Justin Micallef Comic Reviews

While the issue itself is well written, it doesn't really feel like an X-Men book, instead coming across as a sort of tertiary introduction to a new continuity. However the character moments that are present in this issue work, and work well, specifically the conversation Jean Grey has with Miles Morales. While many of the other X-Men are confronted with (sort of convoluted) Ultimate versions of unrecognizable characters (this is due to the fact that the Ultimate Universe is over ten years old), Jean's conversation with Ultimate Spiderman works well, I just feel like it would have been so much better if Miles was introduced to the 616 universe, instead of the other way around. While Stuart Immonen's pencils are definitely missed, Asrar's double page spread that explains Ultimate Spiderman's origin within his universe is breathtaking.

A great book, through and through.

Axis also feels like a culmination of everything that has been boiling in the Marvel Universe since the beginning of Marvel NOW! Nowhere is this more present than the characterization of Professor Xavier's ghost dialogue with Rogue, which remains heartfelt and poignant, a complete piece of what has been hyped since Xavier's shocking, sudden death inAvengers vs. X-Men.Adam Kubert's art is as "superheroey" as can be, and this remains his greatest strength and weakness. While his dynamic action in the giant fight scenes and set pieces is incredibly well-done and well-realized, some of the quieter moments come off as a little rushed. This is no doubt due to the fact that this is a highly anticipated event comic that survives by it's ability to come out on schedule. Again, his action is completely there and well done, it's just that his facial expressions and poses in some of the quieter moments come off as a little brash and angular instead of fully selling the emotion behind ev

Iron Man is also completely characterized to perfection by Remender, defining him by his guilt in making the perfect killing machine of the upgraded sentinel that Red Onslaught has taken control over. Characterizing Iron Man as this guilt-ridden inventor portrays him in a more sympathetic light that is not present in many other depictions of the character. Adam Kubert's pencils have greatly improved in this issue as opposed to last. Each hero is depicted in perfect, battle-worn glory which makes the reader feel the impact and stakes of the series. While some of his pencils seem a little rushed, this is entirely forgivable considering this series is releasing weekly.

Axis is pushing forward at a breakneck pace and while it's taking a break next week, I hope we all can catch our collective breath for the shocking revelations to come.

Yu's pencils are an improvement over last issue. This issue remains less action focused and instead lets the intensity of the quieter moments brew between each panel and for this Yu's art truly shines. Iron Man ego-warped self proclamation at a local sports game remains a highlight, especially captured in Daredevil's look of pure disgust. Yu's pencils also seem to point to the fact that their remains no clear heroes in this event, only sides to choose and sides to abuse. The X-Men and Avengers are not depicted as incredibly heroic, instead angry, frustrated, and determined individuals who have sworn allegiance to the arbitrariness of a group moniker.

This remains an incredible beat of storytelling from both creators as at first glance this page does not seem entirely important but in actuality sums up how far we've come with these characters, how dire their circumstances remain, and how more and more it seems unlikely that they will actually be 'found'. This one line echoes so many characters in the series perfectly that it's shocking (Grant, His Wife, Grant's children, Kadir etc.). Speaking of these characters, this issue also opens up another slew of questions in it's final arc, depicting a gorgeously rendered chase sequence between a new Kadir(?) and an unknown pursuer. This opens up a plethora of new questions as we (the reader) are entirely unaware of which version Remender and Scalera are showing us and leaving it entirely vague and unanswerable as to when the original versions are going to be found.

Black Science is the most consistently wonderful and wondrous book on the shelf in thanks completely to the wonderful team of Rick Remender, Matteo Scalera, and Dean White. This issue is no exception.

Issue #11 remains a hard one to review without giving away any spoilers. Suffice to say, we pick up with Kadir's selfless (?)last stand against the millipede death cult while multiple versions of Grant converge on the last surviving cosmonauts. Developments are made, characters live and die, and a new central plot focus is introduced in the final page. The book remains infinitely compelling despite the murkiness of some of the ideas presented and establishes a cliffhanger that would have any reader desperately yearning for the next issue.

Black Scienceis (and hopefully always will be) an excellent title, so reviewing it relies solely on comparing it to it's own greatness as opposed to that of it's contemporaries. It's consistently always a favorite, even when I feel like I need a map to follow it's intricate web.

