Matthew Peterson's Comic Reviews

Reviewer For: Major Spoilers Reviews: 3222
6.9Avg. Review Rating

The "strange power effects" plot line from 'Absolute Power' hits home for Black Lighting, making for an interesting new status quo.
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The art and coloring combine for something that feels fresh and unique, while Yoon-Sook's story (and her wry personality) are instantly engaging and weird.
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It's the first issue of an all-new continuity, with some intriguing mysteries in play, but the lack of touchstones makes it feel untethered.
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If not thrilled with the coloring, or the possible face/heel turn hidden inside, but this is a real return of the JSA, avoiding the pitfalls of the previous series with seeming ease, and making me want more of Lemire's Justice Society
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The Marvel standard of "putting the toys back in the box" sometimes works against the narrative, making for some awkward moments, despite some really incredible art.
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Two great stories, two different kinds of attractive art, and an unexpected homecoming for the Man of Steel makes for one you'll probably want to pick up, especially if, like me, you're plotting the course to a new Legion of Super-Heroes.
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The plot is interesting, but the archness of the script and the awfulness of the Musk/Zuckerberg stand-in makes it hard to get through despite excellent art.
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The shocking end of the 'Absolute Power' era and the beginning of a new day for Oliver Queen, all wrapped up in one double-sized package. Worth checking out.
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Threads going all the way back to issue one get wrapped up, EVERYBODY guest-stars, Radiant Yellow figures it all out, and Marshall and Nathan figure out who should wield the collapsar.It's a good one.
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While the story treats Red Ghost as a surprise, the solicits and the cover make it feel odd, but an interesting collection of heroes playing with familiar '90s-era tropes makes for an interesting issue.
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I like the central theme of Kitty versus Emma for the souls of the next generation of mutants, but the pacing feels somewhat sluggish.
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After all the gushing reviews, I was worried that it would be a comic solely for hardcore Bat-fans, or another example of a book everyone loves but me.But this is absolutely remarkable.
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The Free Agents do the old reliable "Meet, Fight, Team-Up" routine, but it still works, thanks to well-done art and an interesting cast of characters.
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A call for help from the Queen of the Amazons leads the Birds of Prey into new territory, bringing in two neglected members of the DCU and putting Cass Cain undercover, which makes for some epic moments.
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A very strange art choice, combined with some of the most cynical writing I've seen in comics in *decades* and a truly stupid final plot point make this one not just avoidable, but forgettable.
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The protagonists feel like thumbnail sketches in a plot that rushes from big moment to big moment without letting them stand, making for a muddled issue that even the lovely art can't balance out.
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After last issue, and the rare ICM Happy Ending, we're firmly back in the realm of magical realism, and we get the first real attempt to explain just what The Ice Cream Man is.
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Some unpleasantness leads to an unexpected resurrection, but it all feels a bit unmotivated, with art that doesn't match the tone of the story.
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Extra-strong art and a story filled with suspense and character teases makes for a really good second issue.
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Something feels entirely off with Barrage and it's hard to square the team feeling this off-kilter when we barely know them, but there's still a lot of potential here.
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Dark and muddy coloring, combined with a script that repeatedly gut-punches Plastic Man (and the reader) without making it feel motivated makes for a really depressing read.
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Seeing the whole truth of what was done to turn this innocent man into Doom is harrowing stuff, made even worse by revealing the fates of the rest of the FF. It's a chilling issue full of literal torture, done very skillfully.
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This issue holds together quite well, despite an almost-complete lack of backgrounds and never *quite* managing to capture the Ryan Reynolds-style quipping dialogue, with teases at interesting things to come.
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Seeley and Fleecs keep upping their game, and this issue tops them all, delivering closure, redemption, history, and just a touch of the old ultra-violence to deliver an love letter to classic Image and a really good comic book issue.
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Spider-Woman's search for her son is sidetracked by the launch of Marvel's "New Hotness", ending Jess' latest series with ambiguity and more than a little frustration, despite strong art and some nice character work.
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One of the most terrifying Galactuses in recent memory, combined with some dimensional shenanigans, helps to cover the fact that the two universes aren't really tonally compatible.
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Jonny Quest fans know the sting of disappointment better than some fandoms, but this issue manages to be sharp, well-drawn, engaging, and captures the tone of the original cartoon impressively.
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I'd have preferred a bit more clarity in the central conflict of this issue, but it's an interesting take on the idea of a mundane vigilante, with some unique twists that make me want to keep reading.
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It's a little hard to suspend disbelief about the heroes' self-recriminations, given the real world drivers of big crossover stories, but it makes for some well-written, well-drawn drama
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With great attention paid to getting the classic Gatchaman look right, right down to a color palette that evokes animation cels, and some truly inspired scripting, this one is a well-done retro love fest.
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There are unexpected consequences for a number of heroes, and the question of who is REALLY manipulating events leads to at least one shocking consequence, and the art really sells that point.
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An interesting book that serves as a fun pseudo-anniversary for the Image Universe, this book may have jumped the gun a little bit on the chaos, but it's a fun read nonetheless.
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A mysterious woman adds fuel to the fires of conspiracy, while something even bigger is brewing in the wings. And does this tie in with Blood Squad Seven?
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There was a time when El Santo y Blue Demon ruled the theatres, and this issue brings that era back for a new generations of readers (and a new generation of luchadors.) As the target audience for Massive/Masked Republic's new world, I am fully onboard.
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We find Namor at his lowest point, and it's truly ugly, but the situation under the sea is even more so, requiring our hero to face the ghosts of his past. It's an impressive start.
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Though she's dead, Wanda's got her brother as well as a couple of other mutants known for not following orders, and a familiar foe blocking the road home. Very much worth the time, especially if you've been here since Volume 3, Number One.
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Seeing the Surfers pitted against another creation of Galactus, with equal power, gives us a battle that hinges on Norrin Radd, the man under the chrome. It's a story worth your time.
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It's a first issue that has its bases covered, reminding me of the debut of WildC.A.T.s and Youngblood back in the day, with lovely, detailed art throughout.
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It's been a while since DC has tried to pull off a unified crossover like this, tying into events in the ongoing books rather than vice versa, but this is interesting. If you can get past Amanda Waller becoming everything she hates, this one looks to have legs.
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Even if you haven't been watching or reading about Billy Cranston since 1993, this one will likely rattle your teeth a bit.
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It's a fun little issue that has a list of things that it has to get done and a charming way of pulling it off.
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The story lacks a coherent center, careening from wacky humor to disturbing brother-on-brother ultra-violence to the seemingly requisite puzzle box of a plot, but it just doesn't hold together.
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The Marvel Universe is a big place, and a story like this is a great way to illustrate that, showing us Jubilee's little corner of the world during global armageddon.
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It's a well-written issue with interesting art, but having it be a number one just feels wrong, and affects my enjoyment just enough to be a problem.
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The Toy Queen may be an old woman. but she's a vicious, bitter, desperate old woman with nothing to lose, and that makes for one hell of a good story.
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The Captain's secrets are revealed, Mary Marvel makes a save, and Billy can't quite put it all together. It's a well-done issue.
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The notion of "putting the toys back in the box" has consequences positive and negative, but this issue mostly manages to walk the tightrope, wrapping things up with some important moments, and finally giving Chris Claremont's idea about Nightcrawler's real parents a chance.But man, is it spendy.
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Ivory's journey to the theatre is a bit on the crazy side, but it's well worth the time, if only for the sheer enthusiasm.
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The big twist was effectively foreshadowed, but the final page WASN'T, and the overall package is a fun read.
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Osborn and Parker: Round Umpty-Seven ends with a surprising twist or three, but its a long walk for a short drink of water, and the uneven nature of both art and story are sticking points.
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There is something incredibly creepy about this story, but Sampere's art keeps it all above water as the seemingly endless dialogue makes its point with the subtlety of a sledge hammer.
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The double-meaning of the title doesn't become clear until it's too late, and it's an impressive achievement.
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Big Anniversary issues are notoriously hard to review as a whole, but even the least successful part of this issue is pretty good, and the best is top-notch.SKREEE-OOONNNK!
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Even as a hardcore fan of Valiant v.1 and someone familiar with both revamped versions, this issue is overwhelming and way too fast-paced.
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Ferry's gorgeous art makes the issue truly lovely to look at, even as it covers about ten minutes worth of time. The hints and implications of what's coming are also well-done.
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Unexpected turns, a heaping helping of blood and gore, and a final page cliffhanger that runs headlong into the question of what Death In Comics actually means, but mostly pulls off the win.
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Nauck gives the art unexpected life and old-school style, but the story feels aimless and disjointed.
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When you shake it all down, Avengers #13 is affected a bit too much by external factors, leaving us with an anticlimax two-thirds of the way through the issue, an epilogue that has to play it coy, and a next-issue blurb promising an all-new, albeit possibly temporary lineup.
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With only a few issues left before the big BOOM! finale, this issue slows down to catch up with the people inside the helmets and the traumas they've endured.
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In short, this issue features no fewer than three moments that had me yelling "Oh, HELLZ yeah!, "Oh my gawd!, or both, meaning that Mighty Morphin Power Rangers: The Return #3 is a darn-near perfect third act for a story that has been careful and measured in its revelations.
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Oliver's life gets very weird, very quickly, and I have to say that I truly enjoy the entire experience, especially the effective coloring.
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Deadpool has lost everything save for his alien symbiote dog, but that actually makes for a fun issue, especially when he stumbles onto a villain who is ready to bring the fight to him.
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Picking up a number one issue and having the story be titled "Part Eighteen" is daunting, as is the sheer number of Coffin characters in play here. It might take some work, but there are things to enjoy here.
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The spirit of the Silver Age with a modern sensibility and clean art makes for a very enjoyable read.
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The betrayal in the final pages of G.O.D.S. #6 should not have been a surprise, but it was, and the best parts of this issue provide a similar kind of satisfying dissonance, changing not only what happens next, but what has happened before.
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Three interlocking stories, each with multiple perspectives, giving the women of 'Local Man' their own moments in the spotlight, with excellent art that somehow feels like this book has decades of continuity behind it.
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The drama is well-crafted, the art is pretty amazing, and all in all, this could be the launching point for Dreamer as a major player in the DCU, providing that they can keep this up.
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A sprawling script where nothing happens, combined with teases of really interesting hosts followed by the dullest possible choice just bums me out as a reader.
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Thompson's script makes it feel like the entirety of the 2011 revamp has been swept away, and the overall effect is pretty awesome, while the art eschews Big Two convention to great effect.
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The most important part of the issue is the adherence to the rules of the RPG, and this issue balances the rules with some fun banter, a surprise ending, and perhaps the best Taskmaster appearance in his 40-year history.
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Adapting a novel into 32 pages of comic books is a daunting task, and this one gets a lot of things right, but the final product is still a bit puzzling.
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Weisman plays with the difficult task of battle-to-banter equilibrium, and gets it mostly right, while Ramos keeps up with the fast pace of the script and dialogue. Well worth your five bucks.
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It's hard to describe 'Ice Cream Man' in a way that makes any sense, but let me make it clear that this is one of my favorite issues of the book, and the upbeat ending, while uncharacteristic, is incredibly enjoyable.
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A metatextual trip through the multiverse with a very Harley hook and a very Harley ending, making for a very pretty, above-average comic book issue.
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The terrible fate of Cindy Ho, the state of Angel Dragon, and Maxine Dragon's rant about the calendar pale before the most terrifying guest appearance ever, thanks to the power of public domain.
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Leading the Spider-Band is one thing, but Hobie's not sure he's up to leading an entire nation. Sadly, there are those who are sure, and things are gonna get worse.
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"A good person should show generosity and respect to one whose fate has been placed in their hands." It's a perfect description of Constantine's dilemma and his own bad habits.And of course it ends up being ironic.
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A post-modern take on a Spider-Man-like vigilante whose equipment is all bowling-themed could be a mess, but sharp writing instincts and some really funny material make this one work. And the art? Even better.
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An issue that treads where the likes of The Spirit and The Masked Man once walked, and does it with it's own flair. Excellent comics.
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The "new" Jaguar (who is actually more than a decade old now) gets her first real focal story, a villain all her own, and an interesting niche in Archie's intermittent superhero universe. It's nicely done.
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This issue's return to action also includes friends, foes, friends turned foes, and an impressive adventure hook in The O.G.I just wish I knew where it takes place chronologically.
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Rather than a true number one experience, this seems to pick up the threads of Red Hood's last series, including a sprawling supporting cast we're already expected to know. It's okay, but somewhat of a slog.
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The final pieces of the puzzle are placed, and it's a really well-rounded issue worth of comics, worth it to see Shang-Chi and U.S. Agent throw down.
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Avani's past mistakes still haunt her, but her mother's belief that "every pencil has an eraser" drives her, in an exciting issue that sets the stakes and gives us a really beautiful visual experience.
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The Tribulation Events are still a mystery, but the scale of them is frightening, and things are looking even more horrifying, though the issue features very little in the way of Avengers or avenging.
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Zdarsky references 'Batman: Year One', 'The Killing Joke', 'Arkham Asylum', and more in a tale that seems designed to explain the unexplainable. Despite my reservations, it's working, and the ending is a gut-punch.
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In a story that revels in human rights violations, random decapitations, and just plain old blood-thirst, there are multiple editor's notes advising you to play an entire video game for context, which was my breaking point.
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An interesting start to an undercover thriller in the High Republic era, with young Mace meeting his match, with art that doesn't quite fit the tone.
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A new Avenger takes the stage, Hank Pym gets a new status quo, and the Victor Shade mystery is wrapped up cleverly, with excellent art by Kirk. Well worth your time.
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The script tries to balance real-world consequences with wacky fun, and while it doesn't quite pull off the balance, there is fun to be had in these pages.
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The horror movie aspects of this story are welded to the superhero story seemingly effortlessly, and the atypical art only amplifies the psychological terror of it all. It's unexpectedly well-done.
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The Ranger Slayer's story somehow manages to be a huge surprise and perfectly in keeping with her life to date, with wonderful art and another unexpected turn at the end. Well worth even the hefty price tag.
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An interesting assortment of characters, settings, and creators, avoiding some of the cliches of startup universes, while presenting us an interesting and reasonably-priced chunk of comic storytelling.
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The battle continues, but we focus in on one dysfunctional couple, and the story is so much richer for it, leaving one Ranger in the Grid to seek help, and it's all done SO well.
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Having not been following anything X-Force for some time, I was surprised how easy it was to slip into their world and how clear the storytelling is, something that not all X-Teams share currently.
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This issue implies that there could be more Justice Ducks in the wings (you should excuse the expression), and given how well-written, approachable and attractive this issue is, readers should be happy about that.
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Brother Eternity's plan hits its final phase, and the Titans have to step up to the plate as Earth's most powerful defenders, all the while dealing with their own losses, Amanda Waller and maybe a little trouble in their own ranks.
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It's a little odd, and will absolutely be retconned away in a few years, but Mary Jane's first official outing as a costumed superhero isn't bad at all, and the art is quite good.
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Constantine's return to the US included old friends, new enemies, a demonic girl scout and the strange sensation of trying to take care of his son before his decomposing body is too far gone. The halcyon days of Hellblazer have returned, and I couldn't be happier.
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I've been waiting since 1993 to see where this is going, and. I did NOT see that coming. But it's a very Neil Gaiman kind of story.
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There are big changes afoot in this corner of the Marvel Universe, and they're all clever, fun and unexpected, including The Revolution face-to-face with the former Kingpin of Crime.Plus, Yelena is a hoot.
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The first Quick Stops series had moments that were almost TOO "Inside Baseball" even for a veteran View Askew fan, but this one is genuinely fascinating, well-drawn and full of twists and turns. and nudity.
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Murphy's new take isn't so much a revamp as it is a continuation, and one that manages to overcome some of the problems that come with that decision, including stellar art.
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She-Hulk, Hellcat and Captain Marvel walk into a bar.That's when Jennifer learns about the difficulty mixing school friends and work friends.
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The title isn't quite appropriate, but even with an awkward transition and a sudden ending, it's an entertaining one-shot experience.
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Taigami's melding of Japanese folk tale and Marvel Comics is the kind of intercultural mash-up that I could stand to see a lot more of.
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This issue is worth the price of admission for the analysis of Black Adam's place in the world versus the role of a Bizarro, but it's all really well-done.
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Marc Spector's death at the hands of Black Spectre in the last issue of Moon Knight have set the stage for a new era at the Midnight Mission, and it raises fascinating questions in ways that make me want to know what happens next. Good stuff.
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The story is just sort of rearranging the pieces of the original film, intercut with bits and pieces of Marvel's comic adaptation of it from back in '74, and even some interesting art doesn't entirely overcome that issue.
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It's good to see Marvel using a big crossover to launch a new series, and even with some slight irregularities, this is an okay issue.
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Tommy is imprisoned, Matt is traumatized, Jason and Kimberly are devastated. And most of the other Rangers work for Mistress Vile now.It's pretty dark stuff, and there are a lot of Rangers to keep straight, but it's got a lot going for it.
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The identities of Moon Knight Eternal and Power Man are interesting reveals, but not particularly surprising, and an inordinate amount of the issue is dedicated to Easter eggs about upcoming Marvel Comics, making for an overpriced issue that's just sort of fine.
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If you can accept Power Girl's new status quo, there's a lot of potential here, but both the art and the story have room for improvement.
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King's Wonder Woman is a cypher, and even a lovely scene with a young man in the final stages of a terminal disease doesn't quite give me a sense of what this is meant to be.
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Spider-Boy faces two different battles with two very different mentors, and both have some pretty excellent art. As long as you can deal with Dan Slott's long-game plotting, this book is a winner.
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The first chapter of Rhym's story has a lot of interesting parts, but doesn't quite work as a 22-page installment. I like what they're going for, though.
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After twelve issues of existential meandering, we get an ending that. is more of the same. The gimmick is the best part of the series, but it's also the weakness and the reason we have too too many protagonists.
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A former professional killer, Joe Garrison's background and experiences are incredibly common story beats, almost clich, but matched with above-average art. Marvel should really give this a long-term chance.
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Yelena Belova has been ill-served by a lot of previous plotlines, but this one provides her a humanizing element, a new home and a new M.O., even if it reminds me of the setup for the Fraction/Aja 'Hawkeye' comic of a few years ago.
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The art is beautiful and even the most bizarre moments of the plot work thanks to that, including a coloring job that's first-rate work.
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The focus on individual team members and their interactions is nice, and Thor is in rare form, but it's another example of a good comic that feels like a chapter rather than a full-issue experience.
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Bucky gathers his new team, all of whom have been through some changes, and makes a shocking play as his first salvo. It's an impressive number one.
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There's gonna be a new Sentry in town, but a predictable story and bizarre art don't really drive me to want to find out their secrets.
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77%WISDOM OF SOLOMON FTWWaid and Mora play the long game, and the payoffs are starting to show. It's an entertaining issue, full of Fawcett Comics history returning to the DCU. Well worth your time.
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The life of Howard Duckson is a strange one, and this issue doesn't hesitate to embrace that aesthetic, giving us a look into the Duck's alternate timelines that are just as ridiculous as the real thing.
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Alan's experiences in Arkham Asylum end up being more terrible than any villain he might face, and the build-up to the debut of Red Lantern would have been better if it were a surprise, but it's a well-done comic book regardless.
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The creators are putting force behind the Titans as the premier super-team, and this issue both reads well and looks amazing. Well worthy checking into.
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Archie's superhero revamps finally cross over into their magic and arcane revamps, and it makes for a real "You got your chocolate in my peanut butter" moment and a fun read.
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I love the interplay of the two Valkyries, and the mysteries of Victor Shade deepen in fascinating ways, with really well-done art. First rate comics.
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A perfectly serviceable comic book, and the rare case where reading the solicitation is almost the same as reading the issue proper.
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Simonson's script makes for a wonderful read, and the premise of facing down with your past selves is a strong one, but the chaos of 'Fall of X' mutes some of the most enjoyable parts.
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Never has a single smile been so disturbing and said SO much.
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Even if you've been keeping up, there's a lot of altered states going on here, as well as no actual Superior Spider-Man in view. It's fun, but not in any way new-reader-friendly.
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The experiment that started last issue continues, as Radiant Black faces off with The Premier, after [Marshall was chosen] [Nathan was chosen] , but the hero manages to eke out a win [with a little help from his friends] [but not without consequences.]Magnificent stuff.
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There's a lot of Wildstorm love here, and since is has been nearly 25 years since Planetary, a sequel feels acceptable. Add in some arch dialogue and nice art, and you've got a strong first issue debut.
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As with last issue, I feel like I'd love this if it weren't set in the Marvel Universe. The art is beautiful, but by the end of 32 pages, I was a little bit exhausted.
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After Aaron's run, there had to be a something new, and this fits the bill, though I'm sure it's going to make certain quarters angry. I've loving the art and interested in the premise.
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Captain Kwan's discovery of his powers is interesting, and the story balances "grounded" with "superhero" pretty well, though I'm not the biggest fan of the art. Still a pretty good comic.
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It's a fun first chapter to a classic Superman tale, with Lois investigating, Superman saving, Perry White shouting and some interesting likenesses, but little in the way of surprises.
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Spider-Boy's first issue features a lot of humor, a lot of heart, and some truly heinous and wonderful puns. If you've wondered what in the world a sidekick in Spider-Man's world would be, this is an unexpectedly joyful example.
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The central conflict of the issue has already popped up and been resolved in the pages of Action Comics, which makes the general lack of urgency here even more puzzling.
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Sage's first day gets very complicated, very quickly, as she (and the readers) are shown the first glimpses of the school's inner workings. It's all very interesting, but also VERY fast-paced.
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It's a new look at the early days of the original Green Lantern, and I approve of much of what's going on,. but the presentation of the narrative doesn't quite hold together, even with excellent art.
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Another really good story, with an unusual premise leading to some really great comics.
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Olortegui's art is a little more angular than I prefer, but the speed effects are solid and the story hook feels fresh, so I'm willing to hang in for the entire series.
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Jack Xaver is no detective, but neither is anybody else in Farmington, which leads us off onto a whole new day, making for the proverbial "Great Jumping-On Point."
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The end of the last issue of her previous series leads right into this one, with the same writer, the same cast and the same status quo. It's quite good, but it's a weird place to relaunch.
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Ginger Snapp's foray into Riverdale sets up some interesting horror tropes, but then just sort of. ends? It's not bad, but it's not satisfying, either.
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An oddly no-frills story for a World War II epic featuring werewolves, superheroes, and a lot of anachronistic dialogue, but it get the job done.
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There are some interesting hooks to be found in these pages (and a cameo by another future JSA member), but it's the art and coloring that really sing.
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A one-shot issue that encapsulates a flashback, but ends with a cliffhanger and a pitch to buy the upcoming number one issue? Marvel's got some nerve!
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The unfolding of another parallel universe goes from zero to horrors in just a few pages, which is fun, but the truly unpleasant cover hides equally peculiar interior art.
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Even if I tire of DC's back-and-forth "no continuity" policies, this book is entertaining and may be the first time the comic version resembles the films. Worth a look.
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There's a lot to love here, especially in the roguish Wyn and his deadpan assistant, but having it take place in the Marvel Universe, on the framework of sixty-plus years of storytelling, makes it a little less approachable. Still an excellent debut.
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DWJ takes us back to the beginning with attractively rough art and a new(ish) take on the arrival of the Transformers on Earth, and it's honestly refreshing stuff.
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The fate of Groot is even more terrible than we suspected, and each Guardian's trauma is revealed in fascinating (albeit awful) detail. Good stuff!
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This story picks up from an unknown place, and will be continued in an unknown place, but it's a good-looking middle chapter, if you don't worry about where the shared universe connective tissue.
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Williamson's script does some impressive lifting, but the clash between art and coloring/production makes it an odd reading experience.
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The events of Fall of X have made human/mutant relations worse than ever, and Alpha Flight is caught in the middle, trying to help their mutant members without getting shut down by the government.
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Even having read the first two issues, this one feels like its short on context, and the long break for Knight Terrors has only made things worse. This comic feels like the last third of what should have been the first issue.
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This adventure reminds me of the days of Marvel Premiere and Bizarre Adventures in tone and in execution, and if you know me, you know. That's high praise.
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This issue is tense, entertaining and fast-paced, featuring all the hallmarks of a good "spy on the run from everyone" story AND a fresh, unique art style. Great stuff.
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You have to love a good mystery, especially when every twist makes it more incredible, and Ewing's Wasp makes a great protagonist I'm not as hyped about the coloring, but it's a good read.
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As first chapters go, it's kind of fun, and it sets a nice tone, but it feels a little bit incomplete.
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Soule gives us a galaxy far, far away that we've never seen before, while Ross makes the regulars look just right while creating new characters that fit right in.George Romero would be proud.
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A fine balance of unpleasant reality and fairy tale makes this one memorable, and the art brings it all together.
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I'm not 100% sold on the premise, but I'm enjoying Ma Kent and Ice's rapport, and worried about Fire, so I think the issue did its job.
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The most entertaining story ever to feature Joseph, the clone of Magneto, including a surprising development for Wanda and Loki.
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It's always tough to judge, but even with the issue's high points, it doesn't quite feel like ten dollars worth of comic book.
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The creative team clearly has big plans for this new Hulk run, but haven't quite gotten things firing on all cylinders. Hulk fights a Cthulhu, though, so that's neat.
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Throwing caution and rational thought to the wind, much like their main character, Starks and Pugh give us another chapter of awkward moments, fist-pumping and terrible ideas in the heat of battle. Fun stuff, if you're of the right mindset.
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Mighty Morphin Power Rangers has been through a number of terrible crises, but the setup makes this one believably the worst yet, and that's a testament to these creators.
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The background conflict comes to the forefront, and it mutes some of the best/wildest parts of this new Doom Patrol. The art is still great though.
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Having enjoyed six issues of the characters brutally dispatched in this issue, I'm irritated and angry about everything but the exquisite art of Pepe Larraz.
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Captain America, Bucky and Sharon against impossible odds and the embodiment of the worst that the 21st century has to offer? That's a Wednesday to Steve Rogers.
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In the chaos of 'Fall of X', the boys from the future are fighting an unwinnable fight, and it's very hard to get invested in anything.
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Every issue of Batman Incorporated shows what an unfit leader Ghost-Maker is, but it doesn't seem to be intentional, and the multiple art teams combined with muddy coloring makes it difficult to appreciate any of the creative teams.
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Alex and Max are back in action, and the story is wonderfully engaging and enthusiastic, with art that brings it all to life. Well worth your time.
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Nauck's art is perfect for the youthful New Mutants, but not quite as on-model for Magneto, while DeMatteis combines the old and the new for a different perspective on 1985.
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A good blend of world-building and character moments sets off a classic hero's journey, but the breaking point of this issue's script feels a bit too early. It's another example where a double-sized debut issue would have been more satisfying to read.
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If you haven't been reading the Sandman Universe titles, this one lacks some background and context, but it's got lovely art and some well-crafted characters, as well as a terrifying Thessaly.
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The story is enjoyable, the art is good, but it's the fake ads that really make it all sing.
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Every issue of this book goes exactly the way I expected, but in this case, I expected to wrap up the "Evil Vampires" arc in a satisfying way, and mostly got what I wanted.
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Although I really wish we had gotten the names of all three girls spoken aloud, Rebel Grrrls #1 is an entertaining comic in the vein of '80s indy works, playing with elements of music, feminism, action flicks, horror movies, and classic Vertigo.
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The premise that Shane is a bit bland as a hero shows in the work, and the best parts of the story are all interpersonal moments between characters. The plot doesn't quite gel, though.
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Waid crafts a perfect setup, while Hitch and Nowlan give it remarkable life.You're gonna wanna check this one out.
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Your questions are answered, which in this case just means more questions, but there's a Catalyst War on the horizon. Well worth your time, especially if you've been looking for your basic jumping-on point.
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It's a charming issue, albeit one that focuses on the villains and supporting characters more than our hero.
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It's a big change for the Dragon family, and the effectiveness of the family discussions and difficulties they're facing is undercut somewhat by the cover announcing what is about to happen.
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Wanda reunites with both son and father, and faces the prospect of intergalactic war, all before breakfast. It makes really good comics.
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We finally delve into the minds of Elasti-Woman, Beast Girl and Negative Man, and the combination of unique layouts and excellent character writing makes for a fine reading experience.
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Simonson still has the chops to write a ripping tale of Asgard, but the art lacks his inventiveness and the sheer amount of story feels cramped by one issue, even a forty pager.
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Waid and Samnee together make magic, and this issue is no exception.
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Alicia Masters-Grimm's narration is both the best part of the issue and the biggest weakness of the narrative, making for an endlessly debatable total.
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I'm still not a fan of the premise (or Natasha's hoodie costume) but there's an interesting core to this story, building up to the anniversary of Steel's debut.
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Gun Honey needs to disappear, but the show must go on, and Dahlia's story is interesting in its own way, though I wish the art was a little more distinct.
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It has been five years since Captain America #700, which makes this special issue actually feel special, and the balance of creators and stories is well-handled, even if the package once again feels overpriced.
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I can't recommend anything about this comic book.
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She-Hulk's life continues to be complicated, but it's all fascinating to read about, and the art looks really good.
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Even though I dislike the inking/finishes and REALLY dislike the lower-case lettering, the overall effect in this issue makes for a better than average read.
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An excellent climax to what turns out to only be the first arc, making me realize that I want more 'Local Man' immediately.
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It's tough to keep building the next galaxy-threatening menace, but this issue shows off how to do it both well and uniquely.
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A strange, brutal tale featuring a lot of back-and-forth in time that never quit settles down enough to cohere.
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Wanda proves herself to be truly above her struggles, while Agatha reminds us she's hundreds of years old, all with lovely art and a little hero moment for Darcy. Well-crafted witchcraft.
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As someone who hasn't been reading the Vampirella books closely, it's a bit daunting to step into, but once you acclimate, the story is intriguing.
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Hal's situation feels very retrograde, while John's is so strange and out of the ordinary that I can't quite figure any of it out yet. Add in inconsistent art, and I just don't know who this is for.
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Zeitgeist's plans feel like they've been in motion for five years, and the nucleus of the story feels like it's not all together anymore, but it looks great.
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The hero of Dakota is out of his element, but the story and his guest star are delightful, and the resolution satisfying.
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Just because the story is about dealing with loss and grief doesn't mean that it's going to be slow or boring.
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Much like the first chapter, Spirit World #2 is as much an exploration of The Envoy as a character as it is an adventure book, but it also works on that level.
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Kudranski plays with a few familiar concepts, but the finished product feels fresh and interesting, almost poetic.
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Peacemaker ends up being pretty useless this time, and it makes for a well-done story of betrayal, misunderstanding and dog-napping.
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The players are assembled and it all goes off the rails in the most predictable way possible. Scalera's art is pretty impressive, even though it's marred by an oversaturated orange coloring job.
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The story hook here seems like a self-fulfilling prophecy, but the art is quite good and there's a real sense of character and story.
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There's a lot to like in Doctor Strange #3, with two stories that complement one another, attractive art across the board, and an ending that underlines the man behind the magician.
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Starstorm's debut feels like '90s Image with touches of '70s Marvel, and while it's not perfect, I'm willing to come back for a second ish.
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If there was leadup to this, it's never identified, but the art is strong and the story has a lot of entertaining notions swirling about. Too bad Johnny Sorrow is never really defined or particularly threatening.
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When you stretch 4 issues out into 12, there's bound to be some slow parts, and this issue proves it. The art is pretty fabulous, though.
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Like parent-title Radiant Black, this book takes classic superhero storytelling and gives it new twists and new life, including giving Eve the ending I didn't know she needed. Well-done.
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A celebration of both Nick Furys and a possible new day for SHIELD, all wrapped in some slightly overdone tributes.
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A quiet conversation, a not-quiet car chase and the continued resurgence of meaningful continuity make for a masterful issue.
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Wonderful art makes the choppy story a bit more palatable, but the coloring does neither of them any favors. Add in unnecessary brutality and I'm worried how this is going to end.
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It's always fun when the creators explain the reasoning of their team's membership, and Terminus has never looked better.
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In the new era of DC, a new black ops team makes perfect sense, and while I would have liked a little bit more information in these pages, the secrets do seem to be the point.
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The team has barely assembled and things are already going sideways, but it's a beautiful book with some really strong notions, even if the ending puzzles me.
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With so many moving parts, this team needs a strong central focus point, but Ghost-Maker comes across as arrogant, ill-informed, and needlessly abusive to his colleagues, combining with a 'too much, too fast' problem in plotting for a confusing whole.
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Dickie's search for himself gets literal, and the detective work feels somehow out of place, even as it's very satisfying.
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A beautiful story that feels like a second issue, because it might as well be one after the Dark Fate one-shot that started the story.
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A lot of world-building culminates in a new super-team and a whole lotta nothin' in the plotting department, with some bright spots in the character beats and the return of Sparky!
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Nostalgia or not, there's no reason not to enjoy this kind of good, old-fashioned bombastic comic book action.
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The visuals are excellent, and the story, while somewhat familiar,entertains. Well worth checking out.
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As long as you don't get bogged down in recent history, the twists and turns of this issue make for fine comic book fun.
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This Peacemaker is perfectly placed to capitalize on the 'Peacemaker' show starring John Cena..just, y'know, sixteen months later.
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If you accept the premise that gives MJ powers, this one is a nice buddy cop story that ends on a lovely note of black humor and creates a relationship separate of Peter Parker for Ms. Watson and Ms. Hardy.
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Green Arrow often suffers in the hierarchy of DC, but this issue pulls off some amazing character bits and moments and looks absolutely spectacular.
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This issue manages to introduce a LOT of important information, establish our stakes, reference multiple Doom Patrol eras AND looks really good. Well worth your time.
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Things get rough for the former Crossjack, in an issue that adds to the complexity of the story without forgetting that it's meant to be a love letter to '90s Image books. This one's really good.
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Wonder Woman and Mary Marvel (who has an 80th anniversary coming up) make for a really strong character pairing, and both creative teams make good use of both heroes.
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The concepts here have legs and Janine is an interesting character, but the issue exists in the shadow of a Ben Reilly story from 2019. If they can find their footing, this team could have something here.
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Not everybody makes it home, but the plot avoids the pitfalls of crossover madness to focus on the personal moments and the stakes that feel most consequential. When all is said and done, nearly every Avenger has their moment, and that's really what I came here to see.
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Three shocking moments highlight an issue that successfully makes everything feel hopeless for the Power Rangers, with little to no hope of reinforcements. It's an impressive achievement.
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Marshall and Nathan have figured a few things out, but it's Radiant Yellow who holds the key to their future in an issue full of tension and impending doom.
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The reveal of what has happened to the Guardians in their missing year is shocking, though more so for some ex-heroes than others. It's also a strong first issue.
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The first of Choon-He's superheroes makes his appearance, and it feels like we may be going someplace wholesome and uplifting. Fingers crossed that it stays this good.
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If you haven't been reading thus far, go get the back issues or pick up the trade. You'll be glad you did.
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I'm annoyed at the meta-textual way that "The End of Spider-Verse" is played, but it's a good wrap-up that brings back a lot of fave-raves and debuts a new kid, with Bagley in fine form.
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One of Radiant Pink's problems is resolved, but there's still a big unanswered question, which makes for a great read.
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Darcy's secret comes out, Hercules' sister comes to town, and the story and art get a lot done in a short period of time.
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When we've been waiting for months for an explanation, the decision to have Amazing Spider-Man #23 dole out only a tiny bit of missing detail is a bothersome one, especially when a clearly traumatized Peter spends the whole issue in fight-or-flight mode making bad decisions, but good art and some interesting details bring things together .
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Wally West gets to showcase his heart, his smarts and what a lifetime of super-speed will teach you, closing up the One-Minute War with style.Worth it for the epilogue with Max Mercury and Impulse alone.
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Two of Marvel's oldest heroes, spotlighting with truly excellent art and a lot of understanding of their long histories. What's not to love?
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Jeff the Land Shark is the sensational character find of 2021, and this whole issue is a showcase of his amusing and exciting adventures.Pick it up, you won't regret it.
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There are overtones here that echo the plight of Marvel's mutants, but some new angles on Jane, Cliff, and Larry, with new members and well-crafted art sets it apart.
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For a one-shot, it sure feels like the first chapter of an ongoing, including an ending that promises more action, and the art & story, while fine, aren't really excellent or noteworthy. As single issues go, it's pretty okay.
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Fans of Milestone and of Milestone 2.0 will find something in this issue, including those who only know the Static Shock cartoon, making for a successful anniversary celebration.
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Imagining a world without Henry Pym goes very differently than expected, but neither Wasp realizes. until it's too late. Well-done.
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Tommy and Jason have a great moment, we learn how Zedd and Rita met, and Trini really comes into her own as a leader, all against the backdrop of the newest threat to reality. A well-done issue.
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Ferry delivers on a very dangerous Clea Strange and a mostly pleasant week-in-the-life story, while the backup brings Wong into focus for the first time in forever. It's a nice issue.
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So, I was mistaken in thinking last issue was the penultimate part of the story?But somehow, this one feels wedged in awkwardly anyway.
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Zeitgeist's front is starting to crumble, but The Orphan finds himself having to compromise his own values to keep up with the X-Cellent. Things are really building to what could be a killer conclusion, which I hope is just the arc and not the series as a whole.
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The fun parts of a time travel plot get a little airplay here, as Harley sees the consequences of actions she has yet to take, while her old supporting cast comes back from the dead long enough to disappear again.
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Fresh off her relationship with Iron Man, Patsy Walker has gone solo again, and her late mother doesn't approve. Throw in a murder investigation and a washed-up super guest star, and it's a solid launch.
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So, the story itself tries to play coy with plot points clearly spelled out in the solicitation copy, but the resulting issue still manages to keep a little bit of mystery and ably showcase our very likeable protagonist.
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Story threads dating back to 2018's Avengers #1 and before all come together for Mephisto's most audacious plot yet, and the ante is upped for the last time before all hell (literally) breaks loose.
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I find the idea of changing the orientation of the art is much more creative than the reality of having to keep rotating, but it's not a bad issue overall, even with a lot going on.
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Things get complicated now that Spider-Man is gone, and the remaining members of the Spider-Army have to rely on thievery, lies and some careful stabbing to have a chance at saving their worlds.
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The being behind the Childminder shows their face, while the various young heroes vie for a little time in the spotlight in an overcrowded plot. Still, the ending is a shocker.
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Greg Smallwood hits yet another unqualified home run with his art and coloring, while Tom King proves once again that he is absolutely terrible at endings.Still worth your time, if you've come this far.
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All in all, the strong bits push Radiant Pink #3 past some issues with pacing that makes it feel a little slight, but the focus on Eva and Kelly's attraction and the cuteness of alien kitties makes for a charming issue.
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After last issue's full-speed introduction, the pace slows just a little bit TOO much, but strong art and the bond between Cssia and Ana helps get past the rough patches.
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Story and art combine for an experience that engrossed me on every page. Even though I'm very glad it's not real, it felt like it was.
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After all hell broke loose last time, Jennifer deals with the quite-literal fallout and balances her personal, professional, and superheroic lives as best she can, with a a lovely, quiet ending.
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The opening sequence is interesting, but things quickly go sideways from there, with grimdark plot twists from the '90s, leaden dialogue and a final panel that was meant to be a tribute but just feels dishonest.
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It's hard to show us a battlefield sequence in a comic book, but this issue pulls it off really well, with quite a few truly impressive moments.
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A slow-moving, talky issue that makes it seem that this series didn't actually need twelve issues to do what it wants to do, and the nihilism is starting to grate a little bit.
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The first issue of this series gave us a premise, and every consecutive issue has expanded the scope. The end of eight decades makes a beautiful end to THAT story, but still isn't the end of the WHOLE story.
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Janet celebrates her publishing anniversary by going all the way back her first appearance, while Nadia's spy background fills in the blanks. It's a very good second chapter.
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I like the premise, but the execution feels like it's missing something, even with the enthusiastic art.
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After Moore's arc, Miracleman was in desperate need of a new focus (and a point-of-view character), but Dickie's story is outpacing even my thirty-year-expectations.
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Virgil's back, with unique and interesting art and a story that successfully builds both tension and apprehension of what's to come. A very good issue!
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With a little help from Radiant Yellow, Marshall and Nathan are starting to put the pieces together, but there's clearly big changes a'comin'. Here's hoping they survive.
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Four unrelated stories of various levels of interest, wild art, and garish coloring don't make for much cohesion. Safe to skip this one, unless you're super-invested in all things One Minute War.
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When your biggest complaint is that the first issue was great and this one is only very good, you've still got an entertaining read on your hands.
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It's appropriately horrible closure for the story that pokes holes in all the super-hero tropes, and you should definitely pick it up.
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Zordon and Splinter discussing the morality of their decisions is worth the price of admission, but when you throw in gorgeous art and the wonderful character interactions and you've got another winner.
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Visually impressive and unique, building its story carefully until the unexpected ending. Well done.
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It's great to see Ordway in comics again, but the script is still playing far too coy and the storytelling juxtaposition of Janin and Kolins might as well be different dimensions for how awkward the transition points are.
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It's remarkably good at capturing the tone of DW's cartoon adventures, with a few fun in-jokes and Easter eggs and art that stays on-model.
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There's a little bit of "Middle Chapter Syndrome" going on, but the Avenger Prime reveal hits pretty hard and the interactions of the Avengers army are such fun.
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So, yeah, I said I wouldn't be coming back for issue #2.Shoulda stuck to my guns.
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Everything comes full circle with a satisfying narrative crunch and truly stellar art. Well worth your time.
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Janet and Hope face down the Wasp's arch-foe while someone worse lies in wait and Janet reminds readers that she is just as much a founding Avenger as Thor, Iron Man or Captain America.
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On the one hand, it doesn't stand out as something wild or unusual, but on the other, it feels like a well-done Silver Age issue, with the exception of Davis' lithe artwork.
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There are parts of this story that are incredibly compelling, and others eye-rollingly goofy, but the overall presentation is good, even with the overwhelmingly broody tone.
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Things get emotional for the Human Target just when it looked like he might be happy for the rest of his life, and MY GAWD it's a beautiful issue.
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I miss the new costume and certain elements of the art aren't to my liking, but it's got a lot of potential.
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The focus is on Iron Man here, and that's alright, but the MMoE going down this quickly is a bit anticlimactic.
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All in all, though, Purgatori Must Die #1 sets up an awful lot to come, including a series of battles between 'Tori and other Dynamite stars that are the main draw for me, with art that gets the job done in spite of unsuccessful coloring and some clever dialogue.
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A refreshing new start for Wanda, with a lot of elements familiar from her recent TV outing, with evocative art and well-done dialogue throughout.
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Batman faces a whole new Gotham while his protegees deal with his absence, but it feels like we're breaking new Bat-ground for the first time in a while.
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From Jason and Leo's bonding over the weight of leadership to Goldar's upgrades to the shocking reveal at the end, this one is worth your time.
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Mark and Sergio have upped the ante for the idiot barbarian, taking him to a new level (literally) and proving that some things never change. Top-notch stuff!
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Reviving one of Wildstorm's original titles in the DC Universe wouldn't be easy under any circumstances, but this issue is so focused on proving everything we know wrong that it doesn't realize none of it makes a lick of sense.
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These days, every crossover worth its salt needs a guidebook and this one does the trick with a well-crafted story as well.
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The first issue of Cantwell's run wasn't even two years ago and it might as well have been the 17th century, but the big changes feel intentional and deliberate.
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The story is predictable, bland and without any real stakes, leaving Ramirez' art to pull it through. I won't be coming back for issue #2.
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It's been a while since Monica has been the focal point of a story, and this one is charming, even with some inconsistency to the art.
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For the first time, the Radiants seem to be coalescing as a sort-of team, and ominous portents are everywhere we look. Good stuff!
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What do THIRTEEN different characters, teams and titles have in common? Not a whole lot, and this issue has a lot of heavy lifting to do to make it work, but the art does wonders.
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The setup is solid and the ending works as a shocker, but certain elements and inconsistencies in the art make for a distracting read for me.
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A fun protagonist, a startling ending and some true heroics in the middle make for a very good read.
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I often wonder if certain comics are designed just for people who already know the properties being featured, but this one is absolutely so. As someone who knows all the jokes, it's fun without breaking any new ground, with art that's quite good.
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Dylan is now officially Rogue Sun, so his real problems can begin. The look into the behind-the-scenes of superherodom is interesting, but the buildup to a new villain is the real star.
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We finally meet the mysterious Avenger Prime, an army of Mephistos attacks, battle at the dawn of time, but it doesn't feel like a story so much as the cold open. At least it's the open to a story I want to read.
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On the one hand, it's an entertaining concept full of Archie/MLJ Easter eggs, with some lively art. On the other, it feels like a set-up for more stories, but it's posited as a one-shot.
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An unexpected return leads to a unexpected loss, and for the real Power Rangers nerds, we finally get to see Lord Zedd's face.I don't recommend it.But the issue is quite good.
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The Idea Man is clearly a villain, but every one of the havens proves to be kinda terrible, while the expanding time line makes for some satisfying growth for the former denizens of the Lamplight Tavern.
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The fact that the Clayface monsters are nearly indistinguishable from the regular characters makes this issue incredibly difficult to look at, and important story moments are buried due to lack of context.
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What was clearly intended to be a byzantine mystery is pretty clear from the beginning, with our main character feeling like he's along for the ride, but it's an okay comic.
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Cantwell's run comes to an end with an appropriate closure, while the backup tales give us classic Iron Man and a taste of what's to come. A solid issue.
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The last remaining Soldiers of Victory search for the lost Wing, while the Danny The Dyna-Mite finds out why you have to be carful what you wish for, all with energetic Nauck Art.
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An interesting relaunch comes to a successful close and I hope that we get more Blood Syndicate sooner rather than later, as the story and the art are both quite good.
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Scalpel's past is unlocked with the same quirky and entertaining art, and the tension holds up throughout the book, even if the last page is a bit of a head-scratcher.
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The part of the DCU that actually acknowledges Doomsday Clock ever happened is on full display here, and while there are some seeds of interest in these pages, it reads awkwardly and feels like just another Elseworlds.
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Garish, bizarre art combine with unclear scripting to make for a confusing read, and in a book that already has a dozen characters in circulation, we're now getting more players on the scorecard. I'm disappointed.
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Nathan and Marshall are coming to terms with their new status quo, while Satomi goes to jail and Eva goes to Brazil, and there's YET ANOTHER shocking new development. Well-done.
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While I'm annoyed at the concept of The Pillars, the execution here is top-notch, and the art makes up for a multitude of sins, making us feel for every single alt-Tony we encounter.
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More than most comics, this one has a high bar for entry comprehension, but it turns out to be a silly, fun little tale that answers obscure questions that nobody ever asked and ends in the middle of 'Jay and Silent Bob Reboot.' I like it, but it's clearly not for everyone.
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The resolution of the threat to Earth feels a bit sudden, but the art is wonderful and the things that come AFTER that literal Deus Ex Machina more than make up for it.
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No lessons imparted, no ironies to mull over, just the blackest of humor and the bleakest of endings. I don't know if I could keep reading it forever, but I enjoyed this one.
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The new seven-person Power Rangers team sees a new era, a new normal and a very familiar foe, but it all holds together very well.
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Aside from some minor issues in coloring that make a certain sequence confusing, this issue stands as a great single issue experience and a really effective setup for the final issue's conflict.Professor X has seldom seemed this cool.
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Between the multiple time frames, multiple artists, and complex plotting, it's easy to lose some of the threads, but overall this issue is enjoyable.
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The Avengers finally make it to their destination, but at an unexpected cost, while the youngest Avenger gets a moment in the spotlight to show off what her colleagues have taught her. Very nicely done!
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Ewing and Rodriguez continue to plumb the depths of the Marvel universe in ways never before attempted, with incredible art and a story that makes me see the multiverse in new and exciting ways.
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This issue is structurally identical to its 1993 presentation, but Buckingham's decision to upgrade the art has added drama to an already engaging comic story. Top-notch stuff.
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Shirtless faces his past, but the real horrors are to come, in a story that never lets up on the gas and entertains across the board.
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Even with modern Marvel leaning WAAAY too hard on the "Spidey is always a loser" trope and some familiar story points masked as call backs, this issue makes for an interesting read.
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This issue is kind of a mixed bag, with Shuri stepping up to deal with a threat, but never really explaining what is actually happening, followed up by some fun canon-welding.
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Nobody has much character, interactions are awkward and the art is awkward and elongated, making for a difficult, confounding read.
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A clever gimmick that actually transcends itself and wraps back around, with fun art throughout and hints of bigger threats in the wings. Good stuff.
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More apocrypha about Miracleman aren't what I wanted, but the creators here have a lot to show us, and best of all, it serves as a precursor to The Silver Age being finished after 20 years in limbo.
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The last few issues of Dark Crisis have all been slightly better than the one before it, and this is the best issue to date, though slightly hampered by a stumble at the end.
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A the mutant who is an Eternal who is an Avenger, Starfox is the unconventional key to the AXE conflict, and this issue makes a convincing case for his brand of heroism.
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This issue complicates Chance's life, his romance and seems to imply that he really is doomed, but it's the beautiful visuals make it hard to worry that he's gonna die.
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It's not quite as likable as issue one, as Mark Russell is an odd choice for a story explicitly about hope, but it's still an entertaining comic book.
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This issue is another example of Al Ewing's exquisite power to make connections that seem like they've always been there, using a truly eclectic group of characters to examine the foundations of the Marvel Universe.
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There are a few questions raised here that we probably won't get to until the end, but it's an enjoyable read despite a feeling of distance from the story due to the amount of time that passes during these pages.
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Parrott's big finale pays off on a number of ongoing plots, including some surprising roster changes, but the price tag is hard to get past.
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After nearly three years of downer endings, we get an uplifting one AND IT'S THE MOST TERRIFYING THING I'VE EVER READ.
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This Carol Danvers' life is another example of the creative risks that Aaron and Kuder are willing to take on this book and the slow-burn is still working for me.
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Pham's art is stylized, bordering on bizarre, while the introduction of multiple world-changing plot point makes for an odd, unfocused reading experience.
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The first deep-dive into Radiant Yellow's world shows us an entirely different perspective than Red, Pink, or the Radiant Blacks, but it's one that is both creative and a great read.
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The battle against a corrupt President is not only fun, but thematic to the whole punk aesthetic, and the ending makes me think I'd like more adventures on Earth-138.
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This comic feels like Europe's take on Japanese magical girls translated into English and it's a most enjoyable hybrid entity.
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The art is remarkably on-model, the story is fun and the asides are laugh-out-loud funny. Add in a killer cliffhanger and you've got yourself an entertaining comic book.
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It's interesting to see DC do a modern Batman story aimed at younger readers, and they mostly pull it off in this book, though the art is a little bit inconsistent.
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This issue is a mlange of '70s cartoon and '80s comics with a straightforward comedy story and energetic art equaling a good read.
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While the examination of Herbert's life and the explanation of the "puppets" origins is interesting, the satire is unfocused and just too broad to be incisive.
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This issue is odd in what is chooses to highlight and what it doesn't but what it does it does well, and Wheaton's story is well worth checking out.
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Shaner's Mary is lovely and her world is engaging and realistic. If only her fights weren't such dramatic losses.
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Pariah's evil plan hinges on a dumb move by Green Lantern, but things on Earth-0 also progress, making for an issue that pushes the plot (and some boundaries) on fronts both cosmic and local.
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Once again, we get a standalone issue that could have easily been streamlined into the ongoing story proper and made for a better overall experience, but it's a fine (if overpriced) package.
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Once again, Marvel assembles a cool super-team with a secret (that being "Hawkeye is useless.") Still, it feels like a book that expects a short run.
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Both Avengers titles are on slow-burn right now, introducing new characters and variants that are admittedly cool, but somewhat lacking in connective tissue.
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This issue effortlessly introduces a whole new world, combining the use of familiar archetypes and weird new concepts into a coherent, entertaining whole.
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The moment I've been worried about comes and goes without the disaster I expected, but there's always another disaster waiting in the wings.
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It's not easy to make slapstick feel consequential, but the goofy humor here doesn't destroy the (melo)drama.Plus: Shirtless versus a water bear!
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It's nice to see the likes of Jay Garrick and Max Mercury again, but the Dark Crisis tie-in feels tenuous and as the issue ends on a very strange note.
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The untold story of Thor's birth and his mothers, which also represents the end of Earth's Mightiest Heroes of the era, leading to the all-important query: Why not tell this story in the pages of Avengers?
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This issue brings in a a number of players just in time and finally reveals the stakes of Earth-M, but it took me a little work to piece it all together.
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As the penultimate issue before the big anniversary event, Power Rangers #22 is a successful cliffhanger, the kind of setup that makes readers wonder what in the world will happen next, with strong art throughout, a compelling villain.
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Robbie's wish gets very complicated, very quickly, and the biggest twist to date literally left me gasping. Well worth your time.
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The problem with a series of numberless one-shots is in figuring out what you need to know, and since this is absolutely part two of six, it's a problem in both execution and presentation.
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Cantwell's Iron Man looks back to the days of Layton and Michelinie, but for all the good stuff, it feels a little bit out-of-sync, and the road to the last page reveal confused me.
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Mary Bromfield starts a funny, challenging new chapter in her lives, and both Mary and Shazam look amazing. Highly recommended
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Hopelessness pervades the book, but the return of the JSA and the implication that the League isn't quite dead yet help, as does energetic art from Sampere and company.
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A good balance of action to rumination and a much-deserved spotlight for the first Pink Ranger with lively art. It's well worth your time.
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This issue's script could have used a little more room to breathe, but it was effective, in a bleak sort of way. With another arc or two under their belt, this book can be something truly excellent.
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This issue still doesn't explain the whole of what's going on but that's okay, because the plot, characters and art are all strong enough that I want this mystery to last.
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Eighty pages for $9.99, with a complex, entertaining story and stellar Allred art?Count me in.
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Satomi realizes that there are no good answers to her dilemma, but the frustrating bits don't overwhelm some charming art.
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I don't know how they've pulled it off, but this creative team has been building this story for nearly five years, and I'm still psyched to read each issue.
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A new team of Defenders arises with incredible art and an engaging story. What's not to love:PS: They aren't joking about that last page shocker.
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Four issues in, this series simply will not get to the point and the art, while fine, isn't able to carry the load itself.
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Another palindromic story in a manner of speaking, with an utterly devastating ending. If you need to be sad for a bit, here's your dose of dread.
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Daredevil and Daredevil leave New York, and while it's not clear where they're going, the hints we get make it clear there's good stuff to come.
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This issue's big twist was highly telegraphed last issue and still worked, while the increasing tensions on Safehaven and in space are building nicely. Plus, Andros and Zhane get cool and/or terrifying new looks.
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A clockwork story worthy of Gardner Fox unwinds with precision, but feels a little bit too pat, while the art is okay, but not spectacular.
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Sara's introduction to the world of magical girls is exciting and visually expansive, combining bandes dessines and manga into something that feels at once familiar and new.
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The progression of events is exponentially crazy, and it makes me worry about how mad issue eight is going to be, but it's a well-written, complex and engaging story with a lot of moving parts that still works. That's an achievement.
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Behind a *spectacularly bad* cover is a well-drawn issue whose plot is a kludged-together mishmash of previous events, which may or may not tie into Final Crisis, but continues to give us variations on the same grimdark alt-reality themes.
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An already crowded story gets even more crowded and I'm tired just thinking about it. That said, it's a well-drawn issue that surprised me as a reader, so I'll still recommend it.
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The drama works pretty well on Earth, but the space side of things leaves me cold, and Black Adam leading a new Justice League sounds like the worst idea ever. Still, this issue has a lot going for it.
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This issue wraps up the return arc in a satisfying way, both in-universe and out, but then hits readers with the trademark Saga shock, to great effect. Well worth your time.
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It's an issue full of fabulous art and really strong dramatic moments well worth your attention.Looks like I'm gonna be reading Batman for a while.
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It's the first stop on a journey through time and the team of Aaron and Garron and company make a very entertaining issue.
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Approaching the story with the villains in focus is a tough proposition, but this creative team pulls it off with aplomb.
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This issue takes one of my favorite Marvel characters and puts her in unfamiliar territory, but never loses sight of what makes Jessica Jones tick. Plus: The last page reveal is both shocking and hilarious.It's shockalarious.
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It's clearly a story that the creator cares deeply about, and it comes through in every page of the work. This one comes highly recommended.
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This doesn't feel in any way related to the Black Adam we've been seeing in Justice League and the timing is bizarre, to put it mildly, but it's a solid Priest story with okay art.
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The team-up is pretty brief and most of the story focuses on Moon Girl, but it's an interesting beginning to a series of one shots, albeit one aimed at readers younger than me.
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This is the book for Ben Reilly fans who are mad about his hard road and fan pushback, delivering on the promise of a "lost adventure" that feels like an regular Spider-Man book from 1996 (in ways good and not so much.)
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I've long said I have a love/hate relationship with Savage Dragon, but this issue is the first in a while to cycle back towards making me think I need a break.
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A couple of contrived plot points make the story feel less authentic, but the art is cool and the premise seems to have staying power, so I'm willing to see where this is all going.
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This issue focuses almost entirely on Hannibal White's return from the Army and the deconstruction fatigue is real. I enjoy the art, though.
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An enjoyable issue with enthusiasm about big time puroresu action and action-oriented art, even if it can't quite seem to decide whether its subject is "real" or not.
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Luen-Yang and Chang have a truly interesting story here, paired with unique and well-crafted art, making for a hero unlike anything else in comics.
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I like the Multiversity trade dress and would love to see more like this, but being thrown into a New Teen Titans story without the context makes for a lot of heavy lifting on the part of the writer.
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We're STILL in setup mode, but the events in this issue are simultaneously disheartening and exciting.
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Clea has to face foes who merge the mystical and the mechanical and it makes for an exciting new wrinkle in the sage of the Sorcerer Supreme.
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Feels like we're rebooting to old-school '70s Ghost Rider, but the execution doesn't quite gel with the intent.
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This issue features nine resurrected mutants, a council of Warworld to balance the Krakoan Quiet Council, an army of Furies and evil versions of people I already knew, and it is really overwhelming, even with the accompanying diagrams.
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It feels petty, but I'm bothered by the fact that the cover is intentionally misleading, but it's a well-crafted comic with strong art and a story that works even as it puts a few too many pieces on the proverbial board.
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A collection of moments to highlight the coming Crisis, providing some emotional underpinning for the new crossover but costing too much and providing little that feels really critical to the stories.
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It's a loving tribute to 30 years of Savage Dragon, and it's appropriate hit-or-miss and of variable quality, just like the Savage Dragon title itself.
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Retrograde art, a reveal that could be seen a mile away and a nihilistic tone that feels straight out of 1996 combine for a disappointing issue.
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There are some puzzling story moments in these pages, as well as a threat that has yet to come into focus, but the art is stellar. Based on that alone, I'll be back for at least one more issue.
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Don't read this one alone in the dark, but do read it. It's quite good.
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Pulling together bits and pieces that Slott's been sprinkling through more than a decade of stories, with impressive art and a truly epic scale, it's worth your time and energy.
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It's kind of amazing that this issue works as well as it does, but the combination of really strong art and the expert plotting of Busiek balances six heroes, two villains, two universes, a SHIELD agent and a comic-book-store-within-a-comic-book in a very entertaining way.
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Weirdly flat coloring combine with an overstuffed plot to deliver a surprising success!
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The overall effect of the comic is to give me the feeling that the creators want to have their drama cake and eat it comedically too, and while they don't fail in that endeavor, it's not quite successful on either level.
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The first three issues together make a pretty good first issue, but I don't know how they can successfully wrap this up.
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In between the meta-jokes, the biting the CW-hand-that-feeds-you and Jughead mocking his TV doppelganger, we get a cute, old-school Archie tale that will probably annoy the hell out of any Riverdale fans who pick it up.
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They say that the best characters are creatively elastic, and this issue shows some of the flexibility in the core of Moon Knight, with an interesting gimmick to hold it all together.
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Aaron's story keeps raising the universal stakes, striking a balance between intensifying the experience while never *quite* going overboard, with strong art to hold it all together. I like what this book is doing.
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This issue feels less like an individual comic book than a few pages of a larger graphic novel, but the art is very strong and the story isn't bad.
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Marshall may have gone too far, and Nathan seems ready to take back his helmet. That's bad, but it makes for a good story.
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This story focuses mostly on the human's champion, Rosa GenThree, setting up the world and her motivations well, with really impressive art rounding things out.
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The art is great on both stories, and the return of the Riddler (and Gotham Girl) open up interesting new possibilities for Batman, and for Bruce Wayne.
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The previous issue ended on TWO big cliffhangers, which this one just leap-frogs and launches into a well-drawn, but hard-to-parse new chapter.
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Attaching a mythological scope to The Punisher doesn't seem like it should work, but the combination of really good art and a story that absolutely commits to the premise make it work better than I expected.
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The solicitations have been pushing this one hard, but even knowing how it ends, Williamson and company build the tension of the story well. If only this wasn't the last issue AND the opening salvo of another massive crossover.
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Black Beetle's identity is liable to annoy some readers, but this issue's ending and the fact that B and B manage to give us a *FUN* adventure even while battling for their lives makes me hope for Blue and Gold Season Two.
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It's an issue that starts with a lovely tribute to George Perez, throws everything into chaos and rings in a whole new Avengers lineup, with the promise of more new members in the future. It's a nice jumping-on point.
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One of the more depressing issues of the series, in ways intentional and unintentional, but still an interesting read.
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The Omega Rangers have two issues, one of which is a once and future Ranger, but the art and story are up to the task.
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This issue isn't by any means a jumping-on point, but it's a very well-done issue, focusing on Wolverine as she fights one of her dad's nastiest foes, with more behind-the-scenes maneuvering and politicking than a week in Congress.
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It's darker and bloodier than I expected and even with the lovely art, it won't be to everyone's tastes, but it gets a lot onto the page and serves as a strong first issue.
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Captain Carter's principles run up against the political realities of Great Britain, with art that doesn't really excite me and a series of pretty okay events.
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The Rangers enter a rebuilding period, continue an uneasy alliance and even question the nature of their mission in an issue that shows off the range of the new creative team.
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In the shadows of the Kingpin's fall, Typhoid Mary and Elektra fight, and it's a really good issue for both characters, but not quite buoyant enough for the price tag.
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A murder mystery with an unexpected victim and a case of mistaken identity makes for a well-crafted, engaging story, especially when Batman and Deathstroke's children get involved.
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I'm not a regular Batwoman viewer, which makes for some comprehension issues, but it's a good looking comic that does a good job of feeling like a CW show.
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Ziglar leans hard into the punk aspects, while Mason's art and design feels appropriately hardcore for the world they're creating. It may not be for everyone, but it's definitely a good start.
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While it can never be the Stevens run, this issue gets the tone and the art just right, adding a new wrinkle to the career of Cliff Secord in a way that makes sense.
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Carol and Monica teach Binary lessons about life and love, guest-starring Captain Marvel's best friends and a little heartbreak, ending with a literal bang. Good stuff.
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We start to get some explanation for the rush of villains, and Marshall hits a new low, while the ending makes it clear that Radiant Black's story isn't gonna get more predictable in its second year.
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The new Iron Fist is a likeable kid and his quest to find the shattered pieces of his magic sword makes for a nice driving force for the story, but there's a LOT going on in these pages.
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Busiek, Anderson, Ross and company have once again opened a new chapter in Astro City's history, touching on classic Silver Age themes and setting up a new run. If only we could have gotten the N-Forcer's story first.
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We're dropped in the deep end without water wings, but the effect is engrossing and the art is remarkable. I'm looking forward to more of this book.
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After several issues of deliberate plotting (including one that all torture), Earth-818 is saved by a trio of goddesses who haven't been in the story, save for a single-page splash at the end of issue #1, wrapping up a big story with sudden snap.
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To be honest, this noir-tinged Justice League should bug me, but I find myself drawn in by the beautiful art and the skillful detective trappings of it all, even when the story gets darker than I ever expected.
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I saw the twist coming and the two art teams are hard to reconcile, making for a middle-of-the-road read.
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Uatu's nightmare reality is a dramatic kick in the teeth, while Rodriguez puts together some very good visuals, even channeling Kirby admirably.It's a solid comic book.
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The almost-clinical fascination with serial murders in this issue is off-putting and horrifying, and the fact that it's a gleeful selling point makes it worse. I don't think I'll be coming back for any more of this take on Carnage.
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A story that is sort of based on stories sort of based on comics returns to comics. and it's sort of okay and sort of dry and listless.
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The Nightwing/Superman team reinvents the World's Finest team in a truly impressive and creative way, and young Jon with experienced Dick Grayson makes for a great balance.
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It feels like the main purpose of this series is to get Kate to a status quo like her TV counterpart, but there's some charismatic stuff going on in here. Also: Pizza Dog gets pizza.
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The opening sequence, designed to mirror that of Naomi #1, is the best part of the issue, which barely has any plot at all.The art is quite nice, though.
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This issue gives us our first real look in to Satomi/Radiant Red's life, which is lovely, but feels a little bit slighter than a first issue should.
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She-Hulk welcomes an old friend, and while it's mostly conversation, it's still a fine read with well-done art. Also: That last page surprise got me.
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This issue features two writers, six artists, hundreds of superhumans and a ton of back-stabbing, coming together into an explosive (and not entirely coherent) whole that doesn't really earn its price tag.
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It's fun to see Batman and Robin dealing with what they believe to be a threat when they're not the designated heroes and Marcus' continued exploration of his new powers is classic comics world-building.
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Great art and a story that starts off strong, introducing more heroes of Earth-818 and an amazing move by Ghost Rider, but the ending really bugs me.
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It had been so long since Saga went on hiatus that I had forgotten how good this book could be, but Saga #56 reminded me in the best way possible, combining utterly beautiful art and compelling story into a fine hunk of comics reading
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It's not really a number one issue, but it's got some strong character beats and action sequences, as well as a spectacular art job, so I'd love to see more, even if it's weird to call BOTH heroes Aquaman.
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Johnny's new life seems like it should be perfect, which makes it creepy as all hell even BEFORE the other shoe drops. This is a nice reintroduction to Marvel's original flame-headed biker.
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It's always nice to see smart characters who actually ACT smart and the art team of Cowan and Sienkiewicz is just plain perfect.
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This issue's story actually seems to take place between the moments of the first four issues, and it's really fun to unravel it all, while Eddie's new look (courtesy of HItch) is really cool.
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The back-and-forth in time conceit makes it a little difficult to follow, but it's got some lovely art, Jackson Hyde at his finest, and a cliffhanger that makes me want to come back for the new Aquamen ongoing series.
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This issue portends a new threat to the League, but ends up being nothing more than a series of escalating conversations with a cliffhanger ending that is somehow both predictable and out of left field. This could easily have been the first third of a more complete issue.
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This issue would be worth it for any one of the big moments, but it's really Skull's moment in the sun that puts this issue over the top.
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The Slott/Stott/Aburtov/Caramagna team is a foursome as impressive as the main characters, each of whom gets something unexpected and entertaining to do, while players as varied as Moon Knight and the Silver Surfer move about the metaphorical chessboard, making for one impressive story.
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The use of the animation models and flatted animation-style coloring make this one feel like a good memory for readers of a certain age, but it also works as a straightforward comic adventure.
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The story of Max Gomez comes to a close (for now) and while the art is crisp and the coloring is excellent, the story is a bit run-of-the-mill for my tastes.
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Radiant Pink's origin ends up being tied into Radiant Yellow's, giving us a look into her life pre-alien powers, while hinting once more at a greater meta-plot building in the background. It's a new take that fits perfectly with what has gone before.
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Nearly half the issue is devoted to unraveling the convolutions of the villain's scheme, which ends up being a shaggy dog story with no point, As much as it wants to work, it just goes off the rails.
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The Allreds make with the gorgeous visuals, while Milligan's story deepens the mystery around Zeitgeist, while another X-Statix member buys the farm. or do they?
