals fell out of favor for a very good reason.
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The issue gets much worse once the focus shifts to the Holly/Harley and Karate Kid threads. The former has always been among Countdown's worst, and there's no saving it this late in the game. The latter hasn't been that bad, though it was a little off-putting that the writers resumed the story from the exact point where they left off a month ago. There's something to be said for 52's strict timeline. My real problem, though, was a cliffhanger that manages to push Countdown into even more directions I wish it wouldn't go. If this is what happens when the plan starts to come together, I don't want any part of it.
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It's nice to see Mike Perkins enjoy more of a spotlight. Most of the time, Perkins is recognized as the guy who draws an awful lot like Steve Epting, if he gets any recognition at all. Perkin's style fits the dark, retro feel of the series like a glove, though he occasionally struggles making more outlandish characters like Feral look convincing. I guess it should come as no surprise that House of M: Avengers hearkens back to books like Union Jack, since the Gage and Perkins also collaborated on that mini-series. I hope the quality remains consistent for the remaining 3 issues, because I'm having a grand old time reliving the House of M.
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It's hard to find any real, full-blown complaints with this series. The art is perfectly suited to the story, as always. I guess if I had to take issue with anything it would be that Lethem's writing can feel derivative of his novels at times. How many of his stories can feature gangs of dissident children tagging local landmarks with spray paint or "yoking" friendless classmates for their lunch money? Look closely and you might even see some of his other characters in the background of certain shots. I don't know how valid of a complaint that is, however. Though some of the trappings remain the same in every story, Lethem has a real talent for these unorthodox coming-of-age stories, and his writing works just as well on the four-color page as it does anywhere else.
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In short, this is one more Silver Surfer series you absolutely should be reading. I hate to keep bringing up comparisons to Requiem, but if this series gets much better we'll have to make all our comparisons to In Thy Name instead.
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For all its problems, Suburban Glamour does have some interesting elements. Like a good many series that attempt to blend fantasy elements with humdrum life, the book only really shines with the humdrum. It's almost enough to make one wish McKelvie had simply stuck to the tried-an-true formula of teenage coming of age stories. Of course, that's been done more than enough by now, so we're only left to wonder if there's any reason for this series to exist at all.
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While most issues have done a respectable job of balancing the various factions involved, this issue doesn't even try to focus on a more than a few. That's not necessarily a bad thing in my mind, but it will be a problem if the crossover starts to develop "Countdown syndrome" during its second half. For now, though, anyone who's annoyed that Magneto, Apocalypse, or Onslaught haven't shown up should just shut up and enjoy the ride. It's very nice to have major crossover event that actually lives up to the hype for once, and in some cases even exceeds it.
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Basically, this issue would have been right at home among the X-Men comics of 10 years ago. The story is uninspired, relying on a wholly uninteresting buy incredibly powerful villain to move things along. The dialogue is often trite, which is unfortunate considering Christopher Yost does much better work on New X-Men every month. But, more than anything, the art feels like a throwback to yesteryear. Poor figure work, cramped panels, and a whole lot of sloppy inking pretty much seal the deal. If you absolutely have to read an alternate take on Rise and Fall of the Shi'ar Empire, go read some Internet fan fiction. It'll look better, and the story will probably be a good deal more satisfying.
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Now I don't want to sound entirely negative, because this issue does have its moments. Unfortunately, you really need to have followed along with multiple WWH tie-ins to fully appreciate Pak's story. For all the face time Misty Knight receives, it's hard to care about her conundrum if you weren't one of the 17 people following Heroes for Hire. I'd say the two biggest beneficiaries in this issue are Iron Man and the Warbound themselves. Any lingering doubts that Iron Man didn't deserve what he got in WWH are washed away as he saves the city yet again. The Warbound get their own shot at redemption, and it's unfortunate that this is mainly intended to lead them into one of the many Aftersmash mini-series. Like Decimation before it, Aftersmash #1 exists mainly to sell more books in the future. This time, try not to fall for it.
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Make no mistake, the only reason this issue didn't score much lower is that the art is surprisingly good. I don't know how Marvel convinced Andrea di Vito it would be a constructive use of his time to assist regular artist Francis Portella this month. The end result is nice, but surely the two artists could find something better to do. I really feel bad for everyone who put in time on this issue, even Hudlin himself. If ever a series cried out to be canceled, it's this one.
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Cairo is a story that may not appeal to everyone. Certainly, it seems to invoke different responses in each reader. I've already read one review that praised Perker's art but was fairly unimpressed with the execution of the story. Regardless of the difference in opinions, I think one thing all readers and reviewers can agree on is that Cairo is a provocative and heartfelt look at Eastern culture. Surely that's at least worth a quick glance.
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It's unfortunate that the remaining few pages ruin the effect a bit. I'll admit it's hard to follow along with the ongoing plot at times, and every time Casanova's father appears and Fraction starts throwing acronyms around like party favors my enjoyment starts to lessen. Sometimes Casanova is just more complicated than it needs to be. It's hard to complain too much, though. Fraction is very obviously telling exactly the story he wants to, and, for the most part, it's exactly the kind of story I want to read.
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I don't even feel like delving into the rest of the issue. It'll only make you depressed, particularly if you're a Flash fan. Or a Superman fan. Or a Fourth World fan. Heck, if you like good stories in general you'll more than likely find this series increasingly offensive. With Grant Morrison recently stating in no uncertain terms that Final Crisis can be read and enjoyed with no Countdown experience, I see little reason to keep trudging through it every week. I only do it because it's my job, and one of these weeks it might just force me to quit.
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One area I never have any complaints about, however, is the art. Michael Lark is one of the best in the biz when it comes to blending superheroes and crime noir. It's nice to know that, even if Brubaker's writing goes completely off the deep end, I can cover up the word balloons and admire the pretty pictures. I don't think that will be a problem, though. I don't know if Daredevil will ever return to the level of quality we saw in 2002-06, but even at its worst the series is one of Marvel's better monthly books.