This is not to discredit the fun, visceral, appeal of a well-depicted action sequence, however. Mico Suayan's pencils sing with life and grit as we watch Bloodshot dispatch foe after foe in the early pages of this title. The quieter moments work just as well, however, and there is a palpable sense of buildup/dread as Bloodshot's life is forced to steer towards violence yet again. A stand out sequence is when Bloodshot's head is blown apart and simply reconstructs before the viewers eyes in all it's gory wonder.

This reviewer had the wonderful opportunity to meet Mark Waid at Motor City Comic Con in 2014. During this period, I fought with a lot of the same demons that Matt struggles with throughout his life. I told Mark Waid how much his book meant to me and he looked me in the eyes and said: "I could never write a cynical story foryou.I couldn't do that toyou.Foggy Nelson and Matt Murdock are two broken people who need each other". I walked away with tears in my eyes. I closed this book with tears in my eyes. Thank you Mark. Thank you Chris.

While not as easy to escape to as a wondrous daydream, what Ales Kot and Daniel Zelzej have crafted condenses the ugliness of this world into something that both demands and is worth your attention, no matter how violently it rips your head in its direction.

We pick up this story, after the hiatus, with Marcus settling into the new status quo presented to him. With his new (almost reluctant) relationship with Maria, comes new problems, depression, and angst that materialize in ways that always feel genuine and never borders on the John Hughes-esque sappiness that the book itself so rightly disdains. One of Craig's greatest strengths lies within his layouts. Each issue brings a new, unique, way to approach storytelling in comic books, be it a repeated motif of a clock running out of time or borders that leak out the cultural references that the book so gleefully wishes to share with it's audience. Remender also shows some of his best writing in this series, as well, allowing himself to be transmuted completely into Marcus, never shying away from aspects of his personality that are omnipresent that may come across as unpleasant. Nothing is held back, and I can't thank both creators enough.

While Remender and Craig do not shy away from the gritty realism depicted in their actions, the cores of their characters are given the same reality as well. Marcus remains an incredibly compelling character for a multitude of reasons. He exists as an obvious cypher for our author and yet is not shown with any sort of pomp or circumstance in his actions. Remender writes him as ahuman, with all of the flaws that come with that title. He is a morally ambiguous character, rejecting the notion of a paragon protagonist and committing some deeds that are reprehensible. However it is important to note that while Marcus' actions may be hard to get behind sometimes, they are the beating, bleeding heart of this story. What he does and why he does them are the real selling point of this comic book and the other incredible characters in their incredibly depicted Assassin School almost act as window dressing in comparison. He isthat good of a character.

One thing that struck me in this issue was Wes Craig's incredible panel work. Craig's panels move freely throughout the pages of this issue, never settling on any one structure or set-up, they service the story in the way that they see fit and the book is only better for it. Be it gross diversions, intense actions, or quiet conversations, Craig's pencils fit this story in whatever way they are asked to. Lee Loughridge's colors are the unsung hero in this book, however. The color palette changes based to serve the story and while it remains hard to describe via words without intense spoilers, a particular scene involving a toilet shows Loughridge's adaptable, incredible, color work. He chooses to wash an entire scene with color based on the mood present and again, it works perfectly.

This is due to the realism that Rick Remender's scripts bring to the table brought to life by Wes Craig's pencils. While violence is a big part of this issue (and the book as a whole), it never feels gratuitous and each punch, stab, and slice has meaning and impact behind it, both in the script and the art. One thing that has been a staple of this series thus far has been Wes Craig's interesting panel layouts and while they are always welcome for they bring a vivaciousness to every page, they remained distracting and hard to follow when the action became too chaotic. Another thing that may take a prospective reader out of this book lies in the unlikeability of many of the main characters. Remender portrays each character as realistic as possible, warts and all, but at times they can feel hard to root for, especially as they stab a myriad of rednecks (and each other) in the back.

All in all, while the price tag may be a little steep ($5 for artificially padded special features?!), this is a wholly worthwhile entry into the canon of Wolverine and seems to set up the endgame for the emotional gut punch its being touted as. I just pray this isn't Soule's last chance to write Wolverine for it is too good of an opportunity for him to only get one outing.

One minor fault with this issue is the appearances of the peripheral characters. Three characters appear in this issue (Kitty Pryde, Lady DeathStrike, and Sabretooth) without any forewarning or set-up reason for them to be around Wolverine other than the story needs them to be. The need to have these characters is apparent, and the story is better because of it, but it seems that the four issue restraint on telling this tale forces them to be shoehorned in instead of naturally appearing as the story would dictate.