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Remixes many of the previous Crises into one ongoing storyline, but doesn't quite pull it off, and while I'm not that upset about the loss of a team member, I'm worried how this is all going to pan out.
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There's a lot going on here that I don't understand, even having read and enjoyed the previous issue, and the overlapping "realities" just don't work. Even so, it's interesting to see Larsen exploring a new art style, even if it's not alway successful.
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The name on the cover isn't the protagonist of most of the issue, but the real fun comes in what happens around her, spinning out of the Inferno storyline.
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A sort of shared universe of 175th Century literary and quasi-historical characters, Seven Swords ends up being a lot more than I expected, from the detailed art to the nuanced story, and the ending that leaves the next part open to interpretation and/or sequel.
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After last issue's set-up of Ant-Man Tony Stark and his proto-Avengers, I didn't expect 30 pages of mental and physical torture. This is a hard issue to read.
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This issue plays with meaning and form, hinting at what is to come and perhaps even showing us how the book will end, all the while making fascinating hash of words and pictures. It's a fine comic reading experience.
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It's gory, it's dark, but it feels unfocused and unmotivated. What's more, the story influences are very obvious, making for a so-so-read.
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DeMatteis, as always, crafts a really fascinating script but somehow the combination of a Balden's new style and the over-produced colors really brings the visuals down for me.
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All-out action, with the appropriate amount of twists and turns for a Power Rangers battle sequence, meaning that even though we expect our heroes to win, it's easy to get drawn into the story and worry about Angel Grove.
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This issue doesn't really stand out in any way, and the sequel hooks at the end don't really feel like something that I'm going to rush right out an demand more comics to resolve. It's all just okay.
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The back-burner Vicious Circle plot comes to the forefront, while Malcolm deals not only with fistfights but vaccinating his kids. I don't know if I would recommend it, but I enjoy it.
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A very difficult book to follow, with an odd and off-putting color palette. It reads better if you've been following along for the last six months.
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Lots of characters, lots of action, but feels like it might have needed a bit more happening to really pull it all together perfectly, but it's still a pretty strong comic book.And that final page!
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This issue ends with a pitch where Vincent and Elvira open a detective agency and solve mysteries and I'm here for it.
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Excellent story, wonderful art and a truly fascinating cast make this series a must-buy for me.
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Some unclear transitions give the whole issue a hallucinatory quality, but only part of it is a dream, while Gleason's art does the job, but doesn't dazzle. It's a pretty okay issue with some interesting ramifications.
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Unlikely allies, an old friend in a new role and a surprising-yet-inevitable final page make for a truly fun, really pretty comic book.
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The use of familiar tropes helps to clarify what's happening in these pages, but there are still a lot of moving parts and the art is oddly inconsistent. If you've been around for a while, it likely makes more sense.
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The back story of the only Ranger whose identity was never revealed (thanks to budget woes) looks to be something much bigger and more complex, with well-done art pulling it all together.
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It's an exciting story that moves quickly and has fun twists and turns, and while I'm not thrilled by this take on the character, it's a solid adventure story.
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It's a done-in-one tale of the fantastic, told to Hellboy rather than starring him, but it's no less entertaining or fun for that, making a lovely, satisfying package of good comics.
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An alternate Tony Stark and the prime Ghost Rider are the stars of the show, but the cover promises a little bit more than this first chapter is ready to get to. Still a good read.
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It's nice to see some of the old- school Valiant ethos of realistic stories, even with wild-and-crazy powers, but slightly clearer art and plotting could have made this even more successful.
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Nettie's search for her boy is at once tense, terrifying and admirable, while the players she encounters range from unearthly to hilarious. This is a quality comic book experience.
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There's no real explanation of the "when" of it all and the story has dreamlike elements that make me wonder if anything is what it seems, but the art is interesting and the coloring makes the show. I'd be interested in more of this.
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Each new reality is more creative than the last, and this one is both portentous and breathtaking, with a story to match.
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A little bit of 'Westworld', a little bit of 'KISS Meets The Phantom Of The Park' and a heaping bowl of irony combine with experimental visuals for a unique reading experience.
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The timeline is confounding, but the characterization is wonderful, and the swerve(s) at the end are unexpected. Add in beautiful art, and you've got yourself a winner.
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It's the fourth or fifth time I've seen these events rewritten and recontextualized, but it's also a pretty good take, especially Oeming on art. But is it essential?
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This is an exciting story that makes smart use of recent abandoned continuity bits and sets up a mystery for two core Avengers to unravel. What's not to like?
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It's a superhero story that openly loathes superheroes, with art that is consistent and likeable, set in a world where everyone seems to be a different flavor of bastard. I don't expect that I'll be back next issue.
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Four Sonjas enter, and what leaves ends up being a really cool twist on the multiversal concepts in play, with good art and fun dialogue.
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This issue somehow both feels interesting and brings the ongoing story to a halt, making for one of Busiek's trademark deep dives into the supervillain psyche. It's worth it to see the expert continuity-knitting in action.
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It seems like a third of the Marvel Universe appears in this issue and a lot of things happen, setting up for the new Avengers era. The only real downside comes with the pricetag that accompanies an issue five times the regular size.
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It's very much the modern house style at Dynamite, with a story that adds a few new wrinkles to Ernest (and Ernie)'s characters, which might anger old-school Chaos! Comics fans.
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A Xeen Arrow reference, a shot at Marvel and a brand-new hero make for an exciting opening for a book that I enjoy. I have no idea where or when it takes place, but it's nice.
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The theft of Mjolnir sets Thor on a path that leads to nothing but more death, and it makes me want to read the rest of this story. Well done!
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Ridley and Cabal successfully pull off a "you don't know the WHOLE story" moment successfully, but transition into a "hero leaves his responsibilities behind to clean up a mess he didn't know he made" isn't as successful.
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What is clearly meant to be written as a clever twist ending with a touch of "Yes, Queen!" turns into a violent visual morass of just plain disgusting.Truly not worth your time.
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A story that separates the Kryptonian from her powers, making a challenge for Supergirl that isn't just a matter of Kryptonite or Luthorian scheming. Well-done.
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Both Ranger teams are united, just in time to get decimated by the cosmic powers of the Empyreals. There's a next issue solicited, but. who's left to star in it?
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Five superheroes who have no intention of not being superheroes decide to talk about whether or not they should have been superheroes, and an ending written as a big surprise that was part of the solicitation copy. Not their best work.
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It's a well-written story with an odd, stilted art style (that actually works in context) and a really sudden ending. It's among the best of the series so far, though.
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One of the League commits cold-blooded murder, but overall it's a pretty impressive end to a story, taking the big swings and pulling it off more often than not.
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It's another unwinnable fight for the Rangers, but there's at least hope to be had, and some strong art to accompany a story that has some familiar echoes in it.
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Hama's still got it, and new artist Billy Penn brings his A game to match the man who's been writing G.I. Joe since 1982. Add in a few new Joes to spice things up and you've got yourself a really good heist "movie."
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A post-apocalyptic look at identity in the wake of the end of the world, this book has a LOT of familiar bits and bobs circling a center that doesn't quite hang together. There's promise in these pages, though.
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It's a story that starts sweet, gets tragic, then goes completely bonkers. Highly Recommended.
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As tense as it is and as well as the storytelling is done, it does feel like not much happens in these pages, but it's good to see them move Red Guardian to resemble his movie counterpart.
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Like Black Hammer or Invincible, this book plops you down in a full-fledged shared universe, and now it's going to show us the sights through the eyes of an over-the-hill mountain man. It's good stuff.
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This book is tense, effective, beautifully drawn and utterly unexpected, making it both a shock and a major success.
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The art and the story aren't on the same page, and while both are interesting, they final product doesn't elevate itself past "Pretty Okay". This is the third or fourth alternate reality in recent Avengers history, too.
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The death of the Legion of Doom was bad, but Zan's brutal, gleeful on-panel murder makes this one a depressing slog, and the last panels indicate that this is once again gonna be a 'Batman does it all!' story.
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The art is stellar, the story moves quick, but the editorial staff left a number of problems through, including misspelling the villain's name twice. It's good, though.
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This issue is all action, which doesn't leave a lot of room for explanations, but man, does it do the action well.
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What should have been a fatal encounter turns into a show of the resourcefulness of the Marauders, with half a dozen moments of awesome for our heroes and art that impresses.
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The mystery deepens, and the answers give make sense both as a narrative and to explain the strange video-game nature of the island, adding a new character or two to Robin's Rogue's Gallery and looking good doing it.
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The events of 'Basketful of Heads' lead into this new series, with a few new twists and turns. The pacing feels a bit brisk, but the art is quite lovely.
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Sometimes the worst horrors are the mundane, human moments of terror, and this comic perfects encapsulates that.
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This doesn't really read like a first issue, but it's well-drawn and the mysteries introduced are compelling. I just wish there were more context actually provided in the issue.
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The lengths to which Colonel Weird is willing to go to recruit Lucy are nothing compared to the lengths he goes to AFTER recruiting her. This issue is a shocker.
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This issue excels in its character moments, from the Ben/Peter interaction to May dressing down the doctors to the Beyond Spider-support team, but the art is a little bit sketchy and lacking in detail for my tastes. Even so, it's a interesting change in the status quo.
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For years, we've heard rumors of Sam Hamm's plans for Billy Dee Williams' Harvey Dent, a Robin played by Marlon Wayans and the Batman II that never was. I don't know if this is that, but it's a good read with some great art.
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Bruce Banner's alter-ego(s) literally go through hell, but it all ends as well as it might have, including the last word on The Green Door. Well worth a read, even if the artist is on my avoid list.
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It seems weird that I'm reviewing my second Champions #10 season finale in as many years, but cancellation hasn't stopped this team before, and this final chapter provides closure for the ridiculous 'OUTLAWED!' arc.
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Ewing and Rodriguez breaks the rules to make them work, featuring a focus on Betty Ross, The Harpy, and an truly puzzling mystical universe. If you've been sleeping on The Defenders, you're missing out.
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I'm starting to get a little multiversed-out, but this book successfully shows me an alternate Sonja that works, even if it wears its influence on its sleeve, and looks quite good doing it.
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Dramatic and moody, but I feel like I'm missing some important context to make it all engaging.
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Eight artists make for an inconsistent visual experience, which could easily be forgiven on the strength of the parts that work, if not for the book's horrible ending.
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The premise is compelling and the art is quite lovely, but this issue feels like a little TOO much is happening all at once. Even so, I enjoy seeing the rotating cast and Busiek's dialogue, so I can let it slide.
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There's a clear attempt to integrate the Superman films into a coherent continuity here, and both the story and the art are up to the task. This is a good'n.
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Every issue of this book ups the ante in ways that I never expected, and I really enjoy being surprised.
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There are some moments here that make me uncomfortable but it's an interesting start for a character that I'm interested in seeing more of.
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A new Batman in a new world makes for an interesting take, and Ridley's deeply nuanced script works well with the complex art of Coipel. Batman is dead. Long live Batman!
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The story has simmered long enough, and Power Rangers #11 brings it to a boil, with some impressive swerves combining with strong art (and a creepy new look for Lord Drakkon) for an issue that has terrible implications for all the Ranger teams.
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A muted color palette and distinctive art make for a visually interesting read, while the story makes itself work in spite of the overwhelming weight of our suspension of disbelief.
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When you play with Kirby concepts, you need to bring it, and this issue does so in both art and story. It's really good.
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After a nebulous first issue, we cut right to the chase here, meeting the Unteens, tracking down what has happened to them, but only deepening the mystery, with art that impresses me in every way.
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The end of Kamala's Law is enough for me, but this book pulls it off with joy, aplomb and some really good art. Add in the return of some long-missing members, and it's a winner even with the big cliffhanger ending.
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One the one hand, I hate how nothing ever ends, it just spins into the next big crossover event. But on the other, this is a big energetic comic with a lot of moving parts that holds together pretty well and looks good doing it.
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Crush's narration makes the book for me, and her plan to get free and find her dad is remarkably fun.
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I hope that the sad sack heroes routine doesn't last for the whole series, but some fun art from Sook helps that medicine go down, making for a pretty good comic.
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This book gives me an ending that I didn't realize that I needed and represents the best of classic comics with a modern edge in a truly inspiring way. You should have been reading this comic!
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All in all, though, as much as I liked the overall conceit of The Worst Dudes #4, the problems I worried about after seeing the breathless copy and promises of grossness, perversity and dirty words were mostly borne out in these pages.
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This issue gives us a focus on Norman Osborn that adds a new wrinkle to his already incredibly complicated life, featuring multiple arts teams and several not-so-successful puzzle box reveals.
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I'm not keen on either the art or the story, and the cleverest touches (like Maurice's narration) are also the most self-indulgent, and the portrayal of Sakamoto is just unacceptable.
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This issue is impressive in a lot of ways and I am interested in Connor's story and the presentation of his diagnosis, but things feel very rushed in this issue, and there are some consistency issues with the art that lessen enjoyment for me.
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The ol' double-reverse evil universe trick always gets me, and this issue's focus on one of my favorite Autobots is a really solid tale of double-dealing, double-crossing and fast talk. Top-notch stuff.
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Aside from a "flashing her breasts" moment that feels very awkward, this issue works pretty well, and the closing moments are quite touching.
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I'm psyched about the idea of an alien tiger as the new Blue Ranger, and the issue is pretty enjoyable about getting there, save for some storytelling confusion here and there.
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Clownhunter's back story is a familiar tale in Gotham, but his tenacity and his interactions with Red Hood in this issue have me interested in his story. The art isn't bad, either.
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Spanning the width of the Marvel Universe and delivering in both story and art, this issue was a wonderful surprise for me as a reader.
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A skillful retcon, combined with a well-crafted story and some truly great art, make for a memorable first chapter, one that some people forget since the rest of the arc is the debut of Todd McFarlane.
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Though it's billed as a Shazam story, this is a story all about the mysterious Dane, and while that's not a fatal blow, it's also predictable and not really engaging.
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The story of Zordon's early days takes an alarming turn and reveals that maybe we know Zophram better than we thought we did. That was unexpected.
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This issue feels like an avalanche, starting slow, then burying us all in overwhelming horror, with some well-drawn body horror that I don't want to talk about.
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The Runaways team has never been afraid of the big shocks, but this issue pulls of TWO massive swerves with gorgeous art and an ending that worries me terribly. What's not to love?
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This issue wraps up the first arc with violence, drama, sake and an ending that I DID NOT see coming, making me want more of this book right away.
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It's a melodramatic story that feels like a spaghetti western in all the right ways, but still has some confusing bits that don't quite land. I like the basic bones of the story a lot.
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There's a lot of build-up to what feels like an anticlimax here, but some of it is pretty interesting stuff, and if followed up on, it could make for some great drama with this new Crime Syndicate. Here's hoping.
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A combination of quiet family drama and kung-fu action, held together with a clever script and truly amazing art, making for a really good comic.
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It's not going to be to everyone's liking, but it's a very specific, very stylized kind of comic that we don't get a lot of in the Marvel Universe.
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It's still not entirely clear to me what the connection between Sam's two lives is, but both parts are engaging, with lovely art, and I'm going to be following this book from now on.
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Johnny Storm's most immature moment leads to an all-out battle, and for once, you kind of think for a split-second that Doctor Doom has a point.
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Every good crossover needs a hook, and this one has Sergio and Mark at Comic-Con? Soooo, that's something.
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I want Tamaki's Huntress to get her own ongoing series based on this one-shot, especially with Lapham art. It's the kind of book that'll get you back into the Bat-books again.
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This reads like a Conan comic that just happens to have Johnny Blaze and his fiery counterpart in it, and as such, I like it a lot, though the art leaves a bit to be desired.
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The plot is interesting and the art is truly lovely, but the dialogue feels very pedestrian and expository, and Booster's reversion to type feels very abrupt. Still, it's good to see them back.
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For the third issue in a row, the Radiant Black team delivers on a well-crafted, unexpected plot twist, and I'm totally enthralled by it all.
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I didn't expect to like this book as much as I do, but Francavilla and Boo make it visually stunning, even with protagonists that I utterly loathe.
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Interesting themes and a fun (if somewhat familiar) cyberpunk reality, but the story feels like it ends abruptly and needs some fleshing out.
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Spencer's script is basically yelling at us for twenty pages, but there are interesting questions in the mix, and Bagley's art is amazing. But THIRTY-SIX villains?
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It's a remarkably good issue, filled with a variety of creatives showing off some of the best reasons to make creator-owned comics. The debut of Machine Boy alone is worth your dough.
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These kids are a great collection of personalities, and I really hope to see more of them once the miniseries is over, especially Daycrawler.
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There are more than a few exaggerations and outright lies in these pages, but its energetic, well-drawn and sets up a conflict for our heroes to overcome. What more could you want?
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The usual suspects may be mad about it (and what comes next), but Captain America #30 is an excellent issue, one that gives us something to think about as well as excellent art, reminding readers that all art is political and that can be incredibly entertaining.
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The team is nearing the homestretch, and the story and art are upping their game accordingly. Still one of my favorite monthly books.
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I don't want to fall back into all the X-books, but this one is a matter-of-fact bit of brilliance, with a really interesting team of mutants trying to make it clear that they're heroes and doing it with kindness. I also like that their Wolverine is Laura. This one's good.
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The animated Justice League picks up where they left off, but there's a few twists and turns along the way. It's a pretty impressive start, though there are a LOT of questions it raises.
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Rather than a return to superheroes battling against destruction, we get a personal look into the mind of Steve Murray that deepens the story so far and makes the premise of Crossover that much more unusual, with a truly shocking last page reveal.
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Shang's new family business positions him to deal with the most dangerous and important parts of the Marvel Universe, and this issue takes on the unenviable task of making it all work, and they totally pull it off.
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It's not an easy story to read, but it is a good one, with the usual excellent art and a twist ending that is both unexpected and perfectly set up.
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An improvement, thanks to stronger art and a focus on the charming Batpack trio. This book may keep my attention after all.
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There's an awful lot of storyline heavy-lifting, but the art is solid and the cliffhanger does its job. This feels more all-ages than most Marvel productions, as well.
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It's neither fish nor fowl, but I'll be darned if it's not a fun story when it all shakes down. You might even get surprised, which I didn't expect.
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In short, Heroes Return #1 isn't the definitive ending that I hoped for, but it is a good one for the story, featuring very strong art, some wonderful character moments and a knock-down dragout battle that comic book fans have been hoping for since 1996.
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This doesn't really feel like a first issue at all, more like #3 of 12, and that's difficult for understanding what's going on. Maleev's art is cleaner than some of his previous work, but muddy coloring covers some of it up.
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A well-drawn issue, but the focus on B's battle prowess also makes it feels light on narrative content, as much of the issues is battle sequences. Garney's art is amazing throughout.
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The two artists don't really mesh well at all, but the story is engaging and the scale of it all helps to keep readers engaged.
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The book looks great, but the story is convoluted and overly dour, while both the lettering and the coloring distract from the story being told in different ways. It's a little bit disappointing, and I miss Frank Quitely.
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A whole lot of comics (with a whole lot of price tag) that ends up being well worth the price of admission.
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There is some muddy coloring and a few artistic peccadillos that are a bit distracting, but the general gist of things is interesting. The shock moments don't really land, though, and the opening sequence is absolutely gratuitous.
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There's a lot going on here, but seeing Marvel Guy's perspective makes for a fascinating issue and that last page reveal could be a game-changer.
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Erik Larsen is a seasoned veteran, and nothing in this issue is anything less than solid and well-constructed, but it's clearly just housekeeping to conclude the old stuff, and even great layouts can't entirely ameliorate that.
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Jenny herself is funny, cynical, angry and disaffected, and her battles with giant monsters are equally entertaining and off-kilter, with killer art and a truly inspired color palette. Worth the price of admission.
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Things are reaching the point of no return, but Frontier's idea once again changes the game with another clever concept, and the tension is ratcheted up with precision.
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The main story is a mess, but the Justice League Dark backup is a lot of fun, and the art in both halves of the story is pretty good. I'd really like to get things moving, though, and Bendis' dialogue is just. NOT working.
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A great opening scene, a smart approach to defeating the villain and Tony Stark personally mad about a tech villain targeting Miles Morales make for a very solid issue, kicking off Infinite Destinies with a bang.
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Though this is presented as an Iron Fist story, it's an ensemble cast focused on Okoye of the Dora Milaje, ending with Danny Rand losing his powers. Hama's character work is wonderful, but the plotting perplexes me.
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An impressive ending to Coates' run, setting up a wild new status quo for Wakanda, one that I hope doesn't get immediately unraveled by the next writer. Either way, it's a lovely ending for a lovely ride.
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This is a remarkably sweet story, wrapped in nostalgia and designed to undermine everything you know from 'It.' Totally worth the price of admission.
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Ossio gives us some spectacular art, and the story raises interesting question about being a hero and a Black man in the year 2021, making for an interesting overall package.
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The stakes are high and the plotting is tight, but the real star is Vecchio's art, and maybe Sam "Nova" Alexander.
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It's rare that solicitation copy is literally true, and this issue proves that rare and pleasant exception to the rule, with really great art and an ending that shook me up.
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The story applies a modern lens to the kaiju vs. superhero genre, but the use of character names from the Ultra series is a bit distracting. I like the main character, though.
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This book is inventive, fun and even with some artistic oddities to get around certain. issues, it's stunning to look at. Plus, we get young Jay Garrick in action! What's not to love?
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An unexpected opening sequence leads to a string of cool moments, ending with an even bigger surprise. This is a good issue.It is troubling, however, to have Zedd's armored butt lovingly rendered on the cover.
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Houser's take on Missy leans a bit too heavily on dialogue from one specific episode, but the interactions between the two Masters are quite good. If you're looking for The Doctor, though, this book may be disappointing.
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Silk herself is pretty interesting, but the story is all over the place, and the last-page reveal feels like it over-promises. The art is quite lovely.
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Middle-age is terrifying and this comic book has teeth, my friends.
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It's disappointing that this book wasn't given a shot at greatness, but at least it ends with some actual heroism and teamwork from the group and some well-done art.
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A chaotic story with overly-stylized and unclear art, featuring a lot of moving parts crashing into one another. Not my favorite Spider-era.
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Seeing the entire Fox family like this is fascinating, especially in a Bat-context but I'm having some issues knowing where this story takes place. That doesn't make it any less engaging, though.
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For me, just the name 'Clone Saga' is troubling, but this issue does well to keep things distinct from previous tales, and makes it clear that Miles is not Peter Parker, plus, the art is top-notch throughout.
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Hama delivers once again on a complex and entertaining issue, with art that has some peculiarities
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The art is pretty stellar, but the story ends up being little more than a trailer to get us to check out the graphic novel. It's not a bad trailer, though.
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It's a quick read and glosses over a few things to get to the funny parts, but it makes for an okay 'Conan-lost-in-the-21st-century' story. Back in the day, this would have been an issue of 'What If?'
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The Fantastic Four doesn't really get the breather issue that another comic team might, but this one serves the same purpose and makes for a good read.
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This story wraps up Walker's latest arc in a satisfying way, and even ties into the late, lamented U.S. Avengers title, for a nice wrap-up with a puzzling ending.
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Too many characters, not enough plot and overly slick art make for a comic book that feels pointless and over-complicated.
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A tense issue full of character moments in the middle of combat, giving us spotlights on Trini, Drakkon and Astronma while holding its tension and excitement. Nicely done.
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Several moments in this issue feel a bit "Hello, Fellow Kids!" for my taste, but it's a good-looking comic book nonetheless.
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If you're only familiar with Prince's mean-spirited work on 'Ice Cream Man,' you may be surprised how sweet and uplifting this issue is.
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A really attractive comic with a great story hook and really fun character interactions and dialogue. The Green Arrow/Flash/Mr. Terrific team may be my new favorite trio, and Gold Beetle is a scream. Well worth the price!
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It's not your standard ranch stash of comics, but it's a really good story and it goes perfectly with the established 'Black Hammer' universe. I really like this issue.
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Even if you hate Damian and Jon as they are now appearing, you can enjoy this fun teen superhero adventure.
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If 2020s Image becomes the horror anthology headquarters that '90s Vertigo used to be, I'll be thrilled, especially if its all as good as this issue.
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Even with Marvel's slightly spoilery promos, this one is a shocker, and it once again flips the table on Aaron's Avengers, while looking pretty great. But, man, poor Namor.
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Jo's situation gets worse, but every page of it is fascinating and visually amazing, with an ending that makes me want the last chapter right now.
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There's potential in this new take on Peacemaker, but poor Superboy feels like an afterthought and much of the team feels underdeveloped, with an art job that's just okay.
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This series is worth the price of admission just for the clever character names and concepts, but the depth of the story is cake under that icing.
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I have to say, I had not idea what to expect from this issue and I was definitely surprised and more than a little impressed.
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This issue feels like a throwback to Bronze Age storytelling, thanks to a tight script and better-than-average art, and that last-page reveal? It's a shocker.
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This issue convinced me to immediately go back and buy the rest of the series. What more is there to say?
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The Other History of the DC Universe #3 is the most visually arresting issue of a series that has never been less than beautiful, but it's married with a story that works perfectly, overcoming my worries about alterations to Katan's back story .
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A cast featuring most of the Black heroes of the Marvel Universe facing an endless onslaught of alien invaders, makes for a fascinating all-action issue worth it's price tag.
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Detective Moreaux' journey through the underworlds of 2009 feels VERY familiar, especially since I recently watched the original film, but it's not a bad book at all.
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The "aliens in a bar" trope makes for a fun issue full of conflict and tense interactions, with Trini and Drakkon having some long-overdue conversation and an ending that promises something different next time around.
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This issue feels a bit rushed, but the quiet conversation between father and son really helps to pull it all together.
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Cantwell's Tony Stark knows his limits, but still feels like Iron Man, while CAFU can even make Frog-Man look cool. Well worth your time.
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They're taking an awfully big swing here, but the humor works a lot of the time and the enthusiasm of the creators (and the characters) is infectious.
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It's got a lot of interesting components, but like so many Bendis stories, it sort of circles around the point. Still, this take on Black Adam is new and different, and the backup tale of the JL Dark is nice as well.
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This issue is good, almost good enough to make me forget how much I used to hate Taskmaster. That's some heavy lifting, done very well.
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It's not often that a book challenges how the very concept of superheroes fits in terms of greater epistemological concepts and also works as a superhero adventure book. This is good.
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The measure of any crossover is in how well it balances the players, and while Sonja's speech pattern is a bit odd, she is well-represented. Unfortunately, the odd grouping of Superpowers gets short-changed.
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Don't get me wrong, this book is a solid bit of comic book storytelling, but I cannot stand Punchline and I find the lead story's premise off-putting. If you're a Bat-fan, it'll probably be your jam.
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I'm not as enamored of this issue as I was #1, but it still holds together dramatically. I'm just leery of that last page.
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The battles are fun, but Black Panther/Wolverine dominates the issue a bit too much, and the Thor reveal is hovering in the realm between Genius and Cheese Sandwich. It could go either way, but this issue manages to pull everything together pretty well.
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It's not a bad comic, but there's nothing really new about it, either.
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There's some retconning here, but the action and the drama works well enough to keep it all on track.
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The story wears its influences on its sleeve, but that's not necessarily a bad thing, and we get some revamping the concepts that define Taarna, plus beautiful art from cover to cover. It's a winner
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If you can get past the peccadilloes of the creator (including persistent crotch shots, blood and guts and sex scenes that border on porno parody), Savage Dragon makes for good comics action month over month.
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Its an enjoyable issue that finally starts to examine the members of the team and it works, even if part of me wonders why we couldn't get that sort of thing two issues ago.
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In an attempt to make sense of continuity, we're given another explanation that combines Hypertime with a handwave, all following a big ol' senseless crosstime fighty-fighty. Definitely not worth ten dollar.
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There's something fascinating about this art, but the story's build and pacing are distracting and staccato, making for an odd reading experience.
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Drakkon and the Omega Rangers get to know one another a little bit better, but they all nearly die in the doing. A good issue overall.
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It's an issue much better than the pseudo-crossover that it's tying into, and one that delves a bit into the various Champions, including Cyclops. That said, 'Outlawed' can't end too soon.
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With clever new concepts, powers and superheroes who represent the breadth of the real world, this book should be on your pickup list.
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Gillen understands that The Eternals aren't just superheroes, and the story shows it.Ribic understands that The Eternals aren't just superheroes, and the art is killer.This is a good book
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I very much like how this book doesn't have any arcane or unusual bits, just a very mundane story that goes very wrong in interesting ways, even if parts of it are quite familiar.
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Morrison and Sharp take everything we've ever known about Green Lantern and the Guardians, turns it all on its head, and makes it into a pteradactyl, and I, for one, could not be more thrilled. This issue is amazing!
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After last issue's strong showing, things slide back down into the disconnected and grimdark again, but there's some pretty good art to help it all go down.
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A truly beautiful, engaging, thoughtful first issue.Did I mention beautiful? Because it's incredibly pretty in every panel of every page.
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It's a genre-meshing story that has to do a lot of heavy-lifting and world-building, pulling it all together with strong art and excellent coloring. Well-done!
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The Runaways have been through a lot, and it's nice to see them dealing with the consequences, even if it doesn't feel like a lot occurs in this issue.
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Mostly well-drawn but awfully predictable, tonally off-putting and a little bit unpleasant to read.
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Yang's Shang-Chi is an interesting new take, and this issue's ending proves to be an impressive setup for a new take on the Master of Kung-Fu.
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I'm not entirely sold on the TikTok/YouTube premise, but it's a solid take on a familiar genre, with really impressive art and innovative coloring.
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This comic is remarkable, well-drawn, well-written and well-researched.And frankly, it's well overdue.
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There are some fun concepts here, but the Legionnaires haven't been fleshed out enough to support variations on the themes, and Rossmo's art makes literally everyone unidentifiable. Not a fun reading experience.
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Against the background of the AIDS crisis, Barbalien tries to find his place on Earth, and it's a really good read.
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This issue is all about the fighting, but the definition of fighting has many subtle shades, and the combatants are truly entertaining matches.But they better not have killed Howard The Duck.
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I feel like I've read this plot before, but the wild creativity in the art make it all new again. I would literally read the back of a shampoo bottle drawn this expressively and creatively.
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A tense, well-written issue with a surprised or two and a very confusing final page.
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It's way dark and grimmer even than the source material, and four issues in, I'm still not sure what this narrative is about, but darned if it's not half-bad.
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The new year is a time for taking inventory, but when it comes to gamma mutates, that's just plain horrifying.
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A beautiful book with a puzzling storyline and the general feeling that this whole crew is doomed, which is a bummer, as I kinda like Grist's writing and this crew.
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Is there a word that means both "bleak" and "uplifiting'? Maybe "bleaklifting"? Or upbeatdown? I don't know, but this is an impressive reading experience.
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Zordon discovers the truth about the Green Ranger, the art is good and more clues about the Green Ranger are seen. Good stuff
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It's one of those post-combat, everybody talks issues, where Kirkman has everyone keep one another up to speed and Samnee gets to draw wonderful domestic scenes, keeping up this comic's streak of quality.
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Jane encounters a familiar face to MCU fans, with the soul of The Sentry in the balance. It's pretty good.
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There are some storytelling issues that made for confusion, but the art and the compelling characters in play overcame a lot of issues for me.
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This issue reads smoothly, looks like a dream and is filled with great moments of magic, intrigue and horror, making for a lovely read.
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I'm not in love with the art, but the story hooked me pretty well. until the big swerve at the end. I think I'll be back next issue to find out what it all means, though.
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This issue looks really good, but feels like a big goodbye, which makes me wonder about the future of ROM at IDW Publishing. Still, if you have to go out, there's worse endings to do it on.
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This feels like several different comics all shuffled in together, but none of them are entirely unpleasant.
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It's a likeable adventure that provides some insight into Jinny's life, but I'm not sure if it's going to be the springboard to more.
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Yes, I'm a complete mark for the 1981 Heavy Metal movie, but this is visually impressive and quite well-written. I'm sold.
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This issue feels like very worn territory, reminding me of half a dozen previous stories, including Nightwing's most recent run AND his time in Bludhaven, but at least Jason Todd seems to be mellowing a bit.
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Universe-spanning big concepts and really unique painted art make for an issue that takes some time to process, but one I really enjoyed.
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Normally, I'd grouse about paying nine dollars, but this book is worth every cent.
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This all feels like we've seen it before, but Civil War was never this visceral or personal, and the final page reveal gave me literal goosebumps. Nicely done.
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Out of one universal crossover into another, but Pak writing either Agents of Atlas team is worth the price of admission, and this issue looks really good.
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The structure of this issue is almost incomprehensible, and after multiple readings, I'm still unclear as to what happened when. That said, it's a really good looking comic book that makes me think I don't need to read the rest of the series.
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It feels as much like a goodbye from Dan Didio as a final issue, and the team spreading to the four winds, while feeling unmotivated, does work thematically.
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The use of the Adventure Team heroes is something I'm interested in, but Liefeld's art and writing definitely are not, and the issue feels simultaneously bloated and slight.
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This issue is a marvel, featuring wonderfully expressive art, an inspired green-tinted color palette and a plot that is always in motion. Truly excellent stuff.
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Shang's troubles are mounting, but the interactions with his siblings are quite interesting, and the art, while not to my taste, is attractive.
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Allred posits a unified field theory of existence, reminds us that empathy is the answer and does it all with his bright, wild, creative art. It's exactly my jam.
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This issue surprised me in several important ways, and best of all? It made me sad that the book was ending, even though I haven't been following it at all. Hope there's more with these characters down the road.
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On the one hand, I like the voice of the main characters, but this issue ends up being all setup for something that's happening down the line in 'Black Widow', which is frustrating for a five dollar book.
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It's not subtle, but that doesn't mean it's not enjoyable, well-drawn and suspenseful. Add in a group of characters with some of the most unique powers ever, and you've got a winner.
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It's a nice wrap-up to the Robin era, with the promise of a new Nightwing-led incarnation after the Endless Winter event, and it's a good issue.
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Tony Stark is having problems figuring it all out, but this issue mostly isn't. I'm not sure I love it, but it's a fresh take on Iron Man when we really need one.
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I enjoy the art, but this issue's story is vague enough that if feels like a series of bloody vignettes strung together, serving as little more than a trailer.
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McKay's script has a Deadpool vibe with less slapstick and the art is unique and dynamic, making for a pleasantly surprising debut issue.
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Punchline's back story is horrifying, even in the context of Gotham City's caravan of horrors, but there's something that feels forced about the whole thing.
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There's a lot of similar Zenescope characters and a lot of similar Zenescope books so this one doesn't really stand out much. The art has it's moments, but I think it's for the die-hard fans.
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It's a story as Priest as Priest can be, with art that succeeds in showing us the mundane moments, but stretches a bit for the wild battle sequences. Plus, Morrie Watanabe is the sensational character find of 2020.
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It's all fighty-fighty, with some inspired car-versus-kung-fu-master action, with Samnee's excellent art as the star of the show.
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The story tells you little to nothing concrete, but somehow manages to build La Diabla's mythology incredibly well, with some impressive art and especially inspired coloring.
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For a mainstream superhero book, Aaron manages to work in a LOT of horror imagery and McGuinness delivers wonderfully dynamic art, even though this issue is mostly a breather between massive crises.
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The big conspiracy is still pretty hazy in this issue, and the story jumps in time and place a little too much for my tastes, but overall it's an interesting debut issue with strong art.
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This issue does fun things with a strange setting and unusual characters, but the Death Metal part of it all is kind of obscure and some of the storytelling decisions just didn't quite work.
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I don't know where it's going, but the trip is a heck of a lot of fun, and the visuals are just lovely.
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Aside from a less-than-welcome villain cameo and some PDA, this issue shows us a Legion in action in a vibrant United Planets with a lot of good information worked in and strong art.
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It's not what I expected, it's not what I wanted. but it's perfect, nonetheless.
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There's something flippant about the treatment of magic here that just doesn't jibe with the general vibe of the Marvel Universe, but it's a likable Harry Potter pastiche nonetheless
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It's clear that we're supposed to think that Drakkon is the new Green Ranger, but there's enough ambiguity that they' might be pulling a swerve on us. Either way, it's a nice wrap-up to the series and brings back the tension after a couple of slower issues.
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A shaken Tony Stark faces threats that he doesn't understand and a world that doesn't quite trust him, with one of the most powerful villains in the universe pulling the strings. Combined with beautiful art, it makes for a good read.
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Langridge's art is still lively and charismatic, but the story drags just a tiny bit, and the fact that it's a prequel to a movie that's already out doesn't help. It's still an enjoyable book most of the time.
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The story that didn't need a sequel gets it's second sequel, and darned if this one doesn't work.
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This issue's conflict is resolved oddly and awkwardly, while Max's obvious nefariousness makes it hard to understand why Wonder Woman would want to trust or work with him.
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An old friend is back, a couple more have been dug out of their graves, and Spidey's friends are possessed. That Parker luck is back in full force.
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The setup for any big crossover is less about the maguffin and more about the tone, and this one makes me want to know more, especially about the unexpected guest star.
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A little confusing in the beginning, but makes for an interesting change-of-pace issue, and the quasi-Titans reunion is handled very nicely.
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That final page gave me goosebumps and makes me think the war is ending, one way or another. This book is pretty amazing.
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You can almost hear the sad piano as this issue ends, but it's a really well-developed vignette with the added layers of The Green Door to make it more tragic. Really quite good.
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This issue keeps building and building, but it manages to swerve readers as to WHAT it's building to, and that ending is. shocking.
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Saffron's situation goes downhill, but she's smart and witty and you almost root for her anyway, even as she kills multiple people.
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They had me at Doctor Bouncing Boy, but this issue really fills in some gaps and feels as tense as it should. Well-done all around.
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I think I'm done with this series.
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This series has been consistently good for so long that an issue that just pretty okay feels a little bit like they're off their game, but Mighty Morphin' Power Rangers #54 makes for a well-crafted read, with strong art and story that succeed more often than not.
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Once again, the first two issues of a series feel like they wanted to be a double-sized first issue, but it's a good read full of crazy Allred artistic feats.
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This issue successfully focuses on the drama at the Daily Planet and the peril of the Parasite, but both threads feel a little underfocused. The art is nice, though.
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Great art plus a slightly puzzing story make for an interesting read overall.
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This issue works on an emotional level, and I'm happy to see them trying to return Wally West's Flash to a place of prominence, but it's one long high-speed chase without a lot of context. It's good to see characters like Jay and Max again, but there's not a lot of heft to the issue.
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This issue takes a brief detour from the ongoing narrative for a deep dive into Sharon's psyche and it works pretty well, even if it seems to mean the end of Iron Patriot.
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A new armor, a new attitude and a new car make for an interesting fresh start. but that breakup was brutal.
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The art is pretty okay, but the story is nonsensical and plodding, making for a disappointing read all around.
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A strong issue that gives us a breather and some quiet time with the characters before setting up the next big thing with a shocking return. I like it.
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A horde of Flashes, a horde of villains and an giant evil plot make for a solid action issue with a killer cliffhanger ending.
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I'm by no means an Ultraman expert, but this issue makes an interesting case for finding out more.
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Shorter stories and guest artists don't destroy the horrific mystique off Ice Cream Man's terror-filled little world, but (as always) sensitive readers should proceed with care.
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This issue feels like the first half of a good episode of the show, making it exactly what a fan would want.
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The moments that land are good and the art by both teams is well-done, but the issue suffers from pacing and focus problems. Spoiler comes off pretty awesome, though.
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This issue amps up the violence, but other than that, it doesn't feel that different from the old-school days at Vertigo or the modern take on John.
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If you haven't been reading all the crossovers, this issue feels a bit abrupt, but it's a solid close for this story with some nice story hooks to go forward from.
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All the toys get put back in the box as Slott and Gage wrap up a big multi-year plot with aplomb and a couple of big surprises. It's pretty good, if you're okay with $4.99.
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41 artists, a lot of Legionnaires we haven't spent time with yet, and a breakneck plot make for an issue that you'll want to read more than once (but don't expect that to necessarily clear everything up.)
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I'm just not enjoying this series the way I once did, and I can't tell if it's the change in art, a new tone or just fifteen years, but. This issue was a real chore for me.
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I like the brief Billy and Grace side-plot, but the rest of the issue feels like a long walk for a short drink of water.
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Even as someone who knows the real-world history that Larsen is riffing on here, this issue brings everything to a screeching halt for a few pages before it takes off again. I hope it's going someplace.
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We're nearing the endgame here, and threads from the very beginning of the book are starting to come together, but I like the use of this issue's cast, especially Iron Man's realization that they're fighting the literal devil.
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The fidelity to ludicrosity is admirable, but this issue is A LOT. If you live by puns, silliness and metatextuality, this one is probably a must-buy.
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It's an okay issue, but the use of both Captain Marvel as antagonist and the weird, esoteric Black Order as villains makes it all feel very disconnected.
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All the right pieces are here, but it doesn't quite come together, thanks to art that feels like filtered photo-reference and a plot that keeps adding twists in a confusing manner. I hope that it reads better when collected.
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The only thing more chilling than the destruction from the Gamma explosion is the horror that the child-like Hulk feels about it. A really effective and creepy issue.
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Being a big crossover schmegegge there was no question in my mind that Empyre #5 was going to leave our heroes at a low point, but it delivers in terms of art and succeeds more often than not in the pacing/scripting department.
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The visuals are beautiful and the story is nearly impenetrable, making for a book that feels almost as though it wasn't written in English, and yet it all works on a visceral level.
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I honestly expected G.I. Joe: A Real American Hero #273 to feel like an endless series of introductions to get in all the characters, but instead I got an exciting series of battle sequences, tied together by a coherent plot full of fun Hama combat dialogue and the truly satisfying sight of Cobra Commander getting shot.
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Things slow down a little bit, but the drama is still working, and the mystery of who's and what's deepens. And what about She-Hulk?
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This issue is as good as I hoped the end would be, and while it doesn't feel like the ending that was planned, in some ways, that makes it even more appropriate.
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Even with my concerns on tone, Star Trek: Year Five #13 is a pretty good read, with art that works more often than not (especially on scenes of ships in orbit around the Starbase) and a story that feels like we're entering the Year Five endgame.
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It's a housekeeping issue, clearing the decks and setting up new threads, but it feels slow and somewhat inessential, even with some good art.
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It's a fast, fun, well-drawn and colorful all-ages comic that could appeal to young readers, cartoon fans and comic readers alike, as long as you can set aside your cynical side enough to enjoy it.
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This issue reveals secrets that, while shocking, make perfect sense in hindsight and does it with really attractive art, making for a solid reading experience.
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You can purchase this issue via comiXology
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It's really sort of a shame to see the comics set up to emulate Katy's already-cancelled TV show, but it's a breezy, pleasant journey getting there.
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Still a LOT of villains and a lot going on, but the personal betrayal focuses this story a little bit better for me, and the art is stellar.
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I like the premise and the story moves at a fast enough clip that I was engaged all the way through, all combined with strong art for a well-done debut issue.
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An interesting team of heroes stuck in a situation that feels inordinately convoluted, combined with art that never quite gels.
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This issue ties into Avengers plot points all the way back to #1 and gives us a glimpse of what happens when gods go bad... It's a pretty good book.
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I maintain that Al Ewing is the best writer currently working at Marvel and this issue reminds of why, as he and Slott craft a strong, engaging and best of all, SURPRISING issue.
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This issue resets the players, puts Zedd back on the board, throws in some drama and a lot of uncertainty for an entertaining read.
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I feel like Ghost Rider #7 really wanted to be an epic, explosive showdown of destiny, but instead it will have to settle for just being a pretty good comic full of exposition and fights, with better-than-average art and nothing glaringly out of place.
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The modern-day Hughie framing sequence of the book remind me of why I liked The Boys in the first place. The flashbacks (and the nauseating ultra-violence) not so much.
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I'm sad that Black Panther and the Agents of Wakanda #8 is the end of the road for this team, but at least it goes out on a strong note and reminds me that if I love a book, it's probably doomed, with strong art and engaging writing.
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Judged entirely on its own merits, free of the shadow of the original, Quantum & Woody #4 is a pleasant, breezy reading experience with art that isn't really to my tastes, but does a good enough job of telling the visual part of the story.
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In short, Star Trek: Year Five #12 looks great, keeps up the tension, and makes for a clearly-plotted and exciting issue.
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The final page is a huge bummer for me, but the basics here are solid: Batgirl action, hero angst, a little Jason Bard romance and some nuance, slightly undermined by confusing storytelling moments and the crossover hook.
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Once again, a venerable hunk of superhero story becomes pure horror, showing off how strong this new take on The Hulk has become.
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There are some problems with this as a stand-alone issue, rather than a random chapter of the ongoing story, but it's not a bad comics, just a slightly confusing one.
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All the big fights come to head at once, and unexpected allies return, along with some not-so-allies... There's a lot going on here.
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If they are bound and determined to do a big cosmic crossover, I'm at least glad that it's this well-written and interesting. Here's hoping they can keep it up all the way through.
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There will always be limitations to what a crossover can achieve, but Mighty Morphin' Power Rangers/Teenage Mutant Ninja Turtles #5 pulls it off with aplomb, wrapping up the story with action, character moments and a clear love of both properties, with clean, expressive art bringing it all to life.
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You can purchase this issue via comiXology
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You can purchase this issue via comiXology.
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In short, Go Go Power Rangers #32 is an above average issue that has to cover a lot of ground and does it with only a couple of small stumbles, showing us a version of 'The Power Transfer' much superior to what we got on TV back in the day.
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In short, Daredevil #20 is Daredevil done very right, with a complex story, a satisfying big battle, some surprising players on the field and an ending that feels both shocking and appropriate.
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Any writer would have a time balancing 30 team members, but Bendis' tendency to focus on one conversation while the larger plot goes on in the background emphasizes that challenge, and this issue, like the previous five, feels like it's intentionally teasing us about revealing information about the team, the UP and the greater scheme of things, leaving many questions still unaddressed. That said, Legion of Super-Heroes #6 is about the grand gesture of giving New Earth the oceans of its past, thus allowing the Legion a big PR win, and it does that quite well, with art that works more often than not.
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In short, John Constantine: Hellblazer #6 is an excellent example of Hellblazer in the classic mold, impressing with it's art and complex storytelling while depressing me as I realize how little has changed since 1988.
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There are a few points where it's difficult to follow the choreography of the story, and I honestly can't tell how Bart's mask would work (it seems to leave his mouth uncovered, but he also pushes it up in order to eat) but even with those questions, Death-Defying Devil #5 brings the series to a satisfying close.
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It's an okay done-in-one issue with an interesting conflict for Catwoman, but the dialogue fell flat for me repeatedly, and one important plot point took three reads before it was clear"
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Long story short, The Boys: Dear Becky #1 is living proof that some comics grow out of the zeitgeist of their times and just can't be revisited in a later era, with a story that seems to want to address grievances with the world at large before it shows us a story-behind-the-story that I wanted more of, with a mocking, cynical tone that leaves me cold.
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It's a complex and difficult story that underlines just how much this is not the G.I. Joe I grew up with. and I really love it.
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This is a solid issue of comics, with some fun interactions and an ending that feels like the final chapter. but thankfully isn't!
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It's an issue that surprises on all levels and is clearly setting up for something apocalyptic, and does so with skill, aplomb and a bit of entertaining creativity. I'm really interested in seeing where this goes.
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In short, Basketful of Heads #7 is the perfect capper to a really well-done series, wrapping up everything perfectly, even while it introduces new twists into the events of the series.
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There's some storyline housekeeping to do in these pages, with a surprising kiss and a new Scooby Gang to build, making for the proverbial palette cleanser issue.
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The five (technically six) vignettes here are full of character and life and while they're engaging, it doesn't quite cohere.
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Even if I'm disappointed that this series doesn't mean David Tennant joining Jodie Whittaker on the BBC, Doctor Who: The Thirteenth Doctor Season Two #4 hits a sweet spot for me in both art and story, giving us a fast-paced, exciting multi-Doctor tale that feels like a final chapter until it doesn't.
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This is how you combine superheroics and zombies and make it work, with excellent character work and solid art making for an enticing read.
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Buy this issue via comiXology
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You can purchase this issue Here
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All in all, Ghost-Spider #9 is a solid, is somewhat slowly paced, chapter and while I'm not a fan of the art, I can see it's appeal and it's quality.
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Even with those questions, Justice League #44 is a solid first chapter of story, using the six Leaguers' (the base cartoon team minus Martian Manhunter and Hawkgirl and adding in the King of the Seas) well, with a very successful shocking moment from Batman making it clear that things are gonna get weird.
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I like this issue for it's characterzation and the fun way the tension ratchets up, but it's not really a success as an individual chapter.
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Aphra gets wrapped up in the quest for a mystical maguffin and the setup, the art, and the characters look like a lot of fun.
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With the problems of the art and a general sense of "in-between" permeating the story, Batman and the Outsiders #12 is a real mixed bag of an issue, with a lot of strong character moments in a story that is weirdly paced and art that vacillates from "Pretty Okay" to "Just No".
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In short, The Green Lantern: Season Two #3 continues the gleeful experimentation with format, characters and the vast continuity of Green Lantern that has ben a hallmark of this entire series, including the Blackstars miniseries and the previous volume of The Green Lantern, and delivers a coherent, exciting and interesting story in single-issue format.
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All in all, Sweet Heart #5 is more successful than not, successfully conveying it's themes of seeming hopelessness, family ties and the importance of being brave even with some storytelling moments that don't quite hit the metaphorical bullseye
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In short, Forgotten Home #7 works for me as an entry point to this series and its world, and even having some issues with the flow of combat didn't completely torpedo the story being told.
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Sabrina learns confidence, fights self-doubt and finds that everything has a price in a well-written issue with excellent art.
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If you don't like this issue, then Superman's probably not for you.
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A little exposition, a little action, and another ending that just sort of. happens. I wish these first two issues were one single story.
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I have no idea if this has any connection to the film, but it's a bright, entertaining and complex adventure with characters who rise above cartoony to feel real and an ending I really love, especially the part about bearing the weight of our own expectations. This is a good book and a good buy.
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We're thrown right into the middle of things, which makes for an exciting (but not always entirely narratively clear) all-out battle issue, with energetically cartoony art.
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It's a big canvas and the strokes are painted very broad, but the ending is somehow both telegraphed and arbitrary and there are some problems with the art that effect comprehension. I liked some of this, but it needed a bit of editing.
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I love the art, I like the characters, and the story is both exciting and has something important to say, making for a nuanced and entertaining read.
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It has an interesting premise, it's creepy and it's got excellent art. What's not to love?
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It's looking like a very grim, possibly brutal book, but the story interests me and the art has its moments.. Just be aware of the violence and general tone.
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I thought I had this book figured out, but then they swerved me, but it's a nice balance of slice-of-life and crazy-superhuman-battles, and I want to read more of this.
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A really good first issue of what may be my new favorite comic.
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It's a very quick read, but remarkably successful in imbuing real emotion into the character's wild setting, and the art is a lot of fun.
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A gripping story with some solid storytelling that gets a little undermined by muddy facial expressions. I still want to know how it all ends, though.
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This book has really sucked me in, and I can't wait to see the final issue" Hopefully, it has a happier ending than this one.
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Once again, we cut to the 'Marvels'-style heart of the story, and it's a really wonderful journey.
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We learn more about Badal and some surprising things about Suzie, making it clear that the creators abandoning the bank robbery scenario was the absolute right choice.
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Solid universe-spanning adventure that hits all the bases, but it's moving a little bit fast for my tastes, and a LOT of stuff is getting glossed over. Hopefully that's part of the design.
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The visions of purgatory didn't quite have the kick I wanted, but overall it's a well-done chapter with an impressive (if telegraphed) cliffhanger.
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Combining explosions, robot wars and deep philosophical moments, this book is a very good read, especially (but not exclusively) if you remember the comics it's referencing.
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It's a very good first issue (with one notable problem) full of mystery and suspense, all delivered with Allred's trademark brilliance on the art.
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Melding the tropes of of horror with noir makes for a moody (if inconsistently told) story, but BOY is it ever depressing.
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Reworking a campy Silver Age tale into a modern horror fable must have taken tons of work, but this one nails it, and the last-page reveal is a solution scarier than the problem.
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Back story on the Dire Wraiths with a high body count and some interesting, albeit wobbly, art. Still a solid middle chapter.
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Fast-moving action with a lot of well-done character moments, all leading to a inevitable shock moment and a great cliffhanger. Well-done!
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It's an engaging story of the early days of Catwoman that fills in blanks on The Designer and does it all with aplomb and strong art. Well worth the read.
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There are some rough spots, but strong art and characterization make up for many of them, and Takuya Yamashiro is always worth the price of admission.
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Once again, it's an affable chapter that answers one of those unasked questions in the 'Busters lore, but I really appreciate how well they capture Ray Stantz's voice.
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This issue is jam-packed with stuff for Flash fans of all eras, with a little glimpse of 5G, the new Wally West and even the return of Jay Garrick. The downside is that, among these diverse takes are some real clunkers.
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I like seeing more of Jennika's past, but some of this issue's events feel a bit contrived. The art is quite good, though, and I want to see where this story is going.
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While I appreciate the need to prune back various spy agencies and I like the cast of characters herein assembled, the plot is very sparse with details and several shocking reveals fall flat because of it. I'm still interested, though.
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Even though there's only one Avenger, this is one of the most gripping Avengers issue of a very impressive run. The last page reveal alone is a shocker.
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I couldn't have asked for a better ending for this series, and the art is utterly perfect throughout. You really should be reading this book.
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SIXTY PAGES of Wolverine, with two big story hooks in play to bring the best-known X-Man back into the fray, with solid art and a lot of first-person narration. It's a pretty good start.
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A lot of deep thoughts, great use of continuity and well-done art combine with a well thought-out plot, making this one a winner (and bringing back the red-and-silver suit.)
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I don't really know what's going on, but there's some really great art and a couple of moments that manage to be meaningful, even without context, making for a pretty good (if context-lacking) read.
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There are a couple of lovely character moments, but overall this issue feels telegraphed and forced and Brett Booth is absolutely the wrong artist for any story based on displaying emotions.
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We are officially past the point where the Orientation gag is any fun, but there's a lot of information and interesting world-building to be had in these pages, even if the pacing/presentation isn't to my liking.
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The inking isn't always to my liking and it's a very cynical book, but the mystery is engaging in a very Warren Ellis way.
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It ends a bit anticlimactically and doesn't make full use of the guest-villains, but it's a well-written story with better-than-average art and features a super-strong goth girl robot. What's not to like?
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It's certainly not gonna be for everyone, but much like Deadpool, Harley transitions well to working blue. Even if the story moves a bit too fast with a bit too much adult content, the beautiful art hits the spot.
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I'm not sure I like Scott being THIS much of a jerk, but it's a charming issue with some not bad art and a surprise ending. Not bad.
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Things look really bleak, but there's always hope. And some really inappropriate moments, with pretty art.
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After last issue's Bolivan Army non-ending, I had hoped for answers, but what I got instead was the beginning of a new crisis. It's got strong art and interesting character interactions, though, so I enjoyed it.
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It feels like an official sequel, the art is charming and fun, and there's a happy ending for everyone but murderer and victim. What's not to like?
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I definitely feel like I'm missing something, as this is identified as the end of an arc and Snyder's run on the book, but it doesn't. end? I will definitely be back for next issue, though.
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Something bad is coming, Thor can barely hold his hammer and Galactus himself is afraid. It's impressive storytelling and I'm liking it.
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This issue is a thrill ride with a truly impressive and shocking cliffhanger, and I enjoyed every minute of it.
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It is a shame that the book is about to end, but this is an excellent issue and the back matter with the writer's thoughts on the whole thing is even more fascinating.
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It's nice to see the Fantastic Four out of their element, even with several art styles in the same issue, and the ending shakes everything up again, making for a great cliffhanger.
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It's remarkable enough that I was quickly engrossed in this book without having read previous issues, but I didn't even mind the lack of the title character. More Batwoman Beyond, please!
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The return of the Olympian gods creates a whole new set of problems, needing a whole new set of Guardians and it all looks really great.
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It's a little expensive and the curation caused some issues for me as a reader, but there's a lot of interesting, compelling Wonder Woman here, and the 5G teaser story has me more interested than anything so far.
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It's a big debut for a "new" character and even if the story borders on trying too hard, the art and exquisite coloring make it work.
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A truly thoughtful story that examines the concept of Death through the lens of a world where death is cheap, with excellent art and a fun cast of returning Doctors. I recommend it.
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Arno's crusade against A.I. is interesting, his clearly evil intentions are fun, and the reveal of the leader of the Robot Rebellion is more surprising than it should be. Add in impressive art, and you've got a winner.
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There are a lot of moving parts and characters, and the revamp of Rimbor could be fascinating, but so much of the plot hinges on characters not explaining what they mean and Jon Kent being too dense to ask. The art is quite good, though.
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A quiet start to an archetypical Hero's Journey, with engaging writing, clear art and a likable main character, making this the first 'Earth X' universe story I'll be following all the way through.
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It's a Bendis book, so extended conversations are expected, but this issue is nothing but, and no one really gets their moment to shine. The art is a lot of fun, though.
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This feels like a full-fledged chapter, but slightly confusing moments in story and art make it one I had to read through more than once, and the art is. puzzling.
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It's not easy to read about what made Mal Reynolds the man he is today, but it makes for a pretty great story and sets up a potential long-running foe. The art is quite good, as well.
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It's interesting to see Matt working with resources beyond his usual bag of tricks, and the Elektra bits are wonderful, as well. Add in some good art, and you've got yourself a winner.
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I have to go back and re-read the first two issues now, and I'll be looking forward to the next one. This is a good book.
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Two perfectly executed flashbacks in the midst of an ongoing chaotic battle, with excellent art and a perfectly timed final page reveal make for a really good read.
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There are some art and story-telling issues that make it difficult to follow, but the parts that work wrap the book up pretty nicely.
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Interesting, but undistinguished art and dialogue that makes me dislike the main character combine for a hard-to-read issue.
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I'm stunned and impressed by this issue, and greatly respect what they're trying to do. This is a whole new G.I. Joe.
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I'm not entirely sold on the tone, but the art and coloring look great and Peter Porker deserves another shot at solo greatness.
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Strange things are afoot and Drakulon is our destination, and I couldn't be happier with art or story. Maybe we'll get to see Betty with her own sword? One can but hope.
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Killer art and a truly creepy story combine for an excellent reading experience. More of this, please.
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Well-done art and some lovely characterization makes this a new take on some familiar territory, and the political parts add to the drama. This could be something truly impressive.
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The only reason this was twelve issues was the Watchmen parallels, but the parts of it that work, work really well and give you the requisite goosebump moments. It's good to see the Legion and JSA back.
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This is clearly what we've been building to since #1, and it has potential, but it feels a little bit rushed, with some art
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It moves quickly, but never TOO quickly and the interplay of the cast is nice. Best of all, there are several brilliant-but-thrown-aside characters in play that deserve to be in focus again.
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It's fun to see the hero without his Speed Force, but it's also about time that 'Year of the Villain' ended. There's some good art and story to be found here, though.
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I'm not sure why 2099 is suddenly a thing again, but this issue is pretty middle-of-the-road. I like the story better than the art, but the final twist is sucessful, if a bit telegraphed.
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A really well-concieved concept with excellent art and a mystery that is truly haunting, plus some excellent slow-burn suspense. I'd like more of this, please.
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If you're a fan of 90s symbiote stories and all the baggage that comes with them, this may be your thing, but it just never quite gelled for me.
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Cecilia's return from the dead isn't what the original comic Crow's was, but it's still an entertaining comic with 'Tales From The Crypt' overtones and strong art.
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This is a Batman done right, and should be as important as 'The Dark Knight Returns.'
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Zedd's out of power and things seem better. until they get so much worse. Worth your time, especially if you've been following the book.
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It's a day in the life of Spider-Gwen. I'm sorry, The Ghost-Spider, and feels like a very old-school take on superhero stories. I liked it!
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Dark, moody and disturbing, showing off the Hill's horror roots and featuring some excellent art.
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I'm not a fan of the dialogue and the melodrama is pretty thick, but a solid art job does some of the heavy lifting here. I'm also quite not sure how this fits in with the current X-regime.
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It's a remarkable story with excellent art, and even though it's not part of any ongoing storyline, it's as satisfying issue of this book as we've ever gotten.This is really good.
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It's a story that has a lot going for it, but the combination of Yu's art and a lack of context for the story/character beats doesn't really do it for me. That's not to say it's not good, just that it's not for me.
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If you haven't been following this book, you've missed a really good story that seems to have ramifications as yet unseen. It's a good book, y'all!
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I love me some 'Twilight Zone' and 'Tales From The Crypt', so this is right up my alley, but you may want to first gauge how you feel about neo-gothic horror stories.
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Uncle Scrooge is one of the most revered icons of comic books around the world, and this issue is an excellent celebration of that, with even Fethry Duck bringing his A-Game. It's pretty wonderful.
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Things are looking bad for Johnny, possessed by evil, and Danny who. Um. better be able to swim. It's a pretty impressive chapter.
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One part 'The Walking Dead', one part 'A Quiet Place', four parts makeup and platforms and the promise of zombies getting stomped? It's a KISS fan's delight.
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I honestly have no idea what is happening here and I couldn't be happier.
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There's a lot of great stuff in here, including incredible art, some fun space adventure nonsense and an interesting cast of characters. Corsair's a real jerk, though.
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The sight of zombie Superman is horrific, but what he does is even more so.If that's what you're into, here's the horror title you've been waiting for.
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I just wish the original had been this good.
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The theme of fathers is a meaningful one, the adventure is exciting and suspenseful, and the art is full of life. Add in Silhouette and you've got yourself a winner.
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I get the appeal of blood and gore and gritty drama, but this issue doesn't quite nail it, coming across as unnecessarily violent and unmotivated.
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This is a good one, full stop.
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Smart, funny, beautiful and surprising. You can't hope for a better comic featuring Jabba the Hutt.
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Resolution in more ways than one, respect for all the Ghost Riders extant and impressive art make for a really fun, exciting issue of comics.
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From one massive crisis to another, so is the life of the Flash, but this one makes for an explosive setup for what comes next.
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It's a whole new take on G.I. Joe, in a world where they're the defeated underdogs, and the combination of interesting character takes and mind-blowing art makes for a winner of an issue.
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There's a lot of talented creators putting in a lot of well-intentioned effort, but this just doesn't stick the tickle-the-funny-bone landing.
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After a puzzling opening chapter, we start to see what's up with the Dominators plan and these kids, and while a sequel to a 1988 miniseries seems weird, it's shaping up to be something visually and narratively interesting.
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The art looks great from top to bottom, but the scripting doesn't hold up its end of the bargain, and this is all well-worked dramatic territory.
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Prince and Morazzo craft another one-shot that combines existential angst and the uncanny, and while it's not an easy read by any means, it's still a good one.
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It's more reader-friendly than you'd expect for a #301, and has some good (if wildly varying) art and a whole new status quo for Spawn.
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Duke and Cassandra get the worst of this 'Year Of The Villain' crossover, an issue that seeks the definitive answer for "Why would there be Outsiders?" and doesn't quite succeed OR fail.
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It's all action, but strong art and the fact that Larry Hama writes amazing action sequences brings it all together as a win.
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This volume comes to an appropriate, if somewhat abrupt, close and the team can now go on to the next big crossover.
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Four stories ranging from fascinating to pretty okay, with only one that falls too far to the side of "I dunno", making for a readable, attractive book that feels as weird and alien as the title it's honoring.
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A book this gorgeous could get away with complete incoherence, but Vle's story is a compelling one as well, making for a really impressive read and an excellent cliffhanger.
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A lot of moving parts make for an exciting, if occasionally obscure, story that combines with Sharp's artistic chops to make for a great GL tale.
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There are a lot of interesting moments here, but the basic "What if Batman, only people think he's bad?" premise still isn't holding water.It's very well-drawn, though.
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It's a clever premise made more fun by the fact that all the alternate versions actually exist, making for a great penultimate chapter.
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A lot of action and combat makes it a little less character-driven than previous issues, but it's still an exciting chapter and sets up an alternate version of Lord Zedd's arrival with style.
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A near-perfect time capsule featuring Claremont doing his Claremont thing and Sienkiewicz knocking it out of the park. This is a good one.
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Several side-trips, all of which tap into the wish-fullfillment core of Dial H, with a gang of talented artists. What's not to like?
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Sara Pichelli does a great job on the art, but the story is both very familiar and remarkably basic.
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Overwrought and not my style, but not a terrible comic, thanks mostly to impressive art.
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Not particularly surprising in the end, but it's well-drawn and has a bit of a love story.
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The problems of 'Heroes In Crisis' compounded by The Dark Multiverse and some truly unpleasant art.
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Looks great, reads well, and thickens all the plots. Plus Talky-Walky is back!
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It's a nice twist on 'Yaer Of The Villain' and gives us some insight into Riddler. Just don't think too hard about it.
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The interaction between the characters is wonderful, the art is strong, though the plotting has some shopworn bits to it.
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A beautiful book across the board.
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Flaws in coloring, layout and dialogue drag down an issue whose story has potential.
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They split the party, which seems like a rookie mistake, but all three fronts have something interesting going on and the art is never anything less than interesting. Plus: The Justice Society returns!
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It's been a long time coming, but this issue wraps up a LOT of stuff quickly, and while it feels a little packed, it's a satisfying conclusion.
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This is a book that reminds me how much I miss the original series.
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It's hard to review any Bizarro story without endlessly writing in backwards-talk, but I imagine it's even harder to WRITE one that works. This one does.
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Not only do we get a (mostly) successful year-by-year celebration of Marvel Comics, but we get a mystery that ties together some unexpected bits of history, with a hook for more to come.
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This book is an unfolding puzzle box where each new wrinkle makes things more complicated, but always in a good way. The art is incredible, too.What's not to like?
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Gwen is off on a whole new adventure, but she's not leaving everything behind. This issue is the fabled "great jumping-on point" that so many comics want to be.
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There are some problems with the art, but strong dialogue and character moments help to overcome them, and the explanation of the crossover works better than it has any right to.
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The back-and-forth in time and the mutliple streams make for a fascinating study of a character who tends to get played for a fool or taken for granted, with some lovely art to make it all sing.
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Ditko-inspired art and a balance of the macro and micro-scale makes for a great read.
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Fans of old-school Trek should dig this, and if you love the show, you'll enjoy this issue.
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I'm going back for the previous 11 issues and you should, too.
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It's a slower burn than I'd like, but it seems to be going somewhere interesting, and it looks pretty great.
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Two stories, two teams, two interlinking mysteries. One fine comic-reading experience.
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Gorgeous, exciting and detailed. This really is "The Comic You've Always Wanted", whether you know it or not.
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The robots look great, and the two continuities are meshed as well as they can be, given their diverse natures. Plus, more Grimlock!
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Never really feels like the crisis it wants to be, but there are some good moments to be had in these pages.
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It's a truly heart-rending story, featuring some hard decisions, beautiful art and creative world-building.
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There might be a little too much to introduce in the space allotted, but it's all interesting and fun, good-looking and there's a punk rock show that looks pretty rad.
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A nice grouping of characters and an effective horror tone make for a compelling first chapter with (you should excuse the expression) one hell of a cliffhanger.
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Strong art and coloring overcome some issues with pacing and dialogue, and the introduction of the characters is successful in execution, making me want more of our ninja duo.
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There are some cool moments in a whirlwind of blood and word balloons but the overall effect is one of despair and reader exhaustion.
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Feels less like a crossover than a Crow guest-shot, but they do an admirable job of making things fit. The strong art helps.
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There are a lot of moving parts, and the two stories presented don't really gel perfectly, but it's a fun read that makes me want to see more of this young hero (and also Shang-Chi, but that's kind of a given.)
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Aside from distracting lettering, it's got a lot going for it, but it's a really overwhelming introduction that almost sinks the successes of the visual storytelling.
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Eerie, effective suspense paired with lovely art and an intriguing setting. You can't ask for a a better single-issue experience.
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Pleasantly retro but still fresh and interesting.