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Compared to the first issue, Foolkiller #2 is slightly disappointing in the way it stops the flow of the story to delve into the main character's origin. The issue is hardly without it merits, though, and I really look forward to the rest of the series now that the main plot looks to be back on track. Garth Ennis and Matt Fraction should look out. I may just have a new favorite vigilante hero by he time Foolkiller is done.
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I did appreciate, however, that Kirkman put in a slight amount of effort into fleshing out the newer zombie characters, most of whom didn't even have speaking roles last time. In particular, Gladiator seems poised to make a big splash next issue, and I look forward to it. Never thought I'd say that about another Marvel Zombies comic...
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While Duane Swiercynski's writing largely meets with my approval in this issue, Jefte Paolo's art is somewhat less than successful. Paolo's figures are drawn in too harsh a style, particularly with faces. And while Moon Knight is a pretty muscular guy, I don't think the Popeye arms look good on him. The art isn't entirely unsuited to the story, but I'm only more eager to see Mark Texeira and Javier Saltares hop on board for Moon Knight #14. This annual in general is a nice diversion, but I don't think it will leave the hardcore Moon Knight fans satisfied for very long.
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By now most readers probably have a good idea of where the climax is leading. That doesn't damped the overall effect much, luckily. I'm all too accustomed to seeing these types of mini-series come and go without significantly altering the status quo one bit. However, just like Silent War, Namor's place in the Marvel Universe will be forever altered. That's an exciting proposition for fans of the fish king. If I may make one final Silent War comparison, though, I'm afraid we may not see the fruits of these changes for quite some time. With seemingly little relevance to upcoming events like Secret Invasion, Namor's plight will most likely be pushed to the wayside as Skrulls continue to hog the spotlight. I'm still waiting for something to be done with the ending of Silent War, and I hope I won't be saying the same for Sub-Mariner six months from now.
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I don't know if an artist's entire style can be considered an exercise in irony, but that's what Hotz's artwork makes me think. I've never seen a cast of humans in a zombie story look quite so emaciated. Half the time I can't even tell which characters are supposed to be infected, as they all have a shriveled, pallid look. I can only assume this is at least somewhat intentional. Nevertheless, it's a little weird. If you want to see Hotz's definitive work at Marvel, you'll have to look towards The Hood. If you really, really need another zombie book in your stack of comics this month, Simon Garth won't steer you wrong. For most readers, though, I see no reason to bother.
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This arc is quickly winding down, but with what is easily the best cliffhanger so far I can't wait until next month. Good Spider-Man books are a precious commodity these days, and that only makes me appreciate USM even more.
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It's safe to say many of you reading this have never read a Grendel comic before. While I would urge you to at least check out Devil By the Deed before anything else, there is little in this issue to put off the Grendel layman. Long term fans may not see much in the way of originality yet, but it's obvious bigger things are on the horizon.
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Ultimately, Halo: Uprising #2 is a flawed but enjoyable experience. Unfortunately for Marvel, that's not going to be enough to drag readers away from their Xboxes and turkey dinners on what has to be the least popular week for buying comics of the entire year. Assuming the next issue comes out in the next month, let's hope it hits before the post-Christmas bout of retail apathy sets in.
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This issue is worth a read if you find yourself enamored with the Renegades. As a satisfying tie-in to a big summer event, it only manages to fall flat on its face, leaving a Hulk-sized crater in its wake.
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If the last two years of Iron Man have come across as a disappointment, this issue might be right up your alley. The overall direction veers far away from what the Knauf's have been working towards, but that's not really a bad thing at this point.
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Still, this issue will not disappoint current and emerging X-Men fans. If the quality of the stories in this crossover keep improving, I can only imagine how much fun the last few chapters will be.
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The real problem with this issue, though, is that the core story is too epic for its own good. One oversized issue isn't enough to adequately explore the twists and turns of an alternate Annihilation War. While Hine doesn't waste our time with pointless side stories, I still wish we could have been granted a full-fledged mini-series in place of a single issue. I'd gladly trade in the rest of this year's What If? batch for more Annihilation goodness.
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If this issue doesn't rank quite as highly as recent ones, it's only because the focus on action makes it stand out from the crowd a little less. As the issue wears on Brubaker's story feels more and more like it could have been cribbed from any number of James Bond movies. It's hard not to make the comparison when Dr. Faustus makes his escape from his secret underground lair by blasting off in his spy plane while the heroes do battle with a legion of faceless, uniformed henchmen. Maybe I'm just cranky because I was hoping the storyline would have progressed a little farther in the past seven months. The new Cap is due to make his first appearance in a mere two issues, and I worry Brubaker will have to rush the rest of this storyline to get there. Still, it would be wrong of me not to have faith in the writer. He didn't turn this series into an absolute gem by his disappointing readers.
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Brian Reed and Lee Weeks wouldn't have topped my list for a killer Captain Marvel team (no pun intended), but they certainly make a case for themselves. Reed is increasingly proving that he can easily survive without his frequent writing partner Brian Michael Bendis. Reed's own voice shines through in this issue, particularly with some well-written narration by Mar-Vell. Weeks, despite not qualifying as a very traditional superhero artist, is a near-perfect fit for this mini-series. In many ways Weeks evokes memories of Jim Starlin's work on The Death of Captain Marvel. If this series is eliciting favorable comparisons to that classic story already, I think we're in for a marvelously good time (har har).
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Little room is left for any other threads this week, and it's not surprising that there are few new or interesting developments in the respective journeys of Karate Kid et al. or the Challengers. This issue offers very little apart from an insipidly annoying Superman and a fairly major spoiler for The Sinestro Corps War. Even if you've followed Countdown from the beginning, I have to urge you to stay far, far away this week.