All in all, another stellar entry to this series that I was initially skeptical of it's merits. We only have one more issue to go, with hints that the final story to be referenced is Barry Windsor-Smith's seminal classic Weapon X (which happens to be my favorite Wolverine story), we can only pay our respects to everyone's favorite X-Man and to this wonderful team brought together to see him go.

And while many may complain that it is only apparent that Marvel will revive Wolverine in due time, we will still have these four (almost perfect) issues as a strong testament to what this character stands for, what he means, and how he has influenced the comics medium as a whole. Rest in peace, James, Logan, Weapon X, Patch, Fang, and most importantly, Wolverine. It is so very well deserved.

Dragotta's pencil's remain as detailed and bright as ever. He depicts the umbilical-cord-like apparatus that Babylon is attached to with surgical precision, allowing every bit of background and foreground architecture to shine along with it. The confrontation between Conquest and Babylon remains the highlight of this issue, from both an art and writing perspective. It allows for one of the first true moment of character development for Babylon to shine (this being his pondering on the concept of mercy) and simultaneously allows Dragotta to depict Babylon's first fight in a visceral, calculated, and beautifully rendered way.

Out of all the series I read from Image,East of West remains one of my top favorites for it constantly rewards the reader. Some readers may prefer to trade-wait for this series due to the density of it's plots and characters and while that remains perfectly fine, I believe that this series is one of the best bangs for your buck any wednesday it comes out. I never feel let down by any issue ofEast of Westand issue #16 remains no exception. Our central focuses this issue remain some of the tertiary characters and factions that are present within the series while Death takes a back seat. We get to learn a little bit more about the Endless Nation as they wage war against some of the groups present while simultaneously forming alliances with others. The political complexity explore in these dynamics this issue remain endlessly fascinating while albeit slightly pedantic.

With two issues left, Extremity is shaping itself to be an evocative example of how technique and theme can warp and manipulate one another. With its careful balance of thoughtfulness and dynamism, Extremity #10 indicts the cyclical nature of violence through the visual vocabulary of science fiction. As Johnson builds up to this series' upcoming finale, Extremity is looking to wrap itself up with a mighty bang.

I loved this book, I don't care if you don't. Tyler Lives, Rize or Die.

I am glad books like this exist. Eight year old me would of adored this, but I am proud to say twenty-year old me feels the exact same way. Buy it.

All in all, this plot line, picking up threads from Abnett and Lanning's series, is the strongest this series have been thus far and constantly provides a hook for the reader to pick up the next issue. Here's hoping this series can keep it's momentum when this arc ends and we returned to the (belabored) Marvel Now continuity of Guardians of the Galaxy.

I have been a huge fan of this book since issue #4 debuted and I will continue to be as it remains on the shelves. I cannot recommend this one enough as I feel it's the best thing Soule has coming out in his myriad of titles.

Inhuman #8 is a great issue in a series that only continues to gain more traction issue to issue. Soule is the perfect writer for this series, embedding his scripts with humor, character, treachery, danger, and most of all, heart. This remains one of my favorite titles month to month and here's hoping the streak continues to persevere.

The biggest criticism I can levy against Legion #1 is that it is perfectly serviceable in terms of being a modern X-Men comic book, but ultimately disappointing in terms of an exploration of mental health through the aesthetics of psychedelia. By grounding itself in such literal and unassuming settings, Milligan and Torres limit what their narrative can do in terms of comic book storytelling. With such vast minds at its disposal both on and behind the page, let's hope that Legion breaks free from its self-imposed limits.

Low is pure revelation, and issue #3 is no exception. The quiet moments in this series elevate it to a height almost unseen in modern storytelling narratives and the art remains an absolute treat that the reader should feel entirely ungrateful for.

This is a book that fights hard for your money. Even though Morrison and Burnham are superstars in their own right and in a myriad of others, they are still hungry. Nameless is a series that deserves all of the dollars you spent on it. For our sakes (and the sake of the cosmos), drop whatever overpriced $5.00 comic from the biggest publishers you were going to pick the week this is released and buy this instead. I promise you it is completely worth it. Morrison and Burnham do as well.

Also to be noted is the wonderfully awesome inclusion of Captain Britain, an underutilized but excellent character that I hope Hickman brings back a few more times beforeTime Runs Out closes (seriously, doesn't Captain Britain look awesome with that Beard?!). Issue #25 also introduces new artist Kev Walker, taking the reigns after Valerio Schiti left the book. His art remains one of the best surprises in this book (which I must add is already full of awesome surprises), capturing facial expressions incredibly, almost channeling Kevin Maguire's classic work onJustice League International. His art perfectly captures the direness of the situations present when needed while also not abandoning the (darkish) humor that Hickman loves to embed in his scripts.Happy to have two Kevin's in this business that rock socks at facial expressions.