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Brings this era of Domino to an awesome close and assembles a great team we will probably never see again.That last part is a bummer.
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The adventures of the world's greatest pal are off to a high-velocity start and all of it is entertaining and well-drawn.
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It's a difficult balance to play with a real character, multiple costume changes, universe-hopping and Yog-Sothoth, but this one pulls it off with aplomb.
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I'm hoping kids who love the show can find this book, as it's well-drawn and well-written.
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I like the characters and love the art, but the story borders on self-parody rather than the surgical satire they're shooting for.
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There's a lot of focus on the new U-Go Girl and some tongue-in-cheek moments that mock reboot/remix culture, but I wish this issue would have had a more solid ending, rather than a tease for the upcoming series.Even so, I enjoy what we got.
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It's not a comic book for the faint of heart, but it's got a lot going for it, including some snappy dialogue and attractive art.
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The coloring is top-notch, the art is strong and even the parts that don't quite work are pretty okay, making for a book that I hope to see selling like hotcakes, presuming that hotcakes still sell well.
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A loving tribute to the Dragons Ball and Street Fighters of days past, with colorful art and a joyously explosive story. This is really good, y'all.
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It's a dark time for Batgirl, but the issue delivers on action, emotion and some really impressive animal heads.
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It's not every day you get a triple-sized book for the regular price tag, and having it be this good makes that even sweeter.
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It's a spotlight for Jennifer Walters and a really effective character study that doesn't skimp on the fighty-fighty, once again making the crossover work to support the ongoing series. Some really good art doesn't hurt, either.
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Teen angst mixes with dimensional travel in the way that only the Fantastic Four can, with several different artists working on a fun story.
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It's a fascinating look into a world that not everyone is familiar with and it works even if you haven't seen the TV series. Nice work!
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A little bit slight, but it's well-drawn and wraps things up nicely for a character who didn't get much of a chance to make an impression.
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This is a comic that excels in both story and art, working together to make for a riveting read and a truly shocking cliffhanger.
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It's a nice ending to the story (and possibly the series, though I'm not sure if the Vertigo shuttering means that the books are ending) and the art is pretty as hell. Not a bad book at all.
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I can't explain why the synthesis of these characters works, but it does, and I really want to know how this all shakes down.
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This issue's focus on Tony's personal and emotional problems in the middle of a battle with a literal magical dragon works pretty well, and the combination of snappy dialogue and old-school armor makes for a satisfying ending.
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It's an exciting and well-crafted story (though as the final chapter there are some things that really aren't clear unless you have read the first three) but the amazing art is worth the price of admission by itself.
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The big fighty-fighty makes the plot a slow-burn, but there's a lot to like here, with some great Ms. Marvel and Power Man character moments.
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A new take on some familiar territory, with a powerful emotional core.
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I appreciate that they're trying to create synergy between the various Archie interpretations out there, but this book had so much more life in the first issues of the reboot, making this issue something of a let-down.
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It's got potential and the setting is fascinating, but there's no attempt to orient a new reader, making for confusion.
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Our hero spends this issue out of his element, literally and figuratively, and ends with a scene that's both tense and kind of funny. A fine achievement.
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It's a book that makes you feel for the brand-new White Fox, the heavily exposed Deadpool and the enigmatic Domino equally and looks great doing it.
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The grey font on yellow background narration is hard to read, but the issue delivers on a couple of thrilling moments, even if it feels a bit like a foregone conclusion.
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Hulk fan or no Hulk fan, this is a book everyone should be reading, making the Hulk a true monster in the best sense of the word and defying expectations across the board.
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This issue still has some of the same problems of motivation and necessity that have plagued the book since issue #1, but we finally seem to be getting somewhere, and the Carver Colman sequences are actually really interesting.
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It's really hard to get past the price tag, even for an 80-page giant, but there's a lot of things in this issue that are good and a few that just don't work, making for a variegated reading experience.
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This issue resolves the mysteries of the alternate world in a satisfying manner, provides the official assembling of a new Ranger squad and looks great doing it.
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Some slight problems with the storytelling in the art and the nature of the crossover hurt this book, but it's still an entertaining read.
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A new twist on an old monster, with real-world and in-universe elements intertwining. I like it!
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Another day-in-the-life episode, with some amusing metatextual statements and an appearance by a couple of Erik Larsen's fave-raves. I hope Maxine is okay.
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I don't know anything about Gotham Knight and I'm not really a big Batman fan, but this issue got my attention in a very impressive way.
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There's a lot of friction here (and a lot of repurposed Hank Pym aliases, as well), with some interesting art and clever story bits making for a fun read.
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It's VERY dark and wears its movie influences on it's sleeve, but all in all, this is a good final chapter.
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A solid mystery, a dead protagonist and a lot of important information make for a good read.
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It's a really wordy, really awkward issue full of exposition and flashback that even a promising open and a cliffhanger that has some potential can't overcome.
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A good standalone that balances a little philosophy and some clever plotting to good effect.
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A really effective first issue, which makes me want more of this series.
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A resolution of one of Carol's oldest rivalries, some really nice character work for some under-served Marvel heroes plus She-Hulk in action. What's not to love?
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It's a little bit hard to follow with all the kids split up, but all in all, it gets its point across.
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The premise of infiltrating a Hydra stronghold has legs and there's a lot of cool explosions, but this issue ends up feeling really slight.
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In short, while The Girl In The Bay #4 is a strange issue of a strange series, it pulls all the threads together to end Kathy's story on an up note, finally explaining things in a way that bridges the esoteric and the mundane, bringing the story to a close.
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A funeral, a fight scene and some truly leaden dialogue make for a forgettable issue, albeit one with a last page reveal that seems interesting.
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There's not a lot of crunch for your quarter, but it does only cost a quarter. The hardest part of this book is the unwavering commitment to grimdark nonsense, murder and senseless chaos, and the presence of the execrable Batman Who Laughs.
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The team is in flux, and everyone is being very teenage, but their new member and some new twists keep it pretty fresh.
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The commentary is a little too blunt and the metaphors too obvious for my tastes, but it's an intriguing mystery that could go somewhere interesting (with some great design work.)
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Another fun installment of a book that fights DC's grimdark with some impressive success.
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Another big surprise in another incredible issue of comics/music criticism/group therapy. If you don't read this, you're missing out, friends.
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This issue features a LOT of characters and even more dialogue, with little in the way of plot progression or incident, making the read a bit of a slog.
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A nice use of a classic character and some closure for the hero makes for a satisfactory close.
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The best terror is (you should excuse the expression) rooted in humanity, and few artists do that better that Rob Guillory.
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A lot of very familiar world-building, combined with endless tough guy dialogue and a big nonsensical fighty-fighty makes for one dull comic book.
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It's fun to focus entirely on Violet rather than the ensemble, and the clean art makes every page a joy to read.
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There are some interesting moments to be had here, and Kolins' art delivers most of the time, but the final page makes me not want to read any more Flash any time soon.
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If you've never been afraid of Grand Moff Tarkin, this issue will remedy that for you.
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A solid issue featuring a believable conflict and a couple of really nice fights (one physical, one mostly emotional.)
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The plotting feels a little rushed, but the art is weird enough to sell even the strangest parts of the plot, and the ending is ominous and moody. I like it!
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Ever since the introduction of the new Governor, I've been expecting her to act like the old Governor, so this issue doesn't shock quite as much as it might have, but it sets up a new frontier of conflict.
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Blatant heartstring tugging works better when the story isn't working against itself, and the art is quite bland, not to mention the strange numbering making things confusing.
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A truly impressive single issue that sets up a compelling mystery and looks great. All crime and/or noir fans need to pick this one up.
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Love the cast, love the slow-burn drama, love the teenage angst. The art is mostly good, with the occasional wobbly moment in facial expressions, but the total package is well worth the price tag.
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Beautiful art combines with some strong (and pointed) storytelling to make a story that's at once dreamlike and all too real. Highly recommended!
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It's a story of misdirection and emotional reunions, all set against a potential war between old friends. Interesting stuff.
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A comic that reminds me of classic Fantastic Four with some unusual and charming art, making me hope that the cliffhanger ending means there's more coming.
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A lot of familiar elements with some new twists, all delivered with excellent art. This book has tons of potential.
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The success of any Dial H story is in the heroes dialed and this one doesn't disappoint on that front, but it also has stellar art and an interesting plot to keep readers hooked.
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I like everything this book has to offer, but some stories are better secret, and the price is hard to overcome.
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An interesting cast, stuck in a strange post-apocalyptic world that allows their characters to shine, and some strong art make for an excellent read.
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This is a crazy concept, but it totally works and makes as much sense as it can under the circumstances, but I have to say I enjoy it.
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Aquaman makes a good showing, even without his memories, and the stage is set for the big final chapter.
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Some shocking moments, and even with their wins, things look bad for Earth's Mightiest Heroes. The art isn't entirely to my liking, but there's a lot of good here.
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This issue features attractive art, some important character moments and a little foreshadowing, with enough reminders that it's not your mother's Buffy to keep it fresh and not get annoying.
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Emotionally engaging, yet still METAAAALLL!, this issue has convinced me to go and purchase the previous five. What better argument for a book can there be?
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It's the setup for a big finale, and the art and story are more than up to the task. I'm sad to see it end, but looking forward to the wrap-up.
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What could have been biting satire falls flat, but the characterization has promise and the art is wonderful. Kind of a mixed bag.
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Hama's still got, it, these characters are full of interesting secrets and both art teams are good. What's not to like?
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The drama between the episodes of Season One, including back story for Zordon and an emotional reunion for the *villain*. Good stuff.
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I've read a lotta Archie Comics, and one important thing is true about this comic: It's the first time I've had any use for Cheryl, much less her useless twin Jason. Add in some amazing art, and you've got yourself a winner.
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This issue feels like it should be the beginning of the end, the culmination of what this series has been getting at since the beginning, but it's still unclear what's going on or even whether this book is relevant any longer.
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Four issues in, this comic continues to impress with every new development and raises the stakes on the drama, while giving us the patented Gillen last-page-shocker moment.
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This issue gets a lot of legwork done in very few pages and doesn't short-change any of the SIX main characters, all the while creating a compelling central mystery, doing it all with strong art. It's a good comic.
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It's an issue of heart-to-hearts, returning exes and a baby landshark and it's a great deal of fun with truly attractive art
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I'm a little vague on the details, but it's charismatic, well-drawn and fast-moving. All in all, it's a good book.
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There's clearly an intent behind these tales of times past, but it's not yet clear, and this issue just muddies things up more, blunting the effect of the story.
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It feels like the creators didn't have the time to plan this as a legitimate last issue, leaving many things unresolved and ending on a dark and disturbing note. The art is quite nice, though.
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Though the ongoing Grimm Universe has a lot of familiar characters, this one just doesn't quite seem to put all the pieces together in a coherent whole. As clever as his gimmicks are, there's just too much clich dialogue and too many predictable plot points.
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The coloring and lettering end up being a distraction, and while there's a compelling mystery at the core of this story, it feels like literally nothing happens in this issue.
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I like the basic thrust of the story (and the cameo by Captain America's congresswoman) but the villain is a little too pantomime evil to hold it all together, with strong art and coloring.
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The down-on-his-luck bounty hunter with a heart of gold is familiar and Bianchi's art is abstract to the point of being muddy, but it makes for an interesting first chapter.
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A tale of dysfunction and rage and terrible parenting, all shown through a prism of gods on the night before their final war. It's hard to read, but very much worth it.
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The dialogue is a little over-wrought, and I'd have enjoyed a bit more context, but the art is amazing.
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It has been obvious from day one that Cordelia would be the key to it all, but the way this one plays out is surprising and satisfying.
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A group of characters left adrift by the recent big Avengers relaunch brought together by a killer creative team? What's not to love?
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It's a classic Western story with blood, guts, action and a lost love, all wrapped around the fundamental question of whether man can change. Good stuff.
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An interesting take on the fairy legends of yore, with just enough Shakespearian references to make it clear they know whose turf they're playing on, plus beautiful art.
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Batman is pushed to his breaking point and The Flash has had enough of his crap. It's at least more successful in addressing trauma than the series it's crossing over with.
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A damaged Daredevil stuck in a world where his worst enemy is the mayor may *sound* familiar, but it's a whole new take on Matt Murdock.
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Aaron manages to capture the tone of the MCU characters without shorting the much more complicated history of the comic Marvel Universe, giving us a lot of character and depth in a whiz-bang adventure yarn (with a pretty shocking final page.)
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It's a little bit hard to jump right into this cast in the middle of a massive undertaking, but the art and storytelling help to get you engaged.
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There's not much in the way of surprises, but with the sheer amount of setup here, it's a good thing that the villains can snap a finger and make whatever they want happen.
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A lot of 90s-style bluster and bombast with very little payoff, and even competent art can't overcome the mean-spirited story and dialogue.
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It's a shame to see a charming book like this get cancelled, but this issue has enough action, adventure, emotion and heart to make it worth the read. Plus, the art ain't bad, either.
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Another strange-but-fascinating chapter in this strange-but-fascinating book, giving us a little bit of origin story for the titular character without giving away the whole game.
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This is a really nice issue that plays off the existing relationships in cute but unsurprising ways. I like the coloring a lot.
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It's an "Everything you know is WRONG" plot, but it has some strong moments and assembles a weird cast of characters for what could a whole new Guardians era. Here's hoping Cosmic Ghost Rider as a character can carry the load.
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Reminded me of my own college experiences, which is a good thing, though everybody is better looking here. Also, they're into sports.
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This issue is all battle, but I enjoy the amount of character we get in that fighty-fighty, and the art is top-notch. I'm interested in seeing where this all goes.
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Taking Natasha and sticking her in Madripoor is a stroke of genius, and I'm hoping this book will be the Black Widow what Wolverine's solo series was for him in 1988.
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Wild, inventive and visually fascinating with perhaps a bit too much story for the number of pages given.
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Animation-style madness with some expected betrayals. This is honestly one of my favorite recent stories of either franchise.
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I like the story, especially Doom vs. Galactus, but the art is a little bit cartoonier than I like. The team sounds like themselves though, even with Reed's ridiculous beard.
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Captain Marvel's history and friendships are reintroduced, along with some new additions to her world, in an issue that is really good at the whole "first issue exposition" thing. I'm looking forward to where this goes.
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It's weird, disturbing and alien as heck, with a final page shocker. I'm just not feeling it as much as I would have liked to.
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Clever world-building and game mechanics are folded into that rarest of beasts: A story that balances RPG and comic book elements perfectly.
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It's fast-paced and well-drawn, if a little short of plot detail and explanation. I'm interested in seeing through this first arc, though, since Bendis tends to write for the trade.
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The interpersonal drama reaches a breaking point for four different relationships, a familiar face may be gone for good and Archie finally deals with some of his guilt. All in all, a good read.
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One of those issues that you have to have on the way from one story to another, but there are a couple of plots in here that are truly unpleasant, even with the return of Captain Tootsie.
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Even with occasionally wobbly art, this issue delivers on the drama and some pretty important reveals. Plus: The Dreadfuls have arrived!
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Big dreams, a bigger roster and a lot of interpersonal drama make for a fun read, but one that feels almost too short.
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Expressive art (sometimes TOO expressive), solid dialogue and a plot that clicks along nicely, plus a good sense of Thirteen's "voice" make for a good read.
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Continuity issues, art problems and some unclear story bits combine to make for a hard read, but the backup story is a lot of fun.
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It's not what I expected, but it's still a really impressive achievement.
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I like this issue, but I'm a little annoyed by the on-and-off nature of Otto's Spider-Man facade. Hopefully this run will pull it all together.
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Irreverent, violent and funny, this book is really fun to read and looks just plain beautiful. What's not to love?
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There's a lot to like here and a lot of things that are clearly designed to be intentional metaphors, but I feel like I'm missing some important context.
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A whole new start for Aquaman, with no memory and a change of scenery. If only his usual bad luck didn't come along.
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Long story short, this issue makes me want to see an ongoing Defenders book by this creative team, as we get four characters who SHOULD BE impossible to work together in a team setting working beautifully while denying it all. Defenders: The Best Defense #1 is a really good comic, with stellar art and a perfectly-crafted story that has thrills, laughs, adventure and makes it clear that these guys kinda hate one another, all the while keeping their individual mystiques intact.
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Lots of background, tongue-in-cheek humor and real emotion to be had, and Crush is the hot new character find of 2018!
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An interesting story that doesn't quite stick the landing and art that has slight problems with clarity, but still an interesting read.
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A fun adventure comes to a close, and the only real downside being that the book relaunches with yet ANOTHER number one next time around. There are worse things to complain out.
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The penultimate chapter of Kevin's story ends with some very ominous moments, and it's SO GOOD, you guys!
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A mean-spirited, unrelentingly dark book, loving crafted to show us the worst of humanity. Not my speed at all, but it's beautifully painted.
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This issue keeps a number of disparate threads intact and ongoing, adding a lot of depth to the early stories of the Rangers and making even Rita and Skull interesting.
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Well-drawn, well-written and cleverly conceived. This is a winner!
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Maybe it's the strange undersea locations, maybe it's the arrogance of our hero, but something here feels off, even with strong art and some nice dialogue.
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It's not easy to do horror in a superhero setting, but this issue makes it feel effortless.
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Crossing over in more ways than one, this book feels like a lost episode of the goofy, energetic, over-the-top old-school cartoons it's reviving. Plus: Fortress Tiberius!
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It's the Archie book I didn't realize that I needed, featuring a dramatic historical tale that keeps the charm of Riverdale intact.
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It leans pretty heavily on lyrics-as-dialogue, but it's a fun read full of some over-the-top fun and a nice reveal of super-KISS.
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It's the end of the world as they know it, but it's a fine comic book reading experience, with a lot of fun FF nods built-in.
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It looks really good and the world-building is fun, but it's hard to escape the shadow of Spider-Geddon.
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Unicron has come and gone, and now it's time to wrap this iteration of the Transformers, and they pull it off with style.
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On-model, tonally appropriate and cute as heck, this is a great little Steven Universe adventure.
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An interesting new team, hopelessly trapped, leading to some character reveals with nice art. A lot to like here.
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Great design work and strong character plotting make for an issue that hard to put down, made even more impressive by a last-page shock.
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It's not what I expected, but it's really successful at world-building and setting the tone for what is to come, and the art and coloring are fascinating.
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It's not my cup of tea, but it does skillfully meld a lot of diverse elements around a central mystery, with at least one big surprise and lovely art.
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The color-swap trick is interesting, the plotting is solid and the underlying mystery has teeth. Plus, a female Red Ranger and TigerRanger is a boy again, so that's fun.
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A solid ending with a built-in sequel hook and stellar art, plus a little lateral thinking by the stretchy feller.
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A lot of moving parts and a lot of coming attractions without a whole lot of actual incident. Some of the art is pretty, though.
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Reintroduces the entire cast, the premise and the world of Firefly with a bang, setting up an interesting plot for this new arc.
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Humor is subjective, and this is no exception, but it's a pretty good collection of amusement, with a lot of talented creators (and Chip!)
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A bit confusing, with some muddy art and balloon placement issues, but there's a lot of potential in the story and characters.
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The art is a little rough, but the story is amusing and the punchline is worth the extended setup.
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An unusual ending for an unusual book, featuring a rare example of a creative team both embracing and rejecting the logical end of the story at the same time.
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It's a mean-spirited first feature with a mostly incomprehensible chapter of Next Big Thing crossover as a second feature, making for a a mostly unsatisfying read.
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A team of Rangers from across time and space, bringing back old favorites and making it all into riveting space adventure.
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An interesting story and really good art make this one of my favorite takes on the band-that-might-as-well-be-superheroes.
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Well-drawn, with a wonderful artistic cameo from Sienkiewicz, but a confusing story and some tone-deaf dialogue moments detract from the story somewhat.
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This is beautiful stream-of-consciousness science fiction narrative, and while I didn't really understand it all, I love looking at it, page after page.
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In short, with a ton of characters, at least four different properties in play and a build-up to the end of the world to get through, Optimus Prime #24 doesn't really work as a single issue story for me, with some stiff and inconsistent art.
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Feels like an 80s Marvel Comic but with all the trappings of a Zenescope book and a really strong character design.
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The "historical figure as action hero" genre is a crowded one, but this is a likeable book with some clever writing and crisp art.
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Feels overly expositional without explaining a lot, combining with difficult-to-read art to make for a frustrating issue.
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An issue that is touching, terrifying, exciting and sad all at once. It's quite the success.
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Really well-drawn sword-and-sorcery stuff that captures Elric's majesty and such. A good read!
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Incredible art and a cute little story end up feeling a little bit inconsequential. Still a fun read, though.
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Kind of confusing, even given some amusing references to '60s spy stories, with very bloopy art.
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A new status quo for Otto, with some old friends in the mix. But it could become warmed-over Superior Spidey, if they're not careful.
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It's a clever little story, but Parent's art dips into the Uncanny Valley on a regular basis, and the inking doesn't help.
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A nice mix of stories and art styles, with a couple of rough moments but nothing that quite brings the whole thing down. Plus, the origin of The Posse!
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Unholy deeds, corrupted flesh and an ending that gave me the creeps make for one really impressive package overall.
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Sharp writing, really beautiful art and an immediately lovable main character make for a really good read.
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A story that has some interesting moments, but really awkward pacing, with art that never quite solidifies for me. A little disappointing.
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A little bit more explanation of the title character and the cowboy, with some heartbreaking moments as well.
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Fast, frenetic and more than a little bit funny, with a big twist at the end. Worth the read.
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Well-drawn art that doesn't really feel like it fits the WWE action, with some really clunky dialogue and an okay story whose appeal and assumed audience are a mystery to me.
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The return of an old foe and an exciting firefight make for a solid read.
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A really great slam-bang ending that doesn't skimp on the personal moments.
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A delicate issue, handled with respect from a character perspective and a really nice art job.
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The story has slowed just a little bit, but it's still engaging and beautifully drawn with a last page surprise!
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The horror continues, an old friend returns and the most terrifying foe of them all for Bruce and for Hulk.
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A little bit heavy-handed on the themes, but a solid story with some okay art.
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Beautifully-drawn, carefully-plotted and avoiding the possible pitfalls that this premise might provide. An excellent first issue!
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An in-depth character study that makes Quicksilver as approachable as he's been since that X-Factor psychoanalysis issue 25 years ago.
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An interesting character study for Misty that tries a little TOO hard to show us her status as hard-bitten veteran cop, with some wobbly art.
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Brings back some of the original Exiles, but doesn't quite stick the landing emotionally. It's an issue that seems like it's going to have big consequences.
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Even though it's a number one, we're starting in media res, and there's a lot of dialogue, but it's a compelling issue nonetheless.
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The finale that this massive crossover deserved, featuring a little romance, a little world-shattering action, a new Megazord and an ending that I didn't see coming. Well-done.
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From slice-of-life to brutal murder, this book is intense and impressive, but it's not the place to start reading Gasolina.
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A nice setup for a new team of heroes, featuring a couple of my favorites, strong art and a clever conceit. I'm all in.
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Well-drawn, with some interesting story points that sadly don't seem to be going anywhere this time around.
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Really well-rendered with an intricate science-fiction story, this one hooked me and has a great cliffhanger.
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A nice wrap-up for Cave's adventures since revival, with a couple of fake-out endings and a lemur.
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Another exciting chapter, showing that marriage and kids don't have to mean the end of adventure. If only more comics followed those rules.
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A nice story that plays off years of history and continuity effectively, with strong, consistent art that works, even if I don't like this version of The Beast.
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Complex, deep and emotional. We're reaching a tipping point, and there's nowhere to go but down, but I'm fascinated by the descent.
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Excellent art and a weirdly neat maguffin make for a Spider-Man tale we haven't seen before, albeit one that feels somewhat brief.
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It's a slick and well-produced as any Zenescope production, and the art is pretty solid, but the story and dialogue just aren't cutting the mustard.
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Meanders a bit, with several simmering plots, and it all feels a little unsatisfying.
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Tense, emotional, engaging and complex. I really like this book!
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A little confusing, a little bit emotional and just as messy as real life. It's the ending this book had to have.
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Though it treads familiar turf, it does so in fun ways and the art has a lot going for it, but the total package falls a bit short.
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A nice story that works within the framework of the series as a whole but adds some fun twists in the art and story.
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Strong story and art that plays with some real-world hot potatoes successfully, making for a balances issue with a surprising final page.
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Jack Burton in the afterlife, with armies on all sides, demons and angels and floating goldfish and a lot of sound and fury. A good read!
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Feels like classic Claremont X-adventure with some sweet family moments, some action-adventure and romance. Plus: The Imperial Guard!
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Not really a fan of the ending, but the journey there is okay and the art is a lot of fun.
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Oppressively, relentlessly dark, with convoluted plotting that undermines the drama of the back story reveals (which are themselves watered-down versions of Rorschach's story from the original 'Watchmen.')
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A simple concept executed really well, with the long-overdue introduction of Jackie McGee.
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A creative, dark horror story with evocative art and a mean punchline. Good stuff!
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Well-drawn, luscious colors and a lot of important character moments make for a good reading experience.
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An exciting story that sets up a familiar status quo for old-school cartoon fans, with skies only darkened by the series ending.
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Kevin and Magda work on the same problem from different sides, while the Umbra Mother makes some shocking pronouncements.
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Really strong art and a story that does some interesting things with well-established characters make for an interesting issue and/or two issues of comics.
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Predictable, not well-dialogued and kind of dull, but I found some enjoyment in the art.
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A big blowout ending to the first arc, featuring this Exiles team losing their first member.
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Amusing and well-drawn, featuring a hero with flaws who works to overcome them. It's a fun issue!
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Equal parts fascinating, repulsive and terrifying, with just enough secrets to make things interesting. This is an excellent book.
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All action and intensity, with a shocking last-page tease.
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The proverbial great-jumping-on-point, with a lot of fun Laura/Gabby moments and an intriguing new mission.
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I'm not sure that it's going to stand the test of time, but it is enthusiastic and charismatic, making it worth a reader's time.
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Very difficult to follow, with art that inconsistently ranges from lovely to blah. I'm not entirely sure I want more of this book.
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Good-looking, suspenseful, skillfully plotted and true to the Star Wars aesthetic. What's not to like?
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An issue that feels like housekeeping, putting Superman in the back seat as others make all the hard decisions for him, and mostly setting up the writer's preferred new status quo.
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In short, I'm excited for Selina's Kyle's adventures under these creators and I really want to see the character define herself as something other than Bruce Wayne's main squeeze once more. Catwoman #1 is a fresh start for our hero, featuring amazing art, incredibly coloring and an intriguing story hook that never forgets about the woman inside the leather suit (and for once focuses on more than her big breasts).
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Things are starting to come into focus, but there are still unanswered questions. Gorgeous art from cover to cover, though.
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Starts strong, but flies off the rails quickly, even with strong art and some fun takes on X-Men characters.
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A change in artist leads to a different feel, but it's still hard to figure out who our hero truly is.
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Featuring a lot of fun tough-guy dialogue, stakes that aren't explained, consequences that don't seem proportional and a cast of thousands, few of which are named.
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Clever, meta storytelling with clear and vibrant art that's clearly building to something terrible. What's not to love?
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Some great in-depth moments from Power Rangers history, dealing with moments that had to happen. Plus, it also explains where Billy's Radbug went, so that's fun.
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A nice twist on the "Youth Vs. Experience" argument, with bad decisions on both sides, leading to the debut of a new Champion.
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A shocking plot-reveal, a surprising loss and Tommy seems to be gone forever. It's big-time anniversary action that looks pretty great.
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I get what the creators were going for, but it didn't really come together for me, as a reader.
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Unique layouts, a compelling arcane mystery and some well-realized characters make for an engaging read.
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Wild ideas, fast pacing and a whirlwind of changes actually camoflages a return to old-school Iron Man, and it all comes together with style.
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An issue that pulls in a lot of narrative threads and takes off like a shot, perhaps even moving TOO fast, but with seriously pretty art.
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A lot of setup for the Titans new status quo, including some lovely character work for the members.
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Telling a story that's been told before, but doing it with style and lovely art.
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I'd like to see more of these two together, as well as more from this creative team.
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Unique art and vibrant coloring make up for a story that doesn't feel like a complete thought.
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Giving character to several neglected Marvel types, deepening Neena's back story and giving a lot of respect to a Marvel veteran character, with exuberant art.
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The art is truly masterful throughout the issue, and the story is engaging and ingenious, even with Harry Potter comparisons to be had.
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Lovely art, spirited dialogue and a clever use of time-travel elements make for a really nice read.
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Not the ending I had hoped for, but not a bad ending at all.
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A little bit fragmented in terms of story and the art is a lot less consistent than the first two issues.
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An examination of our main character that's equal parts touching and horrific, with a dark punchline. It's got potential.
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Fun moments, interesting aliens and a last-page surprise, making for an above-average read.
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A lot of unusual and interesting pieces on the board, but the rules of the game aren't yet clear.
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Political maneuvering and lots of interesting discussion, but it feels like a partial chapter rather than a full issue worth of story.
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Satirical and not at all apologetic about it, with well-done art and coloring.
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A really successful new take on one of Marvel's oldest characters. This one's a real thunderbolt.
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One of the under-served Doctors gets his day in the sun in an issue that feels like a good first episode.
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This series is perhaps the best use of fourth-wall breaking and genre savviness in recent history, and makes for an exciting (and actually funny) read.
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Accessible to non-fans, well-drawn and unusual, featuring just enough gore and snark to make it all work.
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The lead feature is epic in scope and tone, making it easily my favorite of this round of DC/HB books. The second feature. not so much.
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An onslaught of big dramatic moments, with art teams sublime and just awful, with one heck of an ending.
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A haunting story combined with beautiful art and a skillful reveal. There's a lot to love here, and I can't wait to go back and read it all from the beginning.
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An issue that shows there's a lot more than just a Watchmen crossover going on here, pulling in threads that have been in play since the dawn of Rebirth.
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This book, like its protagonist, is fun, likeable and has hidden depths.
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The Kent family appears all together and some new villains make their way to Metropolis. But what menaces await in deep space?
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A very tongue-in-cheek take on the 60s heroes, featuring an unusual villain and some intentional subterfuge.
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Awkward dialogue and overwrought situations make for a less-than-successful issue and the stiff, awkward art doesn't help.
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The pacing feels a little choppy and the visuals are kind of hard to stomach, but the overall effect works to make a comic that is as avant garde as the villain(s) within.
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Fun, futuristic art and a story full of life and pain and familial ties make for a nice read.
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A difficult superhero conundrum and an expanded roster make this issue stand out as something unique, and the art is excellent.
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Some action-adventure with a psychological edge and some trippy imagery to top it off, plus a last-page shocker you kind of have to see.
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Excellent art helps to overcome the difficulties of the first chapter of a story full of mysteries.
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Last issues are always a bummer, but this one promises more Super-Sons to come and makes the reader WANT that to happen.
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The art is very specific and peculiar, but it fits the tone and characters perfectly, providing a story that seems like an artifact of a lost universe.
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Really weird teams of Leaguers and a nebulous threat make for questionable tension, but the character interactions make the show for me.
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I wasn't sure what I was getting into with #3, but this issue cements it for me: I'll be reading this one all the way through. It's weird, but it's fascinating.
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Assembling the new team, expanding the villain's plan and making for an exciting read.
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There are a lot of plot-related moving parts welded to art that doesn't feel quite up to the task, not to mention TWO different Scarlet Spiders in play.
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Lord Drakkon seems unstoppable, but the Rangers have some new allies, and one of them is ridiculously smart... Plus, some great bonding moments between two Red Rangers.
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The focus shifts from the founders a bit, which helps to open up the book, and the use of Captain Marvel, Hulk and Loki is masterful.
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Ties up multiple team incarnations with a clever premise, adds in some strong art and an interesting mix of characters to do Kirby's creations justice in a modern fashion.
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A strong issue featuring revelations for Super-Man, a bad move by Bat-Man and an irritated Aqua-Man who wants you to know his name is Dragonson. Good stuff...
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A fitting closure to the Jane Foster era (or perhaps the first Jane Foster era?) with hints of terrible battles yet to come. I liked it!
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Universal armageddon is upon us, and only our hero can stop it. Or start it. Figuring out which is part of the fun, though.
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The fact that they remembered Jimmy Woo is the icing on a particularly tasty comic book cake. Highly recommended!
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Adventures in a strange, alternate timeline with his sister and step-brother... What's not to like?
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Some horrifying moments are the only real downside of this issue; it feels like a lost middle chapter, but of a story that I want to track down the rest of.
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Mysteries are revealed, and the art is quite good. If only we didn't have that cover (and maybe more of Timber!)
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That rare perfect comic experience, playing fast-and-loose with the fun but never ignoring the rules of drama, comics or Deadpool stories. Really impressive work.
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Three stories, three different tones, all with their own strengths (and weaknesses.) Not a bad package, save for the price point.
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Continuing the GGPR story while folding in the big ol' crossover anniversary madness, and doing so with aplomb.
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Finally, things are starting to look up for our heroes, but Suzie's discovery seems to open a whole new train of story.
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The art feels unfinished and the story feels overly familiar and talky, making for a disappointing read for me.
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Feels a bit sparse, with too much focus on the micro over the macro and one really obvious plot point that annoys me.
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If you're despondent about things to come, this won't be a book that will put any of those fears to rest, but as an overall reading experience, it was pleasant enough (and featured JLA Beast Boy, an idea whose time has truly come.)
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It's weird to discuss the multiversal legacy of Gwendolyn Stacy, but it makes for a darn good read.
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The group dynamic is causing friction and this issue feels like it's spinning its wheels a bit, but it's still a pretty good comic.
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The art is quite good, but the story alternates between nonsensical and condescending, sidelining the main character until it intentionally mischaracterizes her.
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An interesting team, an incredible (and incredibly gross) threat and some nice world-building.
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Not for the faint of heart, but still a touching and/or horrifying tale. Well worth the read.
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The end of a story designed to give The Signal his own place in Gotham City, and it's mostly successful in doing so.
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The main story is tense and exciting, the backup is amusing, and while they don't quite gel together, the total package makes for a good read.
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An interesting modernization of the original concepts, firmly planted in the 21st Century, which references and calls back to the show.
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Some really tense moments, but they can get overwhelmed by the wordy moments and dialogue.
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A strange mixture of hopeful and Mark Miller's trademark crapsack world of ultra-violence... Still not sure on this one.
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Kamala on the horns of a dilemma, a new kid in town and old friend returns... A great issue.
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A really amazing tale with quality art, a complex story and an excellent cliffhanger... I'm definitely all in for the ending.
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An unexpectedly engaging story and some really good art make for a surprising and enjoyable read.
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An all-out battle in the afterlife, while a basset hound fights for the Sorceror Supreme's soul... Worth the four bucks.
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A high-concept issue featuring strong art and character work and a central premise that may not work for all readers.
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The real test of a book that collects an offbeat team (like the original New Warriors or the New Teen Titans back in the 80s) is making us care about the likes of Firestar or Raven as much as we would about Superman or Lois Lane. Red Hood and the Outlaws #21 pulls that off with aplomb, making me care about every one of these characters in the space of a few pages, and even turning Bizarro (is this the same one who was in Superman last week or a different one?) into a tragic hero, with better-than-average art.
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A 'Dawn Of The Dead' riff with some interesting character work and a cruel final-pages reveal.
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The team builds slowly, Honey Badger is adorable and Trinary steals the show... Plus: Gambit isn't awful!
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A very solid premise, great dialogue and scripting and art that has a lot of potential. Sold!
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Really impressive world-building and character interactions, using everyone from Quicksilver to the Wasp to Edwin Jarvis to their maximum potential.
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A slightly better-than average pseudo X-Men story, with all that entails.
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A very Jon Bernthal Punisher in a very bloody all-action issue.
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Everyone seems to be at a turning point, and it ends with a huge moment that I expect will pay off huge.
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A serious problem with dialogue construction and a truly grimdark ending offset slightly by Superman being... Well, being Superman.
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Soule's script is solid, but the real star is ACO's creative layouts and psychic battlescapes.
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There's a lot going on here, but it doesn't quite gel, and the art just feels... off?
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The end of an era, but thankfully not the end of The Champions.
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The players are assembled and the quest announced, with really strong art and story.
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Not the best issue as a Number One, but an interesting (if perhaps a bit too scattered) fresh start for Cave and company.
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A well-drawn, cleverly written done-in-one... What more can you ask for?
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The Runaways have carved out a new life, but now they have to work to keep it... And what's up with Molly's school situation?
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This issue features Wonder Woman and Batman in different habitats that cross over, with both heroes used to great effect and a lot of super-attractive art.
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Some interesting throwback art and a nice juxtaposition of the super and the boring, with the caveat that it contains depictions of self-harm, albeit by an immortal.
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Not really successful in using it's characters or setting the scary tone that it probably wants to create.
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The coloring and visual effects are a bit garish, but the art is solid and the story has potential.
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As giant crossovers go, this one is doing some new and interesting things, but it feels like so many things are going on that we've lost track of some.
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A test of Cyborg's leadership and creativity, showing off the various personalities of both Leagues with some really dark discussions about who should die.
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Well-written, well-designed and drawn and truly clever. This one is a winner.
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A peculiar day-in-the-life issue with some execution flaws that nonetheless makes for an engaging read.
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A strong issue that doesn't get too flashy or world-threatening, but manages to be an entertaining, well-drawn read anyway.
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A solid issue of world-building, slightly handicapped by the last page reveal being trumpeted in all the previews.
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A little faux history, a little family dynamic and some cute character moments make for a nice one-shot story.
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An issue that wants to be a self-aware parody, but can't quite pull it all together around all the cameos and in-jokes.
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I'm really bummed to see this series go, but at least it's going out with a big cosmic bang.
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Prince Robot makes a bad decision, Ianthe is hot on our heroes' trail and something REALLY bad seems to be about to happen... Instantly engaging.
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There's a lot to love here, and the dramatic punch of the art is impressive, with only a few flaws in the details.
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Well-drawn by both teams, with some interesting things happening, but feels surprisingly short.
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Emotionally moving, visually dynamic and headed for almost certain tragedy... This is a good one, you guys.
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An interesting assemblage of characters with a compelling mystery hook. I want to know more!
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An interesting take on the art, but Millar's story feels like it's trying too hard to hit all the hardcore buttons at once.
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An interesting take on the art, but Millar's story feels like it's trying too hard to hit all the hardcore buttons at once.
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T'Challa's past, present and possible future, all presents by talented artists and classic Black Panther scribes. Well worth the cover price.
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Matt Wagner is at the top of his game, things are getting complicated for Kevin in both his personal and his magical life, and I'm afraid it'll get worse before it gets better.
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A lot of interesting pieces that don't quite come together yet.
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A well-written and well-drawn tale, but the book still feels haunted by the last arc.
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A new status quo, a talented new artist, intricate and clever plotting plus the ingenious use of some old DC characters makes for a nice read.
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Not quite as engaging as the first salvo, but an interesting juxtaposition of new and old Gotham City vigilantes nonetheless, and Tempton's art is sublime.
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A remarkable achievement featuring incredible art and the kind of depth you don't normally get in modern comic books.
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Takes two of the most complicated histories in the Marvel U, in Warlock and Kang, and delivers a prequel that serves as a textbook to help simplify their twisted histories.
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A familiar premise, with a twist, and some excellent art, plus a fascinating team lineup.
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A true mixed bag, but none of the tales fall below pretty okay, and a couple are inspired. Worth the time if you can spare the price.
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This issue is very well-paced and constructed, bringing together a large group of heroes ala the old-school Defenders, featuring nice character work and dialogue and excellent action sequences.
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Even though this isn't what I expected, I liked what I got and really appreciate the balance of world-building and attention to character these creators pull off. Motherlands #1 is well-drawn, well-conceived and does some fun new things with familiar tools and settings.
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Excellent use of out-of-continuity characters and situations for a lovely comic book that should appeal to younger audiences.
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The ex-boyfriends schtick feels unintentionally awkward and though the pairing is nice, inconsistent art negatively impacts the effectiveness of this story.
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I have to say, I'm sad to see this team break down as quickly as it did, though the getting here was fascinating, as it used some of the more interesting abandoned characters of the New 52 and Rebirth in ways that were exciting and different. With a complex tale, a morally ambiguous main character and a lot of fascinating twists and turns, Deathstroke Annual #1 pulls off the nigh-unthinkable by making me care about Slade Wilson as a hero.
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Deep thoughts, strong characterization and a handful of welcome guest stars make for a pretty good read.
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The mystery deepens, an Avenger falls and things continue to entertain... Well-done stuff!
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Dark and disturbing stuff, but a really good read.
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Lots of fun in a unique, retro way, celebrating both teams and their unusual memberships.
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It's not a bad issue, by any means, but it is one that just doesn't quite pull it all together for a fully-rounded comic book experience. Hopefully, the completed 12-issue arc will coalesce into something that ends up being satisfying.
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A clear in intricate plot, some unexpected emotion and a really solid cliffhanger ending.
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Adventure, emotion, humor and drama, all wrapped up in a stellar art job.
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When a comic makes you desperately want somebody to tell you it's gonna be okay without disasters, explosions or alien clone monsters, you know it's got to be a good'n.
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In short, calling this book an epilogue is pretty accurate, as it rehashes and follows up on the themes of the big time-travel crossover without really treading any new ground or being particularly memorable. As a day in the life of our heroes, featuring some nice human moments between them, though, Super-Sons #12 works (in a vacuum, as long as you're not concerned about false notes from the guest-stars) pretty well.
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Even though I love the elevation of Ink, I enjoy Storm remembering that she doesn't need powers to be bad-@$$ and the interplay between Nightcrawler and the new kid, this issue doesn't have a lot going for it.
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As an avowed Wagner fanboy since late in high school, I admit that I may be biased, but this issue (indeed, all the issues in this volume) have been wonderful and expertly crafted. Mage Book Three: The Hero Denied #5 gives us some unexpected returns, some beautiful art and a masterful advancement of the story, with just enough discomfort to remind me that the title implies bad things for Mister Matchstick.
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Well-conceived and beautifully drawn, a really impressive chunk of comics for your four bucks.
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I get that it's about the battle inside, and I love the use of Patsy Walker in these pages. I even like the reveal in the last couple of pages, giving us a hint as to where things are going, but much of the issue seems to labor without a clear purpose. Even the threat of The Leader doesn't feel particularly threatening, leaving She-Hulk #161 a bit disappointing, even with the positive aspects of story and Jennifer's character in these pages.
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In short, this a comic book that works, mostly, even if it's playing a very familiar tune and even though the visuals don't quite convey the themes that the script intends it to. Titans #19 has a lot going for it, a strong cast, a strong writer, a couple of big mysteries in Wally's powers and Donna's future and it builds on years of Titans history in a way that works, but doesn't quite nail the landing.
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A final issue in the old-school tradition, successfully wrapping up without feeling forced. Nicely done.
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Well-drawn and emotionally engaging, using the team's history in-universe and out to great effect.
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In short, this issue is muddled and not particularly satisfying for me, with Booth's ill-fitting art combining with a sudden focus on the guest-star and less-than-subtle plotting to make things just sort of okay.
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All in all, this is a great comic book and this issue reminds me that you should be reading it, as it delves into part of the DC Universe that no one else ever has, and does so with creativity, heart and a tone of fascinating character.
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An intense issue which makes a minor character into a legit bad@$$ and provides a look into the mind of Skywalker/Vader... Good stuff.
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Even without its title character, Ms. Marvel #26 makes for a great read, with incredibly charismatic art, engaging characters and a wonderful sense that we're in the hands of skilled and trustworthy creators, which makes for a satisfying single-issue experiment.
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In short, Avengers #675 gets the job done, setting up the big threat, taking time to assemble some characters who need a little screentime and love, and does so with mostly solid art.
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In short, it's hard to do X-Men well, given the army of characters and myriad eras of publication, but this book balances the late eighties with a modern take in a way that works.
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In short, I'm not disappointed by this issue, but Exit Stage Left: The Snagglepuss Chronicles #1 has a lot of heavy lifting to do to get the time, the place and the unique makeup of the characters across, causing some dissonance unintentionally and some by design.
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A good-looking issue filled with visual touches and detail, with a straightforward story that promises secrets.
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Gets a lot of nearrative heavy-lifting done without skimping on the action or character bits and assembles a fascinating team.
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In short, this book made for a nice read, but it suffered from an ambiguous ending and Bendis' trademark "No Climax" climax, but the charm of the dialogue and characters helps to offset that somewhat. Spider-Men II #5 is a book that I didn't understand the need for when it was announced, but now appreciate as a story and as a bookend for that long ago landmark #1 issue.
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In short, this issue is a good start towards returning Hawkman to prominence, and I'd love to see an ongoing Hawk-series from this creative team, as it seems like they have a lot of interesting ideas in mind for the lawman from Thanagar. Hawkman Found #1 is actually a bit surprising, and while it feels too short and too unresolved, the story being delivered is intense and engaging, and even a bit metatextual.
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At the end of the day (or the issue, I guess), I feel very much adrift, as if I've read half of a story, with all the important bits that would make it all satisfying in the missing half. Granted, this is a weekly series, which will offset some of the vagueness/incomplete feeling with an almost immediate payoff, but it still doesn't work for me in single-issue format.
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In short, Batman: Creature Of The Night #2 is excellent, the product of talented creators (including Todd Klein, who provides individualized lettering for each of the narrative voices, even making Uncle Alfred's cursive captions easier to read, which was about my only complaint about the first issue) making a story that examines Batman as a construct and uses him to tell a story about loss and life.
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A solid issue where the mystery is set aside for some really great world-building stuff, and excellent art to boot.
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It's great to see a book like this last as long as it has, as many equally fascinating comics have never made it anywhere near fifty issues, petering out due to lack of story or loss of creative team or general missing mojo. Lumberjanes #45 is an example of a book that just keeps getting better, with more examination of our characters and depth of mythology, making me happy that we're still getting the book year after year.
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Odd coloring choices and some moments of inconsistency in the art, but still an above-average issue of comics.
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I haven't been reading Waid's team books regularly enough to have as much negativity as some on the internet seem to have, but I have to say I found this issue to be a very strong one, especially in terms of Viv's character and the excellent art. Avengers #674 made me happy just by having a number higher than 25 on the cover, but the quality of material inside makes it totally worth the price of admission.
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The real truth here is that Tony Isabella writes great comics, Black Lightning is a fascinating character and they've got a decent costume on him for the first time in years, so what's not to like? Black Lightning " Cold Dead Hands #2 is well-drawn, well-written and doesn't just rehash 1977's story lines for a new millennium, giving us a modern spin on the character, his cast and surroundings.
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The idea of a super-family is a great one, as properties like The Incredibles have proven, but tying that to the life and times of Peter Parker makes for a nice update on that formula, and Annie May is a fun new addition to the various and sundry spider-women of Marvel history. Amazing Spider-Man: Renew Your Vows #13 is well-drawn, featuring realistic family interactions and serves as a great jumping-on point for any new readers.
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Savage Dragon #228 has attractive art that makes quiet moments and battle sequences equally clear and engaging to look at, but a juvenile fascination with sexuality and remarkably scattershot plotting make for an unsatisfying issue.
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In short, this one is a winner, featuring unnerving situations that have gravity and reality to them, straddling the line between hallucination and story perfectly and drawing me in with every page. Imaginary Fiends #1 is excellent, engaging, well-drawn and featuring a perfect elevator pitch concept.
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With #600 (that is not actually, really #600) quickly approaching, and Bendis exiting Marvel Comics, this book feels like we're on the cusp of a big, blowout finale chapter, which will theoretically return the players to first positions for the next Iron Man writer. My biggest hope, based on the respectful use of Ironheart thus far, is that she will remain in play, and while I still don't know what, exactly happened to Tony Stark, I'm interested in seeing how his return plays out.
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Given that all I knew going in was that the story was originally presented in French and that the title was amazing, Doctor Radar #1 was a pleasant surprise for me, featuring excellent art, a complex and layered tale full of ambiguity and style.
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With its meta-explanation of why Riverdale has been the same since 1940, a plot hinged on a friendship established in 30-year-old issues of New Mutants and a really diverse, fun cast of players, U.S. Avengers #11 is a real winner, with a fun plot and the promise of more action, adventure and a reunited romance to come.
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That said, if you like Injustice, this is a visually solid representation of that sort of story, featuring some lovely sequences (especially in the Bat-cave) and a dystopian crapsack future that seems to have more thought put into it that some. Nightwing: The New Order #3 is narratively confusing and darker than I care for, but strong art helps greatly.
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I've been raving about this book for what seems like forever, but this issue shows that this team not only has a perfect eye for dialogue, setup, exciting stories and drama, they know how to pull off an excellent ending as well. So few comics get any kind of ending, and Marvel especially has a tendency to end with a "Toys back in the box! Undo everything so the next guy can work with a clean slate!" attitude, but Silver Surfer #14 shows how to do that with flair, emotion and craft.
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The thing about Shirtless Bear-Fighter #5 (and, indeed, the series as a whole) is that it takes its premise and characters absolutely seriously, which makes for amusing clashes in tone and material that do the amazing title justice.
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If you're not reading the main Bitch Planet book, you are missing out on an important experience and an important comic, a book that will be held up for years as an underappreciated gem that made important points about the world through the lens of quasi-science fiction trappings.
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Luke Cage #166 has a lot of things going for it, and this creative team is one that I am interested in seeing more from, but this opening chapter never quite put all the pieces together.
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Again, I was pretty sure that I knew this was coming, and it still hurt to read. After more than ten years, Nolan is like a friend to me (a scary, possibly maniacal alien overlord friend, but a friend nonetheless), leaving Invincible #141 as a heart-rending bit of story, deftly delivered with strong art.
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I've made fun of Marvel's attempts to make "fetch" happen with The Inhumans, but the likeability of Ms. Marvel and Moon Girl do help this go down smoother, and while it's not the next Kree/Skrull War, it is a solid comic in terms of both story and art. Secret Warriors #7 is a book that reminds me a bit of late-80s X-Men in what it wants to achieve with outcasts fighting in a world they never made.
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Okay, seriously, just buy this one, guys. You won't regret it, unless the therapy bills get too high. Mister Miracle #3 is beautiful, it is haunting, it is disturbing, and it's one of the best comics I've read in 2017.
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Nice to have Gert back, but it moves a bit slowly...
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In short, it's a tense issue, with some well-crafted parts and strong art, but it leaves me worried that without the red, white and blue, Sam Wilson isn't considered top-drawer hero material by the powers-that-be at Marvel. The Falcon #1 is still an above average read and a book that I will come back for more of in coming months.
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There's a lot to like in these pages, but I'm hoping that next issue delves into the nature and motives of the cat-eyed folk rather than trying to drag out the mystery for the entire six issues of this mini. Ragman #1 is a good first issue for a character who has never really caught fire with readers, providing drama, action and mystery in a nice coherent package.
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The cliffhanger works at face value (and makes Blade seem very scary indeed) but the transition to it feels a little bit more like "ran out of time" than "meant to do that", but the overall story is strong enough to weather the hit.
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When it comes to your big crossover madness stories, the real question tends to be one of stakes, and this issue is completely successful on that level: Earth-32's Caped Crusader is terrifying and effective. I left this issue worried about the status of Coast City and a character that I actively loathe, which is impressive enough, but this issue also left me curious about Murder Machine and Red Death.
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All in all, I'm dissatisfied with this book on a number of levels, as I had to read a couple of times to make sense of the art, and even then, I've had to make some assumptions about what the creators seem to be conveying. Iron Fist #73 isn't an overtly bad comic book, but it's got some fundamental problems that are hard to ignore.
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In short, it's not a disappointing issue, but it's one that just didn't quite fully engage me as a reader. Perhaps a hardcore fan from the beginning will have a stronger response, as Batman Beyond #12 makes for a better-than-average read with some intriguing plot pieces in play.
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A really good start for the Hammer Comics line, featuring excellent Mandrake art and an engaging story.
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Future Quest Presents #1 is a solid story that improves on the missteps of #1, giving us cool Space Ghost action and a legendary primate team-up moment.
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If you're not reading this book, you're missing one The Best of the Avengers-related titles.
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When you break it all down, this is a pretty okay issue with some fundamental flaws in how the creator approaches one of the main characters, but it's really Doom's book, and seeing Reed and Ben in antagonistic roles here is honestly kind of fun. Infamous Iron Man #11 is well-drawn and has some clever bits of dialogue in it, and the final reveal is effective.
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All-Star Batman #13 balances the man with the bat, with Alfred's narration providing a fascinating underreported perspective on the actions of our Dark Knight, with excellent art in both stories and a lot of really strong characterization and motivated action throughout.
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America #6 deserves the highest recommendations, taking its charismatic lead and putting her in different, emotional situations throughout the book, highlighting her loves, her friendships and her family as much as her power and determination, leaving me giddy about my new fave-rave character.
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In short, this is a perfect breather from the endless skull-crushing, heartrending nonsense of 'Secret Empire', with the sense to immediately launch this team/family into the next phase of madness in true old-school Avengers fashion.
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It's really hard to review this comic, because the creative team is so locked in, so perfectly matched and so skilled at doing what they do that it turns into nothing but gushing, but there's a lot of great stuff in here as we build to what is likely to be a huge failure on the part of the pantheon.
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Won't overcome anyone's complaints about the difficult premise, but it's well-drawn and hits the points it needs to hit.
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Shirtless Bear-Fighter #3 is a joyful example of comics at their best, featuring excellent art, a little melodrama, a golden toilet and a hero tied up with toilet paper because a shirt saps his might.
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Stylized art and excellent dialogue combine to make a compelling read.
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Most pleasant of all is the fact that this issue provides a double-sized package for only a dollar more than many regular-size modern comics, making it a relatively affordable package full of long-unseen comic book gems. Manhunter Special #1 needed better dialogue in the first story, and could have presented the material in a better order for my tastes, but features some lovely artistic tributes and really excellent reprints.
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With a complex and nuanced take on race relations that feels even more relevant in recent weeks, The American Way: Those Above And Those Below #2 feels like a case of perfect timing, but there's also great skill and craft in the story and the art.
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In short, this is a good issue. The Hellblazer #13 is lucky enough to pull off the beginning of a new arc with aplomb, providing skilled art and a really engaging story that doesn't tread over territory already covered.
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In short, things in Suicide Squad #24 are transformative and shocking, in all the right ways, and even the thought that it'll all get overturned by the next writer and/or the inevitable movie sequel don't change that fact that this is a solid, tense, well-executed story.
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All in all, it's a mixed bag of an issue, and one that probably works better for regular and long-term readers of Grayson's adventures. Nightwing #27 offers a nice character balance in Nightwing/Huntress, some strong action and excellent art, but doesn't quite stick the landing in terms of story coherence.
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This book really is that good, month after month, and while I'll miss it, I'm excited to see what the creative team has in store for their big finale.
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In short, this is a well-done issue playing with fantasy tropes and historical events at the same time, making for a nice hybrid of Tarzan and John Carter with a lot of potential adventure hooks and a legitimately jaw-dropping final moment.
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The art is an interesting hybrid, the story compelling, but I'm bothered by some tonal irregularities... Still a good read, though.
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In a nutshell, the sheer number of characters, events and bits of business in these pages make it feel like it would be better served as two issues, or perhaps as the same story with fewer characters in play (even though that's not how Jurgens does things.) Action Comics #984 is still an above-average read, though, with some lovely art throughout, progressing the plotlines in interesting ways and once again reminding everyone that Mister Oz is out there someplace.
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In short, as a middle chapter, this may work, but as a stand-alone comic book, the combined problems of script and storytelling make it unsatisfying. Cable #3 has some pretty great character interactions between time-traveler and Mayan priest, but just feels somehow off, and too many sequences require rereading for visual clarity or plotting reasons.
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Every time I miss an issue or two of this book, I come back and immediately regret it (and also grab all the ensuing issues to enjoy in a big marathon.) Saga #45 works as a narrative, as a meta-narrative and as a single-issue read, with art that stands out even by the high standards of the book.
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The real magic of Image Comics comes when talented creators are able to deliver a story that you wouldn't be able to find anywhere else, and this book's premise, while containing that fantastic element of the mind-swap, wouldn't fly in a shared universe or a superhero world. But on its own, it makes for a riveting comic-book, one that I highly recommend on all levels.
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In short, this is the comic book that I wish we could have all rallied behind, a book that deserved the 70 issue run of classic New Warriors, but never got the support, hype or reader love to make it go, which is really a shame. Occupy Avengers #9 wraps things up with a series of loud bangs, some excellent character work, a nice final shining moment for Red Wolf and Tilda, and a seething disgust at yet another fallen title in the wake of big, stupid Marvel crossovers.
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In short, if you ever wondered how the silliness of WildCATs and Stormwatch could be turned into chilling, suspenseful, action-filled excellence, look no further than these pages. (Having the book be a planned 24-issue run with, presumably, and ending doesn't hurt.) The Wild Storm #5, aside from sounding like an easy-listening radio station, delivers action, reveals mysteries and shows us a new side of some familiar characters.
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In short, Slott and Immonen and the creative team have worked really hard to make the balance between Spider-Man story and crossover story work within their framework, but there isn't enough to the main story other than the shock value. Amazing Spider-Man #30 has some excellent art, some wonderful Peter Parker moments, heavy-duty Spidey/Ock rivalry and uses the tone of Secret Empire to good effect but still getting dragged down by it.
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I know that I didn't get everything going on in these pages, but I absolutely want to read more, right now, to find out what I've missed. (I also wouldn't mind an annotated version of this story that would link me to the books that would help flesh it out.) Dark Days: The Casting #1 is that rarest of beasts, a prelude story that isn't just a series of trailers but a fleshed-out narrative in itself, with several different artists delivering strong work that comes together as a whole and makes you want to know the secret of the Metal.
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There are three shining Lobo moments in this issue, some nice investigative things for The Atom to do, a little bit of Ray and Batman and a lot of Vixen, but all in all, it feels imbalanced and a little bit distant. Justice League Of America #9 is a solid visual book with a lot of individually successful moving parts, some of which don't quite mesh.
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Throughout the Lazarus Contract storyline, it felt like the creative team was working a bit ahead, telegraphing the exciting changes to come in the book in only a few issues, but this one feels less like a return to normalcy for the Teen Titans as it does a filler issue until the big fight with Black Manta comes to a head. Still, Teen Titans #9 has its moments, delivering some nice emotional reveals even with awkwardness of plotting and art.
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A perfect final chapter, providing a legacy that the 1966 TV show never got while playing with the 70s and the DC Universe alike, and doing so joyfully and skillfully.
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An ongoing series that's been going on for thirty years will have its ebb and flow, but this one does well for itself by delivering a strange situation, plopping John in the middle of it all and forcing him to snark-and-magic his way out of it. Hellblazer #11 is a strong second act for this story, and while I'm still not sure where it's going, the journey is worth the cover price.
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An uneven issue which hits on the one-joke nature of the Coyote/Road Runner cartoons without quite nailing the formula that makes them fun.
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Even if you don't like Damian, don't trust the writer or don't understand whatever happened to Kon-El, this book makes for a nice read.
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In short, Bug! The Adventures Of Forager #2 is the kind of comic book that makes you sad it's only a limited series, featuring excellent art, a fun story and a ton of entertaining doodads and nabobs and such.
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On the one hand, I would have like to have had more of the setup actually shown in these pages (the opening pages of the issue feel like I missed a zero issue or a springboard from one of the other books, but I can't find it), and the plotting is traditionally loose in the Bendis style, but it all comes together reasonably well. Defenders #1 features lovely art by Marquez, likeable characters and a villain who raises the stakes admirably.
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To make a long story short, whether or not the basic premise of this book makes is difficult to engage with, this issue is actively unpleasant to read both in terms of story and art.
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Though bits of the plot are familiar, their assembly here works to great effect, leaving Action Comics #981 an effective and engaging read with excellent art on every page.
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This issue serves as a good example of how a good comic can be struck down by one misguided sequence, character moment or conversation, leaving a bad taste in your mouth for the entire issue. Ben Reilly: The Scarlet Spider #3 is impeccably drawn, featuring some potentially great moments, but is brought low by a writer tirade that makes me not want to come back for more of the good stuff.
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With clever dialogue, a perfect handle on the meter and tone of Adam West's Batman voice (RIP, sir), and the dynamic art and colors of the Mike/Laura team, this issue is off-the-charts fun for me. There's even a board-game built in that is chockfull of references and clever bits, including cameos by Mxyptlk and J'onn J'onnzz, making Batman '66 Meets The Legion Of Super-Heroes #1 a home run for me.
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All in all, this issue isn't a bad one, just not one that achieves the full potential of such a goofy concept, instead trying too hard to stay in continuity for the current version of the Martian Manhunter and ending up feeling inconsequential. Martian Manhunter/Marvin The Martian Special #1 is still fun, though, with excellent art in both parts of the tales and a story that's just sort of okay.
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Supergirl #10 makes for a great second act, building to something that could be catastrophic without neglecting to tell a character-driven story.
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In short, the issue feels like it's really trying too hard, straining against the constraints of the main Marvel line, even with the cover warning that it's not for general audiences, and a little too much unrestrained Bendis. Still, Jessica Jones #9 does provide a long-awaited reunion between Jessica and her family, a quick cameo by a very angry and very impressive Matt Murdock and some interesting plot iterations.
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Tightly-paced, unapologetic, but not easy to approach or digest and guaranteed to push some of your metaphorical buttons.
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If I have my way, we've just seen the debut of the new hotness, the next Squirrel Girl, the next Deadpool in Fernanda, and I would love to see her join the team in a permanent manner. Of course, with the Secret Empire crossover going on, there's no telling when this book will return to stories that aren't about terrible dystopian hellscapes, so I'm keeping my fingers crossed, but Champions #9 is a wonderful spotlight issue for a Champion who deserves it, featuring lovely writing and dialogue.
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This issue feels unusual to me, in that is has old-school plotting, leaving many hooks for more Captain Atom tales in the future, something that many modern books have given up in favor of clean six-issue trade-ready arcs. The Fall And Rise Of Captain Atom #6 is a solid final act, with strong art and story marred by an unpleasant coloring job.
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The decision to put the X-Men back in the spotlight worried me, but there have been some good issues and unusual choices for solo series that give me hope, and this issue is one of them. Iceman #1 serves as a primer for the character, a quick but exciting adventure and a window into the world of an interesting but underutilized member of Marvel's massive mutant cast.
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In short, this book is excellent, the ending that this story deserved.
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I keep coming back to this over and over: If you're not reading this book because it doesn't have the "Big Seven" heroes, you're missing the best Justice League in quite some time, featuring an interesting cast of heroes and at least one character who flat-out shouldn't work at all in this context. (And yet, there Lobo is.) Justice League Of America #7 is well-constructed, featuring a complete story full of character and humanity, with solid art throughout and just enough Batman.
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Reminding me of Batwoman's first run in 'Detective Comics' as much as anything else, Mother Panic #7 feels very different from the other Young Animal titles, but still holds up the same level of quality and care, with utterly gorgeous art throughout and a strong story that I want to know more about.
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I'm of two minds about this issue, as I enjoyed a lot of it, but still found the ending incredibly awkward and frustrating. The Flash #22 brings back an old favorite in a way that I didn't expect, delivers on at least part of the premise set up by the big crossover schmageggi and does so with excellent art.
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This is perhaps my favorite Luke Cage story since his appearances in 'Alias' and 'The Pulse', giving him a well-rounded personality, a strong character voice and imposing visuals, all the while reminding us that there's a human being inside that steel skin. Luke Cage #1 is excellent, setting up a mystery and bringing in unexpected players to deal with story elements dating back to Hero For Hire #1 in '73.
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In short, this is a very solid issue, working as a single chapter in the ongoing narrative but also as a standalone issue, giving depth to Kid Flash's fears and doubts about his mentor, making Deathstroke seem relatable without blunting his menace and playing with the concept of multiple Wallys in fun ways. Teen Titans #8 isn't even hampered by Damien, as he works well within the cogs of the story, and the art is well-done throughout.
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By taking some of the most successful bits of the CW 'Arrow' show and bringing back some elements of Green Arrow that have been missing since 2011, this issue distills a really good take on Oliver Queen and his life that should appeal to fans new and old. Green Arrow #23 is really good, with a lot of characters, a lot of action but a clarity of narrative and dialogue.
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Hal Jordan and The Green Lantern Corps #20 ends up balancing the action with the full-volume explodey quite well, avoiding some of the confusion and convolution of recent years and delivering a solid, well-drawn adventure.
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I've said it before: The name 'Al Ewing' on the cover is a must-buy for me, and it should be for you as well. Springboarding off the work of Mantlo, Claremont and the excellent movie reworking equally, Rocket #1 puts our hero in a perfect, yet utter surprising, role as gentleman thief, delivering on the promise of complicated situations and reversals, featuring excellent art and an impressive swerve at the end.
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This issue succeeds in two difficult hybridizations: Making a superhero/zombie mashup work and making Japanese and American comics sensibilities mesh on the page. Zombies Assemble #1 gets a lot of things right, from the art to the level of gore to the tactical application of humor within the confines of a story that relies on the scary.
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I wouldn't want every comic to be this one, and I wouldn't want this one to be the only Scooby Doo stories I had access to, but it's a well-done post-modern take on the monster-hunter concept that ends up being much more than the sum of its parts.
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The DC Universe is a tough place to make your debut, with decades of history and established characters with some of the highest cultural profiles of any fictional folks around. That's what makes New Super-Man #11 so impressive, as it shows us a an entirely new corner of the DCU, using the existing history to its advantage but drawing on new and different inspirations for the action and characters.
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Some would say I'm not the target audience for the Young Animal titles, but I have yet to find one that I don't enjoy, and this issue is no exception. Bug! The Adventures Of The Forager #1 just feels like a Jack Kirby book, full of wild ideas, exclamation points, strange occurrences and dynamic art, and the Allreds nail the Bronze Age origins of both these characters.
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I'm 100% behind the idea of characters like Lana getting to deal with superheroing after decades of being tangential and adjacent to Superman, so I enjoy the concept of this book. Superwoman #10 has a few wobbles in the storytelling and a really terrible villain at its core, but still manages to stick the landing and deliver the drama.
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here are a lot of jokey running gags pointed at The Inhumans since they've been thrust to the forefront of the Marvel Universe ("His full name is Blackagar Boltagon") and many of them are justified, but this book does a service to Black Bolt by treating him as a distinct character and not a stand-in for the X-Men. Black Bolt #1 hits a sweet spot for me, combining a strong, complex narrative with unique visuals and a main character who is more than the sum of his parts, making for an excellent read.
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In short, Everafter: From The Pages Of Fables #8 is a strong individual issue, one that immediately convinced me to pick up the previous issues to find out more about this world and its characters, dealing out awesome visuals, strong character moments and a truly fascinating hook.
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Youngblood #1 is thus a mixed bag, showing that there is potential for something long-term, but that the book's creator and repeated weakest link is still strongly involved and could bring the whole thing down hard once again.
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Jean Grey #1 shows off Jean's depth, her humor, and does it all with impressive art, overcoming the barriers of the whole Phoenix thing remarkably well.
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In short, Batgirl #10 is a great middle-of-arc issue that gives you all the information you need to understand what's going on without overt infodumps, manages to deliver drama and suspense without a lot of wedged-in fighty-fighty or melodramatic nonsense, and also looks lovely.
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In short, Black Panther And The Crew #1 hits a lot of strong notes, the art is well-crafted, and it's compelling enough to get past the fact that the title character doesn't appear, nor do most of the heroes mentioned on the opening "What Has Come Before" page.
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I've gone on record as saying that the use of The Trinity as separate and distinct from the JLA or the greater community of superhumans is a mistake, one that doesn't make these earliest heroes seem more important so much as it devalues the rest of DC's mythos. Trinity #8 makes that part and parcel of the narrative, even doubling down by having the heroes refuse to share intel with their colleagues on what is clearly a massive, universal threat, which makes them seem selfish at best and downright stupid at worst.