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Reading this annual was a risk that paid off, luckily. It won't convince me to pick up anymore issues before Aaron's arrival, and I'm not sure how excited I should be for Ghost Rider even then. Regardless, if you need a quick fix of Ghostey goodness, this is about as good a choice as you're likely to find.
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As for Christos Gage, I can't say I'm particularly impressed with his first issue. Gage tends to run circles all over the Marvel Universe, writing an X-Men comic here, a Captain America spinoff there. As such, the quality of his storytelling varies with every effort. Gage seems a bit too wrapped up in telling a goofy riff on 70's crime dramas and blaxploitation movies. Case in point - Luke Cage gets in a fistfight with a mutant hustler in a full pimp outfit. I'm also disappointed that Gage glosses over each new member's introduction. By issue's end, the Avengers have mostly assembled with little to no fuss. I'm still hopeful that the series will pick up once characters like Misty Knight and Franck Castle join the fray. But for now, this is one House I'm not excited about revisiting.
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The one true highlight of this issue comes near the end, as Bendis seems poised to do something truly cool with both Avengers teams. Unfortunately, the heroes are immediately sidetracked into doing something not quite as cool. Once you see the final page you'll know exactly why the word "overkill" immediately sprung in my mind. I'm anticipating a rousing finish to what has so far been a wildly uneven arc, but I can't help feeling the climax could have been handled better.
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What is a problem, however, is Goran Parlov. Parlov has illustrated every Barracuda story to date, and I've never particularly cared for his style when held up against Ennis' other MAX collaborators. That style seems to have degenerated in this arc though, and I find myself actively disliking the art rather than simply passively ignoring it. Regardless of how good the story turns out to be, I'm afraid Parlov's art will prevent this arc from rivaling Ennis' best.
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All that aside, Salvation Run isn't entirely a lost cause. Willingham wisely focuses on the Flash Rogues for the majority of this issue. The Rogues are some of the most entertaining and sympathetic villains in DC's arsenal and make for decent focal points. I'm interested to see how the series progresses as more and more villains are dumped on this barely hospitable planet. Hopefully Willingham will follow tradition and pick up steam quickly enough for Salvation Run to rise above the glut of other mediocre Countdown tie-ins.
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Don't think that this issue has nothing to do with Thor's ongoing quest, however. By the end of this issue Blake's true reason for traveling to Africa will become clear. The single biggest complaint that can be lodged against Straczynski's Thor so far (other than the perpetually dumpy expression artist Oliver Coipel draws Thow with) is the criminally slow pace. In the context of the series as a whole this issue is still guilty of moving things along slowly, but taken on its own I didn't mind. Straczynski introduces enough new characters and developments this month that I'm hopeful the story will soon be moving onto bigger things. While it's entertaining to see Thor battle it out with hapless militia fighters for a month or two, I'm ready to see him clash hammers with a more suitable enemy. If not Loki, let's at least throw some frost giants in there.
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This arc has been far from perfect, but it still feels like a breath of fresh air coming off of Jeph Loeb's disastrous six issues. If Marvel really wants to redefine Logan for a new generation of readers, maybe they should be looking more in Guggenheim's direction.
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Wonder Woman is still, in some ways, a flawed book. However, I never expected Simone to swoop in and fix every problem; I was merely hoping for a good story in spite of them. Luckily, that's exactly what she delivered. It's taken well over a year, but it's finally safe to read Wonder Woman again.
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There's little denying this series was primarily conceived to make lots and lots of money. The issue is packed to the brim with ads for Warcraft cards, shirts, action figures, and plenty more crap. Luckily, the finished product turned out surprisingly well, which is enough to already make it one of the jewels among Wildstorm's lineup.
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For his part, Pak is able to craft a satisfying climax to his story that involves more than just Sentry knocking Hulk unconscious (or vice versa). Still, the utter sense of confusion in the last few pages is as much his fault as Romita's. Pak sets up at least half a dozen new mini-series and ongoing books with this one issue, but I can't say I'm particularly interested in any of them. More than anything, Pak is guilty of not being nearly ambitious enough with this story. I wanted a World War, and all I got was a lot of punching and screaming.
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If I have a complaint about the third chapter of Messiah Complex, it's that we're still seeing too little of the villains. Aside from the Purifiers, this issue brings back a long-forgotten player in the circles of X-Men villainy. However, their appearance doesn't necessarily amount to much. Other than the lack of Sinister and his Marauders, I'm growing more and more pleased with Messiah Complex each week.
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Essentially, Annihilation: Conquest #1 is a decent first issue that requires you to take a leap of faith. Based solely on the pedigree of Annihilation and everything that's come before, I'm still confident this series will prove ultimately satisfying. The next couple issues will be the real judge.
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Here at the end, I'm happy to say Starlord was the best of the four Conquest books. It started out strong, unlike Wraith. It continued strong, unlike Quasar. Most importantly, it finished strong, unlike Nova. I don't know if we'll ever get the chance to read the continued adventures of Peter Quill and friends, but if we do I'll fight tooth and nail to be first in line.
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As always, the main flaw with this issue of Astonishing X-Men is that we won't see another one for so long. I hate to think that I won't get to read another Whedonesque adventure until 2008. I think I'll use the new issue of Messiah Complex to wipe my tears away.
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And hey, the book doesn't offend the eyes this week! Coming off a relative high point thanks to Scott Kolins last week, the trend continues with Ron Lim's pencils. Lim won't blow your mind with epic page layouts or intricately detailed figures, but his characters are surprisingly expressive, especially during the requisite goofball sequence featuring Trickster and Pied Piper. Every so often it's nice to have a reminder that the Countdown crew is capable of firing on more than a few cylinders and delivering a reasonably enjoyable reading experience.