Oblivion Song is a stellar debut from Kirkman and De Felici, as he dives into full-on sci-fi after his years in the trenches of horror and superheroes. Transporting readers to another world, the freakish creatures of Oblivion have their share of scares even as you fall deeper and deeper into a wondrous fantasy. It’s not just the danger, it’s the seduction of it all - so take your time with this Oblivion Song. Breathe it in, and let yourself explore this strange new world… but be careful not to be swept away.

Kyriazis' art really seals the deal. His depiction of the members of the FrontLine on and off duty is incredibly well done, allowing the art to sing when relying on the light-hearted nature of the story's proceedings but also shifting (again) seamlessly to the darkness present in the pages of this title. Highlight of this issue remains his rendering of Frontline's superhero base, which is the hollowed out carcass of a giant monster. Somewhere, someway, Kirby is proud.

Don't dismiss this issue as a pointless one-off, Esaw might have to carve your skull out.

Superior Iron Man may be a divisive comic book for some, but that does not mean that everyone should at least pick up the first issue. The evil presented in this comic book remains real and understandable without having the implications of vulgarity and extremity. This comic book presents a fear that many Americans hold fully realized, and the Marvel Universe could not be better for it.

The ideas of Monster Societies, Lieutenant Marvels, and an eighth day of the week where evil reigns supreme may seem trite and comical at first glance, it's the purity and earnest with which these ideas are presented that allows them to thrive and inspire even the coldest hearted of readers. Cameron Stewart's art is revelation, as well. His pencils shine with exuberance, grace, and fluidity. His art shines in his dynamics and facial expressions, bringing to life that which is larger than it. Giant robots, Tiger-Men, and Cosmic Metaphysical Trains are abound in this book and our collective unconscious remains better for it. Nathan Fairbairn's colors shine and pop, too, lending an important element to the classic, all-ages friendly sensibility of this issue.

This instantly recognizable uniqueness present in this book is greatly indebted to the wonderful pencils of Paolo Rivera. He depicts every characters motivations and personalities simply through their body language. One doesn't need to have read 30 issues ofXO-Manowarto know that a time-traveling space viking is instantly cool and completely welcome in this title. Gratefully, Paolo Rivera (and the writers) understand this, too.

Not to be left without praise, Paolo Rivera delivers some of the best work of his career in this prestige format series. Take note of the final panel montage and how he masterfully has every specific scene clearly demonstrate the plethora of emotions present with only a third-person narration to serve as a guide. Hopefully Valiant signs him on for another event as worthy as this one was for I hate to see him get snatched up by a lesser company.

This book serves as a breath of fresh air, free from complex Marvel continuity and outside influences while continuing the promote the saga that Jason Aaron has been telling for almost two years. How grateful we should be that we can be graced with two wonderful books and two wonderful Gods of Thunder.

Marvel has solicited issue #25 as the last issue of Uncanny Avengers, and I am desperately hoping the book has it's own, proper sendoff, and not bogged down by the necessity to read other books connected to the Axis event to get the full picture. All in all, a good piece to what seems to be shaping up to be an even greater complete project.

While this book serves as a great piece to the larger puzzle of Axis, I'd still wish that we had a proper closing to this book on it's own, if only for those who are going to read this in omnibus or trade format. I hope this isn't the last time we see the Avengers Unity Squad, as these past 25 issues have been a complete treat and the only complaint I can have is that I constantly clamor for more.

All in all, this issue serves as another stepping stone towards a greater reveal/finale and while this may feel prolonged, the ride itself is worth the wait. It's almost as if Bendis is echoing Xavier in saying, "To me, my loyal readers".

Even while playing covers, VS marches to the beat of its own drum. When some books find themselves in sheepish restraint, this comic pushes onward. It's both rare and invigorating to find a book that's able to cultivate and repurpose it's influences while still making a case for its own existence. As this series continues, let's hope Flynn is able to fully stand on his own legs, shoulder to shoulder with the sequential art giants so lovingly referenced by Brandon, Ribic and Klein.

More akin to Ex Machina than a Saga, We Stand On Guard is Vaughan and Skroce pulling all of their robot action figures and army men out of their giant toy treasure chest and imagining deep, complicated, and biting political commentary, emotion, and pain beneath their plastic plotting and hand-painted horrors of war.