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I picked this up entirely based on the strength of the cover image, but found myself enjoying it quite a bit, to the point where even The Khatz (who are all big cats) naming conventions didn't throw me entirely out of the story. With so much on the ball, Rose #1 feels like it could be something big (or at least something good), and with Rose now in the company of an elder sorceress called Ila, we have some real Ben Kenobi action going on.
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I've argued for a long time that comic books should be allowed to have natural ends, and if any book deserves it, it's Gotham Academy, a comic which has long ignored the "traditional" rules of comics. Gotham Academy: Second Semester #8 brings a lot of things to a boil all at once, but keeps it all balanced, with clear and excellent art, some real suspense and an ending that will make you want issue #9 immediately.
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All in all, Supergirl #8 hits the spot, taking as much of the TV Supergirl (which I greatly enjoy) as they can and putting it all together in the Rebirth DCU with dynamic, strong art and some new concepts folded in as well.
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Long story short, America #2 is a solid, entertaining comic book issue with some great guest-stars, action, adventure, romance and philosophy.
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I enjoy both of the stories in this issue, and I really like the thematic carry-over of friendship (a new friend in Supergirl, an established one in Alysia) through the issue. Batgirl is very resourceful, smart and heroic throughout, which is a double-win.
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On the one hand, this issue is a fast read that is filled with a lot of things happening, and the sarcastic voice of Ted Sallis in the Man-Thing's head is amusing. On the other, this issue piles on the random encounters, teleports the character across the country suddenly, introduces what might be important characters before quickly shuffling them off-stage for more strangeness, which undercuts some of the best parts of the dialogue and story. Man-Thing #2 nonetheless falls on the winning side, thanks to some excellent art and a strong narrative voice through the madness.
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As always, with a title like this you can't be too careful: This is not for the under 18 set or those who dislike body horror and the occasional act of senseless violence. But, for those who care to partake, Clean Room #17 manages the difficult task of balancing psychological horror bits with a more visceral approach, with excellent art and writing and a stellar cast of characters.
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I like Orlando's plotting, I love this array of characters, and I'm even impressed at how well they've rehabilitated the 90's joke-villains (or at least grimdark parody villains) that were The Extremists into something truly complex and intimidating. Justice League Of America #3 hits a sweet spot for me, delivering on character interaction, giving the action grounding and consequences and most of all making for an entertaining reading experience.
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While I'd prefer more Prowler stories to come, I'm actually sort of fine with having his fate up in the air. After all, Hobie Brown's career has been one of the more tentative of Marvel's street-level heroes, starting and stopping and never quite hitting the big time, so having it end like this is thematically appropriate, even if I'd prefer something better. Prowler #6 wraps up Hobie's story for now, and does so with some interesting moments and even where the storytelling and art are inconsistent, it doesn't alienate me as a reader.
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I have to admit, having missed a couple of issues, this wasn't the easiest story to work my way into, but it was worth it once I was engaged, and the art made up for the serialized nature of the story. Wonder Woman #19 is well-drawn, well-constructed, full of mystery and excitement and ends with a serious band, making me want next issue immediately.
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In short, the whole point of this was "two characters have wacky adventures in one body", and they make good on that premise, and even the gross-out factor will appeal to a certain segment of Deadpool's regular reading audience. Deadpool The Duck #5 wraps it all up, with some wobbles in art and story but a lot of energy and drive.
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In short, Teen Titans #8 feels like an attempt to recapture the 'Day In The Life' stories that Wolfman & Perez were so good at back in the day, but instead feels unfocused and fragmental, with some confusing bits of art and an unclear sense of time.
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As with any story whose primary function is revising the story as written thus far (See: Avengers Forever, Crisis, Zero Hour, et al) the balance of in-universe to out-of-universe is key, and Jurgens does an okay job of making it work. He is not up to the task of hiding all the metaphorical men behind the curtains, though, and after reading, it seems clear that the idea of fixing continuity was the most important part. Still, Action Comics #976 manages that point with such a clear affection for Superman and his cast that I can overlook any of that, especially since Superman looks like himself again and his happy family is reunited.
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To be honest, I'd have paid the cover price just to get the Bane coloring page at the back making fun of a certain bloviating public figure, but having the team finally starting to assemble is fun, and this issue's events wrap up the first arc in style. Doom Patrol #5 suffers a bit from lateness and a little bit of plotting oddity (albeit intentionally odd, I think) but still nails the climactic conflict and teases what's coming next in a satisfying fashion.
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In short, this is a good issue, and takes the time to show us the villain's motivation and internal life rather than shorthanding it (having him kill a child or kick a puppy or something) and still letting our heroes be heroic. Green Lanterns #19 shows that you don't need a hotshot pilot being a jerk to make these stories exciting and puts a great deal of effort into making the clash between hero and villain meaningful to the story, while looking good from cover to cover.
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The careful reminder of the families and loved ones of our cast in this issue has me worried that we're about to see ten issues of righteous slaughter, but I still enjoyed the whole issue. I even felt bad to see Terra Grayson in tears that her parents were going off with the Coalition, but didn't feel horribly manipulated by it, which is both rare and wonderful. Invincible #134 sets up the conflict, reminds us of the stakes, gives us several very important character moments and brings back the costumes (ATOM EVE COSTUME! WOOT!).
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All in all, even with my hesitation about the presentation and the hype about this book, I still found this an enjoyable reading experience overall, and Kubert's art made the combat sequences (which are most of the issue, it must be said) really sing. In short, Monsters Unleashed #5 has a lot to offer and adds another smart young hero to the Marvel Universe, which I'm all in favor of.
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In short, The Wild Storm #2 is a book that has a lot to offer and makes great use of the large cast of WildCATS/Stormwatch/Gen 13 characters and the warring spy agencies that run through that world.
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In short, this book delivers even for a non-fan, and is just plain fun to read, even giving me goosebumps a time or two during the climactic battle. (All the Master Of The Universe and Thundercats swarming into the battle under the leadership of Man-At-Arms is a really amazing moment, and the art makes it even more so.) He-Man/Thundercats #6 is a winner, across the board, and now I'm thinking I may need to track down the inevitable collection to enjoy the whole story.
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As always, the caveat that it's not going to be everyone's cup of tea is in place, and also my warning that it's not for the under-18 set, but Sex Criminals #17 is fascinating, icky, charismatic, lovely, infuriating and flippant in all the right ways, and makes me happy that a book this unconventional has found a publisher and a willing audience.
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Silver Surfer #9 balances drama, romance, horror and space travel into a coherent, personal story with top-notch art and coloring.
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In short, this issue gives us action, sentiment done well, clever dialogue (including a racy line where Apollo humorously asks his longtime love Midnighter if he really thinks Apollo doesn't recognize the back of his head) and some really lovely art.
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In short, the adventures of Beetle and Beetle (featuring flashbacks to Beetle) are still compelling, and the interplay of impetuous Jaime with more mature Ted makes for good story. Blue Beetle #6 had me with the revelation that Kord still has his bug-goggles, but kept me hooked with interesting story and very good art.
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In short, this book is a reminder of why I love comics: Not just cool corporate characters, not just high-profile super-artists, not just the major motion pictures they inspire. Corey Lewis has a unique voice, a deceptively simple looking art style, but most of all an understanding of how to make a series of static images with words stuck on 'em grab the reader and make them hold on for all they're worth. Sun Bakery #1 comes highly recommended, and you need to sit down and digest it all as each story provides something different, but they're all energetic, entertaining and above all, fun.
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While I'm still a little troubled by the plotting and the borderline treatment of Bertha this issue, Great Lakes Avengers #5 is still a better-than-average reading experience, with lovely art, a balance of drama and humor that almost works, and a lot of individual moments that work, even if the overall issue is a little unbalanced.
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This issue is interesting in that it applies a modern sensibility to the 1970s Doctor Who stories and does so in comic-book format, which means that there's no effects budget to worry about, Even so, it's successful as a single issue, as a final chapter of the story, and most of all as a Third Doctor adventure.
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All in all, I wasn't sure what to expect from this book, so having it end up being a slightly above-average experience was a pleasant surprise. Unfortunately, Carol's run as Captain Marvel has been full of incredible stores and really strong character moments, making a slightly off take feel amplified. Even so, The Mighty Captain Marvel #2 has potential.
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Maybe it's the gimmick, maybe it's the clear joy with which the creative teams are playing with these characters, but ever page of this issue made me happy. The Kamandi Challenge #2 is clever, fun and energetic, with excellent art across the board and great skill in resolving and setting up new cliffhanger threads.
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With Elektra being a part of so many iconic comic moments and stories, it's really hard to make a story that honors the best of what the character has been while delivering solid comic thrills. Elektra #1 has a lot going for it, with strong art and a story that I want to know more about, but I find myself wishing I was more excited about more Elektra.
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As a fan of the Berlanti Productions CW shows, I have no problem with the TV synergy (Caitlin Snow as a hero, The Atom as armored powerhouse, among other changes) and I especially like the idea that Black Canary is the team's grizzled tough guy veteran, with Batman taking on the role as leader. There's a lot to like here, meaning that Justice League Of America #1, while doing a lot of setup, still hooks me as a reader and makes me want to see these heroes triumph, with solid art and just enough Lobo to keep me happy.
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In short, I wish that this were the regular monthly Supergirl comic, or even better, one of several regular monthly books ala Batman or Spider-Man. Kara feels like a genuine person in these pages and the art is truly wonderful.
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A fascinating meditation on the futility of war, intricately drawn and beautifully colored.
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There are some real pacing problems with this issue (and the arc in general), but overall it's an enjoyable issue of comics, even if I feel like not a lot actually happens here. Invincible Iron Man #4 features some fun dialogue and a really effective cliffhanger ending, and Caselli's art is top-notch.
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In short, Invincible #133 is a good one, delivering on the promise of a game-changing arc, reminding us how good Mark and Eve are as a couple and possibly ruining Allen The Alien in the best ways, with strong art and great dialogue.
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In short, this book is a winner all around, even overcoming the middle-of-the-miniseries blues and delivering an action-packed, ninja-kicking adventures of some of our favorite cartoon stars. Now that DC has realized that there's no shame in admitting that more than one take on their iconic characters can be valid at once, they've tapped into some wonderful stories that otherwise might never be told.
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Questions of pacing and ambiguous endings are important, but even with those concerns, this is an exciting story that manages to balance a lot of characters' spinning plates and features some really emotional moments for J. Jonah Jameson, Kaine, Gwen and several others. The Clone Conspiracy #5 isn't a perfect wrap-up, but it is a better than average comic book issue, an dis successful on many levels even with its pacing flaws.
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In short, Batwoman: Rebirth #1 is a great start for more Batwoman, and even though I would love to see her hanging out with Spoiler and company in Gotham, the decision to spin her out on her own again is both understandable and exciting.
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If you've been avoiding this book because of weird promotion, I can tell you that it's much better than the strange hype would make it feel, and I suspect it could be another Ms. Marvel-style success story given some time for the creative team to sharpen their skills and for Nadia to make her name in the superhero world.
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In short, my love for the Young Animal books and their off-beat humor still persists, and this issue gives us a little more plot and a killer cliffhanger to make us all wonder what happens next and who will survive. Cave Carson Has A Cybernetic Eye #5 is exciting, well-drawn and fun, with even the moments of conversation staying visually exciting and providing a solid framework on which to hide the weird bits.
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As with many Ellis joints, there's a dark, cynical feeling at the core of this story, but it works for me in these pages. While there is a lot going on, the transitions between stories are strong, and the sheer number of characters involved in the Wildstorm Universe mean that it could have been a much more packed issue. While I might have preferred a double-sized issue, The Wild Storm #1 serves as a successful first issue and makes me want to know more about where we're going.
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The speed with which this issue wraps is a little bit awkward, but Invincible #132 is a solid read full of action, conflict and oh god, so very much blood.
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In short, though I want to like this issue and appreciate what they meant to do in these pages, there are a number of problems with the material that undermine the best parts of the story. Also, I hate that this Batman makes the greatest mistake of the other Batman and now that story will end up being told somewhere, but that's another complaint entirely.
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As a fan of the Fraction Hawkeye, I am happy to relate that this book, while different in tone and intent, keeps a lot of the "barely functional, yet kind of brilliant indy ploy" nature of that book intact, even with a different, and kind of more competent Hawkeye as our lead. Hawkeye #3 is a well-done mystery story that even works with modern technology in play, with lovely art and some truly excellent dialogue and writing.
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In short, while I'm uncertain about the timing, the execution of the story is quite good, and Deadpool especially has lots of fun dialogue (including an underwater scene where he still won't stop ratchet-jawing, leading to a word balloon that reads "Glub glub glub.") Spider-Man/Deadpool #1.MU isn't a story that sells the overarching conceit of "Crisis Mode AIEEEE", but it's well-drawn, clever and funny, and features great character interactions from both our heroes.
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Hulk #2 doesn't get everything perfect, but it does stick enough of the landing that I want to read more about this phase of Jennifer Walters' life, and the art is charming and deceptively simple.
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This issue brings our heroes together in the same place for the first time, which makes me look forward to next time around (and maybe some heavy-duty Space Ghost action, please? It's been 9 issues you guys!) Future Quest #9 is a solid issue with a lot of plot-related heavy lifting to do, meaning it's not my favorite issue of the book, but it's still a good read.
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The Kamandi Challenge #1 is a well-done first issue of a concept that I'm 100% excited for, even if it ends up as a giant clusterschmozz, featuring two different (excellent) artists and a couple of fun cliffhangers.
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In short, this is the kind of world-building that the Marvel Universe hasn't been party to since the 1970s, with the recent restructuring of the world (that has mostly been forgotten in other titles, thanks to the march of big crossover events) making for excellent drama. Ultimates 2 #3 is well-drawn, well-written and intriguing, with the only real complaint being a shortage of Ultimates.
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Aside from the fact that Black Manta is a little bit overexposed for my tastes and the inconsistencies in the art, this issue is quite good, bringing 'The Deluge' arc to a close with a bang and reminding readers why Aquaman is cool and unique. Aquaman #15 works on a number of levels, even with the weaknesses of art here and there.
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All in all, this is issue succeeds in imparting character to the women of its cast, and the fact that all of the main characters ARE women works to the story's advantage, but like so many Bendis stories, the plot gets sidetracked by long sequences of dialogue. Invincible Iron Man #3 is still a very likeable issue though, and the art is first-rate from cover to cover, with promises of an interesting conflict next time around.
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Your enjoyment of this issue, thus, will hinge upon one of two things: Your personal love of the bombastic comics of the 90s or your tolerance for loud, brash, unapologetic comics that don't care about anything more than telling a big ol' superhero tale full of sound and fury and such. Justice League Vs. Suicide Squad #5 isn't exactly my cup of tea, but it has a lot of things going for it.
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The fact that this issue came out the week it did is no mistake, and that's all part of the fun, as U.S. Avengers #2 follows up on the strong debut with a slightly less bombastic but no less entertaining issue, featuring strong art and wicked social commentary.
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Once again, Cave Carson Has A Cybernetic Eye #4 brings the quality, with an excellent art job and some nicely tense plotting, as well as a few surprising moments.
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Lucifer #14 falls down a little bit in the execution, but delivers some interesting plot even with inconsistent art.
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The Tenth Doctor, Gabby and Cindy are all experiencing a strange new world, but who is behind the scenes?
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A well-done restart for a character who doesn't get nearly enough attention and respect.
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Crossovers like this tend to be pretty formulaic: Set up giant menace that somehow crosses dimensional borders, get teams together, set up a mistaken fight, cliffhanger! Justice League/Power Rangers #1 doesn't break that formula, but doesn't suffer for it, delivering a strong first chapter for a crossover I'm quite excited about.
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Shade The Changing Girl #4 is a little hard to describe, but it's a wonderful read, with energetic art and a lot of incidence packed into the pages.
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In short, while I miss Jan Van Dyne, this is a solid first issue of comics, with a main character that I enjoy seeing in action. The Unstoppable Wasp #1 gives us an interesting new start, a couple of Harry Potter references, and a lot of girl power, with the caveat that Nadia's big personality may not be for everyone.
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A lot of great interaction and character moments with some real tension and a nice "working together" ending sequence. It's a good book.
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In short, it's a smart issue that feels very topical for today;'s world, and one that takes a cartoon that was originally meant for adult audience back to its roots. The Flintstones #7 isn't quite as perfectly balanced as previous issues of this series, but still manages to take difficult premises and present them with intelligence, humanity and hope.
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An unlikely team, an unlikely premise and a forsaken Hulk come together to make something pretty wonderful...
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In short, Nightwing #11 is a solid, entertaining read with some interesting takes on hero/villain theory, a nice romantic subplot and lovely art.
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All in all, Justice League Vs. Suicide Squad #1 seems to be aimed at movie fans looking for more of that universe, doing an okay job of explaining who everyone is and what they're doing, but making for an overstuffed plot that never quite finishes anything.
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The mystery behind Rich Rider is compelling, Sam's predicaments are funny, and the art is lots of fun.
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I really enjoy how the Young Animal imprint picks up where classic Vertigo stories left off, full of strangeness, metaphor and lyrical dialogue. There are a few points in this issue where the story plays it a little bit too vague, but on the whole it's a coherent, interesting story with a lot of promise. Shade The Changing Girl #3 makes for a quick first read, but has hidden gems to find upon second and third readings, with strong art and a firm grasp of the fact that the real horror is the life of the average teenager.
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In short, this issue takes one of the best new Star Wars characters, plops her down in her element and lets the whole thing play out as it has to. Death, backstabbing and chicanery ensue, leaving her in a terrible state, making me want to read more of this story. Star Wars: Doctor Aphra #1 is a real winner, with excellent art and a homicidal protocol droid.
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In short, it's a book designed to appeal to fans who remember the shows, but doesn't require plot devotion or perfect recall (which is good, since I don't remember a lot about The Bionic Woman.) Wonder Woman '77 Meets The Bionic Woman #1 does a remarkable job with a difficult proposition, resulting in a fun story with well-rendered art
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It's a pretty remarkable issue, featuring action, intrigue and psychological warfare in equal parts, and a stunning last-page reveal, but the presence of Gregorio alone is worth the price of admission. Apollo And Midnighter #3 is an issue strong enough to make me seek out the previous two and sign on for the rest of the series.
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This issue reminds me of nothing more than classic Vertigo, and bear in mind that I'm old and freaky, so that's a compliment. Deadman: Dark Mansion Of Forbidden Love #2 is a remarkable achievement, returning classic Deadman after his New 52 revamp a few years ago, delivering on the difficult promise of gothic romance in the DCU, with beautiful art.
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In short, this is a book I want more of, and I'm ready to sign on for all six issues right now, in the hopes of seeing more in this vein. (Perhaps a Baltazar/Franco JLA or Doom Patrol? One can but hope.) Super Powers #1 is fast, fun and charming, providing all-ages stories in the truest sense of the term, channeling the spirit of classic DC without the dismemberments and such, but never skimping on the story or excitement.
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In short, this is an excellent first issue, even when it has to deal with fallout of an ill-advised crossover that hasn't actually finished yet, thanks to creator issues, and looks fabulous doing so. Ultimates 2 #1 is a great jumping-on point, featuring a lot of really cool characters in play, with a scope far beyond the average team book that gives it a unique perspective in a crowded superhero universe.
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All in all, it's a very successful book in terms of story, in terms of character interaction and in terms of pathos regarding the loss of a founding X-Man. Still, there's just something about this entire series that feels" off? Wrong? Destructive? Still, Death Of X #1 is what is it is, delivering a tense narrative about war, mortality and madness, with a couple of different brands of interesting art (one of which reminds me of a slightly bloopier Frank Quitely, which I love).
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It is a short story, and mostly setup, but it's also a weekly release schedule and a 99 cent price point, so I can't complain too much. The story and art are both immediately impressive, and I love the idea of these franchises crossing over.
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Of all the Young Animal books, this is the one I picked as the weirdest and the one I had the least expectations of, but Way, Rivera and Oeming have put that all to shame with a story that reminds me of an Indiana Jones tale, only set in the DC Universe. With explosions. I do like the explosions. Cave Carson Has A Cybernetic Eye #2 is even better than the strong first issue, with wonderful art, expertly paced action and well-written, fun story from cover to cover.
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The transition from team player to solo hero isn't always an easy one, and no lesser light than Kurt Busiek has said that there are characters who simply can't hold their own in single-hero stories, but thankfully this story makes it clear Raven can. Though there are a few issues with pacing/plotting, Raven #3 establishes a lot of character for Raven's friends and family, gives us a primer on her powers and abilities and makes it clear that she's a much better hero than she thinks.
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Casey's origins revealed in a perfect little puzzle box of a story, featuring lovely art and some truly horrifying moments. Highly recommended.
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There is some excellent, dramatic character-work in these pages, and the art is top-notch, but Bendis story-beats are becoming predictable.
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Every issue of this book has been surprising, and it has featured some of the best twists and turns since Speed Racer left the air, including bad things happening to Lex Luthor (which I'll always sign off on.) With so many ongoing series set in Metropolis, it can be hard to keep everything straight, but Superwoman #4 is polished, well-drawn and engaging, featuring an interesting main character trying hard to balance all the parts of wearing an S-shield in the DC Universe.
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The Lost Boys #2 delivers what you want from a story about vampire-hunting, hits strong emotional notes and says hello to the night.
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The intertwining of Rannian and Thanagarian interests (and the endless warring between them) has been part of DC lore for over a decade now, and I find myself a little weary of yet another conflict between them. I will say that, if the subtle implications that something bigger is wrong, I could change my mind. Perhaps a New 52 version of Hyathis? Is there already one of those? Bygones" Death Of Hawkman #2 has a very ominous title, some strong art and a story that could perhaps be clearer, but still isn't complete opaque.
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There is much drama and changing of sides here, but it's all presented as conversation and stalking away, which makes it feel like the issue is light on story. (It's actually not, quite a few characters make important decisions in this issue which change the nature of the conflict, but the way it is presented makes it easy to miss a lot of that.) Civil War II #6 is the story of the bottom falling out for Captain Marvel, featuring lovely art and a story that dwells much on the talky-talky but misses the importance of the conversations.
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In short, this is a colorful, entertaining, inventive book, and the fact that there are activities and puzzles in the back makes me incredibly happy. DC Super Hero Girl Halloween Fest Special Edition #1 is good stuff, and I'd love to see more of this franchise in comics (or on TV), balancing clever with all-ages and looking beautiful.
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I was pleasantly surprised by everything in this title, from the clear, exciting art to the concepts of the new characters, and this issue's shocking loss actually affected me in ways that many comic book death scenes don't. In short, Doctor Strange And The Sorcerers Supreme #1 hits a lot of right notes, even for someone who hasn't been reading Strange's previous series.
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In short, this issue picks up from where the previous miniseries left off in style, introduces a LOT of characters effectively and sets up for a pretty dangerous cliffhanger ending where Mal is probably gonna die" again. Serenity: No Power In The 'Verse #1 balances the problems of an adaptation well, delivers on action, suspense, character and art, and makes me interested in seeing how this all plays out.
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Wonder Woman 75th Anniversary Special #1 is a good'n, featuring a wide variety of characters providing their perspective on what make Wonder Woman awesome (I almost put wonderful, but" too on the nose) and should be a must-have for Wonder Woman's fans.
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Excessively violent, unnecessarily crude. Which is great, I suppose, if you're into that...
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It's not a comic book for the squeamish, nor is it a traditional tale of heroics, but Black Widow #6 is perfect single issue, delivering in terms of story, of art and of dialogue, and setting in motion plot points that are clearly going to come back around in future issues.
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Fortunately, this issue doesn't suck, so I don't have to worry about such frippery, as Cave Carson Has A Cybernetic Eye #1 ends up being a great first issue in both art and story, making me wonder how hard it is to track down the character's previous appearances.
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All in all, though, this issue wraps up the arc and sets Barry off on the path to once again mentoring a Kid Flash well enough, leaving August in the wings to return if necessary. Even if I don't like the name and find the suit's resemblance to Professor Zoom a bit distracting, he works well as this issue's villain. The Flash #8 is thus an above-average effort, with some art that works really well and flashes of excellence throughout.
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That said, if you're all about Solo or just love that Deadpool mercenary quippy action, this may be the book for you, and there's enough potential here that I'm not disappointed in the book. I'm just not immediately impressed, which means that Solo #1 ends up feeling a bit listless throughout.
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Great dialogue, wonderful art and new mysteries unfolding... Another winner from Busiek, Dewey and company.
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I don't know if it'll make these guys less of an internet target, but it's a well-written, well-drawn, engaging first issue, and I want more GLA.
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In short, it's not the best of the five issues to date, but Future Quest #5 is still a better-than-average effort with a LOT of moving pieces, even thought it hits a couple of sour notes (musician joke) regarding The Impossibles.
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Really troubling plot points and excellent art make for a maddeningly mixed-bag issue.
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All in all, it's a good first issue and a good redebut for Terry as Batman. Batman Beyond: Rebirth #1 looks really good and is consistent enough in the scripting to make me want to know more about Terry's adventures in Da Future.
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All in all, though, even a not-as-awesome issue by Greg Pak is still pretty good, and combined with Asrar's art, this one looks wonderful, even when the Big Crossover Event seems to be putting a heavy foot on Amadeus' adventures. Totally Awesome Hulk #10 is at least a meaningful Civil War II crossover, and both Amadeus and T'Challa get some lovely moments (as long as you don't think about how they're supposed to be much, much smarter than the central conceit).
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In short, this book uses underutilized characters to fascinating new ends, which seems appropriate for Drax, who got new life thanks to that big movie a couple of years ago. Drax #11 wraps everything up with aplomb, as our hero learns something about himself, Fin Fang Foom gets some great lines, and a baby dragon finds a happy home.
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It's really tough when a title that I want to read, featuring a writer I enjoy and characters that I'm drawn to, has such a disconnect between scripting and art. Worse still, Booth's Titans often look to be 14 or 15 years old, thanks to his elongated necks and large heads, which undermines the expectation that they're young adults trying to rebuild their heroic lives. In short, Titans #3 is a story that I want to read, presented in a manner that I do not want any part of.
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Chris Sprouse and Karl Story provide incredible visuals this issue, as always, giving each character their own body language and presence on the page, as well as providing incredible range of expression and a really great take on the Black Panther's deceptively difficult uniform. (Sometimes, simple is the hardest of all.) Black Panther #6 continues the streak of excellence with important plot-reveals, great character work on the main character, and a last-page "HELL, YEAH!" moment that might be worth the price of admission on its own, earning a very impressive 4 out of 5 stars overall. I don't know how long this arc will be, but I can't help but wonder what T'Challa and Wakanda will be like when it's all over"
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Every once in a while, a book comes along that you have to keep reminding people is wonderful (Fraction/Aja 'Hawkeye', McDuffie's run on 'Justice League', the McKelvie/Gillen 'Young Avengers') that you just KNOW isn't long for the world, and this book is it. Mockingbird #7 is another incredibly funny, strangely tense and well-written issue, featuring inspired art and dialogue, as well as a surprise return that knocked my socks off.
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In short, this book reminds me of the intertwined Superman continuity post-Zero Hour, where four books balanced Clark's adventures on multiple fronts, all wrapped up into one title with excellent art. Part of me wonders whether giving everyone in the Superman supporting cast powers is a good idea, but it's done so well that I can't really call it a major sticking point. Superwoman #2 is a darn good comic book read, featuring a lot of good ideas that are structured well and presented clearly, and is really the comic that emblemizes Rebirth for me.
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The horror in this story is NOT quiet, and Farrah's" interaction with a homeless man after washing ashore is one of the more terrible things I've read in comics, so I will caution that this book is a full-bore Hollywood horror story, and not for the faint of heart. That said, Glitterbomb #1 makes a great first impression, with a strong story that overcomes some wobbles in the art, beautiful production values, and most of all, a hook that leaves me wanting more.
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The long and short of it all is: This issue is very confusing, in all the best ways. The Flintstones #3 takes aim at modern society through the lens of cavemen (the Bedrock School Bus panel was quite amusing) who aren't really cavemen at all, with amusing jokes, good-looking art and only a few bits that didn't land.
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There are a lot of cool things to be done with the Cyborg character, and I like the idea of giving him a signature villain of his own (even with the limitations of such a gimmick), so I'm totally sold on seeing Victor Stone searching for the truth of his own humanity. Even with Pelletier's art not quite making the great, Cyborg: Rebirth #1 is a good read, an issue that reminds readers of how cool Cyborg is while setting him off onto his new adventures in style.
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Jughead #9 examines our intrepid weirdo hero in a while new world of maybe-romance, without betraying the core of the decades-old character, with humor, intelligence and truly excellent art.
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There are multiple artists at play in this issue, but the consistency of the production smooths over any transitions beautifully, and every page of the issue is lovely to behold. The sequence of Mightor in action is particularly lovely, but I may be the only fan of stone-age Space Ghost, so I'm a bit biased. Future Quest #4 is another towering achievement, a love-letter to the characters, creators and even voice actors of class H-B properties, and I hope that it's building to something that makes it all resonate, but even if it comes apart at the seams, this issue is worth the ride.
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In short, this is fun, frenetic, cool Batgirl at her best, and while I'm nervous of how often her supporting cast has changed, this issue is exciting and engaging. Batgirl #2 features our hero out of her element but still awesome, with clean, exciting art.
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Even though I miss regular penciller Ryan Ottley, this issue looks great, continuing to unfold the mysteries of the future world and Mark's new life as mostly retired father. It suffers a bit from the regular complaint about Invincible; i.e. that some issues feel like they're meandering stories to fill the time between bloodbaths, but even a meandering story can be compelling, and this one is. Invincible #130 is setting up for something big and doing it well.
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Captain America, Steve Rogers #4 is a beautifully drawn collection of drawn-out dialogues that ends up feeling like 20 pages of lecture punctuated by blood.
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As someone who loves the idea of the bottom-of-the-barrel super do-gooder screwing up over and over (as well as someone who can stomach Ennis artistic excesses), I find this an enjoyable reading experience and am truly interested in what The Spectre might want with one of the deadbeats of the 8. (I also expect that he's after Baytor, but that seems like it might be the Too Easy answer?) Sixpack and Dogwelder: Hard-Travelin' Heroz #1 is funny in a dark and horrific way, but also serves as an interesting tease of a bigger story coming, with strong art and characters that are mostly fun to read about (Bueno Excellente excepted).
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All in all, there are worse problems to have than liking a book's take too much, and this issue makes it worth any worries that it can't last in sheer quality.
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I won't say that this lovely celebration makes the Hulk's death worth it, but it goes a long way towards proving that Marvel really understands what they're doing when they kill off their big names in the massive company crossover messes. The quiet moments of friendship and family (the surviving founding Defenders come to pay their regards to their old compatriot, as does frequent sparring partner Hercules) are well-done and the final page leads me to think that there are more serious consequences coming.
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Strangely, it can be hard to do street-level super-tales in the mainstream shared comics universes, but this book nails the tone and also gives us some lovely interplay between the three heroes. Black Canary is low-key hilarious and witty, Batgirl smart and determined, and Huntress driven and mostly hostile, making for a good balance between the three main characters.
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What it all comes down to, as Alanis will remind us, is whether the book is entertaining, and on that score, it hits the mark. Even with some overworking of wrinkles and an uncertain future setting, Ninjak #18 delivers action, an interesting plot and some nice interaction between very old friends.
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The biggest question of this issue, of course, is why it doesn't take place within the actual Civil War II series, since it's a big part of the main storyline for the entire crossover, but I suppose that's a battle you can't help but lose, as Marvel's one-shot strategy has been in place for decades now. All in all, Civil War II: The Accused #1 delivers some okay art with a really obvious and awkward plot, featuring page after page of courtroom scenes that feel like broad parody.
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In short, it's a story that feels perfectly in keeping with the Tenth Doctor's TV tales, even lacking Rose, Donna or poor Martha, making for a worthy continuation. Doctor Who: The Tenth Doctor Year Two #13 is, as The Doctor might say, pretty brilliant, with well-done art and a clever story to set Ten and his friends off into their second year of their second year (because that's not complicated at all).
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In short, Black Hammer #2 does a wonderful job of balancing familiar heroes in a Dark Horse Heroes Mignolaverse-style world, and does so with some truly impressive art and characters that you care about.
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In short, it's a really strong first issue, using continuity to build the story they want to tell, rather than as a restriction, and it features a plot we've seen many times before in an entirely new and different way. Superwoman #1 is good stuff, both in art and in story, and I'm definitely hooked for more stories like this.
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In short, this book consists of a pair of well-written, beautifully drawn tales, but doesn't feel like it continues the story from issues #1 & 2 so much as it serves as secondary material, ala the 'Front Line" specials that Marvel keeps throwing at us during their big crossovers. I can't complain about the quality of the stories here, but it is a bummer that this issue doesn't have any of the main storyline in it.
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In short, it's an issue that works with a lot of different plot points, and does so in interesting ways, but never feels like a complete story so much as a chapter of a larger book, randomly cut up to fit the page count. Spider-Man #6, thus, shows us the best and the worst of a Bendis-written story, with strong characters, really well-done dialogue and little activity of note, with solid art and possible ramifications in the big parallel crossover story.
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In short, this story has a lot of layers to it (as does the main character, something I don't always get from his adventures), and it seems certain to end up in a bad place, even though Negasonic's future visions make it seem like Deadpool might get it right in the end. Deadpool And The Mercs For Money #1 doesn't do a lot to differentiate between the half-dozen members of the team, but does establish Deadpool as a character trying to do right, with mostly okay art and a serious bilingual bonus for the readers.
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Clever writing and fun art, with one super-problematic chunk in the middle...
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It all feels familiar, but I like the use of Wonder Woman and Earth's Green Lanterns. Not as enamored of Tony Daniel's art, though...
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Well-written, well-drawn teenage superhero stuff, with enough twists to make things intriguing...
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A lot of lovely touches on the usual excellent character work and lovely art...
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Loud, esoteric and essentially incoherent. The art has it's moments, but questionable creative decisions abound...
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Difficult topics, handled better than I worried they would be, with excellent art. Still can't wait til Civil War II is over...
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Well-adapted from a series that is clever, well-written and well-designed. It's a win/win situation...
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Really impressive stuff, working with a lot of characters and concepts, but staying focused, with clean art and great pacing.
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Strong story and plot, art with lots of potential and a new angle on the superhero who deserves much more respect. A very good first issue...
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Perhaps a little bit weird, but befitting the unusual main character, and full of spacey 'splosions.
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A nice take on Lex Luthor, balancing a desire to be heroic with his true nature, making me want to see more of this "Superman."
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Old friends, old foes, but precious few answers. Still a great journey, though...
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An interesting start, but a few too many moving parts getting introduced all at once. I like the Baz and Cruz team, though...
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A very strong issue, filled with emotion, ending with a really surprising guest-star...
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Solid character work, good art, and a somewhat confusing premise. Still exited to see where it goes...
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An interesting start. Thankfully, the weekly digital format means I'll get more of the story sooner, rather than later...
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The Waid/Asrar ANAD Avengers has been a fast-paced ride from the beginning, and this issue is no exception, but it doesn't move so fast that it leaves the characters behind, with everyone working together mostly seamlessly and using their strengths to the team's advantage.
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A great issue, full of character work, with expressive art and a couple of intelligent plot twists. Nicely done...
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Taking cues from both classic and new-school Green Arrow, returning Dinah and Oliver's loudmouthed agenda, to great effect... This'ns a winner.
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Beautifully drawn, awkwardly plotted, seriously over-priced...
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The answers are revealed, but one Titan is still unaccounted for, and the art takes a slight step down from previous issues...
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Clever plot, excellent art, good dialogue and character work... An all-around entertaining read.
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A lot of strong pieces that don't quite cohere into a complete picture, with a nice emotional close.
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A perfect balance of Riverdale and Hades, with moody, effective art. You won't want to put it down!
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An origin, some adventure, a terrible threat and the perfect explanation to bring so many diverse characters together. Truly enjoyable stuff!
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Developing the underlying mystery and adding layers to the story, while keeping the solid art and clever dialogue. The premise may seem weird, but the story is working...
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Tense and excellent, with a look into Natasha's dark past and a truly surprising final page...
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Unattractive art combines with haphazard plotting and dumb dialogue for an issue that's truly unpleasant to read...
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Setting up the pieces for a Bolivian Army ending, and doing it with style...
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Strong drama, well-delineated action sequences and a real shocker of a last page make for a solid issue...
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Very literary, very touching and rife with metaphor... Sad to see this one go.
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Cory Walker is back, but the story feels like a contrivance to give us a new status quo...
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Captain Marvel with her back against the wall is great fun, and the supporting cast does great things. A nice overall issue...
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A by-the-numbers plot with a few too many hands in the art department, making for an only-mostly-okay anniversary issue...
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Heroic Spidey using all his strength and resources against the one foe who is (literally) always a step ahead. Worth it for the last page cliffhanger...
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Building both mystery and in-universe mythology with skill, and being pretty scary doing so... Good stuff!
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A wonderful story full of emotion and beautiful dialogue, with a killer ending...
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It's always tough when a comic is just generally not-quite-right, and I worried after reading issue #1 that I was being too harsh on an opening chapter, but this issue contains the same weaknesses: Plotting coincidences that make it seem like most of the story is being told elsewhere, a main character that seems remote and without agency, and art that confuses where it should be the strongest.
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An excellent streamlining of Wildstorm and pre-Flashpoint DCU histories, with very good dialogue and action sequences. An enjoyable book...
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A compelling bit of mystery with winks at the history (and fandom) of Doctor Who, playing with the bits and pieces of time travel. Fun stuff!
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Some lovely short stories and a nice look into what it means to be Captain America, sadly overshadowed by a massive line-wide Avengers Crossover.
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It's all-battle, with a lot of overly familiar story beats, but a shocking final page...
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Clever, witty and metatextually wondrous. I think you should just go buy the thing already...
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An intriguing start to Hyperion's first solo adventures, with strong art and story that has much potential...
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Some wonderful character work and breathtaking art combine, but there's a hint of swan song in these pages that makes me sad...
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Very talky and awkward script, fair-to-middling art, all combining for a not-particularly memorable experience.But, hey, Donna Troy exists again!
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An interesting update of a character that many might not remember, with strong art and a compelling story...
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A little too much talky-talky and far too much like a Daredevil story for my tastes. Not effective as a first issue...
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Interesting premise, some moments of excitement, but a little bit muted by some problems with Tom and Liz's faces. An okay start, if a bit more wobbly than I had hoped...
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This one is a heart-breaker, but still full of the regular humor, character interplay and the old ultra-violence...
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Strong pacing, great character work and a big finish make this an entertaining read, even if you haven't been following Superman's adventures...
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A strong wrap-up for an interesting arc, finishing with a gutpunch cliffhanger ending...
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MADDENINGLY vague and chock-full of strange cameos, but featuring strong art by David & Farmer... It's kind of a wash.
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A solid set of stories framed by an ingenious premise, with varying art styles that all work well together...
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Elements we've seen before, but a fast-paced story with fun moments helps to overcome them...
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A fascinating read technically, with interesting implications and what may end up being a new status quo for Batgirl...
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A decent issue overall, with a little plot development and a lot of character, but one that feels like a chapter rather than a complete experience...
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Very much in the vein of a horror-tinged '50 Shades Of Grey', and not for the faint of heart...
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Wild concepts and truly beautiful art make up for any shortcomings in the plotting, dragging you along on a wildly inventive ride. A truly beautiful issue...
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A cavalcade of familiar faces in play as Grayson stands at the middle of a clash of multiple spy agencies...
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Patsy's adventures are entertaining and fun, and her positive attitude is infectious. (Big bonus points for not ignoring her decades-long backstory!)
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This may be the most meta thing I've ever read. Just go buy it, already.
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Old friends return, up is down, right is wrong, and The Surfer throws a mean right cross. What's not to love?
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In improvement on issue #1, with engaging plot developments but still a weirdly elusive protagonist...
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Lots of political maneuvering, a way-beyond-crazy Odin and one hell of a cliffhanger... This is good stuff.
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Nice character work, a nice reveal of the new Falcon, but the story is *incredibly* heavy-handed and awkward in it's political commentary…
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Philosophical discussion of war juxtaposed with the brutal reality, making for an engrossing bit of story…
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Knee-deep in continuity, with a lot of talky-talky, but solid art throughout. The inverted Cloak & Dagger is a neat visual touch…
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Batgirl in her element, with her friends weaving in and out of her life, feels very natural, and the art is charismatic and fun. A solid issue!
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A lot of interesting characters and a LOT of plot (perhaps too much) make for a rushed and inconsistent overall issue.
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The Secret Squirrel joke is worth the price of admission, but this is an issue full of excitement and fun story-telling, and a killer cliffhanger.
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A couple of hard pills to swallow still can't torpedo a moody, dark and skillfully assembled tale full of character and great art.
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Lots of good character work, some successful plot twists, and unique interior art (under an unforgivably goofy cover) make for a good reader, even if you're not a hardcore X-fan…
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A new role and some new faces, but the same awesome Carol Danvers, making for an impressive debut issue…
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An excellent first issue of an excellent ongoing, which is not a paradox at all…
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Excellent character work, great action sequences and exciting art… What else do you need from your Avengers book?
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Doesn't quite have it's legs yet, but strong art helps to overcome story problems…
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Another engaging issue, full of adventure and crazy cosmic science. Feels like classic Fantastic Four for a new audience…
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Very loud, very explodey and packed with characters and dialogue, making for an imbalanced and confusing reading experience.
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An interesting start for a title that simply CANNOT pick up where the last volume left off… Plus, the art is stellar.
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A new/old take on Swamp Thing's attitude, with a classical monster-comic feel…
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A fun chapter with omens of future ramifications, and some truly lovely art by Larsen…
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A literal battle of the bands and some killer art, offsetting some confusing plotting…
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A rushed ending, with some muddy art that undermines the plotting a bit.
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Brandon Graham's art is a change, but the story is solid (even if it doesn't give us as much background on Sakhmet as one might have hoped.) A good arc-ender…
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Feels like an all-too-conscious attempt to recast the duo in a Ms. Marvel/Squirrel Girl vein, but has it's moments…
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Very leery of the writer working these story beats again, but good art and some interesting character moments make for a successful #1…
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Cameos from most of the Marvel Universe, with charismatic moments from Ms. Marvel, the Hawkeyes, Gwenpool and more, making for a sweet holiday reading experience.
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An interesting re-imagining, with moody art and a compelling premise…
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A rock-solid first issue story, with lovely art and a good balance of tension to fun…
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Slow-moving, melodramatic and strange, with one hell of a stinger.
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Dark, ominous and full of conspiracies, weirdly contrasted by upbeat Robin antics…
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Good-looking, skillfully written and just a little bit goofy, all making for an entertaining read, as long as you're okay with some cheesecake art.
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A charming enough comic, with good art and potential for lots of entertaining dino-mayhem…
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The Year One treatment feels novel here, with both art and story working together to show us an almost entirely unlikable character.
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A new start, with new dramatic wrinkles, but still featuring great story and art…
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Picking up where the last volume left off, and raising some new threats as well, it's an excellent first issue.
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The mystery starts to unfold, some good fighty-fighty, a fun bit with Alfred and WONDER GIRL! A solid issue…
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A well-drawn story, pulling together a group that seems naturally suited together, and a very surprising ending make for an entertaining read.
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A fun introductory tale, lots of great interaction, and exellent art make for a good start for the most intriguing Avengers lineup in years…
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The wrap-up feels a bit abrupt, but you have to love a happy ending.
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A really compelling elevator pitch and cool art, but plotting, pacing and character don't quite hit the mark.
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A solid issue of character-building, capped off with a pretty stunning cliffhanger… Good stuff!
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An intentional inversion of all the Bond tropes, leaving us with a more realistic, novel-inspired (but well-done) tale.
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The crisis of what to do when you only have one goal in the world is interesting, and the art is solid throughout.
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Great character-building (but not of the main character) with a truly shocking ending…
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The art feels a bit unfinished, but the Eighth Doctor is a fun presence, and the story flows well, if quickly"
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Mini-golf, magical crisis, and Ferdie in a cheerleader uniform: It's an issue that's by turns funny, suspenseful and terrifying, with a bunch of lovely guest-stars.
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The intention to fix the Titans makes this one feel special, but the art is excellent and the mystery intriguing…
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A couple of surprising adjustment for long-serving Marvel characters, and a charismatic Tony Stark combine with excellent art for a big win.
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Something very unsettling is happening with this book, and the measured approach to the plotting heightens the tension with every page. Plus: The art is lovely throughout.
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More than a little bit fragmented, with art that's too exaggerated for my tastes. Interesting roster, though…
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Half the fun is in the alternate universe details (including a big last-page reveal), but it's still a solid spider-tale with nice art.
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It's a surprising amount of fun to see this Superman back in action, and his new status quo is kinda fascinating…
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A solid start for a new team, with several promising new Avengers in play. I'm cautiously optimistic, based on the strengths of this issue…
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I'm not always a fan of "dark" comics, but this one has it's merits, and a very skilled art team"
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It feels weird coming out at the same time as the Secret Wars does similar tricks, but it's pretty strong for a video game adaptation…
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Finally throws us into the action sequences, after two slower issues, but the pacing quickly gets a little too breakneck…
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A solid tale, featuring not a single trustworthy or noble character and strong art throughout…
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An impressive new start for our Web-Head, with a fun array of cast-members, some surprises and a ton of coming attractions built-in.
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A quiet, almost poetic tale with truly wonderful art throughout…
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An interesting cast, a perplexing mystery and gorgeous art make this one a keeper…
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Jim Lee-style art is well-done, if derivative, but the whole issue feels not only overly-familiar but overly-dramatic.
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A nice look into the life of Robin Riko, featuring some really cool art and coloring…
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Not quite successful at replicating the tone of either franchise, but full of continuity nods…
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Wheels within wheels, ham-to-ham combat, multi-level references and wonderful art… The total package.
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The traitor I expected, but with unexpected consequences (and some lovely art.)
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A really strong one-shot story, with a young Batman in action, impressive art and REALLY stunning colors.
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A good story, and art that finally gets the treatment it deserves" A good buy all around!
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It's an issue that works best as a chapter of the larger story, but works as a stand-alone on the strength of the main characters delusion.
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Bringing all of the players together, wrapping up all the loose ends, and doing it with style…
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Clever writing, excellent character work and beautiful art that drips with personality… A book you should be reading!
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An abrupt ending, though one with the promise of a new start soon, and some fun bits of action/comedy along the way.
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The human side that Cyborg has been missing lately, with lovely art and a looming techno-apocalypse…
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A really inventive, emotionally-moving and exciting story, with a wonderful ending. Good stuff all around!
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Admittedly, we're nearing the end of a large mythology arc, so it's not the simplest place to walk into The Doctor's world, but the creators have made an issue strong enough, and featuring enough intriguing moments that you're willing to do the heavy lifting to make the story work. Doctor Who: The Tenth Doctor #14 hits the spot, delivering on the premise of time/space adventure with just enough continuity references to tie it to previous adventures, with art that ably shows us the madness of The Doctor's world.
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I now want to go back and fill in my knowledge of Kohl and Emily and their strange little world, so this #1 has done its job…
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Even by the standards of this book, this one is brutal (with a scathing look at social media.)
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Well-written, well-drawn and overcame the difficult hurdle of explaining his breakup with Apollo… A good read.
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Interesting stuff, but perhaps a bit too much going on for coherency…
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Solid script and art, garish coloring and leaden dialogue. A true mixed bag…
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Well-done suspense with a pitch-black sensibility, some great dialogue, and intention echoes of Stephen King… Highly recommended.
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A very impressive anthology, featuring stories by classic creators.
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A nice new start for one of my favorite heroes, with lovely art by the JLA team of Reis and Prado.
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A bittersweet ending for the Hawkeye story we didn't know we needed…
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Very strong art, and a premise that's both new and familiar… But is it TOO familiar?
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Less of the grim-n-gritty, more of the JLI.Still *HATE* Superman and Batman, though.
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Interesting premise and balance of characters, but it doesn't feel like a fully satisfying chapter…
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Keeps its secrets a little too well, but looks good and makes me want to know more about the setting and characters.
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Things get weird in the suburbs, with a tantalizing reveal at the end and some nice high points on the journey. This one is weird, but enjoyable…
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A lot of setup, but some fun character work and the promise of future Vartox/Power Girl interactions, which are pure gold.
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A nice mix of police procedural, mytholigical edda and superhero madness, with great character work and art.
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Kind of dark and unnerving (and not all in a good way) with interesting art to be head.
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Puts armageddon in perspective, and makes us love our lead character just a little more, with lovely art and a great cliffhanger…
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Savagely (but humorously) lampooning pop culture and the issues of the day, in the style of ‘The Running Man.' Enjoyable stuff…
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An interesting premise, with a well-drawn cast and lovely art. Could be the start of something big…
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Implications of something different, but kind of feels like the same-old, same-old…
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Flashes of brilliance, less coherence, but still some funny moments herein…
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A strange new world, but a familiar Carol Danvers, even if the Secret Wars trappings are kind of inscrutable…
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There's a lot of meta in this issue, but it's the closure that classic Archie deserves…
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Well-written and moody, with effective (if oddly crude) art… A nice return for the Hellblazer.
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Swords and sorcery, but NOT the cliches that have always seemed come with it, with lovely art throughout.
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A bit sparse in story and explanation, but excellent art helps to offset the shortfall…
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Oh. My. GAWD.If you've been reading this book, you want to get this one ASAP.
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A tale of hard choices that isn't given enough room to really explore them, and falls a bit flat for me.
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Not quite as ebullient as Bizarro, but still has it's moments, with delightfully goofy art.
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Oddly inconsistent, tonally and artistically…
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Stilted dialogue, strangely bulbous and inconsistent art, and a big unanswered question… (Also: It ties into Convergence #6, which came out two weeks ago, making it feel out of date already.)
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Solid enough story, with an ending undermined by the way the main Convergence title ended, and some nice art. Still feels oddly inessential…
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Enjoyable adventure in a classical comic style, scoring high in both story and in art.
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Well-drawn, well-written, with an odd (but ultimately enjoyable) character focus, but a serious downer of an ending…
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A strange setting for the Amazing Amazon, but still a creepy and effective tale.
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A well-drawn issue, with nice character work, that ends abruptly (but at least it gets an ending.)
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Wolfman picks up right where he left off, and Nicola Scott's art is phenomenal. I want Disco Nightwing back!
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Not a darn thing to do with Convergence, really, but a nice issue featuring maligned heroes past…
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Disappointing fragments that don't really hold together, with inconsistencies in art and story.
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Though the stories may be vintage, the humor still works, the art is solid, and the packaging/pricing is just right. Recommended for all comic fans!
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Great cast, great art, fascinating story. It's the real deal…
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Completely chucks Convergence in favor of much-appreciated lunacy, as the Bug takes center stage. Plus: Matter-Eater Lad!
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Two Green Arrow and two Black Canaries fighting a battle that, for all the interesting character bits, turns out to be utterly moot.
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A good-looking issue that revisits the rivalry/friendship of Earth's greatest Green Lanterns (but nobody tell Gardner I said that.)
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Appropriately satirical, entertainingly goofy, but still solid art and story-telling.
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A satisfying focus on Ted Kord(s), but otherwise pretty dry and uninspired.
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Incredibly touching, very personal, and emotionally powerful. Highly recommended.
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Strong character work, a nice celebration of Kon-El, with an abrupt and terrible ending.
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The reveal I had initially expected, albeit had ruled out because of the story being told, expertly navigated and well-drawn.
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A strange setup, structural issues with the story, but some fun art, rounding out to a puzzling whole.
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A little bit wobbly, but okay art and nice character stuff for Arsenal, torpedoed by a maddening ending…
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Puts a whole new face non a decades-old franchise, and does it with style (and menace.)
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A reminder of how good a story featuring lost characters can be, with wonderful art…
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A nice wrap-up for the characters, without a whole lot of actual Convergence going on (though that's sort of fine with me.)
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Excellent art, some clunky dialogue, but a big happy ending that helps make it workable.
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Flat-out amazing, with mind-blowing use of space and multiple time-tracks…
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A puzzling book on a number of levels, with lovely art in places…
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Lovely art and a brand-new perspective on the Convergence, which is exciting even though it might cause a paradox or two"
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The gang's all here, and they're in rare form in an issue that looks UM-MAY-ZING!
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Gives each hero a spotlight (albeit not entirely equally) and serves as a good wrapup to Robinson's ongoing arc… The art is pretty phenomenal, as well.
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Reminiscent of the powerless mod 70s Wonder Woman, with some utterly terrifying villains in play…
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Wolfman's script is strong, and the art is okay, but having the heroes actually proactively *doing* things probably shouldn't feel this exciting.
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Feels more like CW Flash than Pre-Crisis, but still not a bad issue, with the promise of an interesting clash next time…
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Another book where not much goes on, and some occasionally wild, out there art, but overall a pleasant read.
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Excellent art plus a dark, twisty story with hints of betrayal and just the right touch of angst… Good stuff.
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Solid character-building, but not much actually happens.
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Densely-written, packed with detail and menace, with really amazing art…
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Very wonky art, and an odd tone makes for a mostly unsatisfying reading experience… Interesting balance of characters, though.
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The new Thor shows her mettle against the destroyer, and the mystery is about to unravel… Good story, looks amazing!
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Hints of cool stuff to come, with a core of quirky fun. Very much recommended…
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A very solid story that finally provides an emotional grounding for a year of hell, and looks really great. (Plus: An utterly terrifying Hawkwoman.)
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A troubling story that doesn't really do Ray Palmer justice, but at least has an upbeat cliffhanger ending…
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Again, fun character work in a setting that seems to actively fight the story being told, but an okay issue for Harley-philes.
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An odd-but-charismatic team of heroes, with some bumpy storytelling and odd artistic choices. Pretty much only for the fans of the Robinson JLA era…
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The hard job of introducing new retcons, done skillfully with excellent art.
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I'll be honest, I came into this issue expecting a forgettable throw-away movie tie-in, but what I got was a story more in the vein of 'Avengers Forever' than the bloodless in-name-only one-shot I worried it might be. The parallels with AF are certainly intentional, but end up being the weakest part of the issue for me, with the presence of two Thors recalling that stories use of two Hank Pyms, and several other moments that harken back to Busiek's story. Still, it's a story that I enjoyed reading and one that debuted a new favorite character in Danielle 'Captain America' Cage.
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Phenomenal art, a solid script, and super-fun character designs make for an excellent comic-reading experience.
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A quiet story that finally catches up with some missing friends…
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Mindless violence and endless talking as the heroes face the end of the world… again.
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One ongoing storyline gets tied up with a bow, but not all of them, as Batwoman's solo series comes to a close.
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A bit disjointed and coincidental, but has a decent emotional core and (mostly) excellent art.
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It's influences are very clear, but there's a lot of interesting world-building on display in the first issue.
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Mysteries and strangeness, fascinating art, a truly disturbing protagonist, but clearly aimed at those who already know Orphan Black.
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A really tense story that nails the ‘Star Wars' tone and looks utterly uh-may-zing.
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Feels rushed and a bit crowded, but has nice character moments for Daken and Lady Deathstrike…
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In short, it's a very likeable book, and part of me wishes that #1-4 were a "Spider-Woman: Spider-Verse" limited, and this were actually the first issue of the book, but I suspect that the sales bump as a crossover may have been a shrewd move on Marvel's part. Spider-Woman #5 is a great-looking book that reads well, features excellent dialogue, intriguing plot points, and a really cool new costume, proving that there's more to the character than her tight costume and hindquarter.
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Witty, sharp and a little mean-spirited, but a really compelling read.
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An energetic start for the character the fans went nuts for…
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Many things come to a head, and the final, fated battle of sister-versus-sister is seemingly inevitable in an issue that looks great and is a joy to read.
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Sets our character's new status quo, shows us her character and has some really lovely art, which equals successful number one issue for me.
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A fun premise, though somewhat closed-ended, featuring a group of new heroes that I want to know more about, featuring Faerber's trademark soap opera storytelling.
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Fun, sweet, exciting and well-written, with a main character who should be America's Sweetheart…
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Not for the faint of heart…
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Robinson takes risks and makes bold design choices in a strange but somehow familiar tale.Fans of classic Heavy Metal might like this one…
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Far too many characters in play for everybody to get their moment in, but still a satisfying payoff… But what do we do with 43 Spider-Men?
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Fun, weird and engaging, with some great art, and the funniest Iron Man appearance since the first movie.
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Wobbly from an art perspective, and calling attention to the endless series of giant crises may not be the wisest storytelling move…
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The penultimate issue ratchets the tension and looks great doing it…
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Another fine issue with lovely art and at least one paragraph that made me gasp out loud…
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Visually stunning, with a great deal of character and detail revealed in clever and organic ways.
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Destro takes center-stage, our hero is acting very strange, and I still don't know who the woman is, but there's intriguing (if overly dark) stuff going on.
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I know that I read issue #1 of season 10, but now I'm on the lookout for the other 8, as this creative team has made Buffy's life and cast of characters fresh and fun in ways that I had forgotten they could be, and I really want to read more from this creative team. Buffy The Vampire Slayer Season 10 #11 is well-drawn, well-written, familiar and new all at once, earning a very impressive 4 out of 5 stars overall. If you tuned out like I had, it's a great place to jump back into the Buffy fold!
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When it comes down to it, there are literally hundreds of superhero titles available every month, but Astro City provides more than just the latest crossover schmageggi or fistfight (not that there's anything wrong with either of those.) The story this issue gives us measured bits of progression, but most of the focus is on the woman inside the armored Quarrel suit, her life, her family, her loves and her drive, and it's a hell of a good read. Astro City #19 shows what you can do when you realize there's more to character than dead parents and a unique suit color, providing excellent story.
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The Names #5 is a strong issue, with some dynamic art, horror both visual and imagined, as well as a deep discomfort on the part of all the character.
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Our story wraps up with a moment that clearly explains why Angela and Thor don't get along, as she gleefully leaps into battle against Dark Elves, reminding us that they're very similar creatures. Having limited experience with Angela as a character (mostly her Image/MacFarlane stuff), I wasn't in any way excited to see this series, finding her origins problematic and her nature boring. Gillen, Jiminez, Bennett and Hans (along with the rest of the team) have changed that for me, putting her in a situation where her nature is kind of fascinating and giving us lovely dialogue and some snappy plotting as well.
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Operation S.I.N. #1 has some of the issues that come with both crossover madness and retroactive insertion of stories, but manages to be both entertaining and well-drawn, with a compelling lead character.
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You don't have to know the Russ Manning or Jim Shooter Magnus characterizations to enjoy this book, nor do you need to bring a whole lot of previous knowledge to the proceedings: It's the future, Magnus suddenly lost everything he knew, and now there are robots that need smashing. Still, the simplicity of premise doesn't mean that the book isn't complex and rich in story-telling, and there's even a bit of real education to be had if you're reading the pages closely enough. Magnus, Robot Fighter #10 is a good chapter in the ongoing story of the future world that's coming, reading well and looking good, making me satisfied that the Robot Fighter is in good hands.
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All-New Miracleman Annual #1 is a good'n, with stylish art in both stories, and massively different but very enjoyable stories in both halves of the issue, earning an impressive 4 out of 5 stars overall. If you've never read Miracleman before, there's no better time to start"
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In short, Red Hood And The Outlaws Annual #2 is Lobdell at his best, with good art, a complete and clever story, and nice character moments from our eponymous trio.
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Superior Iron Man #3 may be stretching a bit beyond it's skill-level, but it is at least stretching, and the art team is up to the challenge.
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The first issue of this creative team on Batgirl featured a character who spoke in #hashtags, and the focus on social media and the youth culture of today already feels dated. This book feels like it's trying too hard to show us a young, edgy and topical Batgirl, but what comes out is the equivalent of Bob Haney's 'outtasite, groovy' 60s Teen Titans lingo. The art is very impressive, though, especially the moment where fake Batgirl makes her gold-spangled entrance, proving Babs Tarr to be a talented artist whose skills are well beyond the scripts being delivered. Batgirl #37 is a quandary, a muddled mess of story with really problematic elements married to art that I like a great deal,.
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Astro City #18 gets a little bit heavy, if you're really paying attention, but still delivers a little action, a little human drama and a lot of the usual AC quality.
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Bitch Planet #1 has a GREAT title, a strong premise and some wonderfully expressive and dynamic art, and clearly has Important Things that it wants to say, doing so with enthusiasm.
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For me, as a casual reader of both properties, Spider-Man and The X-Men #1 is trying too hard, and the good bits (like Spider-Man's amusing blase interaction with the Toad) get lumped in with a lot of loud and less-successful bits, and the inconsistent art makes even the natural team-up of dinosaur mean feel less awesome.
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To be honest, Marvel shot themselves in the foot with the New Warriors franchise years ago, when they made the team an in-universe laughingstock to kick off the still-indefensibly-dumb Civil War, so it's no real surprise to see this book getting the pink slip once again, but it is a shame. This isn't the strongest character issue for the team, but it serves as a real tour-de-force performance for Justice, with a couple of strong moments from Speedball as well and a great job from the art team. In short, New Warriors #12 is one of the better ways to go out, and I hope that we'll still see this team in the Marvel Universe in coming months.
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In order to make sure I wasn't lost, I picked up all four issues of this series in order to make sure I'm on the same page as the creative team, and what I've found is a series that, like this issue, is a bit muddled. Teen Titans #4 isn't quite successful in its story elements, but follows the running tradition of the kids having a villain/benefactor and looks a little too chaotic and unfinished for my tastes.
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This whole issue is simply beautiful to look at, and Wein makes the tongue-in-cheek tone work for him, even with a character as tragic and unusual as Two-Face is, and I would recommend this issue to anyone and everyone at $3.99. I'd recommend it to most everyone at $4.99, and even hard-sell at $5.99, but at $9.99 this book is priced way outside of the range of the payback. In short, Batman '66: The Lost Episode #1 is for the hardcore fans of its core constituencies, a lovely-crafted collectible for those who already love the creators or the setting within.
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Long story short (too late?), I really enjoyed this issue. Milligan hasn't lost a step, the main character's voice is compelling and charismatic, and the visual aspects of the character are a hoot, throwing back to long ago days of Sid and Nancy and moshing seas of leather with studs. Punk Mambo #0 is a VERY strong debut, both in terms of story and of art, and it's one that I hope kicks off an ongoing series that maintains this level of quality and story.
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There's always a dangerous game to be played with first issues: Too much back story can alienate, too much action without establishing consequences and characters can have the same effect, and this issue takes a middle path that doesn't quite do the best service to either our build-up and introduction or the beginnings of our action. Even so, Deep State #1 has an intriguing story to tell, aided by really expressive art and a fun (if familiar) premise.
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In short, the identity of the new Thor is still up in the air, the reasons behind Thor's unworthiness are still up in the air, but the issue is a strong one nonetheless. Sometimes, when one reads a comics, one gets all caught up in what one thinks it SHOULD be, rather than what it is, and this is a well-drawn, well-written issue regardless of what we might think of all the goings-on. Thor #2 continues to intrigue and gives us a view into the head of this new Thor.
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All in all, Justice League United #6 does the trick, with lovely visuals a compelling story and strong enough plotting that the dozens of characters don't totally overwhelm it, even if things do bog down a bit.
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Still, even those are minor complaints, and the amount of effort put into the character work for heroes and villains alike shows on the page. I'm a long-term fan of Sam Wilson as a character, and I'm happy to see that he's not being immediately set up for failure in what will probably be a short tenure (I'm saying 24 issues or less) in the red-white-and-blue costume, but instead celebrated and given a mission worthy of a character this cool and this established. All-New Captain America #1 is a solid outing, building off not only the last volume of Captain America, but the entire history of the character, putting Sam Wilson in a new role and a flattering new light, and looking good in the doing.
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What is really frustrating is that they keep trying to tease us with changes to the Green lantern mythos, but never actually allowing any of the changes to stick, which makes for a frustrating Green Lantern reading experience, and one that can't be ameliorated by endlessly upping the stakes in their intergalactic wars. Green Lantern #36 is a regrouping story that makes some poor choice, even though the art is pretty throughout.
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The entire premise of this story is one that has a massive meta tongue-in-cheek moment: Look how many alternate Spider-Man stories we've done! Clearly the death toll is not final, and I'm afraid that some of my favorites (Spider-Ham, Spider-Gwen, and even Ultimate Jessica Drew) might buy the farm in this crossover, enough so that I might have to keep reading the entire thing. Amazing Spider-Man #9 finally brings all the players together and kicks off Spider-Verse in style with a well-drawn, engaging issue featuring characters I never thought we'd see again, much less care abou.
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All in all, if you're not a regular Grayson reader, this probably isn't going to be an issue that appeals to you as a first entry into his world. With it's almost silly tone and lack of plot, it's got a lovely father/son conversation for Dick and Bruce Wayne, but not a whole lot else to play with. Moreover, if Mr. Minos is so smart, why doesn't he just have a mic on his agents at all times? That aside, though, Grayson #4 is a cute issue, with attractive art in spite of it's slightly sophomoric sex references, and no real reason why The Midnighter is featured.
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Tooth And Claw #1 feels like the beginning of something very unique and compelling, with some beautiful coloring, and a splash page (Page 35, if you're counting) that's worth the cost of admission all by itself.
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In short, Justice League United Annual #1 makes for a good looking issue, with a strong story that even makes me want to read about Hawkman.
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It's the mark of the truly superior anthology that, even with so many creative hands in the mix, there aren't any major missteps anywhere in these pages...
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Still, given how charming the Wonder Woman origin is, I'm inclined to forgive this book for a number of its sins, and if we add in the nice Deadman moments (as well one of the better treatments of Nanda Parbat since Denny O'Neil), I think I can accept Sinestro's story as the origin of a monstrous jerk and move on. Secret Origins #6 is interestingly timed, coming as this creative team leaves Wonder Woman's book, but gives us a nice scope on three very different aspects of the New 52 DCU.
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All in all, Q2: The Return Of Quantum and Woody #1 has a lot going for it, telling a story in three different time-frames, adding to the history and making a meta-statement on comic-book time, even if there are inconsistencies in the overall art quality
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In short? This is a fun one, full of chaos, crackin' skulls and the occasional shot to the face with a giant monkey-wrench. Rocket Raccoon #4 winds up the first arc with style while fitting together past stories and giving Rocket Raccoon more depth than I expected, and leaving the reader with a grin on their face.
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I admit it, this issue might have had me a little misty a time or two, and the use of Busiek's old script emphasizes the archetypical nature of the heroes of Astro City, where you can tell a tale that reminds you of Doctor Strange, or Superman, or even (as with last issue) your Grandma while still maintaining cohesive and compelling stories. Astro City #16 hits a dead-solid perfect drive and gives us an ending that's both poignant, unexpected and lovely.
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If you've been reading this book regularly, you're aware of the madness that is Sex Criminals, and you might expect that there aren't any surprises left in their bag of tricks. You (and, to be honest, I) would be wrong" Sex Criminals #8 is a great balance of funny, awkward, sad and touching, with a smidgen of heartbreak to spice it all up.
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If you've never read 'Afterlife With Archie', first of all, go get it. It's very well-done work, that succeeds not only as a horror story but as a tale of the characters we've all grown up with, one way or another, and this book is a lovely counterpart to it. Chilling Adventures Of Sabrina #1 is excellent, with a literate and truly frightening story combined with utterly gorgeous/blood-curdling art.
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Geena herself is possibly the most familiar element of the story in play: The narrative equivalent of the Manic Pixie Dream Girl, the woman whom all the Guardians are willing to sacrifice themselves to save. (Dawn Greenwood plays a similar role in current issues of 'Silver Surfer', as does Clara in recent seasons of 'Doctor Who'.) But, that familiarity doesn't torpedo the plot of the issue for me, especially when the big reveal comes around, although I feel like I need to point out that the previous iterations of the Guardians already HAD a cute young red-haired female member in Nikki" Guardians 3000 #1 has a lot going for it, though the story is a couple of levels better than the art (which, to be fair, isn't bad).
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Thor #1 is a pretty good issue overall, with a slightly shocking moment for original Thor and an interesting backdrop of political intrigue in Asgardia.