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It's difficult not to view McDuffie's last arc as a placeholder before Millar and Hitch, but don't discount it without giving it a try. McDuffie and artist Paul Pelletier are capable of some good, solid FF stories, and I think this arc will prove to be their crowning achievement on the book.
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Luckly, there are some amusing moments to be had. I'm surprised Marvel didn't just hand the She-Hulk reins to Templeton, as he displays a similar penchant for the sillier aspects of the Marvel Universe like Dan Slott is known for. Part of me wished they had, because duck-hunting gags are not enough to support more than a single-issue storyline. Now that we're moving onto a third issue, I really hope Templeton has something more up his sleeve.
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I don't know if I'm pleased or saddened that we're enjoying so much buildup to Marvel's big 2008 event. The big 2007 event isn't even over yet. Regardless, this issue will help to relieve the itch of all those burning Skrull-related questions. If that's not enough, then maybe you should go to the doctor and have that looked at.
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So far this series succeeds best when it focuses on young Alex and his struggle to adapt to his new family life. I don't care so much about his supposed alter ego, Omega. The series has a very "coming of age" feel, partially because of Farel Dalrymple's art. Every page feels ripped straight from a children's storybook (albeit one filtered through the mind of a cynical adult). It's an effective look all around. If only the story weren't guilty of covering too many bases. Lethem is a talented enough writer that I'm sure he'll have plenty of offers coming his way. There's no need to mold every one of his ideas into one story.
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If I have any complaints about this issue, it's that the last few pages are a bit too vague. Gina comes to some sort of a realization, but we're left with little information as to her actions and where the series will move forward from here. I don't usually complain about R.M. Guera's art, but I had difficulty in one or two cases discerning the identity of certain figures. These quibbles aside, I'm currently loving Scalped, and I can't wait to see what Aaron has in store for his second year on the book.
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The characters themselves are far too generic to support even a relatively brief mini-series like this. I don't even remember their names. They mostly exist to give Shanna someone to save and to randomly spew one-liners. For a comic that enjoys making light of Hollywood action movies, it certainly bears a huge resemblance to them. Maybe Survival of the Fittest will read better as one complete package. Regardless, I don't see myself ever wanting to read another Shanna mini-series that doesn't at least aim for the level of the original. I have better things to do with my 10 minutes.
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No, it's not quite Requiem 2, but it's close enough to make me very happy.
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As long as you can ignore the art, Uncanny X-Men #492 is a pleasing follow-up to the first issue of Messiah Complex. The storyline has many more difficult tests to face in the near future, not least of which being the impending shift between multiple writers, so far I have little reason to doubt the next two months are going to be exciting ones for mutantkind everywhere.
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Every once in a while Spencer does something inventive, such as when one character tries to hold a serious conversation with said sex icon in an online chatroom while she fends off the digital advances of her crazed admirers. I'm also pleased with the overall art quality, though more because of Cameron Stewart's inking than anything. In the end, The Vinyl Underground suffers from the exact opposite problem plaguing most books these days. Too little action and too much focus on the characters. Who knew?
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Rather than end this mini-series like I expected, with Hulk tearing a swatch of destruction through these hapless super soldiers, the group is forced to come to terms with their feelings of anger and question whether they really want Hulk dead after all. In turn this reflects on Hulk, and it may be that this issue will have some effect on the end of WWH after all. Without spoiling the ending, it's obvious Hulk won't be defeated suddenly in this issue, but there is hope that certain ramifications will play out in both WWH #5 and in future Hulk stories. I can tell you right now there are going to be plenty of the latter leading up to the new movie. I wouldn't be adverse to seeing the Gamma Corps concept touched upon more in one or more of those stories.
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Having now read the first chapter of Conquest itself, I know for a fact these characters can be written better than they are. I don't even blame Gage entirely. The writer is one of Marvel's most eclectic, penning issues of everything from Union Jack to Iron Man to World War Hulk: X-Men. Every writer has their own strengths, and operatic space epics simply aren't Gage's. Rest assured that Phyla-Vell will be moving on to grander and more exciting adventures from this point, and let's just hope that the upcoming House of M: Avengers plays more to Gage's talents.
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If the writing is only marginally improved this week, at least the art takes a massive leap forward. I never thought I'd champion the arrival of Scott Kolins on a series, but I am. Besides, his style has improved immensely in the last six months or so. The bright, flashy colors and thick, black lines are well-suited for a book that would never be mistaken for taking place in a realistic universe. I just have a feeling I'll be missing Kolins next week. We probably won't have someone of his caliber on art duties until DC decides to change the name of the series to Countdown Until Our Fans Give a Damn or something.
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Sub-Mariner is not without its problems, but it remains a reasonably satisfying reading experience for fans of aquatic superheroes. At the very least it reaffirms my belief that Namor is more interesting than Aquaman could ever hope to be. He's like the Fonz, except he wears a Speedo instead of a leather jacket.
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It's always nice to catch a glimpse of the quieter days in Matt Murdock's life, especially because even they aren't all that quiet. Like most of Marvel's annual issues, this book likely won't have any impact on the ongoing series, but fans of the character will be reasonably pleased with the result.
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Because of, and in some cases, in spite of, everything I've read up to now, I'm excited to see what Kingdom Come Superman's presence holds in store for the DCU. I remain convinced a plan is in place and taking effect. Hopefully those effects aren't too long in showing.