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There's a clear vision in this book, and some decent artwork to be had, but I feel like Traviss has stripped out too much of the central conceit for this to be a really successful relaunch of G.I. Joe. With different characters in play but the same story and art, I might have found it more succcessful, but as it stands, G.I. Joe #1 is a little too grim, a little too real-world and a little too morally gray for me.
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As much as I enjoyed Saysoran, recasting Kyle as elemental god of life/death didn't entirely work for me (partly because he's always been more sane than Hal or Guy and less intense than John Stewart) but the story itself was charming, if a little inconsequential. Green Lantern: New Guardians: Futures End #1 is another big crossover one-shot that could have benefitted from more room, more setup and more followup, but was less bad than it was ill-served.
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With all the hype and buildup to the new Thor's debut, it makes sense that this issue would be designed to not overshadow that big event comic, but with only one page devoted to the whereabouts of modern Thor and his plight of being unworthy, the issue comes across a bit disappointing for me. The stories being told here are good, especially Malekith's, and the art is uniformly good stuff, but the placement of this issue feels too much like vamping for time until they're ready to hit us with the big event comic, something I've had far too much of from Marvel in recent years. Thor: God Of Thunder #25 isn't a bad book, but suffers a bit due to placement and solicitation nonsense, but still delivers solid story and good art.
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As crossover madness one-shots go, I've read much worse, and the creative team here clearly has chops and enjoys the world of Batwoman, but I'm just not feeling this story. One of the major supporting characters doesn't seem to get named in the comic at all (though I'm assuming him to be a Clayface) which makes his death less meaningful. All told, while I appreciate what they were going for, Batwoman: Futures End #1 ends up a pretty overage comic with some occasionally bizarre art.
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Aside from the frustration issue in the closing, though, this is a very solid issue featuring several turning points for our mystery, and possibly the seeds of everyone's inevitable defeat. Satellite Sam #10 hits the spot, with the stocking sequence in particular standing out as remarkable, and excellent work from Howard Chaykin.
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We covered the first volume of 'The Sixth Gun' in a previous Major Spoilers Podcast, and I've been keeping up with it periodically since that time, and I have to say, it's a damn fine comic book, and one that fans of drama with overtones of mystical mumbo-jumbo should give a chance. The Sixth Gun: Days Of The Dead #2 has a group of cool characters doing cool things involving zombies and bullets and the like, as well as a pretty awesome kiss at the end.
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I'm a little bit surprised to say that I'm enjoying Carol's space-travel story, as I was worried that we'd covered the star-faring superhero territory a bit too well in the past. If the secret of Captain Marvel's kitty is what it seems to be, we may be in for a hell of a ride over the next couple of issues, but it's a ride I'm nonetheless looking forward to. Captain Marvel #7 is an issue with a lot of charm and quiet development before the weird stuff kicks in, with a surprising turn halfway through, and some really lovely art (which is a theme in this title over the last couple of years).
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The upside of Kirkman's creator-owned status is the ability of this book to take an unexpected road and give us something that changes the status quo in meaningful ways (at least for a while.) The Walking Dead #131 is an impressive issue, with a lot of different elements percolating in the best soap opera fashion, and giving us new things to consider
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While I'm still not entirely convinced on the necessity of the Futures End gimmick month (or, indeed, even the underlying point thereof), there have been a few strong stories being told in the midst of the chaos, and this is one of them. There are a few references to the greater world, but it's mostly just the main character in a battle of wills in a locked room, and it's glorious in its simplicity. Constantine: Futures End #1 is a character study done very well, moody and fraught with mystery, with some excellent art and a nice twist ending.
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There are a lot of comics on the stands that have a "superspy" motif, but most of them are focused on the big, dumb spectacle or James Bond notions of such tales. This book has a much more personal tone, a fascinating hero (who, it can't be forgotten, is a female character over the age of 25, fighting a number of conventions), and the Brubaker take on morality and espionage, and the tolls it takes on the characters involved. Velvet #7 is an excellent story, with excellent art, another fine chapter in the life of Velvet Templeton.
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If you need more motivation, I'll give you one last push: This is Gail's last Batgirl tale (at least for a while) and it serves as a perfect wrap-up for all the adventures that have come before, as well as acknowledging the ghosts of stories lost in the purge of 2011. Batgirl: Futures End #1 is that wonderful synthesis of concept, story and art that comes along only once in a while, and the ending is one that is both foreshadowed and surprising, with delightful new and new/old characters in play.
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It ends up being an okay issue, and perhaps one that holds the key to the overarching conflict of Armor Wars in the form of the unkillable lady (though I don't know for certain if that's the case without reading more books, I'll wager) and at least delivers some effective horror and battle sequences. Armor Wars " Harbinger #3 isn't exactly what the title promises, but isn't bad by any means, just somewhat expected.
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Long story short? I recommend this book, even if you've never read an issue of Doctor Mirage before. Reversing the point of view of the old series from the tribulations of the ghost-husband to the emotional trials of the flesh-and-blood wife is a brilliant inversion of the existing story paradigms, and Shan Fong is a breakout character. The Death-Defying Doctor Mirage #1 is a solid hit, combining an excellent script with appropriately moody art and a unique color palette, delivering on the promise of occult-mystery-with-a-hint-of-lost-love
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Honestly, I am pretty much this book's target market: The comic geek old enough to remember the rock of previous decades and appreciate a meta comic book take on 'em. Even though the book wears its influences on its sleeve, Alice Cooper #1 pulls off a pretty amazing trick, engaging me as a reader, and making me want to come back next issue
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When it comes to the Doop, you're either the kind of person who knows you like weird stuff, and are probably already interested, or you think the whole concept is ludicrous, and have no interest at all. If you're one of the latter, though, you're missing quite a ride. All-New Doop #5 brings the series to a close with a bizarrely touching, visually interesting last chapter, breaking my heart just a little
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The Death Of Wolverine #1 feels and reads like an important book, and while it's not the perfect single issue tale, it's still a well-written and well-drawn chunk of story that creates real tension for Wolverine.
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So, in short, we have: A likeable companion. A Doctor who looks, acts and speaks in a manner consistent with that which has come before. Good art, with alien-y aliens, monstery monsters, and Tennant-y Tennants. And the kind of cliffhanger that makes me want to come back next time and find out how The Doctor gets out of this one. Summing up, Doctor Who: The Tenth Doctor #2 is an enjoyable read, and kicks off what I hope is a long and successful run with this creative team, because who doesn't love some pointy hair and sideburns now and then.
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All in all, The New 52: Futures End #16 ends up being a somewhat confusing and really trying reading experience, without much in the way of payoff.
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G. Willow Wilson has clearly created something special with this hero, with her unique and kind of gross powers (even Wolverine admits that he's a little freaked out by her abilities) and unique mindset and background. My great fear with Ms. Marvel is that someone down the road is going to try to make her "cooler" by changing the nature of her powers to be less uncanny and weird, making her just another Stature or Morph. Still, that's a vague worry for another day, because Ms. Marvel #7 is still hitting all the right notes for me, with excellent writing and character, fun manga-influenced art, a judicious and thoughtful use of guest star and some perfect moments for our hero.
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All in all, this is a solid issue, and one that I found surprisingly affecting, given that Elektra has never really been a favorite character of mine. The previous volumes of the book either tried too hard to shoehorn Ms. Natchios into the role of super-hero or over-emphasized the ninja aspect, so it's interesting to see a book take her at face value and make the character work in the framework of a greater Marvel Universe. Elektra #5 has impressive art throughout, and has the potential to take the character in a fresh new direction, something that could finally pull her out of Daredevil's shadow, earning 3 out of 5 stars overall. I'll be looking out for the next couple of issues to see where the story takes Elektra...
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I'll tell you, that's not really much of a complaint, either. Fables #143 continues the slide towards the end, leaving me hoping that we might possibly get our central couple their happy ending after all, but not filling me with confidence in that fact, and making for an intriguing read all around.
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As done-in-ones go, this is a really solid issue, which clearly had a lot of work put into it. The coloring deserves special mention, as well, using the shadows of Gotham to great effect, while making elements like fire, Wonder Womans gold accents (she's wearing her traditional costume in the interior pages, even though the New 52 costume appears on the cover) and high contrast to great effect. In short, I really liked this issue, and Sensation Comics Featuring Wonder Woman #1 is a great kickoff for an out-of-continuity book looking at all the angles of the Amazing Amazon, looking great and providing some excellent food for thought
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There are a LOT of elements in play here, creating a story with lots of moving parts, and knowing the ephemera of The Avenger, Doc Savage, some real-world history and The Twilight Zone really helped me connect with the story, even as Uslan seems to have a bit more enthusiasm than experience. Artistically, it's a solid tale, with nothing that stood out as bad, and a couple of wonderful moments (The Shadow intimidating Lamont Cranston, as well as older Doc Savage face-to-face with Howard Hughes, who seems shocked at what the Doc has done to his hair.) I don't know whether this story will work as well for a new reader, but I found it to be a pretty enjoyable first outing for a historic team-up. Justice Inc. #1 is taking a lot of influences and sticking them all together, but the synthesis works pretty well.
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All in all, New Suicide Squad #2 is an interesting, but not terribly noteworthy issue featuring the first New 52 appearance of Knyazev (known back in the day as the KGBeast), which may mean something down the line, but delivers a generally okay and inoffensive chunk of story
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The original DHP title ran for 15 years and over 150 issues, and has some real star-making turns in it, even if it also gave us Sin City. (*rimshot*) This issue shows a lot of potential, and there are some really engaging moments to be had, as well as a great balance of stories and art-styles throughout the issue. I'm really wanting to read more of 'Resident Alien' and 'Dream Gang' after these cool first chapters, and even interested in more Kabuki, a title that has historically left me cold. In short, Dark Horse Presents #1 shows off Dark Horse's mastery of packaging and assembling these type of books, and reminds me how much I miss really good anthology titles
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Captain America #23 raises a few questions, a few red flags, and looks good, but doesn't back away from the most problematic aspects of this arc (re: Jet Black) but makes for an entertaining and complete single-issue read that makes me want to come back next time around.
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There are a few criteria by which I judge a single issue of a book that I've never read before, but the most basic of them is "Do I want to know more about this character and his world?" In the case of Zero, I'm ready to check the availability of the previous nine issues of the book to see if they're all this dream-like and weird, and find out more about the spy at the center of it all. Zero #10 is a great example of what Image Comics has been doing so well in the past few years, giving creators leeway and a forum to tell unique stories that nobody else is telling, and it gets the job done.
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All in all, while I like the concept of a super-team driven to their lowest point, this issue (and the seven before it) are taking their own sweet time in getting things together, and the introduction this issue of John Eden immediately put my suspicions on him as the mysterious hand behind The Wizard, and the man driving this initiative to bring down the first family. Fantastic Four #8 isn't a bad comic book, and writer Robinson does have a lot of character beats that are successful (especially in the fact that Reed & Sue aren't turning on one another, instead pulling together as a family unit), but the plotting is just too methodical for my tastes.
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All in all, this issue serves not just as a wrap-up for this run of Batgirl, but as a coda for the no-longer-in-continuity Birds of Prey series before Barry Allen rebooted the universe in 2011, and is a satisfying way to end a run. Indeed, it's a good thing that they announced the new costume and premise early, as this issue could serve as a perfect jumping-off point for long-time readers, making a satisfying "last issue." Batgirl #34 is the end of an era, but goes out in style, looking good and giving the character closure and several amazing moments for the main character, earning 4 out of 5 stars overall. I'm going to miss Gail on this book, but at least they went out on a high note"
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All in all, this is an interesting story, one which gives us an interesting take on what it would REALLY be like to live in a world filled with giant monster attacks, and one that honors the Godzilla stories that have gone before in manners both obvious and subtle. Godzilla: Cataclysm #1 takes familiar playing pieces, but changes the entire field of battle, and gives us a starting point that really makes me want to read more in this world, earning 3 out of 5 stars overall. Also, the most important bit: They spelled "SKREEE-OOONK!" right.
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There's a lot stuffed into this issue, and even though it's marked as an Original Sin crossover issue, the OS material takes up about four pages in the early stages of the book, with the bulk of our story leaping into getting Cindy Moon out of her jail cell and into Spider-Man's arms. I enjoy the depth that Slott gives to Cindy and her story, but both the rapidity of her introduction and lingering questions about how long she's been locked in Ezekiel's basement make for odd pacing, and the ending is shocking in bad ways as well as good. All in all, Amazing Spider-Man #4 is a pretty good issue overall, as it introduces a character who might be very important in the long run, but does so in a Cliff's Notes manner, and even the fact that I don't care for the art team doesn't torpedo my enjoyment.
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The idea of Harley Quinn as an agent of chaos and absurdity is a pleasing one (especially given the inordinately grim and serious New 52 line in general), and there are some clever bits in the issue, but overall it's just a series of vignettes of different levels of cleverness, with many different artists contributing their own little bit. Harley Quinn Invades Comic-Con International: San Diego #1 is silly, meta and chaotic, and plays to the character's strengths, but doesn't quite get all the rough edges sanded down.
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I actually have no interest in finding out how this whole story wraps up, even having read the first six issues plus number zero, and while I enjoy the fact that Ant-Man and others are getting metaphorical airtime, the lineup being heavy on movie-style Marvel characters feels unusually mercenary, even by Marvel standards. All in all, Original Sin #6 isn't successful for me on either a visual or a story level, and the ferris wheel of massive changes makes even the heavy-duty events in this issue feel mundane, leaving me disappointed and a bit annoyed at it all, leaving the issue with 2 out of 5 stars overall. There's still a chance that the wrap-up of this will be a big, spectacular moment of fireworks, but all in all, I don't suspect that Original Sin is going to be referenced even a few months down the line which, given the circumstances and the story in place, is really a shame…
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Cap'n Dinosaur #1 isn't for everyone, certainly, but has its charms in story and art, with a keen ear for replicating and amplifying the madness of comic books past.
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Silver Surfer #4 is absolutely enchanting, with some lovely touches of character and art, a shocking moment that makes perfect sense (OF COURSE he's heard of Star Wars, he has cosmic awareness!) and continues the streak of Surfer excellence.
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Infinite Crisis " Fight For The Multiverse #1 is a solid book, even for those of us who don't intend to play the video game, and uses the existing lore of the DCU to build a foundation for what could be a good solid world-hopping adventure tale.
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There is a LOT going on in the shadows of The Trees, and it's clear that this creative team is thinking about a lot more than just the alleys of Gotham City or the rundown prisons of Georgia. Certainly there's nothing wrong with a contained story, but this book seems ready to show us every aspect of a world that has been changed by first contact, and it all follows perfectly from what we're shown. This issue ends with a very ominous final panel, one that is clearly going to have long-lasting ramifications on the world, and while I have NO idea what it all means, I'm keen to come back next issue and find out more. The Trees #2 is the kind of story that can pretty much only be told in a creator-owned book, with a hugely entertaining premise, great character work and excellent art, earning a very impressive 4.5 out of 5 stars overall. I am of the opinion that you need to check this one out, post-haste…
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All in all, it's a good book, though not a great one, and it doesn't serve as quite the massive game-changing jumping-on point that some of the advertisements might have you feel. Still, Superman #32 does a good job of telling us who our hero is, albeit with some familiar Johns narrative tools in play, and enjoyable art throughout, earning 3.5 out of 5 stars overall. It is very much like what I thought a Geoff Johns/John Romita Jr. take on the Man Of Steel would be, in all the best ways (and luckily only a few of the least).
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It's not a disappointing issue, and in fact adds some interesting wrinkles to Ghost's life and surroundings (a new job as a reporter, for one, with a new identity, sort of) and the idea of a TV groovy ghoulie getting real mystical powers has legs, it's just the transitions that are daunting. In short, Ghost #5 is still an above-average issue with some cool moments and interesting art, even if it's not Kelly Sue and company, and certainly doesn't mean the end of my interest in Ghost, earning 3 out of 5 stars overall. I'm willing to at least ride out this arc, as it has some clever ideas floating around that could turn into something irresistable…
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I had to take a moment there, as I legitimately cannot decide whether that name is brilliant and meta or dunder-headedness incarnate. All in all, this issue feels like a lazy river ride: There is forward motion to be had, but it's at a weirdly leisurely pace, we're kind of bouncing off the sides, and I have a suspicion that we'll come right back around to where we started once the whole thing is over. The New 52: Futures End #7 takes too many pages from the playbook of ‘Countdown', and ends up being a dull reading experience, earning 2 out of 5 stars overall. The title implies that we're looking at a sequel/revival of '52′, but it lacks the inventiveness of that book, instead emptily echoing it's surface elements in a disappointing fugue.
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To be honest, any issue that features a plot point of Harley Quinn in her black-and-red flannel jammies too excited to sleep while Poison Ivy gets her a glass of warm milk is an issue that I'm going to be enamoured with, and this issue fulfills that promise. Given my worries about how dark and brutal Harley was at the beginning of the New 52 (Suicide Squad was not a book that seems conducive to the silliness of Harley's character), it's good to see that our hero is still the character that many of us remember her to be. Harley Quinn #7 has some issues with balancing funny and bloody, but is mostly a breezy, fun adventure with lovely art, and a few adventure hooks for future stories, earning a very impressive 4 out of 5 stars overall. I hope Poison Ivy remains in the supporting cast here, because the interactions between these two women really make this issue pop…
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In short, while Gillen's run has raised a lot of interesting issue for Tony Stark, and differentiated itself from all that has gone before, wrapping it all up with a big bow here makes the issue feel rushed, and leaves a lot of threads hanging, which I hope the next creative team will be willing to pick up. I like bits and pieces of the issue, but felt the conversation with the Rigellian (in which the creator of the Recorder tells Tony that he's gonna be fine, feeling a bit too much like the voice of the writer intruding) and the final question of what will happen with TWO Stark-piloted Iron Men in play is up in the air. Iron Man #28 has some strong narrative pieces, but tries to juggle too much at once, and ends up dropping a ball here and there, but leaves us with a more than respectable 3 out of 5 stars overall. The writer of the next big era of Iron Man has some shoes to fill here, even if the landing was a bit wobbly…
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Long story short, I enjoyed this book considerably, even the parts of it that felt a little bit too raw and revelatory, and I find the central theme (the “Are they or aren't they, and either way, what does it all prove?”) of the story to be a compelling one. Certainly, it's not for everyone, but The Wicked + The Divine #1 makes for a unique and entertaining read with gorgeous art throughout, earning 4 out of 5 stars overall. The concepts may not play in Peoria, but it makes for good comics…
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I've been shocked at how good this series is before, mostly because of my grave dislike of the original material (which I didn't read until a year or so ago for the Major Spoilers Podcast trade paperback discussion), but I'm really impressed with the work here. The creators have put together a believable future world, with realistic consequences and a decent set of antagonists, while making our cyborg protagonist relatable and interesting for perhaps the first time (for me, anyway.) In short, Aphrodite IX #11 is a good'n, putting a new spin on the old concepts, with attractive art and some major steps forward for Aphrodite herself.
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Soule delivers on the promise of mystery, and there is some nice character stuff going on here (Tigra actually references She-Hulk's short-lived Liberators team from the gawdawful early issues of Red Hulk, which is the most character development she's had since Avengers: The Initiative, it seems). All in all, the strength of that story makes the art problems even more of a shame, leaving me wondering what this might have looked like under the pen of the regular team. She-Hulk #5 is the rare comic where one half of the story/art equation can keep the whole thing afloat, but still can't overcome the weaknesses of the artist.
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Real Heroes #3 has a compelling premise, and there are hints of something new and different in this issue, but there are simply too many characters in play for any to fully grab our attention, and the extensive decompression makes it hard work to stay invested in the issue.
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That would be telling. But it's a really wonderful reveal, as the last page of the issue takes place first in chronological order, and makes what comes before that much more unique and special. There's really no sense in futzing around with this: Astro City #13 is another wonderful standalone story, albeit one that stands out even among its brethren, earning 5 out of 5 stars overall. What Busiek, Anderson and company have done with this book is simply extraordinary, and you owe it to yourself to read this one (three or four times, actually.)
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All in all, though, Infinity Man And The Forever People #1 is solid work, translating the flower children of New Genesis into a more modern form without destroying the central conceit, and giving us a big love letter to the man who made it all possible, with some fun character pieces as well.
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In short, this issue serves as a good first chapter, kicking off the big multi-title event, and does so with a well-written well-drawn issue. While the idea of “giant aliens coming to blow $#!+ up” may not be a new one, particularly to long-time Valiant readers, having the conflicts be approachable and lucid helps greatly. Armor Hunters #1 is a decent springboard to bigger things, deftly explaining the main character, introducing and legitimizing the villains, and setting the pieces up for a big ol' summer blockbuster, and that's perfectly okay, earning the book 3 out of 5 star overall. I'm kind of interested to see how this all shakes down for Valiant, and how Venditti will build on Aric's mythology with the introduction of these new foes.
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The story is developing in interesting ways (although a lot of stuff is in play, and hopefully the fun stuff won't ALL go away), which means that The New 52: Futures End #5 is getting better, but it's still not quite good enough to be must-read material, and the crazy-quilt creative process is not creating the synthesis that marked 52.
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In short, I'm a fan of this book, and I'm glad to see it's back. All-ages doesn't have to mean kids' stuff, and this book appeals to the old-school nerd in me as much as the child (though they tend to both hang out and eat frozen pizza while watching ‘Gilligan's Island'). In short, Tiny Titans: Return To The Treehouse #1 is a fun book, and one that I recommend to those who aren't afraid to read a story that dares to be silly and fun rather than plumbing the depths of misery, and the kids earn a very solid 3.5 out of 5 stars overall.
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Ghost #4 works as a one-shot, as a goodbye, and as a strong statement about the nature and character of our hero, and looks good doing it.
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The overall effect of the issue is an odd one, with some redefined characters experiencing strong character moments in a plot that leaves them feeling a bit at sea, making it a less-than-ideal place to start this story. Still, there's interesting stuff going on, and a mix of characters at play that has a lot of potential to be even weirder than the old ‘Havok/Multiple Man/Strong Guy/Etc' lineup, in all the best ways. Long story short, All-New X-Factor #9 is more about building up the team and status quo than breaking new ground, even if it's a bit wobbly in the doing, earning a more-than-respectable 3 out of 5 stars overall. I'm intrigued enough to give next issue a chance, which means this issue passes the real test of picking up a random comic issue to read…
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I am a bit puzzled as to why Carmel's likeness doesn't appear in the issue while a passable Van Johnson and a so/so Bruce Lee do, but thaz's a very minor quibble in an otherwise very entertaining issue. Smith and Garman work together seamlessly, showing off strong story-telling chops and a real facility for this version of the Batman character, while keeping the guest-starring duo awesome in their own right. Batman '66 Meets The Green Hornet #1 is a strong story, with excellent art that works not only a love-letter to Bill Dozier's TV output, but as a first chapter of an ongoing tale and as a Batman story, earning 4 out of 5 stars overall.
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In short, My Little Pony, Friendship Is Magic #19 is the real deal, expanding and extrapolating from existing materials and delivering a story that you can enjoy without ever worrying about what you might think about any of the extreme elements of the title's fan base.
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In short, Uncanny Avengers #20 is the total package, with engaging story, great art and nice bits of character for even the most tenured Avengers, even if the length of the story so far is a bit disconcerting.
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With this issue, Ms. Marvel finally has the arc that can make her a superhero, with a costume and a mission, and the brief conversation about how she needs to be a superhero as herself rather than as another generic blonde woman is important to where this comic seems to be going. I like the interaction between Bruno and Kamala, with its undertones of maybe-romance, and I like the fact that she's trying to exist under the rules of her parents and her church rather than being an overtly rebellious jerkface teen. In short, Ms. Marvel #4 is another fun one from Wilson and Alphona, a book that is quirky and meaningful all at once, with some of the best character pieces in comics and the shouldn't-be-as-rare-as-it-is central female person of color protagonist combining to earn 4 out of 5 stars overall. Ms. Marvel's adventures are shaping up into something we don't have nearly enough of in comics, and I recommend this title strongly for traditionalists and new-school fans alike.
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It's a quirky comic, reminding me of the best of 80s black-and-white boom, but with a peculiar sensibility about it, combining cyberpunk with muscle car grindhouse movies, and (mostly) nailing the landing. While I'm not thrilled with Crystal's murder as a plot point, I'd be a little bit more accepting if the other female characters in the book were more than just cyborg eye-candy. Still, Vandroid #4 does keep up the central conceit, and makes its bemulleted main character sympathetic and fearsome all at once, and McDaid's art is fun throughout the issue, earning 3 out of 5 stars overall. I like the elements of throwback exploitation movie, and enjoy how well they coalesce into a unique and bizarre story, even with portions that troubled me…
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tile to both readers and characters. The setup is for an all-new Suicide Squad #1 featuring Black Manta, Deadshot and others which will relaunch any minute now, but nothing in this issue makes me want to read more about these characters, not even to see the Secretary Of Defense get his eventual comeuppance.
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All in all, though, it's an interesting first issue for the fourth of the Gold Key Heroes, even if it's the least interesting to me. Doctor Spektor has never been a major player, and has not (to my memory) been revamped before in the previous Solar/Magnus revamps, but that means that he has the most potential, and Mark Waid is the man to bring it such an odd concept to life. Unfortunately, Doctor Spektor: Master Of The Occult #1 is hurt by the odd coloring and some indistinct art, with a small enough sampling of story that I'm a little confused as to what the focus of the book is going to be, earning a slightly disappointed 3 out of 5 stars overall. I'm willing to stick with the book thanks to Waid, whom I trust implicitly, but I'm hoping that Adam Spektor turns the corner out of jerkassville sooner rather than later…
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Even the familiar bits of storytelling don't torpedo the enjoyment of the story, but I am left feeling that Michael may be a little TOO much of a worthless jerk, almost reaching the level of Hollywood schlemiel that feels unrealistic. Of course, given that people all around him are transforming in bizarre ways, maybe realism isn't the point. Either way, I especially like the fact that everyone refers to the goings-on as “the end of the world” or likewise, save for one young man, who believes that he (and everyone else) is just having an origin and getting their super-powers. (He also then proceeds to call Michael “the unluckiest man on Earth” for remaining untransformed.) Ordinary #1 sets up its premise expertly, and delivers above-average art and interesting story, making me interested in seeing more of this world, and earning 3.5 out of 5 stars overall.
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As a long-time fan of 'The Brave And The Bold', I'm glad that DC has a Batman team-up book in the New 52, even if it seems to be cycling through existing Batman supporting characters, and this issue tells a clever tale with some nice characterization. Unfortunately, aside from some closure for Batman and Frankenstein (and some admittedly wonderful dry wit from the monster himself), not a whole lot happens in the issue. I like seeing Batman trying to make peace rather than bulling through everyone else because he's the smartest man in the room, and I get that the creators are trying to ratchet up the tension for whatever is going to happen with the Al Ghul family, but all in all, it feels a bit slight. Batman And Frankenstein #31 makes for some nice dialogue and interaction, and has nice art, but doesn't feel like a high-stakes issue or even an important piece of the long-ongoing tale.
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Although I'm not as psyched about this book's relaunch as I was for the return of Magnus (and, to be honest, the Valiant properties that I naturally equate with this book, such as Harbinger and Archer & Armstrong from new-school Valiant.) I like the use of Erica in this issue, especially if the plan is to have her be the protagonist, but I'm worried about the fact that the previous Erica in Solar's back story is the villainous Mothergod, who had quite a few missteps (in my opinion) in her story. Still, taking the big picture, Solar: Man Of The Atom #2 does entertain, and while the art is inconsistent and the story meanders a bit, it's still a strong enough second issue to make me want to come back next time, earning 3 out of 5 stars overall. Even if we fall into the old ploy of battling siblings on opposite sides, the idea of Erica as Solar (albeit not a MAN Of The Atom) is one that I kind of want to read more about…
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While this isn't my favorite issue of Velvet so far, it's still some pretty amazing storytelling overall, and I love the fact that the main character is a female secret agent, who is over 40, in a world best emblemized by the vague misogyny of James Bond. Epting is doing amazing work on the visuals, and Brubaker's story has multiple facets, each of which seems to change everything you know while maintaining a feeling of cohesion throughout the decades and around the world. Velvet #5 is beautiful, as always, and has some very strong emotional content, all the while serving as an excellent spy tale, earning 4 out of 5 stars overall. If you're willing to stretch beyond Big Two superhero books, the upcoming TPB should be an excellent place to step into the world of Velvet…
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The idea of Doop as a character who exists in the background for a reason is a perfectly realized, perfectly MIlligan, perfectly ridiculous premise. The balance of goofy to dramatic is well-executed, and a part of me is actually rooting for the little guy (though a bigger part finds the concept of Kitty kissing Doop revolting.) In short, All-New Doop #2 is a very Doop-y experience, equal parts adorable, disgusting and thought-provoking, with art that is appropriate (if inconsistent), and earns a very irrational 3 out of 5 stars overall. The fact that Doop was instrumental in the biggest twist of the Battle Of The Atom crossover is more interesting than the love story to me, but I'm enjoying both of the intertwining stories so far…
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If you've been privy to any of my previous reviews of ‘AwA', then you probably know what I'm going to say: I want you to go and read this book. It's truly inspiring how well the creators have been able to adapt the existing characters and personalities of the Archie ouvre into a story of terror and suspense, and there may not be a more creatively synced writer/artist team working in monthly comics today. Afterlife With Archie #5 takes an unexpected turn, but still holds together and deepens the already intriguing elements at play, and looked phenomenal doing it, earning 5 out of 5 stars overall. I don't know where the series goes from here, but I'm frankly dying to find out. (*THAT* one was a pun.)
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There's political intrigue with the Spartax, a difficult moral problem that parallels real-world refugees and the historical plight of the American Indian, and our hero is faced with the realization that her pre-judgements of a situation may have been entirely wrong and Captain Marvel coming face-to-face with at least three situations that she can't solve with photon bursts and raw power, making for a really interesting read. In short, Captain Marvel #3 looks great, provides a fascinating and nuanced story, and finally fully convinces me that editorial is serious about Captain Marvel standing alongside Thor, Iron Man and the rest at the top of the superhero heap, earning 4.5 out of 5 stars overall. Heck, even the “Mohawk space-helmet” works here! I recommend that you check this book out…
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I think my favorite part of the issue comes in a brief cellphone conversation that Ragdoll has with an unknown party who is clearly Vandal Savage, but all of his dialogue is wonderful, leaving me wanting to take a shower in most cases. Alysia getting a romance is nice, as are the complications in Barbara's thing with Ricky, but DC's editorial schedule has led to this issue feeling a bit odd. Ricky's shooting took place at least six months ago, real-time, which makes it difficult to put all the pieces in place this time around, but the excellence of the artwork makes up for a number of those oddities. Batgirl #31 gets the job done with charisma, but still has a few rough edges here and there, with well-crafted dialogue and wonderful art, shaking down for 3.5 out of 5 stars overall. Here's hoping a full-scale reunion/revival of the Secret Six is in the cards soon…
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All in all, this issue feels like nothing special, though the creative team clearly has a handle on Shang-Chi's character, and I'm hoping that the remainder of the series really picks up the pace. Deadly Hands Of Kung-Fu #1 has a tough row to hoe, with a main character who can come across as maddeningly passive and a difficult to accept opening, as well as inconsistent noodly art, but still nails 3 out of 5 stars overall. The sequence at Leiko's funeral was unusually respectful for a comic book though, and any time we see the Sons of The Tiger is a good time for me…
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The New 52: Future's End #2 never quite puts it all together, with a fragmented story feeling too fragmented, art that is serviceable but nothing special, and a brooding grimness settling over the issue's events like a pall.
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So, yeah, this issue proves I'm a terrible person full of schadenfreude (for enjoying Ned's turmoil) and jealousy (for my grinding envy of Busiek's towering writing talent), and yet I'm still going to recommend it, and let you decide whether you wanna listen to the advice of a terrible, horrible evil man. The question of whether anyone else could make Astro City look as amazing as Brent Anderson is answered, the question of what drives people to do self-destructive things is examined, and most impressively, a twenty-odd page comic book becomes a portal into another person's life, a story full of emotion and authenticity. Astro City #12 hits the proverbial home run touchdown sports metaphor thingy, with beautiful art and an affecting story, earning a well-deserved 5 out of 5 stars overall. I keep saying this, but if you're not reading this book, you're missing the most consistent monthly book around…
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The upshot of this all is that, even though bits of this story are pretty engaging, there's a few things working against it. The multiple jumps in time and dream sequences leave me confused, although the art does a pretty good job of distracting me from the cheesecake factor. All told, Warlord Of Oz #1 seems a bit confused, but does an admirable job of trying to update the characters and settings to a modern parlance, and features some lovely art, earning 3 out of 5 stars overall. If you're a fan of Oz and/or of the Zenescope universe, this book may be right up your alley…
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Deon's recommendation was right on the ball: This issue proved to be an excellent chapter in a story that feels compelling and broad enough in scope that I want to read more. Bloodshot And H.A.R.D. Corps #22 makes for good reading, and has me considering adding the book to my pull list, balancing superheroic shenanigans, back-stabbing intrigue and some nicely handled character work into a solid piece of entertainment, earning 3.5 out of 5 stars overall. I'll be back next issue, and may be ready to add this one to my pull list in the near future…
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Black Widow #6 is a straight-forward action-adventure that looks good, reads well and reminds us how awesome our protagonist can be.
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In short, Justice League 3000 #6 is a potpourri of things we've seen before, a dystopian future storytelling kit with familiar names on all-new characters, brought down by overwriting and excessive negativity.
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As someone who hasn't seen the Black Dynamite movie, I read this entire book hearing a George Clinton funk bassline and the voice of Kevin Michael Richardson, all of which led to a positive reading experience. The story beats are successful, but might feel a bit simple to some readers, especially if you're not into the whole retro-70s vibe, and the joke that he's the baddest of all the bad cats and one bad motha(SHUT YO MOUTH) will probably be the deciding factor for me. If you find that to be fun, as I do, then this may be the book for you. Black Dynamite #2 hits a sweet spot for me, with intriguing modern visuals in a retro style, and a main character that's both funny and funky, earning 3.5 out of 5 stars overall. I can, indeed, dig that…
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All in all, though, this issue has some strong sequences, but doesn't quite put it all together as a successful narrative for me, with the two halves of the story feeling a little bit underserved, and I'm troubled by the fact that Jennifer won her case, but still won't get paid or get the credit for her role in the Von Doom family drama. As we transition into the story of why someone is suing She-Hulk and several other superhumans, I'm hoping that we can balance the charm and with of the quiet conversations with the superhero stuff a little bit more satisfactorily, as we're leaning a bit more towards the interpersonal right now. All in all, though, She-Hulk #4 is a pretty good issue that looks really unique and amazing, with a perfect use of a guest star to move the story forward and help explain our character, earning 3 out of 5 stars overall. I still say that Vibro and the Shocker together on the list of defendants is significant, which I hope we see next ish…
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All in all, given how well-crafted this issue is, it's a shame to see the book go, and The Movement #12 ends up being the best issue of its short run, wrapping up plotlines martial, romantic and familial in a way that feels natural and organic, and makes for a wonderful read.
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This book is a solid setup for an adventure, and doesn't shy away from the danger inherent in the school's new location (Poor Carrie!), leaving our characters on the precipice of a terrifying new adventure, and I'm definitely going to be following this title going forward. Tynion and Dialynas have created a world full of fully-realized characters, with a central mystery that I'm looking forward to seeing explored. (Here's hoping that it's not as drawn out as the central mystery of ‘Morning Glories', a book that starts from a passably similar premise.) I'm unsure where or not it is an ongoing series or a limited, but The Woods #1 sticks the landing, with excellent dialogue, quirky-but-solid art and an intriguing set of central characters, earning 4.5 out of 5 stars overall. If it keeps up this level of quality, this book could become the next ‘Saga'.
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All in all, Serenity: Leaves On The Wind #4 is an okay comic book, but disappointing as a Serenity story, missing a lot of the joie de vivre I associate with Mal and his band, featuring art that is well-rendered, but overly familiar.
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Uncanny Avengers Annual #1 is not for everyone, and I fully expect comment after comment about how much people hated it, but as an out-of-continuity one-shot, it's not bad at all, with some lovely art and cute character bits.
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As a whole, this issue features some nice moments for most of the cast, but the over-the-top antics of Chase and Bones are difficult to resolve, and no matter how well the loose ends are tied up, it has been more than six months since the story this wraps up appeared, leaving it feeling a little bit like leftover pizza. Sure, it's still good, but it might have been better when it was warm and fresh. All in all, though, Batwoman Annual #1 makes the best of a difficult situation and lets our hero get in her licks against the dadgum Batman, as well as giving us some closure on the previous era of Batwoman, earning a better-than-average 3 out of 5 stars overall. (Plus, Mister Bones gets shot in the head, so… y'know, bonus.)
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I'm in for the long haul here, and I hope that the book is, too. This issue may actually have the Surfer's series surpassing 'Hawkeye' as my favorite Marvel book, and that, as Nicolas Cage will tell you, is high praise.
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All in all, Batgirl Annual #2 is a pretty solid issue, making Poison Ivy a character that I care about and relate to, and even a few wobbles in the art don't completely undo the spell woven by Simone's writing.
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Waid is a writer that I trust implicitly, based on the strength of his previous work and his perspective on the Marvel Universe, so the last page reveal of the ramifications of Hulk's rampage are intriguing rather than terrifying, leaving me wanting to know how our hero is going to get out of this jam. With a strong performance in both the writing and the art, Hulk #1 hits a sweet spot, making for a good #1, a strong issue and a great relaunch for one of Marvel's most enduring characters, earning a very impressive 4 out of 5 stars overall. The last few pages are, in themselves, worth the price of admission, even at $3.99 per issue, and I'll be adding this one to my pull list ASAP…
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There's even a wonderfully emotional moment as the issue wraps up, with Spider-Man realizing that his career has counted another casualty, and the setup for the new creative team is handled well. In terms of the plot, the return of Norman Osborn was huge, featuring some really creepy bits centered around grandson Normie Osborn, and the final balance of the issue ends up being about 70% resolution of the character arc of Slott's run on the book and 30% housekeeping, putting the characters back in their containers for the next writer to use. Superior Spider-Man #31 is a surprising end to a surprising run, and features a couple of wonderfully iconic Spider-Man scenes, sticking the landing even with some over-rendered color effects for an impressive 4 out of 5 stars overall. Even if we saw where the endpoint was going to be, the story made it worth taking the journey with Otto, an amazing and/or superior feat in and of itself…
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In short, while I love Milligan and I dig the hell out of Doop, the issue doesn't quite get itself over the hill to the side of must-have. The art is above average most of the issue (although I don't care for any of the various Iceman portrayals we see), and the Doop character fares pretty well in his first solo, though his character doesn't quite make the transition to being on-screen for the whole issue without annoyance. Still, all in all, All New Doop #1 isn't a bad issue, and sets up what could be a very interesting new status quo for our pickle-shaped hero, with some lovely art, earning an above-average 2.5 out of 5 stars overall. It's not perfect, but it's not the disaster that a few of my associates had predicted his first solo comic would be…
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Certain comic books are fun to read just for the world building (see PS 238, Savage Dragon and Astro City), while others are all about clever little character pieces (see anything written by Brian Bendis, Kieron Gillen or Joe Straczynski), but Empowered hits both, along with glimpses of something entirely unique. Empowered, as a character, is taking a journey from poor victimized schlemiel to full-on super-powered dynamo, and it's really wonderful to see the gradual changes in her character. Empowered Special #6 has a fun story, a couple of ingenious concepts folded in, and a foreboding visage of a terrible future, delivering the proverbial full Monty.
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All in all, All-New Ghost Rider #1 manages an impressive feat: reminding me of the cool stories of the past, while taking a new path, and the art is visually distinctive enough that I'd have enjoyed the issue even if the writing were less capable.
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Silver Surfer #1 has a solid-but-intriguing premise, strong writing, great art, and a fun shiny main character, as well as some of the most wonderful coloring in recent memory.
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If you have had any issues about Ms. Marvel based on the very visible hype machine, I urge you to overcome those reservations and pick it up. Far from being an example of editorial caveat, Ms. Marvel is a lovely character, believable, fun and well-designed on both the visual and writing front. There are a couple of different possible superhero looks on display this issue, which makes me wonder what she's actually going to WEAR once she starts going into battle, only one of the many questions I hope to see answered in this book. Ms. Marvel #2 is a book that reminds me of early Spider-Man, Nova and New Warriors comics, positing an interesting young hero (with the bonus of her being both female and a person of color), earning a very impressive 4 out of 5 stars overall. It's a book I want people to support, so that it will last a good long time…
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This issue feels to me like a story that Hopeless & Walker really wanted to tell, but knew they had to set up for first. Many readers hated the journey taken in ‘Arena', as well as lamenting the deaths of Darkhawk, that Sentinel kid and ol' what's-her-name, but had they jumped straight to this point, the backlash would have been even stronger. As someone who has been knocking around the Marvel Universe since Tigra was the newest Avenger, this story takes risks in the vein of a Steve Gerber or a Chris Claremont, stretching characters past what we know about them to make them into something new and different. I expect many fans will still be angry about it, but Avengers Undercover #1 is a strong start for an interesting premise, with good art and some great characterization, earning a very impressive 3.5 out of 5 stars overall. I'm in for at least six issues of a book I hadn't intended to read, a testament to how good this one reads.
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There are some good moments in this book, don't get me wrong. Hal Jordan seems to have shame and knowledge of his limitations, something I've been wanting to see for a while now, and his adoption of a council of Lanterns to advise him is a wise one. The interactions with his family have a core of truth that I like, but the execution isn't quite there, and the rest of the issue's events bounce back and forth enough to erase much of that goodwill. Green Lantern #29 has a lot of stuff going on, not all of which is clear, and while it helps to make our main character more fallible and approachable, it also underlines how poor his management and decision-making skills are, with sketchy art on top of it.
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In the late 1990s, my boss at Gatekeeper Hobbies (Huntoon & Gage, TOPEKA!) used to joke that any book I was super-enthusiastic about was guaranteed not to break 18 issues, an accusation that had more than just a grain of truth at the center, which makes me worry about this comic's longevity. Then again, in Marvel's new "2 years then relaunch a new volume" world, perhaps that's no longer a concern? Either way, I enjoyed this issue even more than #1 (which, as you might have surmised, was a fun read too), and I want to read more, if only to see Pulido's new style evolve. She-Hulk #2 is clearly not meant to be everybody's cup of tea, but it's a good read with some lovely character interactions and art that wants to push boundaries while having fun.
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I was a bit surprised at how much I liked this issue, and how easy it was to get inside the head of a guy that I still think of as ‘crazy mutant bad guy with killer look.' Magneto obliquely references all the barnacles of his back story without forcing me to accept them all, without trying to retcon away things that may or may not work in modern storytelling, but makes me appreciate what the character is: The sum of decades of adventures, in and out of universe. Though occasionally unsteady, the art is never less than good, and the characterization works within a bigger story, one which seems interesting. In short, Magneto #1 is an impressive launch for a book that I wasn't sure needed to exist, making me want to read more, earning 4 out of 5 stars overall. If next issue is this good, I'll be adding Magneto to my pull list, something I *never* thought I'd ever say…
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When I break it down, this book has a hard row to hoe. As a reader, I don't want to see a rehash of Hickman, Fraction or Millar, nor do I want something completely off the beaten path for the Fantastic Four. While this issue manages to balance out the basic of interaction and the personalities of the characters, they don't ever quite feel right, and I'm very nervous about the dark tone of the flash-forwards, even as I want to see how it all plays out. If there were more consistency of dialogue and less fluidity in the character's facial features, I might rate this relaunch somewhat above average, but the combination of strange territory with those inconsistencies leaves us with a book that is interesting, though somewhat flawed.
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All in all, it's hard to judge the quality of the story from what we get in this issue (though this is #1, the introduction to the team took place in previous issues of Dark Horse Presents), I'm still interested by whatever it is that's going on with The White Suits. There's a hint of historical context, a bit of the old ultra-violence, and some interesting art in play, but I can't help but find elements of the story a bit familiar, reminding me of '100 Bullets' and the various similar titles that popped up around the year 2000, but it's not something that torpedoes the story. I've read this one three times now, and I'm intrigued by it, but still unsure of whether I need to come back next issue for more. The White Suits #1 is fascinating to look at, but a little bit scattered in its execution.
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The problem with writing a G.I. Joe comic book comes in the difference between superhero and solider, something that plagues IDW's G.I. Joe monthly on occasion, but that Hama overcomes with authentic jargon, appropriate chain of command and authentic tactical decisions by the Joes, with characters getting injured or taken out of action in ways that superhero books could not get away with. With so many characters, this issue could have been a mess, but Larry Hama expertly puts it all together into a story that even overcame the problems I might have had in missing a few issues before jumping back in. G.I. Joe: A Real American Hero #199 sticks the landing, giving us old favorites with a new twist, and looks as good as any modern book while staying delightfully old-school, earning a solid 4 out of 5 stars overall. I'll be back for at least next issue's anniversary, and hopefully even further. Yo Joe!
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While I didn't feel like they quite nailed the tone that they wanted in the courtroom scenes, it was a bit shocking to hear Harvey calling Batman “Bruce”, and the ending (which is certainly spoiled half a dozen places already) does seem to make this an important story in the Two-Face canon, I don't think everything is entirely as it seems. Remember, this is set in a world where the Joker had his face ripped off in issue #1, only to return a stronger threat than ever. Batman And Two-Face #28 is loud where it could be subtle, gruesome where it could be artistic, and chockfull of bathos, but still hits enough strong notes to earn 3 out of 5 stars overall. Tomasi is a good writer, exploring interesting themes, but his volume seems to be stuck on eleven, which damages the drama he's trying to establish…Share this:TwitterFacebookGoogleRedditTumblrEmailMoreLinkedInStumbleUponPrintDiggPinterest
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In short, while I do hope that more classic Warriors appear (are Silhouette and Rage dead yet?), this book has the makings of something interesting, and helps to cushion to loss of the latest chapter of Young Avengers, filling the niche of "teen super-duper teamup" admirably and looking great in so doing. New Warriors #1 may be the sixth volume or some such, but it manages to make the concept of the group attractive for the first time since Version 1.0, introducing some cool new characters and making me happy to award it 3.5 out of 5 stars overall. I'm hoping for a lot more Sun Girl, as well.
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Still, Pak's script has a lot of interesting places it could go, and the additional conflict does add a new wrinkle to the adventures of a resourceful Native American fighting aliens and monsters in a world beyond his imagining. All in all, Turok: Dinosaur Hunter #1 is a fresh start for a character who has had periodic flare-ups of notoriety, and could be the thing that makes him once-and-for-all a big name, earning a pretty impressive 3.5 out of 5 stars overall. Hopefully, coming months will smooth out some of the rough edges of the art, while Pak's previous work has earned him at least a little credit that Turok's adventures will go somewhere unique and interesting…
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It's not as thought this is a bad issue, just an inconsistent and perhaps overwritten one, with the full story seemingly set to take place over a four issue span, something which (if it is the pattern for all TZ stories to follow) may not well serve the series in a quest for longevity. The Twilight Zone #2 is a mixed bag, with inconsistent art, and an interesting mystery being ill-served by the format & pacing, earning a middle-of-the-road 2.5 out of 5 stars overall. Often times, I'll commit myself to a six-issue run of a series to give it a chance to grow into its own conceit, but I'm not entirely sure this book will last more than twelve issues if every issue moves this ponderously…
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Pak and Kuder have delivered on the book's title, with a lot of action (a fight scene with Superman and Ghost Soldier against an army of stone monsters is pretty exciting) but a thoughtful story in place as well. It's nice to see someone putting the lie to the expectation that having super-powers makes Superman utterly without weakness and boring, and I'm hoping to see much more from this team, even if higher profile Superman books like Unchained and the upcoming Geoff Johns run on 'Superman' may overshadow it.
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In short, Ms. Marvel #1 hits a sweet spot, good art and skillful writing combining to make me want to read more about this character and her life.
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In short, Inhumanity #2 works better in its interpersonal moments than in the greater story, lacking a bit of scale, while the coloring works against the seriousness of the story.
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In short, Pretty Deadly #4 continues the series' excellence, building myth and dramatic tension through sharp dialogue, great character work, and a weirdly/wonderfully ethereal writing ‘voice', all wrapped up in some truly beautiful art, earning 5 out of 5 stars overall. When I put this issue down, I went back and read #1 through #3 again, then this issue one more time, and I have come to the conclusion that this series is two creators who mesh perfectly, telling a story that they both want to do justice to. Don't be put off by the lack of super-dupers or the implications that it's a “western”, Pretty Deadly is more than just the sum of its parts, and it's a story that I highly recommend to anyone who likes their comics smart, complex and well-drawn.
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All in all, this issue somehow doesn't feel quite as self-assured as some previous issues of this book have, though the reappearance of the Eliot Gould-type detective is cute, and the shot at Marvel's most unlikely seventies super-team was pretty funny. Part of my discomfort is probably the amount of time it's been since we've seen Clint, Barney and the rest of the cast back in NY (something that wouldn't have happened, if not for the production issues) and Kate's fish-out-of-water situation feels a little forced this time around. Still, even a not-as-great issue of this title is a better than average affair, and Kate's adventures in wonderland are still engaging, with Hawkeye #16 earning a better-than-average 3.5 out of 5 stars overall.
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I am fully prepared for a volley of reviews and internet comments snarking that this book doesn't live up to the hype, but it's a strong issue nonetheless. Though the first chapters of this story have to do some heavy-lifting in terms of exposition and explanation, and young Alan Moore wasn't quite the writer that he'd later become, but I still find a lot to like here. Miracleman #1 is the third version of these stories that I've purchased in my comic book collecting history, but even at $5.99 I'm okay with paying to see it re-presented in a deluxe format and pleased to see the story holding up.
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The things that work here aren't 100% successful, and the things that don't far outnumber them, leaving us with a story that doesn't really go anywhere, and doesn't make a lot of sense anyway, with an art team not playing to their strengths. Perhaps there's hidden beauty here for the Stormwatch fan, but a casual reader will find themselves thrown into the middle of a story that is both dull and bombastic at once, leaving Stormwatch #27 with an underwhelming 1.5 out of 5 stars overall. Here's hoping that Jim Starlin has something awesome up his sleeve in the future, as this book's flaws leave no question as to why it is being cancelled…
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Of course, this is only the first issue, and any and all of my complaints could be taken care of in an issue or three, so I'm inclined to give this book a little bit of leeway (especially given that I love the character, Scarlett Johansson and the idea of solo female comic book stories), especially given that the parts that don't quite work are still skillfully done. All in all, Black Widow #1 comes out of the gate pretty strong, even with an idiosyncratic art style and some familiarity to the lone-assassin-tough-character tropes, delivering an interesting start to Natasha's renewed solo career and earning 3.5 out of 5 stars overall. I'm willing to give this one at least four issues to get its feet underneath it, based on the strengths of this issue…
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It is tough to make an issue that feels believable in terms of conflict, but still has sufficient threat-level to challenge a team with a Norse god, a couple of living suns, three alien-ish powerhouses, an immortal soldier, the greatest combatant on Earth, and 40% of the founding New Mutants, but Spencer and Hickman deliver a tale that hits the mark. Artistically, this issue is a lovely affair, with everyone looking great, and even Maria Hill getting some nice dialogue, supporting the example set by her movie counterpart. In short, Avengers World #1 works as a #1, it works as a story, and it showcases a lot of Avengers doing a lot of various Avengery things.
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In short, Bad Blood #1 is an intriguing concept, an 'elevator pitch' that seems natural without being obvious, with art and coloring that set it apart from your average horror comic.
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It seems a bit naive to complain about long-term plotting and character build-up in a Robert Kirkman title, as his books thrive on the building of tension until the necessary massive explosion of violence, but 'Invincible' has been on a very odd schedule of late, emphasizing the fact that issue after issue can take place without a lot of overt drama. This issue picks up on three of our ongoing plotlines, giving us a little bit on each, without wrapping any of them or bringing their drama to a head, which leaves me a bit nonplussed by the end. Invincible #107 is a nicely crafted run-of-the-mill issue, furthering the ongoing storylines, but feeling like we're covering the same territory over and over, earning a better-than-average 3 out of 5 stars overall. Hopefully, a big dramatic story beat is coming that will make the wait worth it, but right now it feels like we've been in limbo for a bit too long...
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All in all, this book is well-constructed, well-drawn, and slick, but an agglomeration of flaws bother me, with the story feeling slight and padded out, a price tag that seems out of proportion to what is delivered, and the fact that it's actually not really an issue of Justice League at all combining to leave me feeling disappointed. Justice League #25 has a killer opening, but little followup, serving a crossover whose name has never felt more appropriate (Forever, indeed), earning 2.5 out of 5 stars overall. I'm not sure when 'Forever Evil' will actually wrap up, but I'm hoping that when it does I still have any interest in reading the stories that follow it...
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As much as I'm an old hand at having comic books cancelled out from under me, and even having Defenders comics cancelled out from under me, it's a real shame that Fearless Defenders couldn't get at least another few issues out of what was a pretty interesting premise. Though the book lacked a big name like Wolverine or Deadpool, the cast was quirky, interesting and the all-female ensemble felt less pandering than the similar all-female X-Men team. Fearless Defenders #12 feels a bit abrupt, but brings together a fun cast, and wraps things up the best they can given the circumstances, earning 3.5 out of 5 stars overall. I'll see you next year when they relaunch Defenders again with The Texas Twister, Cloak and Dagger...
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There are a lot of good moments in this issue, but it still doesn't quite gel into the story that it obviously wants to be. With so many characters and so many plots ongoing, things never quite get themselves together, and even the big cliffhanger moment doesn't keep the Cornea Killer and police plotlines from feeling like they cut off mid-sentence. Still, with the art growing on me, The Movement #7 builds on the goodwill of the previous issues, making me want to see where it's all going, and making me enjoy the cast with all their flaws and foibles, earning 3.5 out of 5 stars overall. I hope Mouse is okay, too...
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The trick of superheroes in these post-ironic times is in getting past the faint ridiculousness of the concept and finding a real human story to tell. The Fox manages to do it perfectly by embracing the goofiest concepts of Golden Age MLJ Comics lovingly, taking what works and tying it into a cool story, while not being ashamed of the source material like so many dark reboots these days are. (Yes, I'm talking about the New 52. But also about Marvel's output, and even recent TV and movie adaptations, as well.) The Fox #2 is a trippy, clever, thoughtful tale, featuring a likeable hero, and delivering something that can be hard to find in comics these days, a fast and fun story that seems deceptively simple, earning 4 out of 5 stars overall. I'm in for the haul with The Fox, and I hope to see his adventures continuing in this vein for a long time...
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I'm a fan of the old Battlestar Galactica, and fondly remember many Saturday afternoon airings of the show on Channel 41, and with such a short run, it's easy to remember all the details of the 24 episodes. (But not Galactica: 1980. Because #@*&$ that show.) As such, I enjoyed this issue, even as it mostly dramatized events that had already been referenced or described in the television show, but that familiarity is simultaneously the biggest weakness. All in all, Battlestar Galactica - Starbuck #1 is a good book, with some very expressive art, but one that could be problematic, especially if you only know Katee Sackhoff, but still does well enough to earn 3.5 out of 5 stars overall.
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All in all, the issue is an okay one, but not terribly engaging in terms of making me want to come back and get dragged into Batwoman's adventures. The layouts and art are good, but Kate Kane looks like almost a different person entirely under the pens of this issue's multiple artists, and J.H. Williams creative layouts are sorely missed. Batwoman #25 serves as a run of the mill issue with a big sore thumb plot point that bothers me like a sore tooth, but doesn't serve to torpedo the whole issue, leaving us with an average issue and 2.5 out of 5 stars overall. It's not a bad book, and I might come back and see where she is once all the Zero Year stuff is done, but I don't feel a really strong compelling motive to do so.
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The Infinity crossover has been pretty well contained (and well-written) within the Avengers titles, and has been successful in setting up meaningful stakes for our team. That said, it's yet another giant crossover shmageggi, which leaves me with the empty fear that nothing that happens here will have any consequence in 3 months when the new crossover takes precedence. Avengers #23 strikes a hard balance between creating a compelling individual issue story and serving as an ongoing chapter of the big Infinity saga, while falling short in terms of art, earning 3 out of 5 stars overall. With a new chapter of the Avengers saga on the horizon, this one promises to have long-term repercussions, but I'm a little bit skeptical, given what happened with Age of Ultron and the rest of the giant crossovers of recent years. World War Hulk, anyone?
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Comparatively speaking, this is the least successful of the anniversary stories I've experienced recently (counting the Big Finish 45th and 50th anniversary tales, and the televised version yesterday), but that doesn't mean it's not a decent read. Artistically speaking, this is one of the most successful issues of this mini, with everyone looking recognizable as their live-action selves, and some lovely work in the big combat clusterschmozz, and it's a pleasant enough diversion overall. Doctor Who - Prisoners Of Time #12 ends exactly where I knew it had to go, without any flashy out-of-character moments (The First, Seventh and Second Doctors spend the whole fight sequence devising a plan and avoid combat) but doesn't really go too far beyond its own basic premise of "The Doctors meet and stop a bad guy".
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In short, the 50th anniversary tribute comic has meandered a bit getting here, and I'm quite bothered that it was only the modern Doctors who were able to actually DO anything about the plot targeting all their lives, a product of the writers clearly being bigger fans of the modern material. That isn't a fatal flaw in the book, as this issue serves as a nicely drawn one-shot adventure of the Tenth Doctor and underrated companion Martha, but it does mute some of my appreciation of the series as a whole.
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After some pretty confusing maneuvering, it's an okay ending, but it suffers from the same problem that many of Marvel's big events have in recent years: No real ending. The setup of the conflict promised a lot, and while the combat sequences were impressive (and the revelation that SHIELD is prepared to attack the mutants with Sentinel technology was nicely rolled out), by the end of the book it feels like we've gotten this far just to be set on the path to the next big crossover madness. X-Men - Battle Of The Atom #2 has a lot of good notions swirling around, and gets halfway to awesome before tripping itself up in a rush to get to the next story.
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This book is beautiful, it's structurally sound, it gives you everything you want from a Sandman issue, and it reminds me why I prefer to read Gaiman in collected form. I will say, though, that $4.99 (or $5.99 for the digital combo pack) is a pretty steep bill for a story that clocks in at less than half the pages of the original Sandman #1 back in '89, but to be honest, I'd still pay the $5.99 for some good Gaiman story. In short, The Sandman: Overture #1 is worth any of the hype, and even as a story set in "the past," (as though the original book didn't jump around in time anyway) it doesn't fall prey to prequelitis or dashed high-expectations.
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Honestly, the stumbles, while pretty egregious (go grab the issue and see if I'm lying) don't quite drag things down below the base level of enjoyment, and there's a lot of cool stuff to be had here, from NoMan's insectoid drone to Dynamite's bravado to Kitten being a strong female character in control of the whole Defense Enforcement Reserves. T.H.U.N.D.E.R. Agents #3 isn't a perfect book, but it's a better-than-average one with some lovely art, managing to overcome its flaws and entertain me enough to justify the $3.99 price tag, earning 3.5 out of 5 stars overall. I'll be reading on to see if they can keep up this kind of good work (and also waiting for Raven.)
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The introduction of the external threat in this issue reminds me that there's a mystery at the heart of this book, something that has put Jon and Suzie on the path to criminality, and a game-changing realization that our power couple aren't the only ones who can bend time. Still, all of that takes a backseat to the wonderful interplay of character between Jon and Suzie, as well as the embarrasing, yet hilarious tale of Jon's earliest adventures. (There's a Family Circus joke in here that left me laughing out loud...) Sex Criminals #2 is phenomenal work, easily as good as the excellent #1 issue.
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That's a pretty minor complaint, though, as the issue reads smoothly and well, with only a few moments of "Which girl is that?", a common problem with Turner-styled art. Though Mastromauro's story moves quickly, it's a nicely paced page-turner that sets up the conflict for next time, while establishing Theo as a likeable character, albeit one in the "Secretly The Chosen One" mold of so much recent fiction. Pound for pound, though, Shrugged #4 gets a lot of things right, and generates enough interest for me to seek out the first three issues, leaving us with a win/win situation and 3.5 out of 5 stars overall. I'll also be keeping an eye open for #5 well before it hits my bins...
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As the issue wraps up, I immediately find myself wanting to read more of this book, as the main character is interesting and fun without being a traditional superhero, and it feels like Van Lente is having a great deal of fun playing with the character. Brain Boy #2 surprised me, even as I enjoyed the original incarnation, delivering a one-two punch of spycraft and psionics that hits the spot, earning 4 out of 5 stars overall. If you like realistic superheroics, you definitely want to check this one out...
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Sadly, the pacing of the book combined with the multiple focus really detracts from the dramatic meat of things, with the Graysons discovering Eve's pregnancy, and Mark's quiet revelation, leaving the whole thing feeling scattershot and incomplete. Invincible #106 is an okay issue, with some very nice art, but feels like nothing but a collection of middle chapters, leaving the reader unsatisfied, but still earning a middle-of-the-road 2.5 out of 5 stars overall.
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I'm not certain that there is $4.99 worth of entertainment here, though, especially given that the issue's retro tale seems unlikely to become high-profile fodder or to have lasting ramifications for the characters. While it's fun to see Bruce Banner in full-on science nerd mode (as well as Otto Octavius utterly enraged by his own old, gross self), the same elements that make the book fun also make it feel inessential and somehow lightweight. Indestructible Hulk Special #1 isn't a perfect affair, but it's a pretty decent book, really suffering only in terms of packaging and price-point, earning a better-than-average 3 out of 5 stars overall. It's good to see the characters actually interacting with each other, though, as the Marvel NOW! titles have felt a little disconnected from one another of late...
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With so many people arrayed against her, Wonder Woman's quandary reminds me (in all the right ways) of Neil Gaiman's 'Sandman', with plans and portents and agendas galore, all of which are swirling about our main character. Wonder Woman herself is well-defined, and her new status as God of War opens up all sorts of story-telling possibilities for the character, befitting her status as the quintessential bad@$$ hero and foremost female superhuman of modern comics. Wonder Woman #24 does a little housekeeping, a little posturing and a lot of maneuvering, but doesn't come across as talky or boring, earning an impressive 4 out of 5 stars overall. Here's hoping the book stays in Azzarello's hands for a good long time, as it seems he's still got gas in the metaphorical tank...
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Even having read the first three chapters of the crossover, there's a large disconnect for me getting into Chapter Six, and the pricing issue really does stick in my craw, especially given that this issue is really more like half an issue. All-New X-Men #17 looks pretty amazing, admittedly, with some nice designs and craft, but not a lot of story to be had, and the lion's share of the character work devoted to an YET ANOTHER alternate future reality in the X-Men's array thereof.
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Dynamite's choice to bring this book back was probably a decent one, given that they already have Zorro rights, and the inevitable crossover potential is strong. They even make sure to prominently credit Lady R's creators throughout the issue, a move which I appreciate, even if it turns out that they were forced to. Given that we're dealing with cowboy-type eighteen-seventy-something time periods, the artist does good stuff, as his horses, shootin' irons and haciendas are strong, but weaknesses of anatomy and clothing can mitigate the enjoyment. All told, Lady Rawhide #2 manages to overcome at least most of its peep show origins for me, delivering an okay proto-Zorro tale with some interesting narrative choices, earning 3 out of 5 stars overall. Much like their Shadow and Green Hornet tales, it is something that should appeal to fans of Zorro/Lady Rawhide, but remain accessible to the casual reader as well...
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FF #12 is a fun, if a little bit unfocused, bit of comic-book story-telling, with some nice chunks of character, little bits of story swirling 'round and 'round, while the main plot just sort of hangs above the characters' heads like the Sword of Damocles.
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uperior Spider-Man #18 is an okay issue, with some fun elements in play, even as the art team suffers from trying too hard to draw like another art team, while the protagonist himself is played as an utterly reprehensible arrogant bastard.
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In short, as much as I worried about the gimmickry of the whole Villains Month enterprise, at least one creative team took it as an invitation to add depth (and an utterly horrific eye for detail) to their chosen bad guy, using it to advance the ongoing story. Swamp Thing #23.1 has a lot to offer, and makes me want to go back and read the entire series from the beginning, which is what any good book should do, and earns 4 out of 5 stars overall. I'm also setting the countdown clock for Arcane's escape at 12 issues or less... Write that down.
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All in all, this issue has some interesting character moments, but the resolution feels both abrupt and inexplicable, and our heroes' role in the issue feels like nothing but pawns in a time-travel game of chance. The use of Franklin's powers to rig up a time machine feels awkward, and as much as I liked the Thing-related developments this time 'round, the issue just doesn't have the focus to generate the thrilling reading experience that they're shooting for. Fantastic Four #12 ends up feeling visually off, and has some plotting missteps that bother me enough that it ends up as an average reading experience.
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Realistically speaking, the Marvel Universe has been preternaturally active over the last ten years or so, with barely any downtime between battle sequences, which does damage my enjoyment of this issue and the big Infinity morass. On the one hand, I like Hickman and what he's doing, on the other hand, it feels like a slightly updated 'Operation: Galactic Storm' or Kree/Skrull War. All in all, though, Avengers #19 manages to overcome some of the weaknesses inherent in the art, but doesn't quite justify itself as more than just a chapter in the big picture story of Infinity.
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It's a good solid hit from the creators to put Season 9 in the history books, but there's still a quiet voice in the back of my head that wonders if these characters are ever going to get an ending. Not a happy ending, not even an on-screen death (though the latter seems much more likely than the former), but just an ending, where they get to go off an have lives and such. It's an odd worry to have, but writer Chambliss has successfully captured the Joss Whedon mystique enough that I still feel like these are my old TV Buffy friends, and that maybe, after more than a decade of rushing about getting picked off, they could go and have a Diet Coke on the veranda. Still, Buffy The Vampire Slayer - Season 9 #25 is a solid ending to a somewhat shaky season, and has me wondering what might be up next (especially given hints that the return of magic has all-new rules).
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This book follows the traditional 'putting together a team' routine pretty much to the letter, which suits the writer's strengths, though, and since we've already been teased with She-Hulk, Blue Marvel and such, any questions about what the hell is going on here are somewhat assuaged for me. In short, Mighty Avengers #1 reads very well, handles it's characters deftly, looks nice and doesn't let it's crossover origins overwhelm it's nascent super-team, earning a well-crafted 4 out of 5 stars overall. If Marvel gives this book the right push and support, they could have another lasting mid-card team ala The Defenders on it's hands, and the pedigree of the cast makes me hope that they're on the right track to do so.
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The best parts of the issue are in the details, and there is a nice tie-in to the Buffy Season 9 comic as Faith considers a job offer working for Kennedy in her security agency (staffed by former slayers, one might recall) but things never quite get up to speed for me. I really appreciate that the big fighty-fighty wasn't the only focus of this last issue, and honestly prefer that we got to see more of the aftermath, but the way this issue breaks down really undermines the seriousness of the threat that we spent two years establishing. It's a good issue, but one that doesn't quite give me the emotional punch that I was looking for, while the decisions of our three lead characters to go their separate way feels less than organic, more like an editorial decision to set up the next season of stories.
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Artistically, Deodato does a fine job here, though I miss Barry Kitson's work from previous issues of New Avengers, conveying the seriousness of the issue's events (though even he can't make Iron Man's butt-ugly new armor look good.) New Avengers #9 is a slick, well-constructed comic book that comes up somewhat short on plot, will probably make a lovely supporting chapter in the inevitable trade paperback collection, but ends up feeling a little too slight to be a super-successful individual issues, earning 3 out of 5 stars overall. At the very least, regular readers of this title shouldn't have "Ignore The Crossover Issues" syndrome in their New Avengers collection... at least, not yet.
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Legion Of Super-Heroes #23 is a dull and lackluster swan-song, focusing on the elements that I most disliked about this run, ignoring several unanswered questions, and succeeding only in sweeping the team under the rug for housekeeping purposes.
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Avengers Arena #13 is a remarkably strong character piece, playing on themes of family and paranoia using one of the original Marvel heroes, while clarifying our timelines (the kids have been missing, by the way, for just over three weeks) and squaring away a lot of loose ends.
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All in all, this book holds a lot of potential, and the promise of new and interesting takes on the agent of T.H.U.N.D.E.R. Given that this issue features new, more impressive roles for Kitten Kane and Weed Wylie, while maintaining respect for the source material, I hope that we'll get to see Raven and the rest of the gang make their bows. (Lightning makes a brief cameo at the beginning of this issue, so he's already in play, but there are several other agents as yet unaccounted for.) T.H.U.N.D.E.R. Agents #1 is good stuff, but doesn't require encyclopedic knowledge of the characters or dwell entire in nostalgia.
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In short, The Walking Dead #113 suffers from the same problems I've been feeling in this book since #100, with glacial plotting, endless posturing and dumb decisions being masked as in-character tactical brilliance.
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This issue is one of the strongest individual Batgirl stories of this run, finally getting away from Gotham City's incessant crossovers and weaker artists to deliver a solid hit on both the art and story fronts. The pacing of previous issues of this book has been pretty leisurely, which has led to me misreading slowly building tension as a lack of drama, something for which I feel foolish now. Batgirl #23 is another emotional heart-breaker, and makes me want to read the next issue immediately, the sign of a strong book, earning 3.5 out of 5 stars overall.
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The original Cyberforce series always felt very much like X-Men with bionics, and this new version does some interesting things to get away from that conceit. Unfortunately, there is a whole new string of story-telling tropes opened up here, none of which do a lot to distinguish these characters from any of the various terse badasses of the New 52 or Marvel's deep bench of X-titles. They did, however, lower the number of extra limbs that Stryker has, which seems positive, if only from a balance perspective. Cyberforce #5 falls apart in visually, which combines with the uninspiring story being told to deliver a very disappointing 1.5 out of 5 stars overall. Perhaps the long-term fan can find more that appeals to them, but this issue really does nothing for me...
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The two overarching questions of this miniseries are both driven by the same underlying concern: How much change can it actually create in the comics? Will they, as rumors have it, destroy the Ultimate Marvel reality? Will Galactus retain his enhanced abilities if and when he returns to mainstream 616 reality? As neat as it is to give one of Marvel's oldest antagonists a power-grade bump, the story feels somehow remote to me (though it may be my unfamiliarity with the Ultimate properties coming into play.) Hunger #2 asks some interesting questions, but is undermined by the fact that the comic-book status quo will render the answers moot in short order, earning 3 out of 5 stars overall. It's a nice looking book, certainly, and not nearly as depressing as its seemingly apocalyptic story elements would have it seem...
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All in all, it's a clever, well-written story that fits well within both characters' canonicities, and makes for a good read. The over-the-top nature of Ash's movie adventures makes his easy acceptance of Cassie's arcane trappings, while she proves to be more than a match for his fast-talking mojo. All in all, Army Of Darkness Vs. Hack/Slash #1 hits the spot, delivering a fast, fun, readable story that lets both main characters strut their stuff, earning 4 out 5 stars overall. Bruce Campbell should be proud, wherever he's got to...
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All in all, Hunger #1 looks quite nice, and reads smoothly, lacking in hyperbole or over boiled plot madness, serving as a strong first issue and a decent read.
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There's a LOT of discussion about God in this book, with a cyborg taunting Marcus about his devout nature, and Aphrodite murdering a woman in cold blood as she is praying, all of which left me cold. The visuals never quite marry with the dialogue (of which there is a LOT), and they never quite get the fluidity that could make this story breath-taking, but I have to admit it's a good-looking issue. Successfully navigating the difficulties of its main character, Aphrodite IX #3 gets a lot of things right, and is visually impressive, and even though it doesn't quite stick the landing, it ends up being a better-than-average reading experience, earning 3 out of 5 stars overall. I have to admit, I liked it a lot better than the original collection, too...
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The initial expectation of this arc was the return of the Giffen/Levitz team to create an arc that would tear down the Legion and build them up stronger, but I suspect that the writing was on the wall for the LSH even before Giffen jumped ship. The ham-handed devastation of the Fatal Five's attack was clearly designed to remodel the Legion and the 31st Century to tell new-and-different stories, but the defeats of the bad guys this issue seem a clear indicator that those arcs have been cut short, leading to a quick-and-easy defeat for the unstoppable foes. The message, it seems, is that new Legionnaires under the leadership of Phantom Girl are incapable of facing what the universe has to offer without Saturn Girl and company, a message that is not only disheartening, but certainly not worth paying 3 bucks a month to read about. Legion of Super-Heroes #22 scores by bringing familiar faces back, but falls short in both concept and execution.
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Perhaps I'm overthinking it, but I liked the idea of Tony Stark as a guy who made good with his mind and his confidence, so having him turn out to be another "Chosen One" undermines a little of what I like about the character, but I suppose I can see where this all is meant to go. Somehow, the combination of art that makes me a little confused and a story that makes me a little unhappy still doesn't torpedo the book entirely, but it does leave it feeling very bland and ill-advised. Iron Man #13 is a book that comes from a misguided place, drawn by an artist who has learned a lot about glamor but not a lot about the underlying craft.
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Nobody does it better than the Astro City team, and this issue is why. Debuting an interesting new hero (The Wolf-Spider, seen on the cover, gets a page or two inside, making me want to know what his deal is), taking an unexpected tack on the tropes of the nearly century-old superhero game, and making us CARE about Madella's life turn this issue into a treat, a filet mignon among the bologna sandwich crossover schmaggegis we've all grown tired of. Astro City #2 is the real deal, turning answering phone calls into effective and moving drama, while not skimping on the action and cool art
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There's a lot of interesting stuff going on in this issue, but I find myself a little bit bothered by the slow build. Yes, we get a good look inside the minds of Eric and Woody but, like the opening, it feels like they're trying a little too hard. It has been a while since I read the original Quantum And Woody issues, but this issue just feels like it's trying a bit hard to recapture the tone of the original while keeping the requisite "bad-ass" necessary to sell a comic book in today's market. Quantum And Woody #1 is a decent issue, even if it doesn't quite fully capture the late-90s zeitgeist of the original, and I'm at least interested in seeing where this first arc ends up.
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When Marvel announced this book, I knew that it probably wasn't long for the world, but I am glad that editorial was willing to give Parker and Red She-Hulk a shot. The 'Route 616" arc has been a fascinating story, and one that I'm sorry won't continue immediately. I'd personally like to see the team of Tesla, Jennifer Walters, Machine Man, Man-Thing and Betty Ross again, even though Marvel's current publishing strategy wouldn't really allow it. There's too much emphasis on getting the NEXT BIG THING out the door, with books like this serving as bin-filling loss-leaders that will be ignored and forgotten in a year or three. (Remember The Loners? Avengers Initiative? Even the Agents of Atlas?) Still, though, Red She Hulk #67 wraps up the arc and the series on a very high note, with multiple artists delivering a seamless whole, and justifies its odd rationale with excellent story.
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Most of the books in the New DC have been about relaunching existing properties, and retooling characters who never quite caught on, but this book is one of the first to take an entirely new concept and run with it. Tonally, it reminds me of Tony Isabella's runs on 'Black Lightning' in the 70s and the 90s, with a world that clearly has superhumans in it, but still has the same ills and the same human problems regardless. The Movement #3 is a good book, one that seems to be getting tied to a political POV more than the actual content would seem to warrant, delivering thought-provoking action that doesn't feel overly familiar to me.
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All in all, it's a decent chunk of story for 99 cents, and delivers on it's promise of a new kind of comic experience. While I'm not ready to trade in all my comics for an iPad, it's an interesting experience that doesn't try to transfer existing pages into a Frankenstein's "motion comic" as Marvel tried to do a few years ago. Batman '66 #1 delivers on the promise of a meaningful continuation of the 60s camp television show, as well as the promise of something entirely new in comic terms.
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Geoff Johns has done a lot of good things for the DCU, but his usual M.O. (invert what you know about the hero in order to make a statement about them, something he's done with pretty much every character he's ever touched, ala Aquaman's terse declaration that "I don't talk to fish") doesn't work in the New 52, because there aren't decades of established continuity to play against. This issue switches back and forth from awkward fight-sequence to awkward exposition, with the most successful parts of the book coming in terms of character moments for Stargirl and Trevor. Justice League Of America #5 isn't the compelling origin story wrapup that this book needs to hold it's diverse and unlikely cast together, and Booth's art makes it unappealing to look at for me as well.
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I'm not a heavy-duty X-Men reader, but my relatively rudimentary knowledge of continuity gave this book just enough heft that it doesn't feel like the characters are buried in the old stuff to the point where the comic doesn't make sense. This issue lacks some of the charm of Uncanny X-Force (probably due to a lack of Puck) or the complex lunacy that is Uncanny Avengers, but it's a solid comic story with some extremely lovely art, even if it's not a story that compels me to come back next issue in a buying frenzy.
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All in all, it's a slightly confusing issue for me, as I haven't read anything of the new Batwing, I didn't get the issue where Booster arrived in the past, and I haven't read enough Batman to know if the new Gotham is really this bad of a hive of scum and villainy. It's a fine looking issue, and I enjoyed the reading of it, but it's not a book that I expect I'll be raving over in a week or three. Moritat does very good work with the art here, and his horrifying Gotham cityscape is pretty excellent, but the Booster part of the story passed quickly, leaving Hex in a strange predicament that nonethless feels familiar.
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Experimentation with the form in a mainstream superhero comic has become more commonplace, but a perfectly effective and successful experiment is something of a rare beast indeed. Treating the dog as the hero of his own story is a simple, but brilliant idea, and the execution from the creative team pushes it into perfect single issue territory. Hawkeye #11 is a delight, with hidden depths in its seeming simplicity, making me think that Fraction, Aja and company (particularly letterer Chris Eliopoulos, who makes Lucky's perspective concrete with his amazing design/production work) can do pretty much anything.
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This book is an odd one, both stylistically and in terms of the story being told, and to be honest, I don't expect it to be a permanent addition to the New Fifty-However-Many-It-Is-Now. That said, I like that it's not just another superhero title or Wildstorm revival, and kind of want it to succeed just because it's such an odd book, reviving an even odder one from a time when superheroes weren't the only thing in comics. Though flawed in places, The Green Team " Teen Trillionaires #2 makes for a decent read, and gets enough right to end up being an above-average comic.
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It's still a book that's preoccupied with matters erotic, but there's a lot of interesting places Simon's story could end up going. I just hope that it'll start getting there, soon"
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Even when it's bad, Invincible is a strong title, and Kirkman still has enough credit earned that I'm continuing with the title, but I'm not really feeling this one. I like the reveal of William and Rick's seemingly-impending nuptuals, and Angstrom Levy is one of the more visually distinct characters in this world, but I'm not looking forward to Eve's near future. (She's on a slippery slope of crying ineffectually or using her powers and injuring her child, neither of which is a plot that I particularly want to read about, especially since she's been a pretty badass superhero character in her own right. Invincible #103 is one of the periodic "catch-up-on-all-the-plot-points" breather issues, and it does it's job well, but it sets up for stories that I don't really want to read, and features some spectacularly dumb moves from our hero.
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Remender understands his drama, and Havok's recent revelation that he "doesn't even want to be called mutant anymore", drives a very interesting discussion between Rogue and the Scarlet Witch, with each hero effectively arguing pro or con of Alex's announcement, taking what could have been just another dumb strawman argument and making good points about the emotional power of names and such (an argument that seems more relevant than ever given this week's internet controversies.) Had there been a little bit more happening, this issue could easily have gone over the 4 star mark, but moments Wonder Man's exceptional confrontation with armed humans while explaining how he's a pacifist now felt almost preachy.
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In short, this "big finale" is nothing more than the setup for another new era, as so many of Marvel's event-comics have been before. There are some intriguing bits in here (like what may or may not happen to the Ultimate Universe, and the appearance of Richard Rider in the same panel as the Guardians of the Galaxy, making me wonder about his actual fate), but mostly it's a mish-mash of half a dozen big ideas that don't have a whole lot of connection to one another or to the reader. If you're interested in EVERYTHING that happens in the Marvel Universe, a big fan of Angela, or someone who likes big swathes of fighty-fighty, this is your book. For me, Age Of Ultron #10 is disappointing, albeit not unexpectedly so, and all its shocking reveals were pimped well ahead of time.
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Hickman's Avengers hasn't been getting blockbuster attention, something that I attribute to the publishing frequency of the book, as we're getting something like 3 issues per month. It's a shame, really, because this series is as transformative as his Fantastic Four was on a much larger scale that affects many more characters. Avengers #13 is a great issue, even with my complaints about its frequency, and absolutely deserves it's 4.5 out of 5 stars overall. This is the Avengers book I never knew I always wanted.
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In short, this is the kind of space-opera/hero story that doesn't get told anymore, harkening back to Starlin's Warlock, or the planet-spanning 70s Legion of Super-Heroes tales, and it ends better than I expected it to. The Hypernaturals #12 brings things to a satisfactory and logical close, while leaving room for additional stories, and makes me want to gather the whole series to be read all at once, earning 3.5 out of 5 stars overall. It's a shame that this book doesn't have a higher profile, as it's really quite well-done stuff"
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Along with a puzzling decision by Wolverine at the end, this issue left a very bad taste in my mouth, and reminds me that Marvel's current publishing strategy is one of volume. We're certain to see miniseries exploring and expanding the alternate futures seen in this issue and previous ones, which will give the depth and background to make the carnage seen at the beginning of this book meaningful. Unfortunately, there's none of that here, which makes even the shocking death of Iron Man seem like a meaningless fillip, while the conversation that sidetracks the second half of the issue feels like unproductive filler.
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There are a lot of comic concepts that pop up again and again, from the pro-active hero team to the government-sponsored unit to the group of young heroes fighting for a better tomorrow, but it's been a while since we've seen a street-level group like this, and I don't recall reading a book that plays with political realities this effectively since the 80s. All in all, The Movement #2 is a strong issue, building and improving on #1, offering silliness and sentiment, action and deep-thinkin', as well as a cast that is awesomely and unobtrusively diverse, something the New 52 could sorely use.
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ProsThe perfect introductory issue.A lovely callback to stories past.ConsThere are no cons.Shut up and read it.
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I'm kind of torn on this issue. On the one hand, I appreciate the level of detail and history that has gone into the world-building, and the way that this book clearly ties into the new Star Trek universe. On the other, I have to take issue with the series if it is only retelling the stories of the Original Series with more lensflare and snark, as part of the charm of the new version of Trek is it's willingness to vary from the traditional history of Kirk's Enterprise. In short, Star Trek #21 isn't quite all of a piece, with some lovely art, and nice storytelling techniques, but what feels a little bit like a lack of originality in the story they've chosen to deliver.
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All in all, this issue feels very routine, a standard outing for a bat-book, with some good art on board, and very little that makes me want to love the current Catwoman direction. Selena has some interesting moments confronting the Penguin (honestly, if there were more such scenes in the issue, would have merited a higher score) but spends entirely too much time openly stating her beliefs and plans rather than acting on them. Catwoman Annual #1 isn't a bad issue, but it doesn't stand out as unique in either art or script, falling entirely within the dotted lines of a standard Gotham City tale.
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The biggest hurdle in the issue comes in the question of the lettering/text issues, though, and Casey puts a new spin on the kind of territory seen before in 'Watchmen' and 'Wanted,' a world where the heroes have given up their tights, but still have the same issues and flaws that they did when they were fighting in the streets. Still, it's 3 issues in and the central conflict is still pretty remote, and while Simon Cooke is an interesting protagonist, he's not a particularly likeable one, which can be a problem. Sex #3 continues in an interesting vein, but much like Saturday-night Cinemax, it's hard to get the balance of story-to-softcore exactly right, making things feel a bit off, leaving the book with 3 out of 5 stars overall. Once we've wrung all the shock value out of the title and the sexy-sexy, though, I'm hoping that the core premise will still hold water...
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That last page left me with a chill, working perfectly within the scope of the book, but most importantly, giving us a believable reason for the villain of the piece to be there. The characters get their spotlight this time around, with more light shone on the new cloud-cuckoo-lander Captain Universe, as well as Hyperion, Thor and a lovely showcase for Spider-Man's new attitude. Avengers #12 works as a narrative, as well as a single issue, and has lovely art throughout, combining the Avengers we know with something new and different, successfully navigating tough waters to earn 4.5 out of 5 stars overall. If you're wondering what new ground can be sown after 50 years of the same characters, this book is the place for you...
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Hama's writing hasn't lost a beat, and the more sophisticated expectations of the current audience make this an even more brutal book than it was in the 80s. Focusing on a small team of Joes in a wonderfully detailed and created environment, it delivers action and a surprising punch in the gut, setting us up for a reckoning for Tep and Major Bludd. (I kind of want to see an all-out firefight, but that's probably not the best way to resolve these issues.) G.I. Joe - A Real American Hero #190 doesn't shy away from the realities of battle in a factionalized, terroristic world, but still keeps our heroes human and approachable (and very much soldiers) while making their stories a damn good read.
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There are rumors of a new Legion, based on/inspired by the new Justice League, which could be interesting, but also could be nothing but reversionist terribleness. In any case, it's long past time for some sort of meaningful action on the part of the ostensible heroes of the book, and perhaps one more sacrifice before we go... Perhaps Harmonia, who is both useless and infuriating? Legion of Super-Heroes #20 gets a couple of story-beats that I like, and at least a few characters get to be something other than victims, but overall it's still only rating 2 out of 5 stars overall. What's next for the LSH? Hopefully something a little less depressing...
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The pacing of this series has been utterly jacked since issue #1, with the first three issues containing a lot of meandering and mystery-building, leading to a pretty phenomenal couple of issues leading into this weird dystopian Avengers Of Future-Past world. There are some nice moments here, especially for Susan Storm, but overall the issue is filled with posturing and talky-talky the leads directly into a massive ultra-battle whose scope is hampered somewhat by a lack of consequences. Still, it's a good looking issue, with Brandon Peterson giving us some interesting alternate takes on characters we know and love, and even with weird pacing, there's some nice science-fiction stuff going on in the issue. Age Of Ultron #8 continues the inconsistency that has made this series such a difficult read, but delivers above-average work in a solid chapter.
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As far as things go, the dialogue is such that you can hear Ian Macwhozits and The CNN Guy reading the lines without much trouble, and Vader is his usual nasty self throughout. Artistically, things are strong, with spaceships, armor and mutated Sith all looking great, but the story just sort of meanders through a lethal day-in-the-life, and the worries we are supposed to have (Will the Empire get on it's feet? Is Vader in danger?) already have defined canonical answers, which leaves us with just another bit of EU story-telling. Darth Vader and The Ninth Assassin #2 isn't a bad story, and with other characters, could be a pretty good one, but is lacking in consequences because of the Star Wars universe.
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Short form? This is a good'n. Visually, the multiple pencillers and inkers deliver an issue that's consistent, well-rendered, and dramatic, especially in the design of the new villain and her partner. Most importantly, Gail Simone manages to follow-up the big media reveal last issue with the best overall package they've delivered since before 'Death Of The Family.' Batgirl #20 hits the spot, and scares the heck outta me.
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It's a mixed bag of an issue, featuring characters with new life in them (Puck and Psylocke) side-by-side with guys who I could have stood to see off-stage for a while longer (Fantomex and Bishop) and a pretty excellent art job throughout. Some of the talky-talky feels very retro to me, and the "small girl endangered as macguffin" annoys me, save for one fun moment at the end of the book, which leaves me in a quandary. As lovely as this all is, as fun as it is to see the new attitude of Puck, the return of Punk-Rock Storm, Psylocke being a wildcard jerk again, it's still a story that has been moving awfully slowly for me, and Fantomex has yet to be swirled into the story proper four issues into the run. Uncanny X-Force #4 doesn't quite stick the landing, but at least acquits itself stylishly, earning a mixed-to-positive reaction and 2.5 out of 5 stars overall.
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Long story short? I enjoyed this issue a lot, as it reminds me of what I always enjoyed about this world while not undermining the seriousness of the survivors' plight and the upcoming conflict with Negan. (It may help that the foul-mouthed jerk doesn't appear in the issue at all, and I kind of hope to see Maggie take him out as this storyline plays on.) The Walking Dead #110 does indeed rekindle my love affair with Kirkman's quirky world and the characters, and he takes great pains to play fair with even the goofiest elements of the story, but in the long run it's all about seeing Michonne's subtle grin, leaving the book with a well-earned 4 out of 5 stars overall... Now, if only the TV show can dig itself out of the pit that finale dug, I'll be another voice in the wilderness, crying "KIIIRKMAAAN!"
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As these teens devolve further into savagery, I have to admit that this series is overcoming the weaknesses inherent in the premise (or, to be fair, the weaknesses inherent in the MARKETING of the premise) and delivering some interesting character work. That said, it's slow going, and the pacing this issue isn't the best, focusing a lot on the flashback to make the climax carry enough emotional weight, but it's at least an interesting flashback, with a character whose decisions, however unpleasant, make sense in context. In short, Avengers Arena #9 was better than I expected, with art that works hard to show the characters' descent, and some really nice writing that conveys the volatile and contradictory teenage mind, earning a slightly surprised 3.5 out of 5 stars overall.
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The Ravagers #12 wraps things up logistically, but doesn't really give any emotional heft to things, and feeling more like a Marvel comic from 1993 than a DC book twenty years later has any business feeling.
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In short, if I Vampire had to go, I'm glad that they got to go in a manner that befits the title and the characters, and not in a panicked spasm of Top 300 sales reports and angry creator. (I'm looking at you, Static Shock.) I'm saddened to see it end, but like many quality Vertigo books before it, it wraps up nicely while leaving room for additional stories and appearances by at least SOME of the cast. I, Vampire #19 doesn't suck, which is a joke that I've held off making for months now, but since this is my last chance, I'm throwing it in, giving us a bittersweet close and 3.5 out of 5 stars overall. I hope to see more both from these creators and from this setting in DC's future output.
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Marvel NOW! has been quite successful for me, and even the misses are books that are creatively stretching for something exciting and unique, but this issue puts a solid cap on Young Avengers as my favorite book of the relaunch. (Hawkeye predates the NOW!, or else I'd have a fight in my cerebral cortex for that crown.) It's impossible to tell where the writer and the artist begin and end, and the story is not only exciting, it feels like a natural extension of things that have come before in various other books. (Amazingly, no one on this team is a new creation.) Young Avengers #4 hits the right notes, with amazing art, cultural reference that feel spot-on, historical comics references that work, and a nice ensemble of characters with just a hint of bastardry, earning a dead-solid 5 out of 5 stars overall. You should definitely be reading this book if you like your comics fun, frenetic and oh-so-very-pretty, folks...
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Is this an interesting story? It has glimmers of it, and I think that, separate of the Watchmen trappings it could easily be a fascinating tale, but the depressing ending makes explicit things that should have stayed shadowed, and shadows that which needs serious clarification, all the while serving as a less-interesting side-story to a book that I really enjoyed back in the day. Before Watchmen - Comedian #6 even makes it hard to understand what happens in the pivotal scenes, leaving me cold no matter how good Jones art is (and it is pretty good) earning a severely conflicted 1.5 out of 5 stars overall. That the final BW issue released would be so ill-advised seems to be emblematic of the series' overall failure, something that makes me sad but does not really surprise me...
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Marvel NOW! may be strangely punctuated, but there's a lot to love, and a clear commitment to quality that shows in this issue. The writing is good, the adventure is adventurous, and the funny stuff is actually funny, but I also find myself appreciating and even understanding the Deadpool fans of the world. This book makes me want to read more Deadpool, and may even have launched him into my pull list, pending review of finances. Deadpool #8 rocks the house, mixing our hero up in something weird, but keeping it approachable, and most of all entertaining as hell, earning 4 out of 5 stars overall. If you've ever wondered what makes a good Deadpool book, I'd say you want to check this one out...
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All in all, it's an interesting read, but the weaknesses of the artist work against some of the story points, as there are some unclear moments during the Celestial attack that don't make any sense at all, and a lot of dramatic moments that would be much stronger under a more adaptable artist. Iron Man #8 isn't as good as it could have been, but it (and the entire Marvel NOW! Iron Man relaunch) is better than I expected, earning 3 out of 5 stars overall. A little more Death's Head wouldn't have hurt this issue at all...
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After the first four issues of this book amounted to little more than a decompressed prologue, I was surprised that last issue was as enjoyable as it was. It was still overly talky and full of plot-point-necessary stalling, but it set up something different than what we'd seen in previous world-spanning crossovers. Age Of Ultron #6 is likewise an improvement, with Pacheco and Peterson both delivering work superior to Bryan Hitch's first couple of issues, while Bendis manages to surprise more than once, delivering a decent reading experience, earning 3 out of 5 stars overall. More and more, I'm starting to wonder if this series isn't going reboot part of the Marvel chronology to better support the Marvel NOW! initiative, but either way, the book is improving...
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I haven't found all the issues of D-CUP fascinating (although Black Lightning/Blue Devil had some, mostly untapped, potential) but this one was a step down from even the dullest moment of Challengers of the Unknown. I have a sneaking suspicion that this story was written as another set of backups for Beowulf, but all in all, there is nothing here that makes me want to buy the issue, or makes it feel like a proper last ish, even for an anthology book. DC Universe Presents #19 feels like a sad inventory story, and while the art is pretty well-done throughout the book, it's never quite as solid or as inventive as the Jesus Saiz art from Beowulf's first New 52 outing, leading to a book that's both off-putting and unnecessary, earning a rather distressing 1.5 out of 5 stars overall. Sometimes, it's difficult not to fall into the expectation that DC editorial is flailing wildly around for a direction, with only the expectation that things be vicious and shocking as a touchstone...
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The problem with this character is, for me, the same problem that plagues Hal Jordan since his resurrection: It's hard to deliver the "Maverick" that you want without dipping into "Iceman" territory, and too often both characters are written as utterly cavalier and obnoxious in an attempt to make them seem edgy and cocky. Still, DeConnick delivers with plotting and dialogue that makes us Carol's invisible confidante, seeing her weaknesses and making her relatable while staying heroic. Captain Marvel #12 wasn't a giant revelation, but it was a solid issue creatively, and went a long way towards rehabbing my recurring dislike of Carol Danvers when written poorly.
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In short, this issue is a dark and off-putting middle chapter of a story that hasn't been particularly engaging, and serves to make me hope that we're actually going to get a new Legion status quo coming out of it. I wouldn't even mind if we have a protracted rebuilding period (something that might be a good idea if all the maybe-deaths are upgraded to actual deaths in upcoming issues) so long as we're rebuilding to something that feels fresher and more "Legiony." I'm just hoping that we aren't killing off dozens of decades-old superheroes just so that creative can construct their 7-Person "JLA" Legion, as the rumors would have it.
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All in all, this issue gives me the most mixed feelings of any Prisoner Of Time outing to date. The Fourth Doctor is visually okay, sort of, but none of the dialogue feels particularly true to the characters in play. Leela never looks even a little bit like Louise Jamison, and the use of modern "villains" in a context that feels very much like modern Who may be designed to appeal to the broadest possible audience, but it feels unfaithful to the old-school stories. Doctor Who " Prisoner Of Time #4 isn't a bad issue, but it is often awkward both visually and story-wise, and is just off-putting enough to drop its rating to something below average.
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All in all, Avengers #9 comprises a strong middle chapter of an ongoing story, and works both in terms of the art and the story, making for an above-average reading experience and earning 3.5 out of 5 stars overall. Once the whole arc is done, I can see readers going back and tearing these issues apart looking for the clues, hints and interactions that built to the final reveal.
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In short, we have a good but not great issue, where the art and dialogue outshine some problems of pacing, leading to an above-average comic book. The title page is also a hoot, featuring Misty and Val arguing with each other as they explain what has happened thus far, using the best part of the book to great advantage. With any luck, Hippolyta's character solidifies into something that's clearly not Wonder Woman, and we'll get past the need to explain all the bits and pieces of backstory and back to the fun interactions.
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Batgirl #19 is a good one, successfully navigating what could have been an awkward PSA moment in less-skilled hands, transitioning seamlessly into a satisfying confrontation that was much more than just the fighty-fighty.
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Batman And Robin #19 isn't a bad issue, but it neither delivers the moment teased by the cover, nor enough emotional resonance to keep the man character from feeling dangerously insane.
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Thanos Rising #1 is a puzzlement, with a lot of unanswered questions, but it is a good-looking comic with great coloring, and a strong story that doesn't quite fit the character.
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We still don't know when this is, but now that the story has finally started moving (and know that we know that Ultron's end-game involves time-travel) I'm a bit more forgiving this time around. The narrative flow is unusual, but Bendis manages to avoid some of his regular pitfalls in dialogue and plotting, even if there are still problems with both. The heroes utter hopelessness is demonstrated rather than just yackety-yacked about, which helps as well. Still, I don't understand quite how the characters were able to coordinate, although with Emma Frost in Cap's group, it'd be easy to explain it with a few lines of dialogue. Age Of Ultron #4 makes a drastic improvement over previous issues by actually doing something, and demonstrating the live-or-die stakes that the heroes face.
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The last panel of this issue says it all, with a dejected Animal Man standing alone on the plain where the tree of life that he used to access The Red used to stand. It's a stark and disturbing panel, a perfect dark and depressing end to an issue that sets out to break your heart in the most powerful way possible. As with any story-telling device, the loss of a child can be used terribly and awkwardly, and I hate it when it's haphazardly tossed in as an afterthought. Jeff Lemire uses Cliff's demise organically and powerfully, making it feel more real and horribly true-to-life than any comic death in recent memory.
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It's an interesting issue visually, as well, as we see The Black Bat taking to the streets using his newly found abilities, and we finally get the full-fledged team-up of Batman's antecedents in a lovely night-time fight sequence. Most of the rest of the issue is dedicated to skulking and fighty-fighty, with a fascinating moment wherein the Green Hornet reveals that The Shadow gave him tips on mind-clouding, while The Shadow references Doc Savage and even implies that he'd like to have the big man's assistance in their current mission. (They're infiltrating the Empire State Building, through the 86th floor...) All in all, it's a middle chapter, but a middle chapter that doesn't leave you wanting, even with no less than THREE cliffhangers, not counting the whereabouts of the almost-certainly-not-dead Richard "Spider" Wentworth.
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Savage Hawkman #18 is skillfully drawn in places, but derivative in terms of character, and plodding in terms of story.
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FF #5 continues the streak of utterly baffling but incredibly entertaining issues, playing with each character, the setting and the history of comics themselves.
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The last story alone, with it's almost effortless inversion and merciless deconstruction of the myths and carbuncles of time-travel would have me buying this book, but Simone's story is flat-out excellent, as is Lindelof's tale... Now that you mention it, there isn't a really bad story in the bunch, only ones that aren't quite up to the brilliance of the top contenders, leaving some serious kudos to DC/Vertigo. This is a book you should get, period. Time Warp #1 reminds me of the greats, with a little bit of Bradbury, a little bit of Serling, just a dash of Philip K. Dick and a whole heap of quality comic bookery, earning 4.5 out of 5 stars overall. Seriously, check this one out.
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In short, I expect that you may already have an expectation about this book: The art doesn't look "Marvely." It's a hipster book. It's slick and glib and blah blah blah fishcakes. All of that has a grain of truth, especially the part about it not seeming like a typical Marvel book, but there's a lot to love here, in a lovely well-designed little package, and if you let those expectations deter you from buying a book this good, you're doing yourself a huge disservice. Young Avengers #3 should be a must-buy for fans of 'Journey Into Mystery,' as well as fans of clear art and clever story-telling, earning a very strong 4 out of 5 stars overall.
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Legion of Super-Heroes #18 is a little too dependent on the legacy of the Great Darkness Saga for my tastes, but is at least a more interesting LSH story than Levitz has been delivering alone.
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Saga #11 is expertly written and drawn, and evokes strong emotions from me as a reader, while strengthening all of the characters with gentle but note-perfect character interactions.
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We get a glimpse of someone who seems to be our villain at the end of this issue, but as with one and two (and, honestly, as the structure of the series requires), we don't learn anything much yet. The Third Doctor and The Brig look like the late Pertwee and Courtney, and they get in some fighty-fighty that moves the blood a little, but it just doesn't feel like a Third Doctor tale, no matter how much I tried to squint and make it work. Next issue promises the adventures of the iconic Fourth Doctor, which will really be the make-or-break point for the Tiptons' anniversary story, and hopefully it's going to be uphill from there. Doctor Who - Prisoner Of Time #3 gets the main character mostly right but mires him in a quagmire of 70s imagery and dulled suspense, earning a disappointing 2 out of 5 stars overall. The real shame is, The Third Doctor was one of the more dynamic and action-oriented Doctors, making this story's dullness a double fault...
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In short, this issue does good work with the concept of a Batman shattered by loss. What undermines the issue comes from the shortcomings of the creative team, with Pat Gleason's Batman looking almost Judge-Dredd-like and grotesque throughout the issue. The sequences of him wrestling a monstrous tank-like Batmobile work in a bombastic way, but the emotional sequences fail under his pen. Likewise, Tomasi does a good job with the story here, but deciding that this should be an entirely silent issue puts additional strain on a plot that's pretty basic. All in all, though, Batman and Robin #18 acquits itself pretty well, even with the difficulty in grafting emotions onto the ultra-grim-and-gritty New 52 Batman.
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This issue really hits the meat of what I hoped and expected Crossed would be about five years ago: The lives of semi-normal people in completely abnormal circumstances. While the shock factor is there, most of the gore is left on the covers, something for which I'm thankful. The quirky trademark Ennis tough-guy squad is fun, and the fact that there are still children still alive in this world kind of fills me with hope. Crossed - Badlands #25 is a good story, well-drawn, and given the world the creators are playing in, a relatively serene episode of horror, earning 3 out of 5 stars overall. I can't say that I'll read this book every month (I also occasionally pick up "My Little Pony" and "Archie," and don't want to be on the list that buying all those books together would put me on) but I don't regret reading this issue, save for the disgustingly organic and gorny close-up of that primary cover.
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Age Of Ultron #2 gave me issues with plotting, with dialogue, with pacing and with art, and feels not only similar to the recent giant uber-crossovers, but to one of the most iconic story arcs in comic book history, leaving a taste like flat orange soda in my metaphorical mouth. There are some interesting threads here, but 20 percent of the way through the crossover, I'm just not feeling it"
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All in all, Earth-2 #10 is a strong issue, borne aloft on lovely art and free from at least some of the homogeny that is creeping into DC's increasingly angry and edgy comics output.
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Guardians of The Galaxy #.1 does what it set out to do, showing us enough to get us interested, filling in a few blanks, and resolving itself to showing us why we should want to read these characters and their adventures.
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Shadowman #5 makes me happy, reminding me of what I loved about the book 20 years ago without being a straight-up echo of nostalgia.
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If you can get past the visual flaws (like Stark's cell being a mostly-featureless empty room or the fact that the brief appearance of The Scarlet Witch and Hope Summers gives them identical pnuematic porn-star bodies), there's a lot to like here. Iron Man IN SPAAACE is something we haven't seen before, and the idea of Tony crossing paths with the renewed Guardians of The Galaxy, as promised by the solicits, is one that I wholeheartedly want to enjoy. It's just that art... Iron Man #7 reads well, is paced okay, and even has some excellent moments plotwise (as he fights off each opponenent, Tony is declared not guilty of another of the court's charges against him), but looks alternately bland and traced, earning a very conflicted 2.5 out of 5 stars overall. I can't help but wonder how kinetic and awesome the visuals for this issue could have been under the pen of previous artist Salvador Larrocca...
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It is clear from his performance (especially in the latest Christmas Special) that Matt Smith is taking some cues from the Second Doctor's interpretation of the character, which is something I greatly enjoy. Unfortunately, the creators use this influence in the wrong direction, with the Eleventh Doctor's influence creeping through this story to make it feel more like a Matt Smith issue than a Patrick Troughton issue. As The Doctor admires a nice fez, I chuckled a bit, but the character's actions just didn't feel 100% authentic to the Doctor of seasons 3 through 6 (and 6B.) I'm still on board with the overall concept of a multi-Doctor series, but this was a rather disappointing story for me, causing Doctor Who - Prisoner Of Time #2 to earn a middle-of-the-road 2.5 out of 5 stars overall. It's not a bad book (and the cover is quite striking) but it's not a particularly successful Second Doctor book...
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The death of 7-of-9 is handled pretty well here, with lots of stuff going on all around the Enterprise, and a pretty lovely character arc for Picard as well. There hasn't really been a whole lot of exploration of what happened during the Locutus incident (for instance, you have to wonder about Picard's lamenting his lack of children in 'Generations,' implying that his lost nephew means the end of the family line... What did they do to his body to make a lack of children such a certainty) during the show proper, and the friendship between the Picard and Annika feels not only natural, but perfectly in character for each. This issue wraps up things in a satisfying manner, leading Star Trek: The Next Generation: Hive #4 to earn 4 out of 5 stars (and 3 additional punctuation marks) overall. If you're even a casual Next Generation fan, you should really give this one a look...
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All in all, there's a lot to love here, in an issue that's packed with details, plot and cameos, and a nice cliff-hanger (no pun intended) to round it all off. Langridge revels in the Rocketeer's world, and Bone's art (while not at all what I expected) is pretty wonderful throughout the book. The Rocketeer - Hollywood Horror #1 has me ready to sign up for a full run by these creators, excelling on both the art and story front, and delivering on the fun that the Rocketeer is meant to entail, earning 4.5 out of 5 stars overall. I didn't make it all the way through the previous miniseries, 'Cargo of Doom', for reasons related more to time than to quality, but I won't be missing any issues this time around...
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After issue #1, I had some very high hopes for this book, that it would avoid both the traps of being a relaunched X-title and the excesses of its creators. While I still enjoyed this issue, there was a marked decline in my enjoyment this time around, both due to the establishment of familiar elements, a lot of exposition, and a general sense that the plot is in neutral for 20 pages. Even the expectation of next month's fighty-fighty feels a big familiar, given that this books spun out of a comic that was actually TITLED Avengers Vs. X-Men. In short, Uncanny X-Men #2 disappointed on multiple fronts, with the art slipping from last issue's strong start, and a veritable sea of Bendis dialogue to wade through, earning what I wish was much more than 2.5 out of 5 stars overall. It's still not a bad comic book, but it's not the book that I wanted to read coming out of #1, which is almost more disappointing than just having a blah comic book reading experience...
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Hellblazer #300 is a strong issue, on a par with the book's most recent run, with interesting art and some closure for the characters (if not the readers) earning 3.5 out of 5 stars overall. As much as I'm glad to see the New 52 meaning a higher profile for John, I'm saddened to see this book go away, as it was one of the last remnants of the great titles of the late 80s to get run through the chipper-shredder of the next big thing. Here's hoping 'Constantine' holds up that tradition"
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All in all, the new Nova's debut is good but not spectacular, explaining the change in uniform that was troubling some older fans (admittedly, myself included) but meandering quite a bit in the story being told. Had they not pinned down the past timeframe so precisely (or had Marvel NOW! been a traditional relaunch where the entire continuity is revealed to have shifted/changed) I think the issue would have been much more successful for me, but even taking that out of the equation, I'd have been more satisfied with some actual storytelling "meat" in this first issue. All in all, though, Nova #1 gets you interested in the protagonist (even if he seems pretty harsh and snippy right now), looks good artistically and doesn't leave me feeling angry like the last couple of projects Jeph has written, earning an above-average 3.5 out of 5 stars overall.
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Just based on the merits of this single issue, I'm not entirely sure what's going on with Suicide Squad in the New 52. Deadshot gets a sword through his chest, which is played as strategy somehow, Harley Quinn has something going on with her head, and nothing in the issue really explains who or what their goal is. Granted, I did not read the previous issue, which certainly contains at least some of those answers, but even given that caveat, there should be something more here than a tribute to kung-fu movies past. (Or, to be honest, a tribute to Tarentino's tributes to kung-fu movies past.) It's not a bad comic, just a rather derivative and uneventful one, with okay art and familiar story. Suicide Squad #17 just sort of is, a generic violent comic featuring generic death and deception, earning the generic comic's badge, 2 out of 5 stars overall. I do wonder what's up with the voices in Harley Quinn's head though...
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The art is always a treat with TWD, though, and a quiet conversation in the issue that discusses how making concessions with Negan and living without conflict, even under his thumb, is more like civilization than they've had in years. It's a fair point, and one that makes me hope that something other than another brutal murder is in the offing for this conflict. The Walking Dead #107 hits a couple of really sour notes, but still keeps the beat, earning a still-pretty-good 3 out of 5 stars overall. I'm a little tired of the blah-blah-blah and a LOT tired of Negan, but some attention to the supporting cast softened the blow of the bad bits"
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All in all, though, Bendis and Bachalo meld their styles VERY well in this issue, giving us an issue that reads smooth and looks pretty fabulous, and even pushes back any worries that you've seen the "All-New and All-Different" take on mutant teams many times before. Uncanny X-Men #1 gets us off and running with aplomb, and is a very successful re-imagining of the franchise.
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So, we run up against the underlying problem of All-New X-Men: When they run out of people to be shocked that they've come forward in time, then what? The characters aren't on a quest to get back home, and this issue shows their first attempts to bring themselves in line with current X-Men combat training programs, which implies some sort of long-term agenda, but I can't for the life of me tell you what it is. I like some of the concepts here, and the idea of being ostracized for something you haven't done yet is pretty compelling, but we're seven issues in and I just kind of want someone to DO something already. All-New X-Men #7 continues with a compelling premise, but moves awfully slowly and has some troublesome plot moments that cloud the story's success, earning 2.5 out of 5 stars overall. It's not a bad book, but it seems like once we get past "kids from the past in the future," there's no clear direction or goal for these characters...
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There's a lesson to be learned here about strawman arguments and the power of public opinion, but moreover, a lesson about giving new characters a chance to breathe. As someone who read and enjoyed O.M.A.C., Static Shock and JLI, this book (or at least this issue) ranks higher than my recollections of most of those books. Batwing #17 impressed me enough to make me wonder if I've missed anything in the previous issues, which will send me to the back issue bins and/or the TPB wall next time I'm at Gatekeeper, earning a strong 3.5 out of 5 stars overall. Reader darlings like Deadpool and Kyle Rayner had to start somewhere, and issues like these make me wonder if Batwing has it in him to be the next big thing, despite reader surprise...
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All in all, though, this is a strong issue of a fun title, a book that manages to balance adventure with some levity (something that DC might learn from) while making even the minor conflicts important within the confines of the characters' world (something that Marvel might likewise take note of.) Mudman #6 is above-average, really suffering only in comparison to previous issues of the title, but still putting in a good enough showing to snag a respectable 3 out of 5 stars overall. If you like Invincible, if you liked classic Lee/Ditko Spider-Man, or if you're looking for a comic that isn't entirely focused on the next big crossover/gimmick/event, I recommend this book highly...
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I'm kind of sad that my reception of this issue is as poor as it is, as I very much enjoy the work of all the creators involved, especially Ordway, but Gray & Palmiotti have done much better stuff than this in the pages of All-Star Western, Power Girl and such. Human Bomb #3 is kind of a disappointment, but at least the art is good, and I hope that they don't keep him in generic body armor throughout his whole career, earning a not-so-stellar 2 out of 5 stars overall. I hope that this is just a one-time blip on the radar, and that we'll get a full-speed Freedom Fighters revival made of pure awesome...
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First issues aren't easy, but this issue makes you forget that fact. We get some nice mythological background, lovely contrast in characters between the stately Valkyrie and the streetwise Misty, and art that's flat-out wonderful on every page. Short and sweet, Faithful Spoilerites, Fearless Defenders #1 is pretty cool from every angle, and I encourage you to seek this book out and enjoy its wonder for yourself, awarding it 4.5 out of 5 stars overall. (If you can get it, I recommend the Manara variant cover.)
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Green Lantern Corps Annual #1 is kind of a mess, with muddled plot, unremarkable art and an ending that isn't an ending at all, earning a very frustrating 1.5 out of 5 stars overall. There's nothing wrong with another massive war in space, nor with setting up Hal Jordan as the ultimate awesome guy of the whole universe, but this issue feels like it's spinning its wheels, which doesn't do justice to either concept"
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Things in the pacing department are a little bit odd for me, but this issue is still a clear sign that Marvel intends to take their not-a-relaunch seriously in terms of changing things up. There are echoes of The Authority here, yes, as well as a couple of other stories (including Gruenwald's old 'Squadron Supreme' and it's world-changing scope, ironically) but this isn't a carbon-copy of what has come before. A.I.M. comes across as intimidating and competent, the last page reveal promises more intrigue, and the art never dips below remarkable. All in all, Avengers #4 keeps up the streak, delivering another strong issue, albeit one going a bit slower than #1 or #2, but still holding my interest in the Avengers New World Order, earning 4 out of 5 stars overall. It's my favorite of the relaunched Avengers titles, and the only one that has solidly nailed the landing in showing us a whole new world for Earth's Mightiest...
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This issue is a very charming one for me, made even more so by the sight of a Mike Allred-drawn half-naked woman throughout the major action sequence, and the overall effect at the end of my reading is one of contentment. I don't know what's up with the future Torch, but I have enough faith in this creative team to be willing to sit back and enjoy the ride. Fraction makes different use of the Future Foundation kids than Hickman did, but in a very successful way anyway, and the return of Wyatt Wingfoot is a cheer-out-loud moment. FF #3 is a book that I suspect will be an acquired taste for some readers, but I love the art and find the writing to be charming and unique among the darker-and-edgier comics on the stands today, and award the book 4 out of 5 stars overall. If this book keeps it up, it could even eclipse the main Fantastic Four title in my good graces, a feat which would be impressive indeed...
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There are some problems here, and I still wonder if the story needed to be told, but this issue puts a bow on a very well-constructed mystery. More importantly, it adds more depth to the backstory of the Minutemen, one of the most fascinating parts of the original Watchmen tale. Will this every be essential reading the way the original series has become? Probably not, but Darwyn Cooke is a very talented creator, and makes a pretty strong piece out of what amounts to a collection of story scraps off Moore & Gibbons work-table. Before Watchmen: Minutemen #6 is a strong ending to a pretty good tale, and though it'll never be what the original was, it's still a very nicely executed book.
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The biggest problem with this story for me is the coyness about the timelines, with meta-jokes being played out about how long ago 1963 was when the characters can't really have been much further back than the Clinton administration, given their ages. (That's presuming that Cyclops was 15 or 16 at the founding of the X-Men and is over 30 now. If he's supposed to be in his late twenties, we're looking at more turn-of-the-century origins for the All-Old X-Men.) The problem certainly isn't insurmountable, and there's a lot of charm here to cover up any gaps in the timeline, as well as some very smooth art. Kitty and Wolverine playing mentor to the characters who were their senior back in the Claremont/Byrne days works quite well, and all in all, I stayed engaged throughout the book. All-New X-Men #6 is a head-scratcher in some ways, but it's an interesting take on the characters (even if I wonder when they'll press the reset button) earning 4 out of 5 stars overall.
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In short, this is a strong issue of a good title, and everyone who lamented and/or cheered at the annoucement of Gail's firing and re-hiring on this book should definitely pick up a copy to show DC just what kind of quality they've got on their hands. Batgirl #16 works as drama, as part of a crossover, as a single-issue, and features the amazing sight of hand-to-hand combat with a chainsaw involved, earning 4 out of 5 stars overall. If I could somehow guarantee that the rest of the crossover is of this quality, I'd even be interested in perusing the mainstream Batman titles...
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All in all, Guarding The Globe #5 hits a ground-rule double right down the middle for me, earning a solid 2.5 out of 5 stars overall. It's a good book that really wants to be a great book, but the troubling parts, while not torpedoing the whole issue, at least lowered the fun factor for me.
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Much like 'Wolverine: Origin' and 'Punisher: Born' a few years ago, it's a book with a built-in obsolescence, an expiration date that reads "Good until somebody says different." Still, that's not necessarily enough to overcome the parts that works, leaving The First X-Men #5 pulling a slightly-above average 3 out of 5 stars overall. I don't know that this tale really needed to be told, but at least they did a good job in the telling"
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The first problem that I had with the issue, actually, was the cover by Jae Lee. While I understand why people like his work, not every title is appropriate for his "endless-folds-of-fabric-on-weirdly-greasy-people" style, and that negative perception sets the issue off on bad footing. Admittedly, I love the old version of the Phantom Stranger, and I'm extremely uncomfortable with overtly Judeo-Christian elements in a world filled with demons, psychic monkeys and a dozen other concepts that mesh very oddly with the biblical themes. DeMatteis is responsible for dialoguing many books that I love, but this issue is filled with page after page of clunky exposition and melodramatic declarations, without anything really HAPPENING. The Phantom Stranger #4 doesn't look bad at all, but ends up being an awkward, predictable and dull read, earning 1.5 out of 5 stars overall.
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It's not a perfect issue, but it's a good one, and you have to appreciate the kind of madness that would lead to fusing these two properties in the first place. If you know nothing of the comic-book backstory of KISS, you learn what you need to learn here, and the visuals, while flawed, have moments of such utter brilliance that you almost forgive the artist for not being able to make Gene look like Gene. If you're looking for poetic narratives or inspiring insights into the human condition, you might be disappointed, but the book entertained me all the way through, it referenced previous books that I dearly love and even its worst points aren't a complete deal-breaker.
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All in all, the book does everything that a first issue should do: Introduces Morbius, defines his characters, shows us the backstory and puts him in a new circumstance where he can try to rebuild the life he lost to his bloodlust. Morbius The Living Vampire #1 looks good, reads well, and puts new life in one of Marvel's Bronze Age icons (the man made Peter Parker grow four extra arms, after all) earning an impressive 3.5 out of 5 stars overall. Spider-fans should definitely check this one out, but I don't expect that anybody will be particularly disappointed in this number one...
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I fully expect for the comments on this issue to contain some people lamenting my perceived descent into brony-hood while others laud me for finally getting on the bandwagon. Neither would be entirely on the mark, but I have to say, this issue works for me as both a single story and a chapter in an ongoing tale. We get more than enough context to appreciate who is whom, as well as clever interjections from the villainess to remind us of the stakes, while each hero is given enough uniqueness to differentiate, even if you can't hear the cartoon voices in your head. (It's pretty easy to do so, though.) All in all, My Little Pony: Friendship Is Magic #2 hits a sweet spot, delivering a fun story with good dialogue, excellent art, and enough grown up references to keep me entertained, earning 4 out of 5 stars overall. Best of all, once I'm done, I can give it to the daughter for her collection, as she has asked several times if the issue is for her...
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Idolized #4 doesn't quite get itself together, especially in contrast to the previous three issues, rushing to get the pieces in place for the endgame and damaging the overall narrative in its haste. I'll still be back for the finale, in the hopes that the overall narrative gets tied up in a satisfying manner, but this issue just doesn't quite gel as a single chapter"
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There seems to be some interesting potential here, although I'm unclear on the fate of Mulan Kato (the new female Kato, introduced by Kevin Smith at the debut of this book) or whether she was in the Hornet's Nest at all. I am interested in what happens next with the Hornet, but I'm not entirely sold on putting the book back on my pull list. Artistically, it's an okay issue, with Scowl's armored hornet-suit looked pretty cool and insectoid, but still very generic as a hero's costume. Facial expressions are pretty weak throughout the issue, and the super-heavy inks that Stephen attributes to Dynamite books are here in spades, and Gavrilov's facial deformity (presumably a scar) looks like somebody dumped pink jello on his head in most panels.
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This book reminds me of Silver Age Marvel books, telling a story that is wildand inventive without taking itself too seriously, and the team dynamic is an interesting one. I'm a little worried that She-Hulk might have to step in as leader, which would further undermine Ant-Man's confidence, but either way, we're in for a ride. Fraction and Allred mesh well together, and Mike's art has a subtlety to it (especially in the faces) that I'm not used to seeing. FF #2 does the trick for me, balancing the human with the superhuman, giving everyone something to do and even making me root for Ms. Thing, the sensational character find of 2012, earning 4 out of 5 stars overall. I'm now looking forward to Fantastic Four #3 to see what IS actually happening with the regular foursome, and whether there are any clues as to what the hell is going on in the last pages of this issue...
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Seriously, if you dig a story about a cool guy, you should read this book. The story of Hawkeye trying to be as awesome in his home life as he is at "work" is a compelling one, and its fascinating to see a superhero who really IS just a regular guy. (Batman, being a genius hyper-millionaire ninja, probably doesn't count.) Hawkeye #6 is another in a series of issues that are on-target, hitting the bullseye and other archery cliches as well, earning 5 out of 5 stars overall.This is the kind of seriesthat will be remembered years from now as a game-changer...
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There have been rumors this last couple of weeks that Sword of Sorcery may not be long for this wicked Earth, rumors which I find a little bit disheartening. There is as much quality in this book as in any of the standard hero titles, and I'd hate to see SoS go down while Grifter continues to trundle on like a hellish juggernaut of mediocrity. (See? I said there might be more tortured metaphrs and I delivered!) Amethyst's story is still a compelling one, and it features a couple of strong female characters, something that the New 52 (and comics in general) could afford more of. Sword of Sorcery #3is a good'n, delivering stories in a different genre than most of today's comics, using different tools and character tropes, but still bringing the enjoyment, earning 3.5 out of 5 stars overall. It looks great and reads smoothly... What more can you ask from your comic books?
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The biggest problem with this book isn't really with this book at all, it's with the concept of the series itself, in that after the two robot armies join up, there doesn't seem to be a place to go OTHER than fighty-fighty. They handle everyone reasonably well, and play with the continuity of both series ably, but don't really add anything entirely new to either mythos, and the cliffhanger ending rather annoys me for some reason. There aren't really any issues with the characters seeming or acting out of character, which is nice, and the "voice" of Eleven is well-done throughout the issue, something that I do like. Star Trek:The Next Generation/Doctor Who: Assimilation #8 is okay as a stand-alone issue, but the combined issues with art and story leave it as a slightly-below average comic book experience, especially at a 4 dollar price point.
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Uncanny X-Force #35 takes a group of characters that I generally can take or leave, puts them in a situation that is truly bizarre, and makes me care about them, wrapping things up in satisfactory fashion and earning 4 out of 5 stars overall. It's nice to see that no character is beyond having a good story told with them, no matter how over-played, overexposed or ill-advised, something that readers and creators alike should take note of"
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It's a rare story that manages to be completely unique and utterly familiar at the same time, but this (and frankly, EVERY) issue of Saga pulls off the trick. There's even a perfectly rational explanation for a costume change in this issue that works wonderfully and helps to define two of the main characters. I am flat-out jealous of how effortless this comic book seems, and how excellent the reader experience has been so far. Saga #8 continues its hitting streak, earning a well-deserve 5 out of 5 stars overall. I might lose my fanboy card for saying this, but this is a series that might even be better than the Star Wars tales that helped to inspire it.
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I have to be honest: I'm somewhat bugged by the bi-weekly frequency of the book, something that I hope doesn't last too long, but other than that, the issue brings the same thunder that #1 did without losing too much momentum. I'll be interested to see how (if at all) the upcoming moments of Peter Parker and Carol Danvers' books affect this story, and I think that the inclusion of Wolverine feels very much sales-driven, but overall #2 doesn't drop the ball that #1 so ably put into play. Avengers #2 looks good, reads well and has a lot of good character stuff to play with, earning a very nicely done 4 out of 5 stars overall. Assuming this first arc to be six issues long, I think we're precisely where we need to be at this point in the story, and Hickman seems to have a lot of arrows in his storytelling quiver for this big relaunch...
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The New DC has not been in any way shy about cancelling books that aren't quite gelling or selling, which makes me wonder about the continued publication of this title. This issue IS better than the #0 from a couple of months ago, but given that issue's gleeful recycling of 30 year old material traced from George Perez, that's only saying a little bit. All in all, though, it's not a train-wreck, as Koschei has some interesting aspects to his character, the Macguffin is at least believable, and Deathstroke, while pretty two-dimensional, is at least tolerable in this issue. Deathstroke #15 doesn't really hold up to heavy scrutiny, nor will it be held up as an example of shining storytelling circa the end of 2012 in the future, but it's better than I expected, earning a slightly-below-average 2 out of 5 stars overall. Given a compelling enough story, this creative team could probably deliver some good stuff, even with Deathstroke as the protagonist...
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This issue does what this comic does well, providing seriously drama and a couple of warranted and well-set-up moments of shock. It's difficult for me to choose whether the TV story or this version of events is superior, but when the book is this good, I don't even care about comparisons. The Walking Dead #105 keeps up a streak of strong issues with no filler, putting a familiar character in an unfamiliar place and delivering some good storytelling out of it, earning 4 out of 5 stars overall. I sure hope that this doesn't end up with what the wrestling fans call a "squash," because Carl deserves better.
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All in all, I was a bit surprised to find that this issue was still all build-up to where the team was heading, as I figured we'd have a time-jump to cover the actual departure from the Baxter Building (or wherever the team lives now.) All in all though, the issue works for me as it continues to build the tension about the trip, and what might possibly end up going wrong in their absence, and gives us character work for all EIGHT of the major players, a pretty impressive bit of business in itself. Fantastic Four #2 has a lot of talk, but doesn't fall apart on the job, serving as a showcase for art and dialogue, earning 4 out of 5 stars overall. If next issue is still prologue, though, I expect to feel a little bit of consternation...
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Some people hate it when I don't reveal every single detail of the story in a review, and I can certainly understand that, but the payoff here is so good that to try and explain/recap it would both undermine the coolness of the plotting, and ruin the book for you when you do go pick it up. Suffice to say that it's a rare moment that subverts and plays straight the spy-movie conceit, and it puts Hawkeye #5 in the same class as the first four, cementing the book as one of Marvel's best, earning it 4.5 out of 5 stars overall. I was a little concerned when last issue bucked the 'done-in-one' trend that had been playing out in Hawkeye, but I'm happy to say that Fraction, Pulido and company put that fear out to pasture with a quickness...
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All in all, this reminds me of the Grant Morrison relaunch of the Justice League in the 1990s, where the characters were treated as a pantheon of incredibly powerful types, each with their own strengths, and the focus was on the epic tales and legendary feats. Avengers #1 is at least different, and sometimes that's half the battle, but it's interesting enough to get me really wondering where ithings are going.
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In short? It's a stunt issue done right, where the guest character's presence enhances the story of our main character, and works within the reality presented. Kudos is also due to Dan Parent for delivering the message of tolerance and acceptance without turning it into a plot-hammer or making me feel like I'm being preached to. Kevin Keller #6 is well-drawn, well-written, and contains one of my favorite celebrity personalities, all the while managing to tell a cute and decently-crafted story without short-changing the underlying message (and vice versa) earning 4 out of 5 stars overall. These are good days to be a fan of Archie Comics, Faithful Spoilerites. (If only I could get my long-awaited full-bore awesome revival of Super-Teen... Can you hear me, Archie Comics?)
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Chew is one of those books that I drift in and out of from month to month, a pattern that I also follow with Fables and The Walking Dead, and I always get a great deal of pleasure out of each. (I also end up going back and re-reading all three books in order, though at the risk of being outed as a 'trade-waiter.') Chew #30 changes the game in a very heavy-duty way, pulling off a double-twist, and closing out the book with the secret origin of Caesar, done in a way that evokes Charles Schultz without undermining the sheer eye-popping horror of the central third of the book, earning 4.5 out of 5 stars overall. I've you're a lapsed Chew reader, pick up the last couple of issues with this one, and try to avoid spoilers before you do it. It'll be worth the trip...
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I know that Mike Allred's art is an acquired taste, but it perfectly fits the faux-retro vibe of this book, harkening back to (and even containing a shout-out to) the works of Lee & Kirby. Scott Lang proves himself to be smart and insightful, while each of the students explains their whole deal in a way that perfectly fits their character and leaves me relieved that the creative team aren't going to jettison all of the brilliant stuff that the previous team created that hasn't run its course yet. FF #1 is a quiet gem of a comic, with tons of character and a clear statement of purpose in its pages, falling down only in that it is a first issue and doesn't really get to do anything with the assembled players yet, earning 4.5 out of 5 stars overall. My fervent hope is that this book is the sleeper hit of Marvel Now and forces the company to slow down the "Next Big Thing" mentality in favor of letting their classic roster of characters simmer for a bit...
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Harbinger #6 surprises me, a long-time comic book fan knowledgable about previous Harbinger incarnations, and gives a very good accounting of itself, earning 4.5 out of 5 stars overall. The Valiant relaunch has been full of good stuff, but this issue may be their best to date...
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All in all, I'm excited to see these two characters, but not entirely on-board with this incarnation. There are a great many clichd elements to be had here, from both the crime-drama and magical-adventure genres, with the seeming intention that mashing up both story types will cover for them. I'm happy to see Black Lightning back in action, but I'd really like to see him looking (and acting) more unique, and this Blue Devil doesn't really touch on either the iconic "weirdness-magnet" or "regular-feller-in-demon-ranks" versions pre-Flashpoint. DC Universe Presents #14 isn't a bad comic, but needs a little bit of extra zing (be it in terms of the art improving or a big story-twist that I didn't see coming) to really launch it to a successful ongoing series.
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It's pretty simple by this point: Daredevil is on a list of monthly must-reads from Marvel, alongside Hawkeye and the late, lamented Defenders, and if you're not checking it out, I recommend it highly. Daredevil #20 takes a goofy old concept, turns it on its head and transforms it into something truly horrifying with seeming ease, earning a well-deserved 4 out of 5 stars overall.
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Having heard praise for this latest iteration of Transformers and its socio-political overtones, I was nonetheless afraid to pick it up, worrying that my 1985 movie-era frame-of-reference wouldn't give me enough context to enjoy the book. Transformers: More Than Meets The Eye #11 quickly undermined that worry, making me a little sad that I didn't jump in 11 issues ago, earning a better than average 3.5 out of 5 stars overall. Given that most of the "big names" of Transformers aren't present and that I missed nearly a year of story, I'm impressed as how strong and how approachable this book ended up being...
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Buffy The Vampire Slayer " Season 9 #15 doesn't ever grow out of it's awkward stage, and never fully gels in terms of storytelling (though the art is mostly acceptable), earning 2 out of 5 stars overall. Given the number of characters in the mythos who might have tied Billy's coming-of-age into the continuity (including the main character, who has flirted with bisexuality in the comics) and it just feels like an opportunity was missed here"
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Thing is, I really feel like The Avengers are being utter jerks here (which is probably the point), but I haven't quite gotten to the point where I'm trusting my protagonist's instincts yet. Her attack endangers hundreds, maybe THOUSANDS on innocents, and seems somewhat out of character based on her actions in the first half of the book. Luckily, I DO trust Jeff Parker's instincts after his previous work, and I'm still interested enough to keep reading this book. Artistically, it's pretty awesome (although the new Captain America helmet looks goofy as all hell) and the technological marvels of Machine Man have sold me on a series for him as well, preferably by this creative team. Red She-Hulk #59 is still above average work, though not as striking as last issue, and continues to strengthen the character past her less-than-impressive origins, earning 3.5 out of 5 stars overall. I'm also waiting to see how long it takes for the Alpha Flight cameo appearances...
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The simplest way for me to describe the effect of reading this issue? "Okay, that happened." The draw seems to be in seeing the 'Black Ops' characters of the current DCU in action earlier in their career, which I can understand. But aside from an okay take on Amanda Waller as the team's comptroller, they're all really bland and boring. Add to the fact that Grifter and Deathstroke are the stars of the most stultifyingly unpleasant current DCU books, and a lot of the steam is taking out of this one for me. I read the #0 issue and found it to be pretty much inoffensive, but this issue comes across as cliched, bland and over-rendered, leading Team 7 #2 to a less-than-ideal 1.5 out of 5 stars overall. If #3 shows up in my pile of back-issues to be boarded in a couple of months, I might flip through it, but nothing here compels me to buy this book, even if it serves as backstory for a new Eclipso crossover shmageggi...
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This one's easy: It's good, go get it. Fraction's magic (as seen in 'Immortal Iron Fist' and 'Hawkeye') is still working, and Bagley has brought his A-game (and a skilled inker in Mark Farmer) for an excellent 20-odd pages of art. Heck, the book even costs $2.99! Fantastic Four #1 probably wouldn't have been a number one if Marvel wasn't intent on rebranding with 'Marvel NOW!' to keep up with DC, but it picks up right where Jonathan Hickman left off, giving us strong characterization and new twists in the life of the first denizens of the Marvel Universe, earning 5 out of 5 stars overall. There's still plenty of life in these characters, and this issue is a perfect kick-off to a new era for the team.
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It's easy to dismiss a comic like Danger Girl as being nothing but inessential cheesecake, but to do so would be a huge disservice to a fun reading experience. The history of Danger Girl plays a part in this issue (though I don't know if it's in Abbey's "official" canon, presuming there even IS such a thing after her third publisher) as do bits and pieces of Joe lore, which makes the book fun for someone who is a casual fan of both Danger Girl's book and G.I. Joe's cartoon. (I'm a bit more hardcore about G.I. Joe comic continuity, but that's a very different beast, in most ways.) Danger Girl/G.I. Joe #4 sticks the landing, looks good and doesn't distract me with the female form (though mileage can certainly vary), earning 3 out of 5 stars overall. It's an above-average chapter of a book that wants only to entertain you, and what could be wrong with that?
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John Layman's writing is something I didn't expect from a Bat-book: It's fun. The little asides between Bruce and Damian, even in a sequence that I didn't think was necessary, were insightful and clever, while the whole book reads very smoothly. Jason Fabok's art is polished, but not showy, giving us a clear picture, solid storytelling, and a very attractive Poison Ivy without having to make her completely naked. (The transformation of Ivy into pin-up stripper has always bothered me, and it is something which I blame entirely on JIm Lee's circa 2004 redesign of the character.) In short, Detective Comics #14 reads well, is easy to step into, even without having read last ish, and uses Batman well, earning 3.5 out of 5 stars overall. If nothing else, Layman's take uses Batman's greatest weakness (his humanity) and makes it a strength without beating us over the head with his awesomeness or making him essentially superhuman himself, something I wholeheartedly appreciate.
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Avengers Academy #39 is ending before it wore out it's welcome, and has outlasted nearly every other artifact of Dark Reign.
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Ghosts #1 keeps up a long tradition of scary DC (which, though similar phonetically, is not the same as scary EC), smacking me in the head for missing it in the Previews catalog, earning an overwhelming 5 out of 5 stars overall. Don't let the price tag scare you, this book is worth every penny, and it more than triple-sized in terms of reading pleasure.
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I have to say, I have been a fan of Fraction's work on Iron Man, and I am very leery of what comes next (*coughGregLandtracescough*), but I'm happy to say that this issue serves as a nice bookend for all that Fraction and Larocca have done with the world of Iron Man. Things are put back in their proper places without a blatant use of the reset button (like the one in this month's issue of Avengers) and Tony Stark even gets to return to his feckless, womaizinag ways. Invincible Iron Man #527 serves as a send-off for the Golden Avenger's most engaging series in years, leaving me smiling, avoiding the bittersweet that often comes with these kind of endings, earning 4 out of 5 stars overall Here's hoping that Gillen and Land can keep up this sort of quality...
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From the very first page, this book is a nice reading experience, one which makes Barry Allen work as a character, and while there are callbacks to what has come before, none of them damage the issue for someone who hasn't been following the title regularly. Flash #13 stick the landing hard, re-imagining one of the more ludicrous villains of the Silver Age into a very intimidating threat for a new era, earning 4 out of 5 stars overall. Another issue of this caliber, and Flash will be back on my pull list for sure...
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Still, I'm mostly pleased with this story, as it returns the one founding Avenger with style and a normal sense of humor to the fold, and looks pretty good overall. Avengers #32 sticks the landing, even as it undoes another of Bendis' big changes to the Avengers status quo in preparation for a new creative team in this sandbox.