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Up till now, Wraith has been little more than a composite of every mysterious gunman you've ever seen in movies, television, and anime. Equal parts Clint Eastwood and Vampire Hunter D, in other words. In this issue Wraith finally meets someone who convinces him to ditch the cowboy hat and do something more. The only question is if the rejuvenated Wraith can put a stop to the Phalanx's secret weapon before it instantly assimilates everyone in the galaxy. Granted, a bad outcome isn't exactly likely with a larger mini-series looming, but that's the same storytelling limitation all four Conquest books have had to deal with. The important thing is that Javier Grillo-Marxuach has managed to turn around what was unequivocally the least enjoyable Conquest book and give it a surprisingly rousing conclusion. He's helped somewhat by artist Kyle Hotz. Hotz's work has been a real mixed bag so far. His figures tend to look both jagged and washed out, if such a thing is possible. However, Hotz is cap
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At least I don't need to complain about the art for once. Francis Portella takes over as the regular series artist with this issue. Portella has started to really impress me with Super-Villain Team-Up. His work here isn't as refined, but it more than does the job. Truth be told, I'd feel bad for Portella if he put in anymore work than necessary with this series. It just isn't worth bothering.
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Between the evil people running rampant and the surprising amount of nudity on each page, it's no wonder Fraction turned to Image for a publishing outlet. Even Vertigo or MAX might have issues with the book's content. That said, Casanova is nothing if not a silly, almost light-hearted series. It may not be everyone's cup of tea, but those that push through the burn will find a lot to love.
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And DC, please reconsider giving Carlos Magno more work on this series. It's entirely possible Magno is capable of good work when not forced to draw at a frantic pace, but when he shows up every four weeks like clockwork my eyes just can't stand it.
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In short, this is a stellar first issue for Greg Hurwitz. I'm already feeling a bit despondent that Foolkiller will only last five issues. It ain't the most original book on the block, but a bloody hand down a garbage disposal never felt so good.
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If Dave Gibbons' writing doesn't quite compare to Johns' on Green Lantern, that's only because Johns has ascended to some superhuman level of storytelling. Gibbons manages to accomplish quite a bit with a cast of characters I honestly didn't care much for a few months ago. In the same vein, while the large cast of artists don't usurp Ivan Reis' throne, their combined effort is more than enough to get the job done. One complaint that might be lodged against Johns issues is that the full scope of the war isn't well-represented. That's where this series steps in. In this issue we get a wider glimpse of the war for New-Earth, and one fairy major revelation that will obviously affect the Lantern books for a good, long while. I'd say that's well worth your money.
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Odd ending aside, this issue displays a little bit of everything that has made the Diggle/Leonardo Manco run so enjoyable. Stellar art that would be right at home in any of the darker Vertigo books, plenty of atmosphere, and a healthy dose of humor to boot. I'm pretty sure I caught a subtle nod to Constantine's original inspiration, the musician Sting. If you haven't been following Hellblazer so far, this obviously isn't a good place to start. Still, you'd be well-served to start at the beginning of Diggle's run, because this is the best work of fiction John Constantine has been involved with in years.
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The story itself is a fairly simple one. The Lone Ranger and his new partner Tonto ride around and enact some brutal Old West-style justice. Along for the ride is a desperate young man who may not be as helpless as he seems. Longtime Ranger fans may still be shocked at the level of violence contained within these pages. As for me, I think the extra blood only accentuates the book's more realistic tone. The only real complaint I'd lodge against it is the blazingly fast time it took me to finish the issue. Due in part to the preponderance of wordless panels, it's a short read for $3. Still, this week alone I've made several much worse spending decisions at my local comic shop. Ride with the Lone Ranger and he'll never steer you wrong.
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Kenneth Rocafort continues to provide some pretty pencils in the mighty Top Cow tradition. That is to say, every character is sleek, angular, and impossibly sexy. The book's most major flaw so far is that the villains are all two-dimensional cardboard cutouts. The fact that they all look like super models to boot doesn't help much. Dini still has some work to do as far as polishing his creator-owned series, but he's done enough to keep me hooked for the forseeable future.
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It's almost depressing that an issue so good comes at the very end of Huston's run on Moon Knight. I always wondered why, out of the countless pitches Marvel must have received to revitalize the character, they went with him. Now I can see. It may be a case of too little, too late, but I found it a compelling read just the same.
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Though this issue wades through too much backstory for my liking, it ultimately succeeds by readhing that one magic moment where everything clicks. Much like when Cyborg-Superman's motivations were laid bare in an earlier issue of Green Lantern, it's a touching moment when Prime's layers are peeled away and we see the somewhat childish but wholly understandable source of his boundless rage. For that moment alone this issue might be worth a peek.
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Chins aside, Messiah Complex is off to a decent start. The real test will come when the story is bounced between four different creative teams over the next two months. Neither the quality of Endangered Species nor the past examples of major X-Men crossovers give me cause to feel optimistic, but damned if I'm not excited about this story anyway.
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So far the new creative team is helping She-Hulk dust herself off a bit, but I just wasn't as impressed with David's concept as I wanted to be. I have a feeling that it's going to take a few months before we get a clear idea of how his She-Hulk will live up to Slott's best work. Until then, if you've made it this far into Shulkie's topsy-turvy world, it won't kill you to stick around for a while longer.
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All in all, this latest attempt at What If? stories isn't off to a bad start. I really wish Pak had simply written one story and given it his full attention, but it leaves me with hope for upcoming issues.
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Downtime is nice, but let's move onto Messiah Complex already.
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Now that we've seen Brubaker is able to maintain a consistent quality over the long run and without the series' main character, there is absolutely no reason not to be reading this book. Do it for Cap, if not for yourself.
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Thank goodness for Mitch Breitweiser. Even if the majority of the new Marvel Knights books can't live up to Silver Surfer: Requiem in terms of overall quality, at least they can all look good not doing it. Short of Esad Ribic's paintings in Requiem, Breitweiser's art is the best to come out of the line. I'm prepared to say he might be the best Cap artist of the modern age after John Cassaday. Even compared to the first two issues his work here is mind-blowing. Chosen may have no lasting effect on the Marvel Universe, but I hope it at least gives Breitweiser the recognition and future work he deserves.
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At this point any Marvel Zombies comic is going to appeal to a specific audience, and you know who you are. Personally, I don't think I'll ever be interested in another issue unless the zombies cross dimensions and start munching on DC characters. But for the rest of you, the prospect of a new Kirkman-penned zombie book must be plenty appealing. Rest easy knowing this is no worse than the original.
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By and large this issue is more of the same. More witty exchanges. More annoying thought balloons. More disturbingly alluring shots of Ultron. It won't exactly win over a legion of new fans, but the overall execution has improved to the point where persistent readers will finally start to feel rewarded.
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Taken strictly from a storytelling standpoint, Jenkins does the impossible and crafts a side-story worthy of what is perhaps Marvel's best superhero book. It's just a shame the comic doesn't look better, because otherwise I could fool myself into thinking this was a fabled lost arc.
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Perhaps Suburban Glamour can live up to my admittedly high expectations in the future, but for now the small scope and poorly-defined concept just don't do it for me. This issue has plenty of endearing qualities, to be sure, but without Phonogram's killer concept Jamie McKelvie's solo effort just isn't glamorous enough.
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I've been enjoying Patrick Zircher's art quite a bit, as his work trumps most of the "mature" artists at Marvel. Compared to the average issue of Punisher MAX, his figures are just more detailed and expressive. When Terror reassembles his body from random spare parts, you can't help but be enthralled and repulsed at the same time. The same goes for the book as a whole. Terror, Inc. may be disturbing, but it's also a hell of a good time.
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As usual, Darrick Robertson's art is well suited to this gritty, grimy world of not-quite-heroes, even if I don't feel we're seeing his best work. Robertson's work tends to suffer greatly when rushed (just take a look at his issues of 52) and that seems to be the case here. I understand the need to do occasional work outside a time-consuming, multi-year series like this, but I'd much rather read one well-drawn Darrick Robertson book every month or two than a handful of sloppy ones. Maybe it's just me.
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I'm not trying to convince anyone to read Origins, but at least we're to the point where you could conceivably do worse with your money.
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So far I haven't had anything bad to say about Atomic Robo #1. Granted, it did make for a unexpectedly satisfying read, but it does have one fairly major problem at this early stage. I mentioned a comparison to Forrest Gump, but in truth I'm forced to take writer Brian Clevinger's word on that. The intro page paints a pretty picture of Atomic Robo acting as a major catalyst for various 20th Century events, not unlike Mr. Gump. Unfortunately, Himalayan Nazis don't quite fit that bill. And where's my Tesla? I really hope that Clevinger and Wegener can increase the scope and live up to what is admittedly a terrific concept. Even in its present form, Atomic Robo is a breath of fresh air in a crowded indie market.
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Manuel Garcia returns to pencil this issue. Outside of the random contribution from bigger names like Dennis Calero, I've never much cared for art quality in Countdown. This isn't the worst product we've seen from Garcia in the past couple months, so I guess that's enough to leave me relatively satisfied. Emphasis on relatively.
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This first issue has some major pitfalls, many of which can't really be discussed. Still, Winick has a better handle on both Ollie Queen and Dinah Lance than many readers give him credit for. Fans of either character will probably find something to enjoy here, even if Green Arrow/Black Canary #1 doesn't make a strong case for its own continued existence.
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Other than one or two instances where the storytelling momentum just stops flat, this is easily the best issue of New Avengers since the end of Civil War. We haven't seen hide nor hair of Skrulls in months, and I don't care in the slightest. As long as I get more of the Hood, I don't care if I see another green, scalloped chin for the rest of my life.
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As aways, Paco Medina proves to be quite the breakout hit with this series. This issue in particular allows Medina to cut loose and render some big, old-fashioned superhero brawls. Grevioux's story may be far from perfect, but at times Medina can almost make you forget the flaws amidst all the pretty scenery.
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Lackluster ending aside, I still generally enjoyed this issue. The art is impressive, particularly on the Brain Denhem-penciled pages. From the beginning of this series Nova has come across as a less mopey version of the Sentry. In this case, that's a strike against Robert Reynolds rather than Richard Rider. Even if Nova flys off into the sunset and has nothing to do with another Annihilation book, I'd continue to relish every issue. Good cosmic stories are too few and far between at Marvel these days.
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That aside, Ennis definitely has the right kind of emotional connection to work with here. As long as he remembers to capitalize on it in between the firefights, this arc could end up rivaling "The Slavers" and "Up Is Down, Black Is White."
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This is Ariel Olivetti's last issue as regular artist. While the standard complaints about his style still apply, at least Fraction really played to his strengths in the script. How do giant muscled warriors duking it out in gladiatorial combat sound? I won't necessarily be sad to see Olivetti leave, but it wasn't all bad, was it?
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Like Wolverine: Origins, this issue makes liberal use of flashbacks to augment the ongoing story. Unlike Origins, it actually works well. Just more proof that we only really need one Wolverine series.
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What's that you say? You want to hear about Endangered Species? I don't want to talk about it. I wasted enough of my time just reading it.
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Don't read Howard the Duck #1 expecting high art or deep, compelling drama. This issue is meant for little more than light entertainment. Several comparisons can be drawn to the old Looney Toons animated shorts. One sequence in particular could have been ripped straight from a Bugs Bunny/Elmer Fudd encounter. Marvel seems to enjoy ripping on old favorites like Bugs and that everpresent rodent at Disney, but it's all in good fun. Thanks to the addition of Juan Bobillo on pencils, this issue brings back memories of the good old days of Dan Slott's She-Hulk. Marvel doesn't really have enough in the way of humorous comics these days, so this mini-series should suffice at least until Peter David (hopefully) puts She-Hulk back on track.