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Hawkeye #3 is a homerun, a hole-in-one, a sports metaphor #3, and it makes me not only LIKE the character of Hawkeye, but want to live through one of his adventures, earning 5 out of 5 stars overall. If you're not reading this, you're missing one of the best ongoings Marvel has to offer, bar none.
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This is fun. The use of "nunja" is itself worth the price of admission, but the thickening plot is well-handled, the art is awesome, and it's clear why our protagonists have teamed up: They need each other to balance out. Character-wise, I find this incarnation of the heroes to be superior to the original (where Archer was kind of annoying, to be honest) and Archer's use of fake curse words to express his frustration is a scream. Archer & Armstrong #3 keeps the streak intact, delivering an entertaining reading experience that's multi-layered and fun, earning 4.5 out of 5 stars overall.
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This issue is a weird experience for me, in that I kind of love the ideas of a disco super-villain returning in 2012, but minor issues with the continuity throw my enjoyment. The art is a hoot, though, with the imaginary villains looking truly amazing in their onslaught against Mr. Parker, and some lovely dialogue throughout the conflict. There's a 'Ryan Reynolds' joke, too, and a couple of swerves that are pretty satisfying, leaving the issue as a positive (if hard to temporally conceptualize) reading experience. Avenging Spider-Man #13 isn't really much for continuity, either Deadpool's or Spider-Man's, but it's still an entertaining bit of comic book storytelling, earning 3.5 out of 5 stars overall. I rather worry that Marvel Now! will kill whatever momentum and/or fun this book has going for it, but for now, it's a pretty cool little read...
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The first half of the issue is quite good, with some nice tension between the lead and the villain, some real worry for Batgirl's well-being, and the reveal of Knightfall's true identity. Batwoman's arrival works okay, but things are immediately awkward, as Batgirl herself says that Knightfall will easily buy her way out of prison. There's a couple of weird moments, and a very well-written climax undermined by sub-par art, leaving me with a mixed impression of the comic in question. Batgirl #13 makes me wonder if the artist had to rush the end a bit, but has some nice character moments for Barbara Gordon, even if they're undermined by deceptive trade dress on the cover, earning 3 out of 5 stars overall. I'm interested to see what happens with the promised Joker/Batgirl confrontations, though, and this is still my favorite of DC's monthly Bat-titles...
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As much as I'd like to see some more differentiation between this world and the world of New DCU Earth, this issue picks up the pace a bit, re-introducing Terry Sloan and name-checking Red Tornado and someone known as Captain Steel, but staying mostly on task with the battle against Grundy. The art is pretty amazing, even where Robinson's script bobbles the ball a little bit, and the arc is shaping up to something that could be very impressive. Earth-2 #5 has as it's greatest weakness the scope of introducing a whole new world of Wonders, but still keeps the focus enough to make somewhat familiar characters interesting, earning 3 out of 5 stars overall. I am starting to wonder whatever happened to Michael Holt, but things are at least interesting thus far.
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I'll admit it: I was kind of expecting a train-wreck full of deus ex machina this month. I was wrong, mostly (there's still a little bit of inexplicable 'return-to-status-quo' near the end of the issue, but that development is actually a couple of years overdue by my standards.) All in all, it doesn't disappoint as a single issue story, and doesn't lose the small moments entirely in the din of the giant guy in the hat screaming "CROSSOOOOOVER!!!!!" I agree with those who say that the death of Professor Xavier seemed tacked on to this whole crossover, but comparatively speaking this is an effective ending to the story being told. Avengers Vs. X-Men #12 avoids some of the bigger pitfalls, with some excellent dialogue and good work on art, earning 3.5 out of 5 stars overall.
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The art is very impressive this month, with Joe Bennett clearly going nuts in his depiction of Thanagar as a combination of medieval and futuristic elements, and Corsar as a winged-and-armored knight in his father's service makes for a really awesome series of panels. For all the talk about the relative merits of Rob Liefeld as an artist or writer, this issue is pretty good, and features some really fascinating insights into the mind of Hawkman and the society that formed him. Savage Hawkman #0 combines a lot of familiar elements into a framework that actually make me wonder if I shouldn't be reading the adventures of Hawkman every month, earning a quite-impressive 3 out of 5 stars overall. I'm going to have to check out #13 to see how this all plays out, and to verify whether this sort of quality will continue, but as a single issue reading experience, this one is good.
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The art in this issue is interesting in a kind of 60′s nouveau sort of way, and the likenesses (while inconsistent) are better than they might have been. This issue's depiction of Emma Peel, specifically, is superior to what we got in issue #0 and the Grant Morrison miniseries, and even when she doesn't quite look like Dame Diana, she still looks attractive with vivid facial expressions. When you boil it all down (perhaps to make a nice spot of tea?), Steed And Mrs. Peel #1 gets the job done in terms of art and dialogue, with the biggest flaws coming in terms of some odd plotting and a bit of ambiguity in the sequence of events, earning 3.5 out of 5 stars overall. I am a bit nonplussed to find that Mark Waid is credited merely with the story here, given how prominent he is in the advertising for this book, but overall it makes for an okay episode and a better-than-average single issue reading experience...
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This issue falls down on the action front, and even some cute character bits with Rory in Sickbay don't correct that imbalance. Worse still, the delicate balance of our leads is a bit wobbly as well, with Picard forced to play cabbage-head for the admittedly pretty-sort-of-marvelous Doctor.
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The story is a bit talky in the beginning, and ends at a point where we've seen the character a number of times before. (The Brightest Day-era Firestorm was also a composite of Jason and Ronnie, but to be fair to the creators, nobody read that mess all the way through.) The Fury Of Firestorm, The Nuclear Men #0 ends up as kind of a wash, doing a little bit of housekeeping before setting our hero(es) on a familiar path, earning a not-bad 2.5 out of 5 stars overall. It's an issue that seems aimed at those who have already been reading the book, though, and may not be the most accessible of Zero Month books as the proverbial jumping-on point.
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National Comics: Rose & Thorn #1 hits some buttons for me, triggering unpleasant connections and connotations, with a main character who is alternately too innocent and/or too freaky, earning a troubling 2 out of 5 stars overall. There was simply too much static in the channel for me to get fully engaged in the most enjoyable parts of this issue"
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There aren't a lot of writers whom I would trust with a lot of Victorian English, but Fialkov proves himself to be one of them with this issue, and the pacing of the story is very well-handled. There are breath-taking artistic moments every few pages, and the issue ends on a moment of true artistic awesomeness.
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Supergirl's re-debut was one of my favorite issues of the New 52 relaunch, partly because of the art and partly because she felt like she was a different character in this version of the DC Universe. Kara didn't just fall to Earth and get a big hug from Cousin Kal, instead facing confusion, rage and a language barrier before beating Superman senseless out of sheer frustration. Supergirl #0 is an interesting read, but feels a little bit thin as an issue, fleshing out bits of a story we've seen told a number of times, but still delivering a pretty good reading experience overall, earning 3.5 out of 5 stars overall. I'm still reading Supergirl's adventures, unlike the other two Kryptonian/Kryptonian-hybrid heroes, and hoping that the three-way crossover madness doesn't torpedo all the fun out of Kara's solo adventures...
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From a Superman perspective, this isn't really his story, nor is it the origin-story that the Zero Month premise seemed to promise. While Lara reveals that she is pregnant in the issue, this is mostly an exploration of the awesomeness of the El parents, and an impressive one at that. Jor-El is shown to be courageous, thoughtful, and a little less wild-eyed that in previous incarnations, while Lara flat-out kicks ass. Written this well, I might buy a Lara and Jor-El miniseries, as long as she gets top billing. (It always galled me that Mrs. Peel had to take a backseat to Steed, as well, since she did all the hard work, and in skin-tight fabric to boot.) Superman #0 is a shrewd book, knowing that the origin of Superman is pretty much fait accompli, and instead giving us a new take on Mama and Papa El that really intrigued and entertained me, earning 4 out of 5 stars overall.
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All in all, it's a nice solid Legion story, with some groundwork being laid for future events, giving us a little glimpse into the mind and past of the most mysterious Legionnaire. The art is fine work throughout the issue, and while I have a few quibbles (after all, this is a Legion book, and I'm known to have some opinions about that property) it's a successful overall issue.
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This type of book is always difficult to review, simply because there are five different creative teams, featuring five different casts with five wildly different tones, one of which features the work of Rob Liefeld and Marat Mychaels. For our five tales, my individual assessments go like this:
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The real problem with the issue is in it's anthology nature, and I think that both books would probably had stronger delivery of their first story if they were the standard 20 pages for $2.99, rather than splitting 30 between them. Sword Of Sorcery #0 is likeable enough, but I'm afraid that it will appeal mostly to fans of one of the characters (and, to be honest, I think only Amethyst really has any fans to speak of), one of the creators or the fantasy genre in general, but wasn't a bad reading experience overall, earning 3 out of 5 stars overall. I have to reserve judgement on both stories right now, due to how slight these tales are in this package, but both stories have well-done art and at least a germ of potential...
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The ultimate upshot of all this blah-blah-blah? This book is good. It's a good read, it understands that it has to give us new insights to offset the fact that they just told this tale a year or two ago, and it looks phenomenal to boot. Batwoman #0 is really sort of marvelous, delivering strong art, good emotional impact, and making the lead character awesome without resorting to "Can't armor my head" macho foolishness, earning a well-deserved 5 out of 5 stars overall. I just wish there were a higher profile for the character and her awesomeness, rather than having to exist in the metaphorical shadow of Barbara "Batgirl" Gordon...
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All in all, there's a lot of good stuff going on here, overcoming my biased expectations of what to expect from both a comic about a reality TV show, and from Aspen as a publisher. Idolized #2 keeps up the good work, delivering a story with a nice hook, avoiding some big pitfalls and delivering strong art throughout, earning 3.5 out of 5 stars overall. I have to say that I'm kind of impressed with the simple yet distinctive costume design that we see on the cover as well, as it's very hard to create a truly unique-looking character after 80 years of superhero hijinks, so kudos is due there as well...
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I am presently surprised to say that this issue was a good read, albeit one that felt a bit cramped, featuring four chapters with four levels of dream, that could have been allowed more space to breathe. From an art perspective, I was a bit more conflicted, as Deadpool looked pretty awesome, while Spider-Man was too Ditko-scrawny for my taste.
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I really found myself liking this issue, from both a writing and an art perspective. Tom DeFalco is an industry veteran whose experience serves him well, as this issue tells a tight story with well-balanced dialogue (save for the occasional awkward fake cursing, de rigeur for a Legion title anymore) and a nice twist at the end. Visually, it's a lovely issue as well, with good choreography and storytelling throughout. Legion Lost #0 even does something that no story in my memory ever has, explaining why a man from an alien planet would name himself after a terrestrial animal, earning a well-deserved 4.5 out of 5 stars overall. I was worried that a single character spotlight might damage Legion Lost by making somebody The Urkel, but this issue gives Timber Wolf some much-needed attention, and does it well.
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I'm intrigued by the re-imagining of Krypton as a boiling kettle full of tensions (kind of like the one seen in Alan Moore's story "The Man Who Has Everything") and the use of some existing old-school continuity about Krypton is nicely done. The idea of clones rising up is a bit shopworn, but it's visually appealing here (Kon the first reminds me in a very good way of early Jack Kirby O.M.A.C.) and at least consistent with the darker and edgier New 52. Superboy #0 gives a good accounting of itself, serving as a decent stand-alone while deepening some of the mystery around Superboy, earning a not-bad-at-all 3 out of 5 stars overall. I haven't been following this title on a regular basis, but there's a lot of good stuff here that makes me want to reassess that decision...
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I don't want to be harsh or cruel, but this issue was absolutely unnecessary. The promise of Deathstroke's origin was fulfilled, but that fulfillment was pretty much a retelling of a story from 1984 with a few new barnacles thrown on to make it feel different. The art was sub-par from top to bottom, and the best lines of the issue were written by Marv Wolfman and not the current creative team. Deathstroke #0 doesn't get the job done in either story or art, and while it might be of interest to fans of the artist or diehard fans of the character, but I wouldn't want to pay 3 dollars for it, earning a disappointed by not at all unexpected 1 out of 5 stars overall.
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From the beginning, it was clear that Cyclops was on a slippery slope, that somebody had to be consumed by the madness of the Phoenix, and that the battle pretty much couldn't have a twist ending like Civil War did. Now that we're here, it feels a little bit hollow, although a killer issue #12 with some real consequences might change my opinion of things. All in all, Marvel's reveal this morning did a disserve to me, at least, as I spent the issue knowing that Profesor X wouldn't make it, even as the story itself posited him as the last bastion against the Phoenix. Avengers Vs. X-Men #11 was less successful than previous issues, with a long stretch of overly talky part and a telegraphed ending, but still did well enough to earn 3 out of 5 stars overall. Both the art and story work about 75% of the time, for a slightly-above average reading experience...
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The point of a special jumping-on point like a zero issue is to convince new readers of what the series is about, but the best one-shots also give a little new information to reward those who have been reading all along. On that level, this issue is a success, and from a character standpoint, it's a good read. But it ends up being quite talky throughout, and no matter how good some of Merlin/Adam-One's dialogue is, there's just a little bit too much discussion and not enough actually happening for my taste. Still and all, Stormwatch #0 has reawakened my appreciation for this book, convincing me to drag out the first twelve issues and give them a re-read as Stormwatch launches into year two, earning 3.5 out of 5 stars overall. It's not perfect, but it's a pretty successful place to come into (or BACK into) the adventures of Stormwatch...
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Hawkeye #2 does what I thought was impossible, improving on #1 and deepening my fascination with the character and his new life, earning a full-on 5 out of 5 stars overall. There may be hope for mainstream Big Two superhero comics after all, if this series is any indication...
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Paul Levitz confounds me. Some of his work is hokey, retrograde and awful, while other stories are perfectly formed and amazing. This issue falls into the latter category, as Levitz and Maguire drag me into the raw emotion of Robin as she charges into danger to avenge her mother. Supergirl's characterization is retro in a good way, reminding me of the old days of Action Comics, while Huntress becomes a little bit more like dear old dad in a way that doesn't feel as ham-handed as many attempts to rip off recapture the magic of Batman's origin. This story is about the first interaction of two characters destined to become the Worlds' Finest team, and Worlds' Finest #0 makes it all work very well, earning 4.5 out of 5 stars overall.
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Powers #11 has to work a little too hard to clear the decks for my tastes, but does it with style and sets up the new series with an intriguing premise.
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Those who pay attention will note that Marvel first cancelled then un-cancelled this book (probably due to that Captain America sequel movie), and that it is now expected to survive after Ed Brubaker leaves the Captain America franchise in the near future. I'm somewhat torn about this, because I really want to love this book, but mostly find it a bit tedious. Had it launched at a point where Bucky had some character momentum behind him (say, three years ago) it could have been a huge hit, but after Fear Itself, even the most die-hard Bucky Barnes fans seem to be a bit gunshy. Winter Soldier #9 is kind of pedestrian, kind of predictable, but mostly just ill-advised, earning a disappointed 1.5 out of 5 stars overall. The concept behind this series ("What if there wasn't only one?") has legs, but the stories have yet to really do justice to the hook...
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The hardest parts of any comic book Avengers adaptation have routinely been the character dialogue and Emma's face. (At least, the hardest parts for ME as a reader, which could be showing off a bias of what I'm paying attention to in the comic.) This book gets both of those right, with Waid delivering strong interplay between the two leads (perhaps overplaying the quiet romantic vibe near the end, but quickly recovering) and Bryant getting the faces at least half right. For my money, Steed And Mrs. Peel #0 delivers most of the goods, and makes for a decent read, earning 3.5 out of 5 stars overall. It's not a perfect comic, but it's a good first issue, and shows, rather than tells, the reader what they need to know about our leads and their lives...
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With a clear Batman influence in her origin, the changes in her powers, and the "first act of an action movie setting up for revenge" plot, I'm kind of on the fence about this issue. I like the art, but part of me is still disappointed that it's not Amanda Conner's, while I just don't feel enough was made of Jennifer Knight in this issue, focusing instead on external factors and the injustices of her past. All in all, Phantom Lady #1 is an okay comic book, but not the bolt from the blue that I had hoped we were going to get, earning 3 out of 5 stars overall. I'm still withholding final judgement for the rest of the series, and this hasn't put me off the title, the issue left me a little bit disappointed overall...
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Matteo Scalera's art in this issue reminds me of Matt Wagner's work in the mid-80s, when he was in Grendel mode, and it works to great effect here. There are a few moments where the background scenes full of villains distracted me with a character that I couldn't identify, but the motorcycle chase between Hawkeye and Vengeance was action-movie goodness, and the anguish on Max Fury's face as he realizes that he's not human enough to trigger the weapon are first-rate work. Remender delivers a script that's fun, with just enough super-heroey stuff to keep it an Avengers title, but a big helping of spycraft and James Bond movie fun. Secret Avengers #30 has an interesting cast, some nice continuity stuff and decent fight sequences, overcoming the continuing degradation of Marvel's B-list-and-below villains, earning 4 out of 5 stars overall. Where's the love for guys like Constrictor, Crossfire and Firebrand?
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All in all, this issue is a pretty strong outing overall, with the cliched moments balanced by some very enjoyable work, and solid art throughout. I would have enjoyed a little more differentiation from the source material to make this more than 'Ocean's Eleven with costumes,' but in the long run, Ocean's Eleven with costumes makes for an okay issue.
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I'm a little surprised that Ross' celebrity status hasn't gotten this book coverage by the "mainstream" press, and I haven't heard all that much from within the comics industry about it, either (unless you count Twitter feeds.) There's a lot to like in this book, as it's starting to emerge from the shadow of 'Rising Stars' and 'Wildguard' to carve it's own niche in the superhero-as-celebrity subgenre. America's Got Powers #3 is building up steam for what I hope is a slam-bang conclusion, and manages to be both well-written and well-drawn without many people noticing, earning 4 out of 5 stars overall. This is a good book, and I think you should read it...
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When this title kicked off, I found the book better than I anticipated, and the character more approachable than in any incarnation since Alan Moore wrote WildCATs. That's still the case, although there seems to have been some creative drift in what that first issue seemed to be driving for (certainly due to the "editorial differences" that caused the writer change.) This issue has some issues for me, notably in the fact that there are many references to other stories that I'm unsure about. I don't know whether we're seeing hints as to what will happen next with the characters, echoes of Wildstorm, or perhaps both, but this issue at least gives us a proper ending and a climax worth the price of admission.
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This issue reminds me of the Archie stories of my youth, where everybody has a particular character quirk (Archie's smitten, Ronnie's vain, Juggie's disdainful, Betty is clinically insane) and the punchline comes at the end. Everybody laughs. Curtains. But I haven't read an Archie book this gorgeous since the heydey of Dan DeCarlo, with Gisele's art perfectly complimented by excellent inking and coloring. Archie #636 is a fun, frenetic bon-bon of an issue, setting out to entertain and doing so in fine fashion, earning 4.5 out of 5 stars overall. I wouldn't analyze it too deeply, just enjoy Valerie Brown looking like Kofi Kingston and have a soda...
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It's one thing to be influenced by a character, but this rendition of Captain Atom is pretty much a straight adaptation of Doctor Manhattan without the visible genitalia, and this issue does little to make the character stand out for me. This issue is the first of the wrap-ups to feel really rushed in it's exit, ending on a strange unresolved note (which I kind of hope will leave the character in play for another creative team.) Captain Atom #12 doesn't quite get it right with either story OR art, coming across as rather unfocused and not particularly engaging, even for an old fan of the Captain Atom character in both previous incarnations, earning a disappointed 1.5 out of 5 stars overall. As the Third Wave of the New 52 kicks off in the coming months, I just hope that the potential that Captain Atom has isn't forever lost in the shuffle...
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The biggest complaint about this issue that's NOT related to the choice of cover artists is the sudden way that the timeskip is sprung on the reader. We're watching Carol crash her plane, in a life or death struggle with gravity, when suddenly, BANG! It's 1943, and nothing we know is right. Did she crash? Is she hallucinating? Has there been an external force in play? We don't know, and while the rest of the issue is interesting, but the questions of what in the blue hell is going on never really leaves my mind. Still, Captain Marvel #2 looks great and makes the character appealing and approachable even in a strange land, earning 3.5 out of 5 stars overall. I'm happy to see Captain Marvel getting a good start, even as I'm leery of the cover-versus-interiors problem...
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The Negan problem is interesting to me. It's nice to see a character who is a match for Rick, but unlike standard superhero books, there's no real way to keep this interaction going in the long term. Negan has to be dealt with quickly or else he'll slide completely down the slope into cliche villainy (his dialogue during the murder last issue guaranteed that) but I'm wondering if the point here isn't how far Rick, Andrea and the others are going to slide trying to eliminate the threat. The Walking Dead #101 is a strong follow-up to last month's big anniversary, and will serve to entertain any new readers who just jumped on with the big One-Oh-Oh, earning 4.5 out of 5 stars overall. There are some moments in the issue that feel troublesomely incompletely, like our goodbye to Maggie, but I'm happier with going a little too quick than I am with the glacial pacing of the TV Season 2.
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This has been a pretty enjoyable crossover event for me, and there have been some very enjoyable moments throughout, including a couple that should have long-term, meaningful effects for the Marvel U. I truly hope that actually happens in the next couple of issues, but the Next Big Thing is already in motion at Marvel, and the solicits make it clear who wins and who loses the big picture game. Still, as someone said, it's the journey, not the destination that matters, and there's still a chance to make this trip unforgettable, if the creators have the guts to pull it off. Avengers Vs. X-Men #10 loses points in the dismount, but manages to pull of a couple of impressive moments, earning a still-impressive 3.5 out of 5 stars overall.
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Captain America & Iron Man #635 is a remarkable achievement, a book that I didn't even expect to pick up that has made itself a must-read, and I hope this creative team will be back next issue, as this one earns 4.5 out of 5 stars overall. I just wish that Captain America's current solo title was anywhere near this good.
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As a fan of Mike Allred, I have long been enamored of It! Girl in her role as supporting hero in Madman's adventures, and have found her to be one of the most well-rounded of the Atomics. Jamie Rich does lovely work here, without undermining any of Allred's characterization, showing It! Girl's view of characters we already know. Doctors Flem and Gale are perfect in character, but through It! Girl's eyes, they seem more manic and ominous than Madman's perception of them. While I didn't necessarily care for the bits with The Skunk, I do appreciate the deepening of the Snap City landscape, and a bit appearance by Mott (an alien from the planet Hoople) got a smile out of me. It! Girl And The Atomics #1 is a fine start for the book that the creator refers to as Madman's B.P.R.D., and even the parts that were troublesome weren't overwhelming, earning the issue a diverting and fun 3.5 out of 5 stars overall.
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The sad truth of the New 52 is that not every title is going to be a long-term prospect. As much as it pains me to say it, I pegged this book to be a questionable long-term concern from the get-go, and wasn't surprised by it's ending this soon. That said, it's kind of a shame that a character like this, with a writing team like this, couldn't quite pull together enough of an audience to break the previous volume's record of 28 issues. Resurrection Man #12 is a last issue that isn't a last issue, but moreover, it's a last issue that SHOULDN'T be a last issue if there was any justice in the world, earning 4 out of 5 stars overall.
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Justice League International was a pleasant enough comic, with nice art overall, and only occasional issues with dialogue/character, reminding me a bit of the old Superfriends cartoon and accompanying comic. My initial estimation of the book was that it was aimed at a younger reading group, and while that never really went away, I found myself engaged in what Jurgens and Lopresti were doing with this book, and the international cast of characters, once a staple of comics, is somewhat rarer these days.
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I expect that many people will dismiss this one out of hand due to it's sexual/quasi-pornographic nature, but I'd say that would be a mistake for some. There's a lot to like in this issue, if you're not bothered by graphic sex acts of all flavors, and I'm at least interested enough to see what this prequel has to offer, but I cannot stress enough the level of violence, weird mystical mojo and unusual carnal acts we're probably in for. This issue works for me on the strength of it's art and narrative, but even that is a qualified success, as I found myself surprised by the point where the issue ended. Black Kiss II #1 was tasked with setting up the world and the expectations of this prequel, and did so intriguingly, with attractively quirky art but an awkward chapter break worked against the issue, earning 3.5 out of 5 stars overall. Those of appropriate age and mindset will find enjoyable stuff here, but it ain't for the squeamish...
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The First X-Men #1 does a large part of it's job very well, positing the existence of a secret X-team before the previous secret X-team, and does so without yet creating problems in the timeline, earning 3.5 out of 5 stars overall. I may not be the target audience, but I can tell you that if you're avoiding this book sight unseen and you're an X-fan, you might be doing yourself a disservice, as it's an ably-done and mostly benign sort of retcon.
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This book is good. That's really all you need to know. Hawkeye #1 nails the execution, and hits the metaphorical bullseye (I'm sure I'm the only reviewer to think of THAT clever bon mot) for 5 out of 5 stars overall. It's a good looking comic, a great read, and there's not a giant cosmic war nor an epic standoff to be found, just a well-written character doing the right thing for the right reasons, and fighting the good fight. You won't regret reading this...
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I've been impressed with the execution of the main Avengers Vs. X-Men title, even as I've had some issues with the overall presentation of the crossover. This issue makes up for the frustrations of last, making epic cosmic fighty-fighty feel personal and approachable, and delivering a great sequence for Spider-Man that reminds me of his turn in Uncanny X-Men #190-191 back in the day. (He died in that issue, you might recall.) Avengers Vs. X-Men #9 is the reading equivalent of a Big Mac, with no big surprises, but a nice finish with a crisp hint of pickle, earning 4 out of 5 stars overall. You can (and I have) complained about the overall Avengers Vs. X-Men crossover, but these individual issues are pretty well-done. I'm kind of excited to see where all this sturm and drang is leading us, though...
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There's a tendency to dismiss Grimm Fairy Tales as nothing but girlie books, cheesecake comics without substance, but that assessment seems both harsh and unfair. Having read a smattering of these books, I was able to come into this anniversary issue with an idea of everyone's roles and the basic storyline was quickly and effectively explained in the first few pages. There were two separate blonde characters that I thought might be Alice from Wonderland, but that's less a comprehension issue and more of a contextual one, and the emotional punch of the ending isn't lessened by those minor issues. The dialogue tends toward the pedestrian, which effected my enjoyment somewhat, but overall Grimm Fairy Tales #75 is a good'n, earning 3.5 out of 5 stars overall. I was somewhat surprised to find that Belinda is deceased, which bears some back-issue exploration, and I am at least casually interested in what happens next...
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Sadly, thought J.G. Jones turns in another wonderful job with the art, the story pulls back too far, creating an alienation from the story for me, serving more as an analysis of the Vietnam conflict than as a single comic book issue. Before Watchmen: Comedian #2 is a disappointing experience after last issue's showing, with the real-world aspects overshadowing Eddie Blake's story to the detriment of the issue, earning 1.5 out of 5 stars overall. I'm hoping this to be a one-time aberration, but if you were waiting for the first Before Watchmen issue to really drop the ball, I'm afraid this is it...
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This issue left me pretty cold, sadly, with the character in overly familiar territory doing everything she can to keep from evolving or being an adult, even though she's got to be in her mid-20′s by now. (Wanna feel old? Think about this: Sarah Michelle Gellar is 35.) Buffy The Vampire Slayer Season 9 #11 meanders through a recycled plot, and while it's well-drawn, as always, nothing really happens in this issue, earning 1.5 out of 5 stars overall. I'm hoping that next issue will recover, and that this was just a one-issue slump, but I'm just not feeling this one...
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For all that Paul Levitz does well (little character bits, conversations, chunks of motivation), this issue fails in terms of how little actually happens in it, and a lack of setup for the betrayal moment leaving a large portion of the plot inexplicable. Frankly, what the Legion needs is more than one book, allowing the huge cast to breathe a bit more (and no, Legion Lost doesn't count) while giving Levitz more space to put his moments and side-bits in while keeping the plot flowing. Legion of Super-Heroes #11 looks great half the time, reads well about 2/3rds of the time, but has problems with both focus and follow-up that leave it at 2.5 out of 5 stars overall. As wonderful as it is to see old friends and new faces, this issue just didn't pull it together into a fully rounded reading experience...
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Coming into this title with a love of the original Harbinger series, I had mixed emotions about the relaunch. The creators clearly understand what was special about the original book, and respect that with what they're doing here. Using Harada (whose name has previously been shorthand for "nefarious") the way they are, playing up the worst-case scenarios of what Peter Stanchek's powers can do, Dysart and company effectively make this version of Harbinger their own while keeping this old-school fan happy. There's a lot going on here, and I can't say for sure whether they're inverting the series paradigm or just explaining it for the new reading generation, but either way, the book is a compelling read. Harbinger #2 keeps up my interest, advancing things more quickly than I expected, but wisely hasn't given away the whole game yet, earning 4 out of 5 stars overall.
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Avengers Vs. X-Men #8 is a good comic with some flaws, not quite up to the best of this series, but still above average in terms of reading enjoyment.
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There are two stories about two teams in this book, and only one of them really works for me, leaving me with the cumulative effect of channel-surfing on a Friday night.
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This issue has a lot of good things going for it, though I have to say that, while I enjoyed the events of the issue, the pacing seemed a bit off, as though there wasn't quite enough battle to fill out the issue, and the end of the fighty-fighty (while a great moment for Abby) felt a little bit forced, as if the story mandated the break, regardless of whether the moment was a natural one or not. Still and all, Swamp Thing #11 is an above-average issue, featuring lovely art from fill-in (?) artist Rudy, and a nice continuation of the story of The Rot, earning 3.5 out of 5 stars overall. Crossing over with the excellence of Animal Man makes me even more interested in the new adventures of Swamp Thing and Abby, and I have to say I LOVE her new haircut...
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Fraction continues to play with form and function, as the bottom of page messages (designed to reference the 1970′s Marvel comics) interact with the narrative in a very meta way, providing call-backs and answers, while the character balance of our heroes is once again fun, with Strange as leader, Surfer as heavy hitter, Iron Fist as lancer and Red She-Hulk performing the important service of being the cabbage-head, allowing the other heroes to naturally deliver the expository dialogue. Whether the Black Cat sticks around (I honestly hope she doesn't, but not because I don't dig her), Defenders #8 does the trick for me, doing interesting things with some lovely art (Here's hoping McKelvie is the new regular artist) and earning 4 out of 5 stars overall. This book is really hitting a nice stride, and I hope that the Next Big Thing doesn't destroy it's peculiar charm with too much Marvel NOW!
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I went into this issue expecting major repercussions, as Kirkman has been quite open that something horrible was going to happen in this issue. But even that expectation, combined with the previous 10 years of books, didn't prepare me for what we saw. In terms of blood-chilling scenes, they haven't been on this level since Lori and Rick's daughter died during the Governor's siege on the prison years ago. The Walking Dead #100 does deliver on the hype, leaving me shocked and saddened by the new status quo and dreading the next issue, earning 4 out of 5 stars overall.
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There are, in my experience, multiple kinds of James Robinson stories. There is the Robinson who created the sublime Starman, which takes cast-off bits of history and ephemera, and welds them into a seamless continuity which creates its own reality. And then, there's the Robinson who gave us 'Cry For Justice,' a tale which makes the Justice League alternately thuggish, unpleasant and useless, while killing the most sympathetic characters in what felt like a transparent bid for relevance. Thankfully, He-Man And The Masters Of The Universe #1 bears more resemblance to the first example, treating thirty years of backstory with respect, and positing a mystery about what in the world has happened in Eternia, earning a hopeful 3 out of 5 stars overall. If this book continues being this interesting, I'd welcome it becoming an ongoing series...
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Avengers Vs. X-Men Round 7 is what wrestling announcer Tazz would call a rocket-bus, hitting me with lots of action, desperate heroes trying desperate gambles, and intrigue, but fails to give me enough grounding or background to fully parse everything that happens.
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It should probably come as no surprise that this issue appeals to me, coming as it does from one of my favorite writers, and serving as a sequel to a story that I very much enjoyed when I discovered it in the mid-1980s. Infernal Man-Thing #1 may be buoyed by nostalgia, but the craft is strong, with some very peculiar and charming art from Nowlan and a story that reminds me of Gerber's strongest works, earning 4.5 out of 5 stars overall. This comic has made me want to dig out my old copies of Man-Thing Volume 1, including the much-giggled-over Giant-Size issues, and read through them again this weekend, which sounds like an excellent plan...
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My initial assessment that this would be my least favorite of the Before Watchmen project may have been a self-fulfilling prophecy, but that doesn't mean this issue is a bad one. Lee does some lovely work (especially the first two pages, where Adrian and Bubastis brood in the Fortress of Bastardtude) and all the pages featuring Miranda, and Len Wein gets the tone right enough that I believe this is the same Ozymandias seen in the original book. Some of his complexities seem to be smoothed down, and his matter-of-fact acceptance of violence throughout the book seem like the creators may be trying a bit hard to establish him as a man for whom the end always justified the means, but it's overall an interesting look into the mind of the character. Before Watchmen: Ozymandias #1 doesn't quite make me like it as much as the Silk Spectre or Comedian #1s, but it hangs together well enough to earn 3 out of 5 stars overall.
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Justice League #10 isn't perfect, but seems to be heading in a direction that won't be as alienating, and the Shazam backup is starting to pickup steam.
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This issue is well-written, well-drawn, and features two old friends doing the things they're good at: showing off and fighting, though not necessarily in that order. I don't even mind that Captain America has a new lady in his life, though I wonder what Sharon Carter might have to say about it. Captain America and Iron Man #633 is a surprise, a book that might make it back onto my pull list with regular performance like this, earning 4.5 out of 5 stars overall. I have been hearing good things about Cullen Bunn as a writer, but this issue makes all the good press make sense...
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I like Kick-Ass. I like Hit-Girl. I even liked the Kick-Ass movie, which inverted enough of the tropes to completely undermine a lot of what made the original book sing. But for some reason, this issue doesn't quite hit all cylinders for me. The parts of the book that are dedicated to Mindy work really well, and I enjoy the Red Mist (he hasn't yet taken on his other name) in a creepy "I think I know that guy" sort of way, but this first chapter hasn't quite sold me on the need for a bridge between Kick-Ass and Kick-Ass 2. Hit-Girl #1 isn't a bad issue by any means, but it captures a lot of the bombastic loudness of the original without as much of the charm and wit that made it stand out, earning a middle-of-the-road 2.5 out of 5 stars overall. It's not enough to sour me on the series, but it's a troubling start for a book that I have been looking forward to...
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There's a lot of hurry-up-and-wait in this issue, and I have problems with the pacing and the sheer amount of "Are you SERIOUS?" dialogue that we had to sit through on the way to some adventure. Bendis has a good ear for Spider-Man dialogue here, and I do enjoy Miles as a character, but the entire issue breaks down to "Conversation-Quick Battle-Conversation-BLAM!", which doesn't make the experience an entirely satisfying one at the end of the issue. Spider-Men #2 is cute, and as a chapter of the inevitable trade paperback for which it seems to be written, it does well enough, earning an above-average 3 out of 5 stars overall. It's interesting to watch the two Spider-Men play off one another, but there's not quite enough meat on this book's bones to make a superlative issue...
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All in all, this issue is one that I can dissect from the perspective of what I might have done, or what I think could have worked better, but the basics are all sound. The recurring blurry factor of the art doesn't go away (and is more noticeable on Amy Pond and Doctor Crusher), but it's a good-looking comic and there's a lot more explanation of Starfleet than we saw in IDW's other future-shock crossover, Star Trek/Legion of Super-Heroes, ever gave us. In short, Star Trek: The Next Generation/Doctor Who" Assimilation2 #2 gets the Star Trek right, has Riker in it, and doesn't bobble the Doctor, making for a successful issue and 3.5 out of 5 stars overall. Fingers crossed for a Fifth Doctor/Kira Nerys moment somewhere in this series...
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I honestly expected this book to be all hat and no cattle, but I have to say that I'm surprised. Unlike Civil War, which ended with a thud, the conflict between the X-Men and the Avengers seems to already have a clear victor, leaving me wondering what is going to happen next. The dark undertones of Cyclops and his compadres, combined with the Avengers discord, makes me think that things will be getting interesting in coming days. Avengers Vs. X-Men #6 is impressive work that might herald something entirely new, earning 4.5 out of 5 stars overall. I know it will likely fall apart in the end, but this issue makes the journey seem worth watching...
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Interestingly, Eddie Blake's story is rendered in a much-more photorealistic way than Silk Spectre's or Hollis Mason's, which fits the character well. The use of real historical figures (or at least the implication of them) makes the story feel more immediate for me, tying it to a specific place and time as successfully as Watchmen itself is locked into the mid-80s. The art throughout the issue is very well-done, with subtlety in detail (the appearance of a Joe DiMaggio autograph, for instance) and great facial expressions throughout the issue. Before Watchmen: The Comedian #1 continues DC's streak of well-crafted and thought-out issues, and even though part of me didn't think when this project was announced that these stories were necessary, I want to read more about Eddie Blake, as this issue earns 4.5 out of 5 stars overall.
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All in all, this issue looks good, although there are occasional issues involving scratchy art obscuring facial expressions, and it gets the job done in terms of telling you what you need to know. The pacing is a problem, though, and there are some stereotypical/wish-fulfillment issues with the plot as regards the kid in Tokyo with the super-hot girlfriend, the samurai training master and an idyllic life in another culture. The Crow #1 isn't a bad issue, just one with some flaws, and I'm at least interested enough to come back next time, leaving the book with a promising 2.5 out of 5 stars overall. It's a promising start, even if it doesn't quite match the lyricism and romantic imagery of O'Barr's original story...
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Reviewing an x-book is always difficult for me, as I have a fear of getting involved in a story and having it disappear into crossover madness or evaporate (X-Factor, X-Statix, Joss Whedon's run on this very title), leaving me with nothing but Iceman and Rogue. Treating Northstar as a character with history, bringing in his family AND Kyle's, addressing the strangeness of mutants and the attendees' questions about a gay wedding all leads to a book that could have been talky and boring. That bullet was dodged, though I'm not sure that I'll be back to find out what happens next issue with Karma and all, this is an enjoyable enough reading experience. Astonishing X-Men #51 is a commendable act by Marvel, one that I hope leads to a higher profile for Northstar (an under-used and great character in Marvel's vast library), earning 3.5 out of 5 stars overall.
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There is an upside and a downside to giant universal crossovers: Your favorite guy or gal is usually not left out, but with EVERYONE involved, they may not do much more than stand around for reaction shots (as happens with Valkyrie this issue.) The Avengers in this issue pointedly do NOT include several of the characters shown on the cover, and most of them don't have anything to do anyway. Avengers #27 is lovely to look at, but ultimately doesn't do much more than flesh out the background of a comic that came out several weeks ago, leading to a crossover-shell-shocked 2 out of 5 stars overall. Decompression and marketing have left this one signifying very little amongst the sound and fury of AvX.
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For all my worries about the Before Watchmen project, we're two issues in with two decent reading experiences under our belts. The fact that both issues feature a measure of Darwyn Cooke probably has a lot to do with that, but this issue is a nice reading experience, if completely unlike Minutemen #1. From an art perspective, it's an amazing experience, and it's truly nice to see younger versions of Sally and Laurie that LOOK like younger versions of the characters as drawn by Dave Gibbons, and the story is personal and painful as high-school drama always is. Before Watchmen: Silk Spectre #1 does its main character justice, reads well, and looks gorgeous, earning 4.5 out of 5 stars overall. I don't know how long they can keep this kind of quality up, but I'm enjoying the ride while they do...
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All in all, this book succeeds in reintroducing an old character to a new audience, and wouldn't be a bad place to start reading Pantha's adventures. The flaws of the story don't quite combine to overpower the events of the issue (though your views on Fanservice, violence and quasi-homophobia could certainly change that balance for you) and the coloring/production work doesn't overwhelm the linework it's adorning. In short, Pantha #1 gets the job done, hitting a solid ground-rule double and piquing my interest in what this book is going to be, earning an above-average 3 out of 5 stars overall. At the very least, this issue manages to be more than just suggestive costuming...
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All in all, while it's not a bad issue, it's certainly not an essential one. The characters whose title it is are side-tracked and over-whelmed by guest-stars, with core members Stryker and Mettle little more than cameoing in this issue, playing second fiddle to Hercules (which is understandable) and that naked blue girl from Generation Hope (which just flat isn't.) I'd rather have read an issue that was actually ABOUT these characters, rather than just happening around them, and the inappropriateness of the art to the story becomes more obvious with each page. Avengers Academy #31 suffers most in comparison to earlier issues of the title, coming across as talky, while sidelining the characters from the story (which you'll only find by reading AvX) earning a disappointed 2 out of 5 stars overall.
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Fraction's Iron Man has been a series of mysteries wrapped in intruiges dipped in tempura and fried golden brown, and this issue merely ups the ante. Both sides of this fight are playing high-speed chess, and by the end of the issue, it's unclear who is really ahead. What is clear, however, is that Invincible Iron Man #518 is a good read, and even though the solicitations tried to make a game of the man in the iron mask, it's clear and makes dramatic sense what happens, earning 4.5 out of 5 stars overall. This is an example of how to pull off a multi-issue arc well, with multiple plots and characters used to good effect throughout...
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Art-wise, the issue is fine, with nothing to complain about (other than Green Arrow's lack of a goatee, but that's just my old-guy hatred of change talking) and no problemic moments that took me out of the story. Unlike many who draw Green Arrow, Steve Kurth and Wayne Faucher at least understand the mechanics of drawing a bow, and while their robots were a bit generic, that seemed to be intentional for story purposes. All in all, it's an issue that, while flawed, drew my into Pauline's plight, and made me feel the hero's frustrations, which is an achievement by itself. Green Arrow #10 is a confusing but entertaining book, successful in conveying emotion, but a little puzzling as a whole, earning 3 out of 5 stars overall. It's good to see Nocenti back in mainstream comics, and I'm more interested in her Green Arrow than in the one who has been running about he DCU and DCnU since 2009 or so...
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This issue does well with the concepts in play, and I'm certainly not annoyed or disappointed by it, but there's nothing here that makes it feel like a crucial story to understanding the Black Widow. As with so many adaptations, it's the little touches that the actor brings to her role that make the cinematic Widow fun, and it's hard to translate those intangibles into comic art. They do an admirable job in making sure that this DOESN'T feel like an Avengers inventory story that they repurposed as a tie-in, which is nice, but it's a relatively run on the mill spy tale with a personal grudge subplot tacked on to it. The Avengers Prelude: Black Widow Strikes #3 has to serve more than one master, and ends up being neither fish nor fowl in a very inoffensive way, earning 2.5 out of 5 stars overall. In many ways, it's the ultimate example of a movie tie-in, designed to please fans of both the graphic and live-action Widow without irritation or unwanted questions...
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Before Watchmen: Minutemen #1 is interesting, mixing the new and the familiar in clever ways, and doesn't create any major contradictions or dissonance to Watchmen itself, earning 4.5 out of 5 stars overall. Certainly, if you feel the 12-issue original is sacrosanct and must not be trifled with, this isn't going to change your mind, but if you're able and willing to give BW: Minutemen a chance, it's good work.
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All in all, Earth-2 #2 is a good book, one which builds on the first issue's bombast with character work and brilliant art.
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A great many things are revealed in this issue, and it works both as a single issue and as a chapter in the ongoing narrative, while still maintaining some secrets for the 2nd and 3rd acts. The creators don't rage against the indignities of reality television, but they pointedly use all the criticisms of that medium to underline the brutal and dehumanizing conditions of our strange/familiar world. America's Got Powers #2 goes down smooth, playing with tropes but playing fair, and delivering a good reading experience, for 3.5 out of 5 stars overall. There are sci-fi, comics and young adult fiction bits floating around, but it's makes for an interesting goulash at the end...
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The most burning question of the issue comes from the cover: Why is Fairchild (who spends the whole issue bundled up like an eskimo, in her underwear on the cover? Is it merely to make her identifiable to fans who might not recognize her otherwise? Or just to display her formidable super-gazongas and move books? Spinning out of 'The Culling,' this issue seems to expect you to have read all that crossover as a compulsory to understanding, which works against the book, and nothing much really happens other than snarling and wholesale murder. Either way, The Ravagers #1 isn't even the example of the Bad Girl 90′s excesses that the cover might lead you to believe, it's just not a particularly interesting or well done comic, earning 1.5 out of 5 stars overall.
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All in all, Grimm Fairy Tales Presents Alice In Wonderland #6 finds its reach to exceed its grasp, shooting for epic tale of personal war and consequences and giving us only a fraction of that.
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As a Point One issue, I expected mostly flashbacks and retcons and such, as I found out in the first couple of .1"s, but this issue picks up the story and runs with it, serving as a jumping-on point while also working as a successful single issue. The scenes with the Orb are squicky as heck, and the sex scene (while thankfully mostly off-panel) has some unpleasantness to it, by design. Overall, though, the basic theme here is the inversion of roles for Banner and Hulk, and the ramifications thereof. Incredible Hulk #7.1 is a good one, even though I hate the bald Hulk and have issues with the art, earning an optimistic 3.5 out of 5 stars overall. I'm interested to see where this is heading, and hope to see more of the awesome Hulk portrayal from The Avengers movie, even if they're doing something different with the character...
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Captain America #12 is a disappointment for me, with sizable problems in both the art and story.
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Justice League Dark #9 is surprisingly good, channeling both classic superhero comics and the Vertigo mystique into a coherent agglomeration, earning 4 out of 5 stars overall. This is as good an issue of this comic as I've seen so far"
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Fantastic Four #606 is a lovely stand-alone issue, the kind of jumping-on point I like (as opposed to the clip-shows that generally show up in Marvel's Point-One initiative) and does it's job well, earning 4 out of 5 stars overall. It's good to see Marvel remembering that not everything has to be about universal consequences and massive crossover implications"
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I was not terrifically interested in the Omega Effect, mostly because I don't have a lot of use for the Punisher in the Marvel Universe. (To my mind, he works best without supernatural elements, but that's probably just me.) Daredevil #13 sets up big conflicts for both Daredevil and Murdock, gives us a couple of surprises, and nails the landing with what I hope to be major consequences for DD, earning 3.5 out of 5 stars overall. The Omega Drive storyline seems to be ending, but it's leading into something that could be epic for Daredevil and for the Marvel Universe, and the Man Without Fear continues to deliver stories that excite me for the first time in YEARS...
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Blue Beetle #9 isn't a bad book, just one that doesn't quite get it's act together, feeling like a middle chapter and earning 2.5 out of 5 stars overall. The art is okay throughout, and Jamie's embarrassed blurting that he's "not aroused, it's just the armor" were cute, but there's not quite enough "meat" to the proceedings to get the book much higher than an average grade.
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The most wonderful part of this issue is the quiet undertone that Uncle Jack may not actually believe his nephew to be worthy of the gig, but instead feels guilty for abandoning the family for so long, putting a new spin on the classic "Hero's Journey." The wide-screen brilliance of the opening sequence, gory as it is, really gets one's attention, and the final panel (Jack surrounded by armed Chinese soldiers, murmuring "Just give me two more seconds" as he hacks their computer network, is charming as all hell. I love the interactions between uncle and nephew, and the glimpses of spy training are brilliant in their aversion of many of the more ridiculous James Bond tropes. Secret Service #2 is fun and surprisingly emotionally engaging, with themes of family and growing up alongside a clever subversion of the intelligence game, earning a very strong 4 out of 5 stars overall. It's approachable, it's clever, and I like where it's going...
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There have been some startlingly dark and vicious moments in this incarnation of Wonder Woman, befitting a story based on the darkest corners of myth, and this issue's ending is well in keeping with that expectation. While I'm not entirely sure that hardcore WW fans will enjoy this story (if you love Linda Carter in spandex, for instance, you may have reservations) but the Vertigo fan in me is very entertained by this book. Regular artist Cliff Chiang is off this month, but the replacement team ably keeps the look of his work, and Azzarello keeps up his delightful use of wordplay and unreliable characters to keep things intriguing and nerve-wracking all at once. Wonder Woman #9 is a good'n, keeping up a run of good (albeit dark and mean-spirited) issues, and earning 4 out of 5 stars overall. In many ways, the biggest difficulty is trying to reconcile this Wonder Woman with the one appearing in Justice League every month...
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Things quickly devolve into madness this issue, as the concept of hero vs. hero is clearly the point of it all, and most of the other concerns are merely tangential. The arrival of the Phoenix will hopefully move the plot along (if the solicitations are to be believed, there are still some twists and reversals of fortune to be had in this book) but this issue feels much like treading water to me. Avengers Vs. X-Men #4 is exactly what it says on the package, characters opposing one another, fists flying and a few bits of character here and there, for a decidedly lukewarm 2 out of 5 stars overall.
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I think the most telling part of this issue comes in the fact that the 12 pages feel like a complete chapter of story, with some compact but effective character work, and a lot of intriguing questions raised throughout. All the kids' personalities are sketched out for us, and even though there's no actual combat in the issue, the artists still give us some nice action work during a touch football game, and each character has a unique and definitive face and body structure. The art is really good, and the coloring manages to channel the classic comic book look and feel without feeling flat or retro. New Crusaders #1 is an impressive start for the new adventures of old friends, nailing a classic all-ages superhero vibe without being childish or simple, earning 5 out of 5 stars overall. There's nothing not to like here...
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I've always had a problem with people who complain about "third-stringers" and "d-listers", as this issue proves that you can get amazing depth out of characters like minor-league Nick Fury villain The Fixer. This issue acts as a fitting tribute to the anniversary of the original T-bolts (a concept that was very appropriately named back in those dark Youngblood days) and it's nice to see the spiffy Mark Bagley cover to round out the nod to what has gone before. Thunderbolts #174 does several cool things all at once, on both the art and story front, serving as a nice capstone to what has gone before, earning 4 out of 5 stars overall.
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There are a lot of lovely parts of this issue, and the back story has a lot of emotional resonance, especially when the Talon finally explains her actions to Barbara, but overall there's just a bit too much mystery for my taste. Batgirl looks phenomenal, as Ardian Syaf delivers some excellent sequences throughout the issue, but things never quite come together as beautifully as the opening would have made me hope it could. Batgirl #9 is a good one, though, don't get me wrong, and it handles the crossover well (and ends with an effective gut-punch) earning 3.5 out of 5 stars overall. It has done what a good crossover needs to do, as well, sending me out to seek the rest of the Night Of The Owls and see what's up in Gotham...
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Marvel Zombies has become, to many, a punchline: The series that, like it's lumbering protagonists, keeps going long after it should have fallen to pieces. When MZ5 brought the team of Howard The Duck and Machine Man together, it was the equivalent of Power Man/Iron Fist back in the 70′s, an infusion of buddy comedy that pretty much meant the death of the cultural touchstones that created them. This book continues that trend, taking what we know and trying to up the ante just a little more to make it more awesomer. Marvel Zombies Destroy #1 is okay, but nowhere near the thunderbolt that Marvel Zombies #1 was back in '06, earning a diluted and overexposed 2 out of 5 stars overall...
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Fairest#3 is giving the main Fables title a run for its money as the best, most consistent title on the stands every month, hitting a home-run for 5 out of 5 stars overall. If you're looking for an entertaining read, look no further. If you want an alternative to superheroes, here's your alternative. If you want to see art so good it should be fattening, pig out" What else can I say?
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It's not a perfect kickoff for a new series, but this issue has some fun with the idea of a classic creator returning to somewhat familiar territory, and it's a great looking book from beginning to end. I'll be interested to see if this series is designed to remind us of what comics used to be like or to completely deconstruct the Bronze Age formula, but either way this first issue has earned enough goodwill for me to give my usual six-issue pickup guarantee. Trio #1 has a nice mix of retro and contemporary, nice art, and a character concept that I'm amused by, earning a well-done 3.5 out of 5 stars overall.
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The lineup of the Defenders is one of most fascinating in Marvel's current lineup (perhaps even in their history, although the New Fantastic Four had it's moments) and even though most of the heroes have decades behind them, there are still new moments to be had, as with this month's Iron Fist/Silver Surfer pairing. The art is on the money, while Fraction's story keeps the weird characters uniquely weird, doesn't neglect the characters' personal lives, but keeps the story moving. I know that Fat Cobra probably won't be joining the Defenders, but there's a tiny part of me that hopes he'll at least stay in the supporting cast, and I'm looking forward to seeing where this twisty-turny story goes. The Defenders #6 keeps bringing the good stuff, the weird stuff and the absolutely intriguing stuff, earning 4.5 out of 5 stars overall.
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The uneven nature of this issue is a real deal-breaker for me, as I wasn't particularly enamored with Men of War's resurrection of Sgt. Rock and "Oooh! Navy SEALS!" in the first place. I kind of enjoy Ariel Olivetti's work, but there's a stiffness to it that is a little off-putting. Still, the dinosaurs look great, and the unique color palette gives the "War That Time Forgot" story a nicely alien feel to it's alien setting. The flip-side comes with the Unknown Soldier's far-too-familiar storytelling, which creates the unpleasant experience of having to choose the Lady or the Tiger in my comic book. G.I. Combat #1 continues an old tradition of DC war comics, but doesn't quite hit the mark with this one, delivering two fragmented tales that fail to gel in different ways, earning 2 out of 5 stars overall. It's not a BAD start, just a halting one, and I hope that these non-superhero properties don't just fade away due to their lack of capes and tights...
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This issue is a great introduction to The Spider for new readers (or dilettantes like me), setting our stage, giving us his methods, his history and his fascinating world-view in the space of a single issue. It's not a traditionalist take on the character, but it seems to be a faithful update of the pulp hero, setting him firmly in the present and making him work in that setting. The art is beautiful throughout the issue, and The Spider himself looks phenomenal in action. I was worried about some of the cover images, as the red/black web motif made me worry that the creators were taking a bit too much from Wentworth's cultural offspring, Spider-Man, but the balance of this issue is just right. The Spider #1 hits all the right notes, and makes the rare jump straight into my pull list, earning 5 out of 5 stars overall, and serves as a perfect example of relaunch done right...
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All in all, this is successful both as a single issue and as a FIRST issue, clearly establishing our setting, our main character, the complications and pushing him towards his destiny as Iron Conan. The book doesn't rely on nostalgia or knowledge of previous takes on X-O Manowar, which I appreciate greatly, and enough attention is given to Aric the barbarian for us to care about him BEFORE his armors up. X-O Manowar #1 is nicely handled, both in terms of art and writing, and sets the stage for a new Valiant Universe, earning 4 out of 5 stars overall. Can Unity 2013 be far behind?
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First up: This issue manages to be ABOUT the X-Men, rather than just things happening around them, like Avengers #25. The character beats here are still between the pages of the larger crossover, but Juggolossus' revelations about his nature are a little shocking, while Namor remains his arrogant, cool self throughout. Even given the limited nature of Greg Land's art (if artists were 70′s animation studios, Land would be Filmation) the issue is visually appealing enough, but Gillen's script really makes things shine. Uncanny X-Men #11 is an example of how crossover issues don't have to be vapid repetitions of the same scenes, earning a better-than-expected 3.5 out of 5 stars overall.
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When I picked up this issue, I was worried that once the stories began, that we'd pretty much find the book to be either standard horror or standard war with only a namecheck of the other genre, but I was quite amused to find the two stories in the issue falling on different sides of that fence. Part One is a war movie with zombies, while part two is a zombie movie with soldiers. Well, sailors, but the basic conceit is the same. Nazi Zombies #2 is a melange of things that never quite manages to equal more than the sum of it's parts, earning 2.5 out of 5 stars overall. The art is nicely moody and delivers impressive machinery, though...
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I find myself somewhat torn about this issue. It serves as a very successful lead-in to our story, and the art is unlike most of what I see in the other Star Wars comics. The story is familiar, but takes a smart path through the garden of "Is he or isn't he?", and the closing sequence is pretty breath-taking art-wise. All in all, my biggest complaints come with the coloring (something that is prevalent across the industry), the timeline (a problem which is mostly mine, and doesn't really affect what's going on with the story), and a nagging suspicion that this is all just a bait and switch, which is a badge of the writer's success in pulling me into his world and it's events. Star Wars: Blood Ties: Boba Fett Is Dead #1 is mostly successful, making the world of Long, Long Ago immediate and relatable (albeit somewhat detrimental to the health of the : key of my laptop) earning 3.5 out of 5 stars overall.
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On most other levels, though, I have to say that the issue is a disappointment. Art-wise, nothing stands out as bad or wrong, and the Immonen portion of the book is well-crafted in it's farcical sub-aquatic glories, but I all transitory questions of that value pale to the realization that that the book is 20 pages of battle for $3.99, without even a "Previously" page to put it all in perspective. Sound and fury are both present, and the usual Shakespearian significance sadly applies. AVX: Versus #1 is, at best, a DVD extra, put forward and sold as a full episode in itself, earning both utter dismay and 1 out of 5 stars overall.
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I admit it, this title had started to sag a bit in the late-20′s, but things have been picking up nicely, and next issue has quite a vicious setup going for it. For a book whose basic premise ("What if Superman was bug$&@# crazy?") is so simple, the plotting has been dense and thick with twists and dodges, never going where you might expect it to go. This issue hits three separate big reveals, all foreshadowed in previous months, all game-changing, and does it with style. Irredeemable #36 is everything that a second-to-last issue should be, making me want next issue immediately, earning 4 out of 5 stars overall.
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My biggest complaint about the issues is specifically that matter of focus, that no matter how good the character confrontations are (and some are quite good, including a Doctor Strange/Magik moment that foreshadows a deeper clash), there's a lack of larger perspective for me. The fight is kept at super-close-up range, save for a few medium shots, and I think that I missed some information that might bridge #1 to #2 by not picking up the appropriate crossover. It's a stronger issue than I expected, though, and it is successful in an individual human level like no crossover since (for me, at least) Infinity Gauntlet. Avengers Vs. X-Men #2 is much more coherent than a book with this many writers has any right to be, and is an effective an issue-long fight scene as I ever recall reading, earning 3.5 out of 5 stars overall.
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This issue features some very strong writing (especially Menthor's last words, which old-school T.H.U.N.D.E.R. fans will tell you, tend to have that effect) and leaves things open for more Agents action in the near-future, but I'm disappointed that this book didn't catch fire the way I hoped it would. While certainly not standard superhero fare, Nick Spencer's T.H.U.N.D.E.R. Agents gave lots of food for thought, and was one of the more successful spy-type stories of recent years. This issue wraps everything up nicely, but I'm still disappointed to see it go. T.H.U.N.D.E.R. Agents #6 is well-done, and closes out this latest chapter of the weird and wacky history of T.H.U.N.D.E.R., earning 4 out of 5 stars overall. If only Professor Jennings had created a Wolverine helmet, or a nice Deadpool harness, or maybe a finger-worn color-based energy device... But, you can't spend your time longing for what might have been, can you?
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Justice League #8 has the unexpected effect of making me want to read more about Green Arrow, while making the lead characters come across as unsympathetic and unapproachable, earning a composite 2 out of 5 stars overall (much of which was earned by Shazam")
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The problem I have is that the issue was identified as an important AvX tie-in, with ramifications about Captain America's declaration of war, and we got literally a quick page and an issue-long flashback. As wonderful as it is to see Simonson's work in a full-length title (Thor was particularly well-served this issue), I have an unpleasant suspicion that we're in for the same thing we got during Secret Invasion: stories that are pretty much inessential background fodder for the big crossover book that I'm not entirely sure I want to read. This issue's attempt to deal with outstanding storylines feels inconsequential, and the use of the Avengers Vs. X-Men material feels forced and mercenary, leaving both parts of the story ill-served. Avengers #25 is neither fish nor fowl, and while it's a good looking book, it really doesn't have anything much to say, earning 1.5 out of 5 stars overall. I hope this isn't a harbinger of how AvX is gonna go...
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In short, this is a book that makes me wish I had run to the store on the Wednesday that #1 came out. (We sold out on day of release for Saga #1.) This issue isn't your standard comics fare, expertly written, and exquisitely drawn, and you're going to be sorry if you didn't buy it. Saga #2 nails execution, package and delivery, earning 5 out of 5 stars overall. I don't usually say this, but in this case, it's okay to believe the hype...
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All in all, there's nothing wrong with familiar, especially in television (where one of our primary storytellers made his name) and all the various elements play seamlessly as a well-oiled book. For any complications that come from Hitch's previous work, the action sequences are smooth and dynamic, and the overall effect from reading this title is very pleasant. America's Got Powers #1 is a true elevator pitch ("It's like The Hunger Games meets Heroes!"), but hybridizes well enough, and puts all the various elements together with skill, earning 3.5 out of 5 stars overall. I think this title has the potential to transcend the sum of it's parts, and I, for one, hope that it does...
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While Static's last ish was a pretty good standalone issue (and a not-bad issue #1, in many ways) this book suffers from 'everything but the kitchen sink' syndrome, as the writer clearly had a lot of things that he wanted to get in before transitioning Mister Terrific into the world of the Justice Society. The art feels somehow rushed throughout the issue, with a lot of squash-and-stretch anatomy and some really puzzling images of Mister Terrific's t-mask, and even the upbeat ending (which does have me looking forward to Earth-2) doesn't overcome the challenges laid upon the story's underpinnings by asking it to bear far too much weight. Mister Terrific #8 is hampered by having too much story to tell and not enough pages to do it in, earning a mixed-but-primarily-positive 2 out of 5 stars overall.
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he Boys Sixty-Five is a more-or-less successful blowoff to the Butcher/Homelander feud, not quite reaching my highest expectations, but still hitting the landing.
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Static Shock #8 is good, but it's a tragic case of too little, too late.
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Supreme #63 seems like the start of a bright, new era, and makes me think that there's still gas in the Ivory Icon's tank.
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Avengers Vs. X-Men #1 gets it's point across, starts the crossover off and explains the things that need explaining, and if I take away my worries and reservations about what it's exemplifying, it is crafted well enough to earn 3.5 out of 5 stars overall. There is more here than "And then they fight!", but how much more is still unclear"
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In short, The Walking Dead #95 is a strong bit of story with some real (you should excuse the expression) bite to it, but it also clearly reminds me why my preferred method of reading the book is six or eight issues at a time.
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The biggest worry that I had about this book from the very beginning was whether or not 12 issues would allow for enough development for 12 characters, especially given the amount of "screen time" allowed for the story's prime movers. With the exception of the inert Electro and the Laughing Mask (and possibly Mister E, who at least gets in an emotional moment near the end) all of our characters have something to do or say in this issue, and the ending answers a question that nobody realized was asked nearly 8 decades ago. The Twelve #11 reads well, looks great, and avoids the "wide-screen" smashing that I worried would wrap things up, earning a well-deserved 4 out of 5 stars overall. Next issue brings the series to a close, but I'm kind of hoping to see more of these guys in the greater Marvel U soon...
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This is a great example of how to tell an ongoing story while still crafting an enjoyable single issue reading experience.
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The past four issues were big, loud and dumb, as well as overpriced and overdesigned, and this issue was no exception. Hope's secret has been out for a while (I think even Bishop hinted at it), Cable's fate never really seemed to be up in the air, and the Avengers were pretty much spectators with a few tough-guy lines (Red Hulk's John Wayne routine about burning out the poison with fever is especially suspect to me.) Avengers: X-Sanction #4 comes across as a big money-grab with little to redeem it, not upsetting or offending, but simply boring the pants off me for 1 out of 5 stars overall. I had hoped the ending would give us at least some tension for the upcoming AvX crossover, but even that is absent here...
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The plot here is a decent first act of a big ol' Hollywood blockbuster, with both the good and bad aspects that would come with that. Mark Millar reportedly sold the movie rights to this book before it was written, and this issue seems clearly written as the beginning of that movie script. A lot of the plot, therefore, feels a bit familiar, especially to those who've seen the Ocean's 11 series, but the presence of super-powers may possibly create a gestalt of differing tropes that makes it something new and different. Supercrooks #1 hits a sweet spot when dealing with the super-villain main characters, but doesn't quite overcome the sum of it's parts, earning a nicely handled 3.5 out of 5 stars overall. I'm very interested to see where this all goes, and wondering what's up with the other colorful characters on the cover who don't appear in this issue...
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I've always loved The Thunderbolts, especially the original characters, and the presence of Songbird as a truly reformed super-villain has stood as one of the few things that Marvel editorial hasn't backslid on. Her turns as a future hero in Avengers Forever were intriguing, and it's good to see some definition for a 90′s character who isn't Deadpool. In short, this issue has great character developments, some lovely art, a nice focus on a favorite character, and the trademark Jeff Parker subtle-build-to-awesome moments, making for an excellent overall package. Thunderbolts #171 came out of nowhere to earn a VERY impressive 4.5 out of 5 stars overall, and officially bringing Thunderbolts back to the top of my Must-Read list. With Bagley returning as a collaborator on this book, it may be a new era of awesome for the 'Bolts, and you heard it here first...
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As with any licensed property, the first question I ask myself is, "Does this look like the people it's supposed to represent?" The answer here is "80% of the time", which is better than most licensed books, especially given that Amy Pond has a very strange quality to her beauty that the standard shortcuts of comic book facial structure don't really lend themselves to. The Doctor looks right, sounds right, Rory's good, and most importantly, it's not a story that reminds me of one of the OTHER Doctor Who stories in the last 50 years over half a dozen different media. Doctor Who #15 is the beginning of a beautiful friendship, and I promise that's the last one I'm going to put in, making the grade with 4 out of 5 stars overall. Fialkov has really taken the ball and run with it here, and I'm excited to see what happens in the final chapter...
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The biggest problem with this issue is that it keeps EVERYONE in the dark too much, with Cap, Tony Stark, The Falcon, Sharon and the reader all flailing to figure out what's going on with the plot. It's a gorgeously drawn issue, but there just wasn't enough meat to it justify $2.99, much less the $3.99 that Marvel inexplicably charges for this book, among others. Captain America #9 suffers from a bad case of "middle chapter" syndrome, but gets by on its charm and good looking art, earning 3.5 out of 5 stars overall. It will probably read better in trade, but, sadly, Bravo will still suck...
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The Huntress #6 is the capstone to a successful relaunch of the character, and sets her into an interesting status quo, earning 4 out of 5 stars overall. The art is phenomenal throughout the issue, and gives the whole issue a kinetic appeal that even the stumbly portions of script can't fully undermine"
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I am absolutely stunned that this book is already up to issue #26, as it seems like half an hour ago that we saw the solicits that said "First New X-Men #1 in twenty years!" Having enjoyed Uncanny X-Force and Wolverine and The X-Men recently, I admit that there are some strong X-titles out there, but this issue left me ambivalent. For my money, too much panel time was given to Raizo and his team being "jawsome" while the members of the titular team stood about and did very little. The team of Colossus and Warpath seems like an intriguing one, but their screen time was pretty much all sizzle and no steak, and while there is cool dialogue (for Deadpool in particular), it isn't universal, leading an exchange between Jubilee and Storm to have no teeth, you should excuse the expression. X-Men #26 has no clear mission statement for the team, a huge cast without a scorecard, and feels like the epitome of "middle-chapter", earning a lukewarm 2 out of 5 stars overall.
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The Shade #5 isn't quite as engaging as last issue, but still makes for an entertaining read, and looks phenomenal throughout.
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The Red Ten #2 has me convinced that I know who the killer is, but makes for a fun ride, and aside from a slightly over-agressive coloring job, reads smoothly, earning 3.5 out of 5 stars overall. I'm very interested to see where the story goes from here.
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I admit it: I am a mark for this series (and the female lead in particular), which means that I probably have a predisposition towards enjoyment of this issue, but it IS a good one, and it's not your standard superhero bombast, something I know Stephen appreciates. (That is, so long as the bombast doesn't have a scalloped cape, then he'll drink all the Kool-Aid you got.) All in all, the first run of this book came at a point where Eclipse Comics was on the way out, and Grant Morrison was just a little-known guy working for Vertigo. Steed And Mrs. Peel #2 is a pretty cool book, well-written and gorgeous, earning itself a lovely 5 out of 5 stars overall. I'm totally psyched to finally get to read the END of this story! Now, can somebody bring back The Liberty Project?