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One thing to notice during the many pages of fight scenes is Eric Canete's art. The cartoony, bombastic pencils are about as far as you an get from the very realistic tone of the Iron Man ongoing, but they aren't a bad fit for this comic. Despite its mission to modernize a classic Marvel story, this comic is very much a throwback to the "good old days." If a post-Civil War Tony Stark rubs you the wrong way, this comic will give you a glimpse of Iron Man before his armor got all tarnished.
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The art style also suits this light-hearted tone well. Farel Dalrymple isn't a name you usually see on a Marvel comic. This is a very indie comic in every manner of presentation. More importantly, it's a very entertaining read. Because this series acts as a fresh start, you don't need to know a single thing about Omega: The Unknown to hop right in and be carried away. All told, this is a pretty lousy week for Marvel books, so there's no good reason you shouldn't give it a shot.
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Jason Aaron paints a powerful picture of modern Native American life with each issue, but artist R.M. Guera deserves credit for painting a picture in a more literal sense. His moody and gritty pencils always subtly adjust to fit any situation, whether the characters are hanging out in the South Dakota desert or lurking in the shadows of the Crazy Horse Casino. Vertigo has many, many books worth your time. Short of Fables and DMZ, Scalped is probably the best one.
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On the other hand, comics like this are all about the art. Even if the story takes 30 seconds to read, the art is meant to be ogled for a good 30 minutes afterward. To that end, Khari Evans doesn't quite live up to Cho's legacy. His foul beasts are respectably detailed. It's mainly the figures I take issue with. Evans can draw seek and sexy females, but he either can't or won't devote the necessary amount of detail one would hope for. Many scenes with Shanna struck me as rough sketches that were inked and colored over rather than meticulously plotted drawings. That alone is enough to doom Survival of the Fittest to permanent second fiddle status, but that doesn't mean Shanna fans won't get a good deal of enjoyment from this story.
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As always, the Endangered Species backup bears some mentioning. Nothing much happened in the previous 13 weeks, so I'm not sure why I expected anything from the 14th iteration. he entire point of these backups seems centered around dragging Beast from point A to point B, showing him exactly why he can't accomplish his mission at each stop along the way. At this point, I feel sorry for anyone who was convinced by Marvel to buy all four X-books just to follow this pointless story.
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The situation becomes less absurd and more desperate this month, as the team struggles to find the mysterious secret weapon of the Phalanx and avoid capture. The latter proves to be especially difficult. I'm also loving Timothy Green's art, even though I still find myself wishing he were a little more diverse in drawing facial expressions. The Kevin Maguire comparisons are never far behind when it comes to Green, but without strong facial work the comparison just doesn't stick. That aside, this continue to be my favorite Conquest book, and I'll be an unhappy camper indeed if I can't have my Rocket Raccoon on a monthly basis from now on.
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Mind you, the art is good. That's one thing every Marvel Knights series has had in common so far. I have to give it up for ay artist who takes the time to draw out every single link in Cap's chain mail armor. Mitch Breitweiser is equally adept at rendering the various military equipment and soldiers that take up most panels. I just wish the story could back up the art. I still don't know quite what to make of it. I thought this mini-series would follow a real-world soldier who begins to have hallucinatory visions of Captain America on the battlefield. Simple enough, but apparently there's a real Captain America in all this, and he's basically jacked into the Matrix so as to communicate with said soldier for whatever reason. I'm not entirely sure if Cap is real, or the soldier, or both. I feel more confused than I should be with a comic of this nature, and it bugs me. Two issues are more than enough to explain the premise behind a story. I can only stomach so many scenes of a ghostly Ca
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This is the first issue (to my knowledge) to feature only David Aja on pencils. The various fill-in artists have always been well suited to their flashback sequences, but I'm more than happy to see Aja carry the book completely on his own. Frankly, I'm surprised Marvel hasn't snatched him away to draw a book that actually sells well. Maybe comic fans are actually listening to all the praise and are finally starting to give this series the love it deserves.
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Where this issue falls painfully short is the art. Howard Chaykin has been all over the underbelly of the Marvel Universe lately, and his style obviously works better on some series than others. I'm rather spoiled by David Aja's fluid pencils, and Chaykin doesn't strike me as the most suitable replacement. In fact, I'm convinced Danny Rand is a Skrull now. Why? Well, take a look at the wrinkles below his lips in every panel and tell me it doesn't look a little bit Skrully. The flashbacks are handled by Dan Brereton, who doesn't impress except for a short sequence that is painted over by Jelena Djurdjevic. Her style is close enough to that of her husband's so as to be nearly identical, and this is a very good thing. If both Djurdjevics would do more interior work at Marvel I would be a much happier comic book fan.
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At his best de la Torre rivals peers like Alex Maleev and Michael Lark, but it's clear he isn't really cut out for superhero books. Each and every month I'm left with the feeling that Iron Man is only a few short steps away from greatness. Short steps they may be, but without any forward movement they may as well be miles of impassable mountains.
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The story is simple but reasonably well executed. There's not much to make you care for the hapless criminal other than his continuing desire to survive, but in a sense that's all you really need. Laurence Campbell paints a dark and moody picture of Frank's New York. It's dark to the point of being abstract, in all honesty. I don't know if Campbell is also slated to take over Punisher MAX on a permanent basis. If he is, I hope he can display a little more range. As a testing ground, this annual succeeds pretty well. With the regular series only shipping on a bimonthly schedule at present, I can always use some more punishment to fill the void.
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This is also the first issue where I really felt myself starting to care about the protagonists. I kept my guard up at first, fearing Fraction would just banish them like he did the original lineup in the first issue, but I think it's safe to say these characters will be sticking around for the time being. All in all, the third issue of The Order is my favorite so far. I can only hope the fourth one claims that title next month.
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What makes this particular battle so great is that Electro doesn't even want to fight. He's naked. Not surprisingly, this allows for some classic Spidey banter. It helps that Stuart Immonen is illustrating every punch, dodge, and quip. His style suits this book better than I could have hoped for. I don't know what will come out of this arc other than a dead Goblin, but I hardly even care at this point. I'm having more fun than I've had in years with USM, and I don't want it to stop.
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The Endangered Species backups barely warrant a mention anymore. They never accomplish much of anything. The rigid formula of Beast exploring a new locale and not finding an answer was slightly broken last week, but not enough for me to care. By next week I'm sure he'll be right back where he started, and the only improvement will be that the story is one week closer to a conclusion. That is, if Messiah Complex allows it to conclude.
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Daniel's art is mostly pleasing as well. His style is a bit more restrained and realistic than his recent collaborations with Morrison. I would like to see Daniel adjust his inking style a bit, with less feathery lines and more substantial blacks. Though not without its quirks, Daniel's Batman is proving it has the quality to stand up to the other high profile books in the Batman line these days.
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Road of Kings is a worthy read for Conan fans so far, but it needs to try a little harder to distinguish itself in the future.
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Finally, this issue includes materials for both a Fables-themed board game and a puppet theater. These are... interesting inclusions, but it's difficult to imagine many readers doing more than quickly glancing at the two sections and moving on. But while the bonus content in this issue could have been a bit more consistent, it's hard to argue Fables #100 doesn't offer plenty of bang for the buck. More importantly, it serves to inject some energy back into a book that's been flagging for too long.
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SL Gallant fills in for Augustin Padilla this month. Gallant's style has often shifted as he has rotated between IDW's various G.I. Joe books. Here, Gallant manages a surprisingly effective homage to the earliest years of the series, channeling the style of artists like Herb Trimpe. It's a nice shift from the sometimes overly exaggerated visuals of Padilla. And if Padilla ever does move to another permanent gig, Gallant and his retro approach would be a welcome replacement.
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Doug Mahnke's pencils are more consistently awesome than in recent issues, a fortunate fact considering how much this issue hinges on the art. As this arc begins winding down and building towards "War of the Green Lanterns" next year, Green Lantern is quickly picking up some serious steam.
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With vibrant, energetic art like this, it doesn't matter if the script is a bit plain and straightforward. "Dark Son" provided enough character drama for the time being. These next few issues are the palette cleanser. And so far, it's a very tasty cleanser indeed.
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As with the previous issue, Jerome Opena and Dustin Weaver divide up the pages, with Opena handling the conflicts in space and Weaver those on Earth. Infinity as a whole has an impressive sense of visual consistency despite being divided up among these two artists and Mike Deodato and Leinil Yu. Each artist has his own approach to anatomy, framing, and so forth, but there's a common sense of grit, weight, looming darkness and larger-than-life spectacle that unites every page of the story. Opena stands out especially in how his scenes blend massive scope with more personal confrontations. His flair for body language comes into play in a major way as Gladiator looms over Captain America, yet still comes away from the scene as the lesser hero in the end.
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Similarities aside, the issue is well presented. The barren, snow-swept setting of the film is swapped for a different sort of rural, Midwestern desolation. A conflict involving a pushy real estate developer could serve to differentiate Crossroads from its sequel more, but at the moment the villain of the piece is a bit too two-dimensional. Andreyko and artist Patric Reynolds are able to channel the creepy tone of the film, though the comic never packs any particularly scary moments. Hearing Abby feeding from behind a wall is not the same as seeing her pounce on her prey in live-action. Still, Reynolds, art is very dark and moody, and also much more detailed than one might expect from a licensed comic. What Let Me In: Crossroads lacks in originality it makes up for in presentation.
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Stuart Immonen's art is a huge draw as well. There isn't much action to be had this month, but Immonen proves himself to be equally adept at talking heads and dialogue-heavy scenes. With the lush colors of Laura Martin to rely on also, New Avengers is easily one of Marvel's prettiest books these days. It's a shame we only have one more issue with the current art team to look forward to.
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In the end, The Little Sisters of Eluria sacrifices flourish and style for realism. It's not an entirely welcome trade. As sad as it is to say, the Dark Tower comics seem to have moved past their prime this year.
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Now that it's wrapped up, I can only hope this series will be quietly disregarded and forgotten in the same way Spider-Man: Chapter One was. It makes a mess of an already convoluted continuity. It stumbles over itself trying to make Wolverine a more important figure in the Marvel Universe, as if the character needed that. It stretches characters like Sabretooth past the breaking point and insults the legacy of other important X-Men icons like Magneto and Professor Xavier. It simply has no place in the X-Men mythology.
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David Lopez is in strong form as well. His work isn't terribly stylish, which does hinder some of the darker, bloodier scenes a bit. But it is clean and full of energy and well-suited to the vibe of the story. All in all, Widowmaker has all the makings of a fun and frantic adventure that won't be bogged down by pointless tie-ins. It's a breath of fresh air in that regard.
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DC's flagship Batman series continues to struggle even as it builds to a major finale.
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With a different art style, this Civil War II tie-in arc could easily put the series back on track. It manages to explore the impact of Civil War II while also exploring key relationships in Tony Stark's life (not least of which being his burgeoning friendship with Riri Williams). Sadly, Deodato's stiff artwork and Martin's dreary colors are a poor match for the story.
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This issue proves that Ostrander hasn't lost his touch with Suicide Squad. If anything, it argues that Ostrander should be playing a more active role at DC these days. Fans of the classic Suicide Squad will feel right at home with this new adventure, even if the art doesn't quite gel with the tone of the story.
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