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Fantastic Four #603 continues to impress, emphasizing family at the same time as it gives us interstellar hand-to-hand combat.
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First and foremost, Philip Tan is a pretty good artist. As much as I'm not a fan of the newly-armored Hawkman look, he makes the helmet look pretty good and does a fine job throughout the issue with the character's wings, but the colorist works against him at every turn. In what I believe to be an effort to channel a horror movie vibe, the issue comes across as dark and muddy, undermining the story they want to tell. The issue isn't very good at explaining its plot points, either, careening from place to place but not effectively telling me why. Overall, I don't understand the motives of the villain or the hero, and the menace comes across as hackneyed (an effect multiplied by the pedestrian dialogue.) The Savage Hawkman #6 is a pretty dull affair, with story-telling problems that hinder my enjoyment of some interesting art, earning 1.5 out of 5 stars overall. I like Carter Hall, and think this incarnation has potential, but this issue just wasn't up to snuff...
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You should absolutely check this out. I'm not sure if Archie does TPB collections, but they really need to make an exception if you don't. The only thing this crossover was missing was a flexidisk with the soundtrack on it, like Billy & The Boingers had that one time. Archie #630 delivers the goods on all fronts, doesn't forget the second-stringers, and puts Kevin Keller in the makeup of The Fox, earning a darn-near perfect 4.5 out of 5 stars overall. You have to love a book like this, and the best part is, you can do it in a totally non-ironic way (seeing as the hipsters are the villains.)
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Though all three of the post-Fear-Itself point issues were awful, Thor probably got the worst of things, having his sacrifice seemingly nullified and his existence retconned by another guy, but this story has been quite interesting. Fraction's revitalization of dozens of Thor's supporting cast (using more than just Sif and the Warriors Three, in other words) builds on the big Thor relaunch of '06, and I really like the close ties to Iron Man's book. Next issue's blurb promises a confrontation between Thor and Tanarus (though covers do lie these days, I hope this one actually happens) and I'm kind of looking forward to that in spite of myself. The Mighty Thor #11 continues Thor's renaissance, earning a very strong 4 out of 5 stars overall. I sincerely hope that his jettisoning of his trademark headgear is a temporary thing, and not a concession to the fact that movie Thor doesn't wear one...
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This issue carries a palpable sense of impending doom, but I'm unclear if it's for Winter, for Therese, for both or neither. There is clearly some sort of machination going on, and the conspiracy of cardinal winds bears watching as well, as well as a seeming spy in the midst of the Mayor's attempts to rebuild Fabletown. All in all, this particular issue has a lot of developments in it that will bear fruit in future issues, but still manages to feel like an important chapter in the ongoing story. Fables #114 balances a lot of characters in several different settings, but never trips over itself or tries to be too clever, earning an always-excellent 4 out of 5 stars overall.
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The simple fact is, Brubaker still has good stories to tell with this character, and his ascension to and hard fall from the role of Captain America has only added depth to Bucky's fallen angel appeal. The use of the Black Widow is probably going to get harder and harder to justify, what with the new movie making her ubiquitous, but right now having James and Natalia as seemingly the only stable couple in the Marvel Universe makes their partnership even more entertaining. Winter Soldier #2 is a very strong follow-up to James Barnes' extended run as Captain America, delivering action, thrills and spycraft with some fine visuals, earning 4 out of 5 stars overall. I would say that, if you're holding the awfulness of the end of Fear Itself against this book, you're missing a pretty decent ride...
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Superboy #2 never really gains its footing, ricocheting from one fight to the next without a clear narrative, and stuffing a lot of exposition into a few pages, earning a fragmented 2 out of 5 stars overall. It's not a bad comic book, but it's just not a particularly cohesive one, either"
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You're welcome.
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Secret Avengers #22 is a textbook example of how you successfully relauncha property, building on what has gone before without trashing or disrespecting it, and setting up the whole new status quo with deceptive ease, earning 4.5 out of 5 stars overall. When your biggest complaint about this issue is that the awesome cover art and the awesome interior art are different kinds of awesome, you can be pretty sure the book is on the right track...
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The Ninjettes #1 doesn't quite stick the landing, but has a lot of potentially interesting things going on, earning a cautious 2.5 out of 5 stars overall. It'll be interesting to see whether this story can justify it's sexy sexy violence with enough character and plot to keep me reading"
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The creators of this book have managed to do something that a lot of first issues don't: Imbue their creations with character and life, and even thought Judith/Alpha Girl doesn't do a lot in this issue, I was interested enough to want to read more of her story. The fact that the end of the world is played with sardonic humor appeals to me, as does the deceptively simple art style. Alpha Girl #1 is a fun start to what could be a very interesting story, and even with a few disjointed transitions, tells the beginning of a story that I want to hear more of, earning 4 out of 5 stars overall for clear storytelling and striking character design. I'm liking what this seems to want to become, and will be back next issue for more...
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Villains For Hire #3 isn't bad, far from it, but it's not nearly as compelling as the first two, though it still brings the pain enough to earn 3 out of 5 stars overall. Next issue's big finale promises more of that, though, and the overall reading experience is a strong one.
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Tarot: Witch Of The Black Rose #72 isn't a perfect issue (and honestly, isn't really a Tarot issue at all) but has charms that help to ameliorate some dialgoue and fanservice issues.
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Archie #629 is slam-bang fun that seems to effortlessly leap all the hurdles to an awesome story.
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I've been hearing very good things about the recent 'Dark Archangel Saga' in this title, and found that this issue was a nice jumping-on point, not too engrossed in an arc, but obviously a story with something to say. The use of Wolverine and Deadpool here is very well-handled, and I have to say that I had forgotten how much I like see Nightcrawler in action. The use of the Captain Britain Corps ties in to the excellent stories that first gave us Psylocke, back before she was Asian or a ninja, and I'm wondering if we're going to get the full story on what happened between the end of 'Captain Britain And MI:13′ and this book. Overall, Uncanny X-Force #20 hits a lot of strong notes and impresses me across the board, earning 4 out of 5 stars overall.
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I have to say it, I'm pleasantly surprised by this issue. The first four sold out quickly at Gatekeeper Hobbies (Huntoon & Gage, Topeka, ask me about our Gold Key Trek back-issues!), so I didn't get to see whether they work, but I'm happy here. The changes to Jim Kirk's background are identified early in the issue, serving the double purpose of clearly explaining what's going on for those who don't know AND identifying the points of divergence for those of us who know Episode 29 backwards and forward. It's hard to review this issue without making it an overview of how well the re-imagined (my friend Dusty, a massive Trek fan, says I can't call it a reboot) Star Trek franchise works, but all in all? It's a good book. Star Trek #5 manages to balance the difficult task of retelling a forty-year old story in a new context with characters who may or may not be the same as they were in 1967, earning a well-crafted 4 out of 5 stars overall.
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Bomb Queen VII #2 has an interesting concept, and a rare example of a villain who still gets to be hardcore as the protagonist of the story, but the levels of squick, near-porn and the old ultra-violence are a bit high for me.
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Brilliant #2 is a fun ride for me, worth the addition dollar or so that the creator-owned status makes it cost.
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This issue does one thing well: It wraps up the Shadow Council (for NOW) while giving the core team (minus the "dead" Nova and AWOL Ant-Man) one last day in the sun before next issue brings in movie Avengers to get things in line with the coming corporate synergy. It's not as cynical and soulless as all that, as Ellis plays with his usual story-beats, but it is highly reminiscent of his Stormwatch reboot (especially the part about frozen superhumans in the basement) and the momentum doesn't quite carry all the way through the issue. Secret Avengers #21 is solidly put-together, delivering a slightly-above-average, somewhat flawed tale, with strong art and some nice dialogue, earning a middle-of-the-road 2.5 out of 5 stars overall. Though I expected to see the advent of the new Secret Avengers, the wrap-up of the old team wasn't disastrous or off-putting, even though the $3.99 price point is a bit inexplicable on this particular book...
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There's a lot more going for this issue than my review of the first one might have you believe, but when you boil it all down, this series (so far, anyway) has been nothing more than Cable putting the smack-down on a couple of Avengers. I can appreciate the impetus that would make you read the book, but I just can't justify the decision to spend 8 bucks (so far) on half-an-issue worth of action and a couple of emotional flashbacks.
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I suspect that this issue (and it's predecessor) were created with the though that people would jump at the chance to see the team behind Secret War working together again, but Secret War, for all it's faults, had more story behind it than this. At $4.99 for 25 pages of story, I'm already miffed, but $4.99 for the second half of a four-month-old story, one which has already been essentially duplicated in New Avengers, not to mention negated by Fear Itself? Stick a fork in this one, because I'm about done. Avengers Annual #1 is nothing more than another Brian Bendis "Why SHOULD the public trust the heroes?" tale, covering ground which was done to death long before the first half of this story came out, earning a disdainful 1 out of 5 stars overall. If Marvel editorial wants to address the reality of their characters, that's fine, but you can't keep asking the same rhetorical question over and over without either answers or anything new to say about it...
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Red Lanterns #5 doesn't get a lot accomplished, and is visually confusing to boot, leading to a disappointed 1.5 out of 5 stars overall. It's certainly not a dead loss, but there's nothing here that makes me want to come back next issue to find out how our cliffhangers are resolved.
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The Boys has long been a favorite of mine, and I have found that the quiet issues are often some of my favorites, as we learn more about the characters' internal realities, making their wild shenanigans and bloody lives seem less ridiculous. For the book that vowed to out-Preacher Preacher, Ennis has always imbued this title with deep character and bits of humanity that even ground lunatics like the Homelander somewhat. The problem comes in that as the series progresses, the heroes are proving to be as horrifying as the villains (although whatever last month's cover was about may put the lie to that) and I'm finding myself trusting Butcher less and less with each successive secret revealed. The Boys Sixty-Two is a good issue, though a bit conventional, but very successful in building the tension towards what I'm expecting to be a very bloody conclusion, earning 3.5 out of 5 stars overall.
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This issue is a bit more plot-driven then last, where the character bits took center stage, but the explanation of what the Concordance Engine is is well tied into Marvel history, playing with both story elements and Jack Kirby's legendary designs. There's still a clear indication that these characters don't belong in ANY team, much less together (which is even funnier when you remember that everyone but the Surfer is part of another team in the Marvel U.) The ending comes a bit suddenly for me, but the overall issue is a winner. Defenders #2 is well-drawn, well-crafted and overall entertaining, earning 4 out of 5 stars overall.
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There are rumored to be big plans coming out of Marvel after this series ends, which hopefully means a little more Young Avengers in our future, but the issue ends up not working as either a cohesive story or as a penultimate setup to whatever blowoff we're going to get next time 'round. Avengers: The Children's Crusade #8 spends all the goodwill credit that the first seven issues earned, hits the reader over the head with the writing equivalent of too much eye contact, and leaves me with a disappointed 2 out of 5 stars overall. At least I'm not worried about there being two active Hawkeyes anymore...
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This issue wraps up the first arc well, gives us drama, superhero moments, and horror, but I'm still of the opinion that the introduction of The Trench played the mystery a little bit too close to the vest. Aquaman and Mera are clearly defined, well-drawn characters (in all senses of the word 'drawn') and their new hometown has been given a personality that works as well. Presuming that the next arc is what the preview makes me think it is, I expect this new Aquaman to hit heights we haven't seen since 'The Atlantis Chronicles.' Aquaman #4 is is a good issue overall, even with the stumbles, clearly focusing Aquaman's latest personality and status quo, earning 4 out of 5 stars overall.
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I expected that this book would be well-done after all the people I've had recommend it to me, but what I didn't expect was to like Quentin Quire. Or, for that matter, to like Wolverine shoe-horned into a leadership role... But both decisions work well here, and Jason Aaron does great work with all the supporting cast, even in the quick-hits that come in and around the big battle. Had the art been more consistent (or, to be honest, had it been inconsistent in a different style), this one would have been a must-have issue for me. I'm not a particular fan of Chris Bachalo on superhero titles, though I loved him on Shade, The Changing Man, back in the day, and having half a dozen people ape his style takes a lot away from the storytelling in this issue. In the final analysis, though, Wolverine & The X-Men #3 does the trick for me, living up to the hype and earning a well-deserved 4 out of 5 stars overall.
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Long story short? This one is good. Legion Lost is some of the most successful LSH storytelling since Geoff Johns brought the original team back in Action Comics some years ago, and the use of a limited group of Legionnaires has seldom been so versatile. I'm still a little bit unclear on what Alastor is doing or what he wants, but this issue reveals a little more about his motivation and backstory, all the while emphasizing Dawnstar's alien nature and alienation. Just the fact that Tyroc has been cool as hell has this series on the positive side of the ledger for me, but add to that some truly pretty art, and you've got a winner on your hands. Legion Lost #4 is good stuff, building on the momentum of the relaunch to tell a fresh story, earning a very strong 4 out of 5 stars overall. If you've wondered what happened to the best parts of 90′s comic storytelling, this issue might be a good place to start looking...
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I don't intend to come back for next issue to find out how it all shakes down, as this issue feels like retreads from top to bottom. Spider-Man has been verbally hanging a lampshade on Vicky Hand's untrustworthiness for over a year now, but no one has actually done anything about it. This team's leader, Luke Cage, is defined entirely by his response to his wife's fears, which carries over to his team as well. Sadly, Iron Fist and Doctor Strange are set-dressing this issue (as are Mockingbird and, strangely enough, Wolverine) and are much better served in the recent Defenders #1. New Avengers #19 is well-drawn but draws on the same territory that we've been working with for about five years now, taking it's bloody time to get nowhere in particular, and existing in a timeframe that is hard to reconcile with the last issue of Avengers, earning a disappointed 1.5 out of 5 stars overall.
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Justice League International #4 continues this books trend of banality, and is more boring than it is upsetting or unpleasant.
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The Defenders #1 is a gem of an issue, bringing back the grandiose 70"s loopiness of the team and tying it to a new sensibility with great success.
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The Boys is a book that takes refuge in it's audacity, it's desire to "out-Preacher Preacher," but unlike that previous Ennis joint, this is an ensemble cast. None of The Boys is currently in their right mind (though the jury is out on whether Frenchie ever has been) and as much as I feel like I want to break the tension with a little supe-scuffle, I'm certain that it's a slippery slope to destruction. Garth Ennis has created an awesome little world here, and there is a sense of gleeful inevitability in it's almost certain imminent destruction. The Boys #61 hits all the high notes, goes for the throat, and tops it all off with some truly enjoyable nudity, for a dead-solid 5 out of 5 stars overall. It's an issue all about build-up, and the crescendo is being played for all it's worth. Here's hoping the finale lives up to it's preliminaries...
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All in all, this book is 100 pages of story, five times the normal amount, for a little more than two times the price, which (combined with the quality of what happens inside) helps to offset the much higher price point.
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The story isn't a bad one, but it is chapter three of an ongoing story, and we're already somewhat adrift in teenage superpowered angstland, and Bunker doesn't get much to do in his big debut issue.
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All in all, Avengers #19 is mostly filler, well-drawn, but essentially same ol', same ol'.
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The biggest problems with the issue come with the plot, which is already meandering somewhat aimlessly, making me worry about how it will fill 5 issues, and the price point. It may be an arbitrary assessment in my head, but 20 pages of story for $3.99 would have to be REALLY special for me not to grouse a little, and this book's overall entertainment value isn't quite there. I would have gone 3 stars (possibly 3.5) if the total package wasn't overpriced, and I say that as a long-term fan of Bloodstone, of Morbius, and as a proud owner of the original appearance of the LoM in magazine form. Legion of Monsters #2 takes a scenic route through a less-traveled bit of the Marvel Universe, earning a well-crafted 2.5 out of 5 stars overall. If Daimon and Johnny Blaze join up for a monthly ongoing, though, I'm in.
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I remember being kind of intrigued by the solicitations and cover drawings for this issue in Previews, but for some reason, I didn't follow through and order it. Only the grace of Manager Jim at Gatekeeper saved the day, though, and I'm glad it did. This issue was a joyous experience for me, recalling the days when I could wander into S&S Drug and pick up an issue of Ghost Rider or Incredible Hulk or Teen Titans and get lost in an entertaining story with interesting characters. I didn't get the third chapter of a six-part epic or a twenty-page description of action that took place off-panel, I got a STORY, and this book delivers, not only as a first issue, but as a single issue of a comic book. Mudman #1 is intentionally designed to remind you of days gone past, and looks damn good doing it, earning 5 out of 5 stars overall. If this book ISN'T Image's next 'Invincible,' it absolutely should be.
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Overall, this issue wasn't quite as good as #1, but still a good comic, and I have to applaud any attempt to launch a non-hero title (even if this is still sorta kinda a hero title.) Swords and sorcery has as many limitations and tropes as the standard superhero story, but they haven't been plumbed as thoroughly in mainstream comics lately, and the group of characters assembled here is an intriguing one. I found it a bit entertaining that Madame Xanadu has symbols on the front of her gown that look like the letters "MX" and that many of the super-team cliches are toyed with here, but the story and setting keep things fresh for me. Demon Knights #3 is still keeping this book in the upper-tier of the New 52, and earns a solid 3.5 out of 5 stars overall. I'm looking forward to seeing everything bust open next issue, and awaiting some more clues about Al Jabr and the Horsewoman...
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Worst of all? I may have to come back next month to see how this starts to shake out, as Gillen's writing is impressive on a number of levels, not the least of which being an adult viewpoint where nobody is entirely right or wrong, and even the Queen of the gods is willing to bend a few rules to have an agent at her disposal. I had long since given up on Thor's tales (the last issue of this title I read included the Earth Force, if I recall correctly) but if this is how Asgard works these days, I want to read about it. Journey Into Mystery #631 is a "jumping-on point" that works, earning a very impressive 4.5 out of 5 stars overall. The only real weakness that the story has lies in its strengths, as the clearing up of old threads short-changed this issue in terms of actual plot...
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This issue provides a look into the mind of one of the most underrated Legionnaires, and provides us with a little bit of action and some intrigue to get us going. There are still some issues with Alaktor as a villain and his overall reason for doing whatever he's been doing, but the book looks good, it reads well, and the cast is fun. It's still the superior version of the Legion being offered (although the sister title is improving from their rather dismal debut) and Fabian & Pete are making the team as fresh as a fifty-year-old book filled with time paradox and alternate universes can be. Legion Lost #3 leaves me with an overall happy feeling, something that hasn't happened in quite a while, earning 4 out of 5 stars overall. I may be emotionally swayed by the threads that may lead to the return of Chameleon Girl in this issue, but we are who we are partly because of our biases, right?
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Point One #1 is overpriced and underfocused, and the parts that don't work drag the whole down.
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A lot of the character work this issue is very nicely handled, especially the awkward not-quite-sex scene and Finesse's obvious dismay at Julie's new role as Quicksilver's assistant, but the new characters barely get any dialogue and no character, reminding me of the old 'Defenders For A Day' storyline.
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The visuals this issue are wild, they are imaginative, but most of all, they are creepy as $&@*. Every page seems to be filled to the gills with the hybrid children of Heironymous Bosch and H.R. Giger, in ways that I haven't seen since the heydey of Vertigo back in the mid-90′s. I've long maintained that the #3 issues of the New 52 are going to be the ones that are make-or-break for these titles, and Animal Man #3 (for all the vague notions that parts of this are retellings) is up to the challenge, earning 3.5 out of 5 stars overall. It's not as strong as the debut issue, but things have to get darker before we get any signs of dawn, and it gets the job done.
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Warren Ellis can always be counted on for a strange bit of MacGuffin magic, but this issue pushes it up to eleven, giving us a very close-up view of a very small three-man operation, giving the Secret Avengers something that the first few issues seemed to lack: a clear purpose and strategy. Under Brubaker (and don't get me wrong, the book was good) there was no real differentiation between this team and the other Avengers branches, but Warren sets these issues aside with a wonderful opening sentence: "There are missions that no one will ever find out about. Unless they lose..." Secret Avengers #18 is an uncomplicated but attractive issue, hitting all cylinders in both writing and art, featuring a character in the midst of a well-deserved but somewhat unexpected renaissance, earning 5 out of 5 stars overall. It's just that fine a comic book, folks...
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This book is a goldmine of interesting things, from the Wakandan ambassador to the use of old-school nazi villains to a fortyish Blond Phantom in action.
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This issue gets a lot more done than last (which, to be honest, was probably intentional, what with last issue being not just a #1 but a relaunch #1 designed to shock and awe) and the central conceit of each character is a lot more enjoyable.
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Fear Itself #7 is a complete deflation of all the tension of the first six issues without making a satisfying resolution of any of it.
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The issue caused me to re-read, not out of confusion, but out of a wish for deeper understanding, and it makes me want to pick up #2 to see where this story goes. Even the familiar trappings of dystopian future crapsack world don't ruin the enjoyment of Orchid #1.
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Overall, Batgirl #2 is an improvement on #1 (which, since I didn't review it, I should clarify was about a 3 star book for me) and makes me less worried about the larger character arc for Barbara Gordon.
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I get that I'm not the target audience here. It's a straight-forward action comic, and the artist certainly has his fans, but all in all, I'm left completely unruffled by the book. It's not really bad enough to harangue, and while there are a few things to praise here, the whole issue comes across as uninspired, familiar and hackneyed. We're given a quick sketch of evil which is then clad in the oh-so-very-trite "Dark Mirror" business, and shown the Cliff's Notes version of all the necessary story beats: The noble police contact who may or may not trust or heroes, the struggling romance, the proud father who doesn't know his kid's secret. Hawk & Dove #2 is the superhero comic equivalent of Mad Libs, showing us nothing that we haven't seen before, and doing it with dull portentiousness, earning 1.5 out of 5 stars overall.
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This issue is fun, it's kind of retro (Superior makes a point of explaining that he doesn't kill) and it's an interesting inversion of what happened to Dave Lizewski in Kick-Ass.
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I really enjoyed this issue, from the dramatic first page all the way to the end, and found it really beautiful to look at. The artist and the colorist worked together in a way that you seldom see in comics, and the narrative throughout was lovely, balancing Elizabethan drama with a modern voice.
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All in all, it's a little disappointing how conventional this issue is, especially with Gail handing primary writing duties, but the art is good enough, if inconsistent. The building blocks of something really new seem to be present in Fury of Firestorm #1, but this issue hasn't quite put it all together yet.
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I was initially wary of what Voodoo #1 would have to offer, but found it to be better than anticipated, earning 3.5 out of 5 stars overall. I've never been a fan of Voodoo or her old teammates, but this one has me sticking around for at least the first arc, which should be testament enough"
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Uncanny X-Men #534 balances out to be an okay read, never quite delivering the shock-factor that the cover image implies, but giving us a decent bit of crossover madness.
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DC Universe Presents #1 is a mixed affair, but is successful in positioning the character as a lead, and keeps me interested enough to want to come back next month.
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Captain Atom #1 leaves me both confused and visually overwhelmed.
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Red Hood & The Outlaws #1 does a lot right, but the wrongs are so wrong as to imbalance the whole issue.
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Mahmud Asrar does a lovely job this issue, and the costume redesign is both regal and attractive, while the writing makes the character seem like one I want to read about, and doesn't make her too tough, too old, too slutty or too young. It's a nice balance of character, with some action, a little mystery, and a nice teaser at the end.
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Overall, Blue Beetle #1 has a few missteps, and I would have liked a little more Jaime Reyes while the book introduced it's supporting cast, but it's a likeable little book.
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New Avengers #16 is an effective issue, showing me a hero that I might not be familiar with, showing him being awesome, and being extremely well-drawn in so doing.
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There aren't many thing that I would consider problems with this issue, but having missed some of the previous 4 issues, it does take a little bit of time to get to the meat of the matter, and I spent a lot of time trying to figure out if I knew any of the other characters from the Council of Evil after Zemo was identified by name. Still, any concerns along those lines are short-lived, and the battle sequence (especially the characters quips after the defeat of the General) are worth the price of admission... It's also worth noting that this book is a $2.99 affair, rather than Marvel's seemingly preferred $3.99 price point, which helps in the decision to pick up a random new miniseries with characters one has never heard of. Mystery Men #5 caps off the series nicely, using Marvel's retro-history to great effect and earning a very impressive 4 out of 5 stars overall. A sequel for this would be completely welcome...
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Fear Itself #6 is a good issue standing alone, but the wave of hype, the flood of crossovers, and the sheer bludgeoning weight of the crossover event keep me from enjoying it.
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I enjoyed the character and the premise, though, and I'll be back next issue for more old-school monster smashy-smashy with random philosophy bits here and there.
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I believe it SHOULD be one of the surprise hits of the relaunch. If you've never read any R.M., this one comes recommended.
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Holy CRAP is this a beautiful book. Every single page is just packed with with detail and expression, and even the scenes where Kate and Bette change into their crime-fighting clothes are impressive.
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Overall, this issue veered wildly between bland and unpleasant for me, with Alex Maleev's art providing the only consistently enjoyable thread for me. I wanted to like Moon Knight, and tried to give the battling personalities thing it's due, but I'm just not feelin' this one. Moon Knight comes across as a nearly blank slate, and even his succumbing to passion with Echo felt forced, while the search for L.A.'s Kingpin felt like a leftover Daredevil script, and a little part of my mind just can't get past the thought that somehow this is trivializing the concept of multiple personalities and/or mental illness. Add to that the 4 dollar price point, and Moon Knight #5 misses the mark for me, even with some nice artwork, earning a confused and distracted 1.5 out of 5 stars overall.
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It's a disappointing issue all around, from the elevated cover price (32 pages of actual story for 5 bucks?) to the "One From Column A" school of team-building.
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O.M.A.C. #1 isn't the strongest start, but there's a lot of potential waiting in the wings, and a lot of Giffen in the art and story.
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I'm not entirely sure what all is in store for Buddy Baker and his costumed antics, but I'm on board for the long haul here, as Animal Man #1 impresses the heck out of me.
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The issue feels a little bit slight, more like a preview than a launching point, but all in all I'm intrigued enough to come back next month.
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Justice League International #1 is nearly as much fun this time as it was 25 years ago, with the only missing pieces being a clear understanding of the threat and some of the deeper nuances of characterization.
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This issue is the kind of story that I love to see out of Marvel, taking a character and placing them in the midst of universal chaos and making it all about the character, a very Astro City take on Shang-Chi.
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This issue sets us off on an intriguing adventures, shows us the characters flaws rather than monologuing about them, gives us a quest (one that is both wacky and touching at the same time) and an enemy to overcome, doing everything that #1 issue is supposed to do.
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Ultimate Comics: Hawkeye #1 doesn't really do anything wrong, but doesn't catch my interest, even with a fave-rave writer handling the words.
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Most of all, I started thinking back to the last few times I've finished an issue that was clearly the gateway to a new universe, and how I felt after each one. After Crisis On Infinite Earths #12, I was hopeful and shocked. After Zero Hour #0, I was annoyed. After Infinite Crisis #6, I was confused, hopeful and hungry. After Final Crisis #6, I had to wait a few hours for the dizziness to subside. Flashpoint #5 has left me hopeful, intrigued, and wanting to read about this brave, new DCU, which is what a book like this needs to have done, earning 4 out of 5 stars overall. I like to think I'm pretty savvy as a reader, and I enjoy when I'm actually surprised by the way the plot unfolds. It's not a perfect comic book, but it's a good one. And now, the new Justice League awaits!
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Stephen, among others, has been rather vocal in his opinion that these last two months of comics are nothing but filler, and that nothing in them is going to matter after August 31st (though I notice that it didn't dim his enjoyment of the last issue of Batman.) I submit that comic books pretty much ALWAYS have that possibility waiting in the wings (ask any Legion of Super-Heroes fan, if you don't believe me) and that this month is one of the rare times when we all see the retcon coming. That said, it's an enjoyable issue, if not a particularly significant one, and ends with a feel-good moment that long-term fans should find satisfying. Wonder Woman #614 ends the Odyssey arc in a workmanlike fashion, and doesn't pale as much as some stories might in the shadow of the looming future, earning 3 out of 5 stars overall. It remains to be seen how long it will be until we see the New New New All-New Wonder Woman, but I'm sure someone, somewhere is taking bets.
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The Iron Age: Omega #1 surprised me in the best possible way, and I will be seeking out the other issues of this story, as this one earned a very impressive 3.5 out of 5 stars overall, even though I didn't care for either cover or interior art.
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It's a good issue, and the more adult take on the conflict is well-handled, but I want more than I'm getting"
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Levitz isn't a bad writer by any means, but given all the plothooks set up by the Action Comics run and Legion of 3 Worlds, they could have done so much more.
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The art is split right down the middle, with the first half of the book sublime and the second completely forgettable, and a similar breakdown in the stories.
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I didn't care for the downer ending, and there was a trifle too much Iris West worship (even Barry's SUPPORTING cast gets special treatment post-Final Crisis) for my liking, but overall it wasn't a bad issue.
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It's a wonderfully rendered issue by Immonen and Von Grawbadger, and Fraction has a clear grasp of how the Marvel Universe works, even in its most remote scope, giving us wonderful details like Tony Starks's past as a weaponsmith, the Richards children bickering and a wonderful series of interactions between Thor and the Hulk that elevate some of the fighty-fighty past mere fisticuffs. My problems with the shock-and-awe approach don't wreck the book, but definitely make it less enjoyable than previous issues.
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Green Wake #5 is surreal and beautiful and mysterious and it reminds me of every girl I ever loved and why key lime is my favorite.
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All in all, the story reaches an appropriately dramatic, if overly familiar, climax as our hero finally gets to face the villain behind all the madness in time for the two of them to do something that will reset reality in a few weeks. The choppiness of the story, combined with the awkwardness of much of the dialogue brings the experience down a bit.
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Invincible #81 is a throwback to an earlier age of comics that doesn't feel retro or rehashed, earning a very impressive 3.5 out of 5 stars overall. I truly worry about Mark after the last few months of this book, and that's a rare thing indeed"
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Wonder Woman #613 does what needs to be done to transition Diana from a story where her history has been retconned to a story where EVERYBODY's history has been retconned, and it does it successfuly, earning 3 out of 5 stars overall. I kind of wish that this issue had more room to breathe, but given the meandering pace of the previous 12, I can appreciate getting a sense of urgency into the book"
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As crossover issues go, this one has a lot more character and depth that I expected (although, since this is the primary book of the main writer of 'Fear Itself', that probably shouldn't be a surprise) and the use of Tony Stark in Asgard really hammers home (no pun intended) the consequences of this battle. It's good to see him out of his element, and as uncomfortable as it is to have Tony fall off the wagon, it's probably about time for a relapse, from both a character and a tie-in perspective. (That Avengers movie needs some sort of subplot, right?) The issue bogs down a bit with all the rubbernecking (Iron Man watches Odin, Pepper watches television, Ms. Arbogast watches Pepper, Justine watches Paris, et al) and the character bits at Stark Resilient really don't work to the story's favor, oddly enough. The main thrust of things is good, though, and Pepper is quickly turning into a hero as nuanced as Iron Man himself. Salvador Larocca's work is good here (though the close-up of a sho
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I love the art in this series, with Shawn McManus delivering a recognizable version of both Dorothy and Cindy, while making sure that their faces are ridiculously expressive. Every single thought she has is written large across Dorothy's face, while Cinderella keeps her secrets, and the effect is the same as watching two excellent actresses duel it out on screen. Even a seeming conflict with the established Fables continuity is deftly dealt with, adding another layer of intrigue to these events. It's really hard not to love the Fabletown regulars, and it's a shame that I don't get to check in with them as often as I'd like... Cinderella: Fables Are Forever #6 hits the spot in a very personal way, avoiding talkiness with sheer energy and momentum, earning 4 out of 5 stars overall. It's good stuff.
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Given the eternal, glacially paced build-up to Eclipso's reign of terror, it's pretty clear that the plans for this issue had to be changed when the trigger was pulled on the DCnU. Regular penciller Brett Booth is mercifully absent from this issue, which gives the visuals more oomph (Donna Troy doesn't look like a starving waif, for one thing) but there's no way to overcome the strong feeling that about three issues worth of developments were shoehorned into this one to wrap things up quickly. Robinson's run on this book has been a shaky sort of thing anyway, always seeming within inches of running completely off the rails, but now we don't even get a real conclusion to the 'Rise of Eclipso.' We don't know why Jesse is suddenly speed-forced again, we don't find out about Supergirl's sudden return, we don't even know whether the Shade (essentially lobotomized by Starman's light-bursts) is dead or alive. But, the editorial team wants to make it clear that Donna Troy is not and was never

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I am just flat out blown away by the first chapter of this book, as the writer and artist both put in a performance that uses familiar tools and tropes in new ways. The structure of this issue is a VERY strong first act, and the use of graphic elements (and the overall trade dress and logo design) sets it apart from the other books on the stands. It's an exciting story, well-paced for both an individual issue and for the inevitable trade, and Jonathan Hickman makes even the most complicated dialogues about twisting the fabric of space-time both interesting and understandable, and the visual imagery is first-rate. The Red Wing #1 is a startling kickoff, using familiar elements in new ways and creating a really impressive whole, earning 5 out of 5 stars overall.
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I am saddened to say that this issue is exactly what I thought it would be: An interstitial chapter of a story being told somewhere else. The actual New Avengers plots are touched on briefly, to remind us of what they are, but the story veers back and forth from talking head to action sequence, with neither portion holding their own as a story, and certainly NOT as a story worth the four dollar price point. Deodato and Bendis hit their usual riffs, but this issue is pretty much only the DVD extras for the story that Marvel wants us to buy. Even more of a revoltin' development, as Uncle Benjy might have it, is the almost complete lack of the Thing (and an absolute lack of the mutated 'Breaker of Souls' Thing as shown on the cover), leaving my 'Bait-And-Switch' sense tingling. The bottom line? While the art is nicely handled, there just isn't enough story to go around, making New Avengers #14 essentially a clip-show, and an overpriced one at that, earning 1.5 out of 5 stars overall.
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Did NOT see that one coming, even after DC's late announcement, but I have to say that I like it, not because it will knock Hal down a peg, but because it should allow the creators to show us WHY they believe he is the one, true Green Lantern. Those who have said that Green Lantern isn't going to have any changes in the big September relaunch should probably get some salt, as they're going to have to eat those word. Still and all, this issue isn't as strong as I would have liked, with it's near-maniacal focus on one man in the middle of what is supposed to be a giant intergalactic conflict. Aside from Kyle and Sinestro getting their brief moments, nearly no on else matters in the battle. John and Guy get a handful of lines, while Arisia and Kilowog are pretty much human scenery (albeit of a non-human variety.) There is some (probably intentional) confusion about whether or not the Gruesome Twosome really meant to kill Krona, and the Guardians are once again maddeningly obtuse, but on t
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If you've complained that FI is dragging a bit, this is the issue you want to read, filled with strong character beats, big moments and a providing a bird's eye view of a conflict that has spread across the globe and into the realm of Asgard. (Atlantean bodies floating to the surface after Attuma's butchery are particularly disturbing.) The revelation of the Serpent's identity (Not to be coy here, but I'm unsure if he's Vili or Ve) makes Odin's strange behavior palatable, and Captain America putting on a helmet and grabbing an assault rifle is a moment that quickly gets across how serious this situation has become. (People he fought WITHOUT such accoutrements include Korvac, Thanos, Nebula and The Living Monolith.) The key Tony Stark moments in this issue are moments of HUMAN triumph, finally getting him away from the endless Batman gambits that have been gumming up his works since about 1997, and the revelation that he vomited in his helmet at the carnage in Paris is both disgusting a
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Well, not literally. I'm sure my wife would have something to say about that, and it's a pretty stalkery sort of sentiment... but then, it's kind of appropriate for a book like this. Secret Six succeeds where many previous titles have failed in that the creators have put together a team so dysfunctional that you BELIEVE that the worst could happen, and given the events that have already occurred, you don't really expect that everyone will survive the final issue. It's a book about damaged personalities who don't even know what it is that they're doing wrong, and when they realize their errors (as Bane claims to this month) they even get that wrong. Secret Six #35 is excellent, and I have high hopes that next issues denouement will leave me at a place where I'm satisfied how it all closes up, leading to 4.5 out of 5 stars overall. Given the general lack of endings in comics, I'm looking forward to seeing how this all comes together... or maybe comes to pieces.
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The good news is that this seems to be quite strongly tied to Wolverine's new corner of the Marvel Universe (they even have a handy guide to the Wolverine books, treating them as their own sub-universe, apparently) using his supporting cast, and presumably staying true to his post-movie characterization. I don't normally read his books, but you can see where fans of the regular title would be gratified to have a coherent character. That said, I don't see why this wouldn't work within the Wolverine title, except to raise the units sold, and this particular corner of Fear Itself is pretty far removed from the central conceit of the story. All in all, though, it's a competently handled book, with intriguing art, but the execution of the story is talky and run-of-the-mill. Fear Itself: Wolverine #1 is designed to get the hardcore fans of the character while remaining accessible to the casual buyer, and it's good enough to get the job done, earning 2.5 out of 5 stars overall. I wasn't overc
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Given the span of time it's taken to get the book this far, we've already seen changes to the lineups of the teams that cross-over, and the appearance of certain characters in the book seems to imply spoilers if it takes place in the future. Likewise, if it takes place in the recent past, then things involving Iron Man, X-Factor, and the lineup of X-Men shown are already problematic. Of course, when the book looks this good, you can forgive all manner of madness, and Jim Cheung's art is completely heart-breaking in its beauty. You actually want to forgive Wanda for her actions, and a sequence where she and Billy are reduced to tears, realizing their familial ties, is utterly wonderful. Even characters like Strong Guy look cooler than they've ever looked before, and the entire issue is cool and smooth like a frozen frappucino. That said, I found myself periodically dragged away from the story by the question of 'WHEN THE HELL IS THIS, ANYWAY?', a sensation that occurred enough to bring

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This book has been an interesting case from day one, as the creative team has made the story about T.H.U.N.D.E.R. itself as much as the agents, creating a sense of mystery around the new bearers of Professor Jennings' weaponry as well as about the fates of the original agents. I really want to know what Colleen's story is, as well as how and why her mom seems not to have aged in 40-odd years. Most interestingly, I don't even think you need to have any previous knowledge of who or what the Iron Maiden is to enjoy the issue, as Spencer shows enough to make it clear what you need to know for this particular story without removing all the mystery from the character. I'm very glad that this title is sticking around after the Pants-And-Rebootinator strike hits this fall, as each issue improves on the previous. T.H.U.N.D.E.R. Agents #8 hits the spot, earning a very impressive 4.5 out of 5 stars overall... I recommend this title to anyone who wants a book unencumbered by crossover madness and

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It could easily have been a moment that made me angry, as we end with one of those "The Beginning" signs, and the new status quo established. Quicksilver's team of mutants (including one member thought dead, but obvious in retrospect) and Karen's team of mutants are both active in the field, both aware of one another and both set on "fixing" things their own way. The story touches on the awful shared origin of all the heroes in the Ultimate Marvel U, and makes it almost palatable for me, and the entire book is just flat-out beautiful. Having not been waiting for this issue (I honestly thought it came out a year ago), I wasn't bothered by the long delay, and I even found the segueway into what I suspect is a new Ultimate X-Men title to be intriguing (at least partly due to the timing of this issue coinciding with the new Ultimate Spider-Man.) All in all, it's a book I didn't expect to like, and certain didn't expect to like this much, so kudos to Marvel. Ultimate Comics: X #5 is somewha
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There's a lot of complaining that giant devastating events never have consequences, so it's nice to see Marvel attempting books like this one (and this week's Avengers issue as well) that give us a first-person look at the 'wide-screen' carnage that has become Marvel's trademark. Given that we're working with four different writing teams, you shouldn't be surprised that some stories work better than others, but what it really boils down to is that a story like this works when the central characters are strong (and humanized) enough to carry the narrative. Thunderbolts #159 is a mixed bag with some real gems in the mix, and even brought down by Crossbones and a prohibitive price tag, it ranks an above-average 3 out of 5 stars overall.
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There has been much discussion about whether or not the DC Relaunch for September is going to be successful, but I have to say I'm pleasantly surprised at how many people are asking what will happen to Miss Brown after things shift about. Reading this issue, it's easy to see why, as writer Bryan Q. Miller (not to be confused with Arthur Q. Bryant, the original voice of Elmer Fudd) balances Stephanie very well on the precipice between novice and trusted member of the Bat-family. She's clearly learning her craft, making mistakes and ad libbing, but she doesn't suffer from the stupiditis that always seems to claim teen heroes in an attempt to be more "realistic." Stephanie shows wisdom, wit, and even patience in this issue, all the while feeling authentic as a contemporary young woman. The art, by Pere Perez, is quite good as well, balancing a Phil Jiminez quality (a high compliment from me) with a lean-ness that makes both Squire and Batgirl look their supposed ages and heroic at the sam
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I'm going to be honest with you: I'm pretty sure I read this EXACT issue, with different players, during Civil War, and then again during the reign of The Initiative. There's a lot of characters jockeying around in this issue, far more than can be realistically developed during the six-issue time frame, which makes me think that we're about to see some teenagers get killed. To be honest with you, I'm not entirely sure that I'd mind, since Spider-Man influenced teen heroes are far too plentiful, and thicker on the ground than peanut butter from the deep freeze. (That sentence started SO well, and then...) We're back to fear and paranoia about heroes again, and the issue also tries to make a lot of drama about the seeming murder of James Barnes in the main title, but I'm just not feeling it. Maybe it's that the 'Heroic Age' was supposed to be a change from five years of that, maybe it's just that we've gone back to this particular story well too often. Pretty much the last 7 years of Mar
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I'm always leery of comics like this one, simply because their job is to lead you into the specific short-term story that is the movie origin of Hal Jordan. The point is to give you the lay of the land and explain how what you know is being interpreted in the framework of the story being told, and as such it may be forced to ignore the niceties of comic book storytelling. In an attempt to get everything in, writer Tomasi chose/was forced to couch the book in a lot of narration and explanation. It's successful in giving us information, but nothing here makes me want to desperately rush out in a buying frenzy to watch the Green Lantern movie. The overall design work is interesting, trying to capture the over-elaborate designs of the aliens, the Guardians (who do look more impressive than their comic counterparts) and the alien planets, but the art itself ends up being pretty standard, and the closing shot of Kilowog and Tomar is awkward as all hell. All in all, this book can't be expecte
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Over the last dozen years or so, Marvel has started using the New Warriors theorem (pick several random extant characters, stack them together in new combinations, new character optional) regularly in what seems like an attempt to get the most out of their large pool of characters. Sometimes it works (as with the New Avengers) and sometimes it doesn't (Young Allies, The Loners, any given team limited since about 1999), but it always leads to interesting, if uneven, results. The use of Howard as the central character, given his everyman (everyfowl?) nature, works for me, and exploiting the existing connections between Jennifer, Kyle and Howard is nice for the continuity junkies in the audience, but I'm less sold on the belief that somehow THIS world-shaking event is more frightening and important than the last five world-shaking events. The theme that the Serpent and company are generating a huge undercurrent of fear hasn't really been clearly established in the main title, so it feels

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This is not a bad issue at all, but it serves as a very high-level overview of a massive situation, checking in with various characters at several key points of the story, and ending with a key of where to check out the continuations of which plot-threads in other Marvel titles. The lack of a greater context really dogs the whole issue, reminding me that the whole story will only be told to those who read all the comics that come out this week with the big green banner on top. Even though I'm the kind of reader who only pays attention to characters he likes (and, say, where did Shang-Chi go during the big battle?) it's a bit galling to wonder what's really going on. Also kind of frustrating: We see The Avengers (Spider-Woman, Ms. Marvel and Protector) all clustered up together, leaving Washington to be defended by four hand-to-hand fighters and a bird of prey. Yes, it's been a very short time since all hell broke loose, but are all the heroes tied up elsewhere? We get glimpses and hint
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Unfortunately, even as it's interesting, it serves to remind us of how ridiculous The Flash's origin actually is, and even after the issue recovers from Steve's exposition, we end with a quiet "WTF?" feeling. The intent of these type of stories is always to disorient us, to put familiar faces in the wrong places, but then bring them back together at the end to prove your thesis. We're theoretically 40% of the way through the main story, and we're just now getting to the action and the reveal of the strange new status quo of our heroes. I think the greatest failing of the issue for me is the realization that you WILL have to read other supporting material to get a full story, though I hope that my choice to read only those supporting minis that catch my fancy doesn't kill the big story arc. All in all, it's not a disappointing issue, as Kubert's art is strong throughout and the story (while slower than I'd like) is still interesting, leading Flashpoint #2 to hit a better-than-average 3

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So, the main plot here (mysterious force from beyond threatening to take over the Savage Land) is pretty familiar by now, seeing as how it was the plot of the first appearance of Belasco back in '82. To overcome the contempt that comes with that, writer Rob Williams throws a lot of elements in, and the kitchen sink may be in reserve for next issue. He's tying a lot of extant plot points together (but when did Kevin and Shanna have a kid again?) in interesting ways, but there's still some hard-to-define element of style missing. Skaar is kind of a cipher throughout the issue, and there's very little context for what might have happened in the previous two issue. Still, it's self-contained, it's well-constructed, and best of all, it has Devil Dinosaur in it, allowing me to forgive a great many sins. If the plot twist at the end has a believable reveal, this could be the next big underground Marvel miniseries event, but even taken solely on it's own merits, Skaar: King Of The Savage Land

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Earlier this week, Kurt Busiek said on Twitter (yeah, I'm on Twitter... Shush...) that this was "The Dave Stevens Tribute Album," and in that respect it's a smashing success. All the creators involved are clearly fans of Dave's work as much as they are doing their job, and the results are phenomenal. None of these creators are scheduled for next month, as best I can tell, which may mean that the vignettes we read are intentionally not going to continue next month, but that's okay. There were only three Rocketeer stories in the better part of 20 years, but I like the way this issue shows us small moments from what could be inferred as a long career in the mystery man business for Mr. Secord. Rocketeer Adventures #1 was my favorite book of the week, and the only thing that would improve it for me would be Dave himself still producing it, leading this one to earn 4.5 out of 5 stars overall. I'm not sure how long this title is scheduled to be around, or how long it would really be able to

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There are a LOT of cool ideas rattling around in this issue, but for all that I enjoy (Citizen Cold, Cyborg as a major player, June Moon and Rac Shade) there are things that just bother the heck out of me (the fate of the United Kingdom's males, Batman as a major player, whatever is going on with Captain Thunder.) Nothing really worth hating, unless your a devotee of continuity porn, and as long as you're ready for the Geoff Johns style (when he likes a character, he will push that character like Vince McMahon pushes anyone above 6′ 10″) it's an innocuous start to a series that potentially could outshine Blackest Night. The art is excellent throughout, with Andy Kubert reminding me of Rags Morales in certain places, and all the characters recognizable as who they are/were/are supposed to be. All in all, even with the slow bits, the talky bits and some weird character choices, it's a strong kickoff to a series that promises to show us a whole new DCU, leading Flashpoint #1 t
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The Boys is one of the books that I repeatedly hear mocked as nothing more than anti-superhero ultra-violence, with shock value for the sake of shock value, but it's really much more than that. If this story were a Hollywood blockbuster, we'd be in the closing moments of the third act, as the hero finds out the villain's nefarious plot, setting in motion the climactic scenes. Garth Ennis has woven a complex and deep history here, drawing in real historical events and facts, pulling in his own obvious love of war stories and cloak and dagger tales, and combined it all into a truly impressive tour de force. It's clear that, for all the changes he's been through, it's this conversation that will change Wee Hughie into whatever he is about to become. Whether that will be savior, murderer, or something entirely different is maddeningly unclear, and will keep me coming back month after month. The Boys Fifty-Four keeps up the excellent narrative of 'Barbary Coast' while never losing sight of

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It's clear that this is supposed to be a game-changer, and every attempt is made to pull us into something that should be a shattering experience, but the Marvel Universe hasn't even settled down from the last time we all danced this dance. The Heroic Age never really materialized, The Avengers are still moving into their new digs and working out their new lineups, Iron Man and the FF are both in the nascent stages of brand-new stuff... There hasn't been a "normal" in the Marvel Universe since before Planet Hulk, it seems. The first third of the issue is strong, but it goes downhill from there. Once again, I have to deal with the irony of working for Major Spoilers, as part of me quietly wonders if the hammer-wielders identities being shocking might have made up for what feels a bit rushed in the climax. All in all, this is a mostly positive, albeit somewhat familiar, experience, feeling a lot more like a first issue than the actual first issue did. Fear Itself #2 is a mixed bag with a
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I was pleasantly surprised to find this book both well-constructed and fun, not at all the 'Dethstrike Bludforce' angst-fest that I worried it could turn into. There's nostalgia here (on a number of different levels, for a number of different eras) but Thunderstrike isn't a 90′s tale, nor should you categorize it based on the first volume. DeFalco's dialogue isn't the naturalized speech of Bendis, but his plotting is strong, the main character is approachable, and the art is clear and pretty. It's really good to see an old hand like Sal Buscema still kicking ass as well. All in all, Thunderstrike #5 takes it's old-school elements and folds them into something that feels timeless, earning 4 out of 5 stars overall. This kind of storytelling is kind of like a cupcake: Perhaps it's not suitable to be the entire diet, but you can't help but indulge once in a while...
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I can honestly say that, aside from a nice retelling of the 1951 story where the Society disbands and some of Jay Garrick's dialogue, most of the story this issue is impenetrable. Doctor Fate returns mysteriously, Mr. Terrific's situation isn't even addressed, and most of the cast doesn't even get a speaking part. I'm interested in the story behind the Red Beetle, but I'm not sure what's up with Darknight, and while I love Blue Devil and Manhunter, there's already so many characters in the book that I'm not sure how I feel about the new roster. Guggenheim's story so far has been filled with things that aren't explained (like Scythe's backstory), don't quite come across (Doctor Chaos) or feel way too familiar (Senator Eagin's reprisal of the JSA's past) but the plotting this issue is poleaxed by all three problems at once. As much as I like things like a central role for Flash, I'm bothered by dangling plot threads and excessive characters, leaving me flashing back to the 90′s era
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I am frankly overwhelmed by the amount of stuff going on in this issue, which is both a good thing and a bad thing. It's good in that the amount of story content for the dollar is very strong, but not so much with the good that it's hard to remember the first story once you've gotten to the end. I've read the issue three times through and I'm still finding things that I missed in prior readings. I am thankful that we have very little "Superman as Jesus" going on, a metaphor that has officially worn out it's welcome in my corner of Stately Spoilers Manor, and a couple of points in the issue (Superman arriving at a demonstration and standing silently in solidarity, the hero of a lost race commisserating with the Man of Steel about their status as outsider and protector) are quite unique and excellent. It's a shame that DC chose not one, not two but THREE spectacularly unappealing covers, with David Finch's striking me as particularly misbegotten to look at. Overall, though, you take the

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As someone with no real investment in the main characters, this issue still comes on strong, with Phil Noto's art telling a strong story, and Immonen making their banter worth reading. The issue raises the question of whether Jubilee, now immortal, might be able to act on the vague sexual tension between herself and the effectively immortal Wolverine, which is a question that I find a little disturbing. I guess it's just the fact that I've always read them as a big brother/fatherly mentor-type thing, not a romantic pairing, but I suppose that a May/December romance between two effective immortals is pretty compelling as a plot hook. (Is she 21 yet?) It doesn't make me want to go out and buy up all the Jim Lee-era X-books and devour their previous adventures, but the story manages to stay pretty self-contained, and at $2.99 is priced about right for the amount of story within. I think that 90′s fans of the teaming will be well-served, and I have to say it's not a bad issue overall
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For some reason, this issue feels off-balance to me. Whether it's because of the long build-up to the reveal at the end, or the quick return to mundane moments after the long months of outer-space battles and high adventure/drama or something in the narrative isn't clear to me. After three passes on this one, I still can't quite pin it down. The art is quite good throughout, the quiet moments should be a nice touch, and it's good to see Dupli-Kate (one of the most awesome/awkward names in comics) again, but I suppose that I didn't care for the seemingly trickery involved in HOW the reveal came around. I do like the fact that Mark isn't even bothered by Eve's minor weight gain, something that could have turned into another "why is our hero acting like a jerk?" moment. Invincible is a book in the classic style, with 70′s style plotting combined with 90′s style shock to create something that feels new and different, so I expect that I'll get over my reserations quickly enough.
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It has been three months now since Mockingbird was shot, and about twenty minutes or so has taken place in the lives of the New Avengers since that happened. At the same time, Nick Fury's past mission has advanced several days, possibly even weeks, making it difficult to remember where last issue ended up and the things that happened in between. Add to that the fact that pretty much nothing happens in the present story this month, and you have a recipe for a very blah reading experience. Taking into account that my favorite part of the story seems inextricably tied to corporate world-building synergy (setting up the Avengers Initiative just in time for it to be in continuity when the movie comes out) and I'm not really excited about this book. That's a real shame, because this was the Avengers title that I expected would be my favorite of the four monthlies (and let's not even discuss whether or not there's a need for four monthly Avengers titles anyway.) All in all, New Avengers #11 i
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The Legion of Super-Heroes isn't the Avengers or the JLA, a group that has to be limited in scope or membership. One of the underlying problems that I'm having with this arc is the fact that it seems quite clear that none of the Academy cadets (some of whom have been at this for DECADES) aren't going to make it into the team, and that the reasons given for not using interesting characters will be unsatisfying and nonsensical, much like the non-reasons for (Yes, I'm going to keep harping on this) Matter-Eater Lad's exit. Power Boy's density powers and Lamprey's electromagnetism are no more impressive than Cos' own powers or Sun Boy's or even Dawnstar's. This arc (and the concept of the Legion Academy) are designed to have characters try out for the LSH, and when most, if not all of them fail, it raises larger issues about the story being told. That said, this book is very nice to look at, thanks to Phil Jiminez and company, and if you're of a mind not to over-think things, it's an enjoy
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I haven't been reading IDW's main G.I. Joe book regularly, but I've been following the events of G.I. Joe: Cobra, and it's nice to see a company that isn't afraid to take a risk, making the centerpiece of that successful mini into the new centerpiece of the ongoing storyline. Chuckles' descent into the heart of Cobra pretty much couldn't end well, but it was a bit shocking to see him take out Cobra Commander just as the villain was establishing himself. IDW's continuity is much less dependent on the characterizations from my childhood (they have the "Real American Hero" line for that), which allows them to off a somewhat recognizable name like Barbeque, but to also kill Xamot and the Commander himself! With Chuck Dixon in play, you know that the characterization will be strong, even for the smallest character, and the military tactics and jargon are only better handled (in my opinion, anyway) by Larry Hama. Overall, the art is pretty good as well, with Fuso's Cobra portion of the issue
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If you're avoiding the Boys title because you think that it's all about shock and mockery of super-heroes, you're missing a pretty wild ride. Highland Laddie was a combination of Vonnegut-style existentialism, boys adventure and romance, and the series as a whole is much more than the sum of its parts. The world-building has been subtle since the very beginning, but this dose of alternate history shows us how truly bankrupt and rotten Vought-American is and has been, and the use of Mallory as Greek Chorus (much as the Legend served in previous issues) is quite effective. I wondered a couple of issues ago why they couldn't just do the Highland Laddie series within the main comic itself, and the answer becomes clear here, with no sign of Butcher, Frenchie or the Female or the overarching plots. This is a strong issue (albeit one that might require you to have a strong stomach) and Ennis & McCrea drag you into the story within the story, without letting you forget that Mallory's actual in
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The saddest part of all of this is the knowledge that it's all perfectly correct, giving Jack not only an ending, but the kind of classical old-school (Stratford-Upon-Avon Junior High, to be specific) ending that Jack deserves, in all senses of the word. Jack of the Tales has the last word, and thankfully, my problem with the narrative device was unsubstantiated. Willingham and Sturges pull off a qualified win here, but I'm still not sure that the climax is truly up to snuff in comparison to the journey. I AM glad, however, that the boys didn't get to sneak this in under the radar, as their original plan was to make this the last issue without actually telling anyone. As amazing as that might have been, in today's comic reality, it would have had untold consequences. I'm not entirely happy with the end of this series, which is probably a good thing, but overall Jack of Fables #50 is a goodie, earning 4 out of 5 stars overall. I suppose a Page sisters miniseries with art by Frank Cho is
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Nothing makes me more irritated than attempts to try and "toughen up" the image of the Legion of Super-Heroes, whose core concept is 'happy teenage heroes from the future.' This issue continues the trend of misusing or sidetracking characters with potential (and once again shows how ugly the new costumes are in Cosmic Boy's short appearance) but has some fun with the new Academy kids. Duplicate Damsel's drill sergeant routine is fascinating to watch, especially as Bouncing Boy serves as her quiet, humorous foil. I'm liking this arc in it's micro-scale moments, with the dialogue shining in a brief appearance by Legion mainstay Doctor Gym'll, even while some of the larger scale bits play less well for my biases. All in all, though, Adventure Comics #524 does a good job advancing the new characters and their arc, earning 3.5 out of 5 stars overall. Now, if only we could overcome the seeming belief that nobody but the founders, Brainiac 5 and Earth-Man deserve airtime, we might get the 30
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This issue is kind of a mixed bag for me, in that Mike McKone is officially announced to be out, and Tom Raney in as new artist. Raney's facial expressions are more cartoony than McKone's work, and it's clear that some of the subtle bits of costumery than I liked (Veil's mask, Finesse' weird costume trim things) may be going away, and I was very disappointed to see that the grown-up Academites look pretty much exactly like their teenage selves, save for a goatee, some digital effects, and Mettle giving up his shirt. Christos Gage, as always, manages to give these characters dignity and identity even though their powers, costumes and gimmicks are kind of familiar. There's a few good lines (Striker has a quip about Reptil getting in the cartoons that's pretty meta) and overall, it's a strong issue. The visuals aren't bad, they're just not as good as previous issues of this same book, and the Wasp swerve wasn't telegraphed at all (save for the appearance of Korvac in the solicits), but th
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If you're paying attention, you know damn well what that moment HAS to be, and it plays out very cinematically, sending the old-school League back into their game, determined to put down the threat of Maxwell Lord once and for all. Recent issues of this book have gone back and tried to explain how Max went from manipulative genius to manipulative bastard with no morals, and were relatively successful (if somewhat Freudian) in explaining the loss of his mother in the battle of Coast City. Winick is capable of real emotion and sentimentality in his writing, and this issue's character building makes me want to see more of this incarnation of the League after Generation Lost wraps two issues down the line. The art is pretty good, under a first-rate cover that got Stephen's blood boiling a few podcasts ago, and I'm quite heartened to find that DC isn't quite as ready to revisit the mistakes they made with Ryan Choi so soon. Bottom line, the last page alone is worth the price of admission, a
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Three things work for this issue: Saturn Queen's push feels natural and raises questions in the reader's mind that open up speculation about her motives, her new power source and whether or not we'll recognize her benefactor. The team being assembled is a nice mix of old and new, making the core of a Legion of Super-Villains that could actually oppose the full power of the LSH with a few strong additions. And, much like the Annual of a few weeks ago, it adds depth and verisimilitude to a world that feels a bit under-examined in the core title. It's funny that the one-shots related to the book would work better than the individual issues of Legion, but they're leading me to believe that there's a larger plan in place. I hope that it turns out to be a world-building plan rather than a single thread that will end up getting blown off in some big crossover event, but all in all this issue works. (Seeing that jerkwad Micro-Lad croak was a perverse draw, as well.) I had some issues with the

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The first couple of years of The Boys was a thrill ride, seen through the eyes of Wee Hughie, the innocent point-of-view character, but as Hughie has become more and more drawn into the madness of Butcher's world, things have gotten darker, which I think has led to some of my misgivings in recent issues. This issue, though, brings Hughie and his story to the main narrative again, and his presence in the middle of things somehow makes the story feel stronger. I still want Darick to return, but this is a good, strong issue leading into one of the historical pieces that this title does so well. There's a terrible momentum building here, and strong implications that we're headed towards the patented Garth Ennis bloodbath ending, but the ride is smoothing out a bit as we go. The Boys Fifty-Two earns a strong 3.5 out of 5 stars overall, and it's good to have my personal protagonist back. But when does that Butcher solo mini start again?
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This isn't a bad issue of Powers, by any means, and it has a bit of the trademark Powers spark in it, but for some reason I just wasn't as taken in by the beginning of this arc as I was with the Retro Girl story or even the deaths of the FG-3. I'm a bit bothered by the fact that I really enjoyed the backup feature (a preview of the coming "Takio" graphic novel from this creative team) more than the issue itself, and I'm not even sure why. The relaunched Powers started off strong (although the Screaming Eagles arc overstayed it's welcome, just a bit) and several months gap between issues probably hasn't helped, either. Appearances by Calista (aka the new Retro Girl) make me think that this whole thing may give us more background on the nature of her abilities, leading me to think that I'm in the mood for less police procedural and more of the foul-mouthed wackiness that only Powers can provide. Powers #7 isn't bad, but doesn't wow me, earning 2.5 out of 5 stars overall and reminding me

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Jim Calafiore is one of those artists whom I've always appreciated, being responsible for a particularly beloved run of Marvel's original 'Exiles,' but his work here is particularly perfect for the ugly truth of the Secret Six's lives. As for Gail Simone, her love for the twisted souls of the Secret Six (even though there are 8 of 'em) is clear in every disgusting, deformed and misshapen panel. The fact that Scandal and Rag Doll's battle hinges upon their respective desires to resurrect a loved one (ironically, both dead loved ones hail from the Fourth world) but shows them willing to kill ANOTHER dear friend is indicative of the type of care and craft that goes into every issue of this book. From the beginning, it was clear that the Secret Six isn't your father's DC team, but each issue deepens their sick appeal. All in all, Secret Six #31 delivers on all fronts, with snappy dialogue, impending war, and a little of the old ultra-violence (although I'm concerned about poor Liana's situ
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Axe Cop is the kind of comic that reminds you how much fun comics used to be, with a stream of consciousness approach worthy of James Joyce and a strict internal logic that never contradicts itself, even as we go from talking hammers to flying police cars to giants menacing the capitol building. Amazingly, there's re-readability here as well, and subsequent trips through the book reveal jokes in the art and twists of plot that might have escaped the first time around. Seldom has a comic book managed to be so perfectly consistent and flat-out entertaining for a full twenty-odd pages, and at $3.50, this issue compares well to the output of the Big Two. Heck, fifty cents more is a small price to pay given that this issue seemingly contains more plot than the every issue of the first volume of New Avengers... Bottom line for me, if you don't like this book, you are an enemy of joy and should probably find a job pulling kitties' tails or poking at orphans all day long. Axe Cop - Bad Guy Ear
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MAAAAN, this arc is going slow. We've been reading about Krona's plot for the better part of a year now, and there's clearly a lot of padding going on in this tale. Hal is becoming more and more unstable, while Atrocitus, Larfleeze and Saint Walker have become one-note characters parroting the same sentiments over and over. There was a point a few issues ago where it seemed that we might see the entities inhabiting new bodies, but that was cut short, while the bits with Krona and the Guardians history this month are strong, but are way out of balance with the soul-searching of Hal Jordan. I'm sure I'm overthinking this, but it feels like we've been stretching this whole arc to get the big War storyline to coincide with the upcoming Green Lantern movie, and the characters and plot are suffering. Green Lantern has been a series of escalating battles for about five years worth of stories now, and I'm dying for a quiet moment with Cowgirl, or even the appearance of a supporting cast member
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Winick's takeover of this title was abrupt and brusque as heck, and really rankled me as a reader when it wiped out everything that Amanda, Justin and Jimmy set up, but it has become clear that this was an intentional effect, to show how sudden and dangerous having Maxwell Lord target you can be. I'm still not entirely cool with Starrware being dismantled, but this issue shows that it's an ongoing process, and that perhaps things are not beyond repair. The art in this issue is quite good, as Sami Basri acheives a subtlety that reminds me of both Frasier Irving and Daniel Acuna, making Power Girl both muscular and feminine, and even delineating between two guys in identical bat-cowls with subtleties of facial shape and expression. Nice work, under a simply beautiful and understated cover. I'm really glad that I stayed with Power Girl's book after the change in creatorship, but I'm still a bit miffed at how long it took to get to the bloody point about what's really going on. All in all,
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This is a very good issue in a series of very good issues, setting up a natural conflict between characters who have been around forever, with similar backgrounds and motifs, without feeling forced. There are half a dozen clever touches in the issue, from the redesign of Asgard to the flashbacks to Tony's skipping out on news outlets while refusing to neglect the comedy programs. (And if you've seen The Daily Show and Colbert lately, it's clear why...) Tony's interactions with Octopus are wonderfully written, with every line from both hero and villain brimming with contempt for the other. These days, everyone seems to want to see the heroes fighting their iconic villains, claiming it's not a Spider-Man story without the Green Goblin or that Batman isn't fun unless he faces the Joker. In these pages, Fraction builds a brand-new rivalry out of existing pieces of history and makes Doctor Octopus seem like Iron Man's ultimate nemesis in just a few pages. It's an example of the kind of good
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The last few months of this title have been pretty unrelentingly bleak, and for The Boys, that's saying something. But with Hughie's solo tale over, and Butcher admitting that he's not the bastard that he seems to be, this issue feels like a return to form. Of course, I don't suspect that this is ever going to be a nice title, but at least I'm able to deal with my protagonist again as a bastard of acceptible magnitude. Jess is the real variable in the story for me, and the fact that I don't know exactly what her hidden agenda is yet makes the whole thing intriguing. Ennis has long had a winner on his hands with this series, but this issue manages to cover a lot of territory in a short period of time. My only complaint is that this issue consists almost entirely of talking heads sequences, going from the party scene to Rayner's office with only the violation of Monkey (and, by the way, raise your hand if 'EWW?') to pad it out, giving me the unpleasant 'middle-of-the-trade-paperback-work
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It's a mighty dark subject matter, but Jennifer's demeanor makes this book not quite like a Punisher story. She doesn't seem to be engaged completely by either side of her life, instead smiling serenely and passing through both the life of a suburban mom and the life of a brutal killer with the same detachment. My difficulties with the art never completely evaporate, and the grotesque scratchy linework makes the sex scene pretty repellent (probably moreso than the knife fight, honestly) and I don't know how long the narrative can go before the bubble bursts and one of Jennifer's worlds collapses into the other, but right now I'm impressed. If you doubt that Ennis can get down to business without out-Preachering something or other, this would be a fine book to pick up. Jennifer Blood #1 is a splendid first impression, and a gonzo bull-moose whopper of a mixed message, but it still excellent enough to bag 4.5 out of 5 stars overall. I hadn't intended to put this book on my pull list, but
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Ty Templeton is a name I recall from the olden days of the 80′s black-and-white explosion, but his work in this issue is very accessible, giving the reader what they need to understand about the characters in quick and clear fashion. I don't have a lot of history with any of the characters here (save for Nelvana and Freelance, and that extremely limited) but that doesn't hamper my understanding or enjoyment of the future shock storyline. I hadn't realized that this was a three-issue series when I initially ordered it from Previews in the fall of 2010, but as with most of their offerings, Moonstone delivers an interesting take on superheroics without a lot of the barnacles that you see in the big two comics these days. I'd be really interested in hearing from someone who loves the Canadian heroes and how this story follows through on their childhood memories, but for me it's solid storytelling and nice art. Northern Guard #2 earns a well-deserved4 out of 5 stars overall, adding an
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On a recent podcast, I opined that if T.H.U.N.D.E.R. Agents can get past nine issues that they should be able to make it to issue #25, and this is a strong step in that direction. Taking all the various team histories and creating the beginnings of a team canon using the strong stories of the past incarnations of the team is neat on two levels: If you know the history, then the stories you enjoyed still "happened." (As much as that probably shouldn't matter, it is good to know that you don't have to deal with remembering which issues no longer exist. As a Legion fan, I can tell ya, this is more exhausting than you think.) If you don't know the history of T.H.U.N.D.E.R., these pages can serve as a little bit of flashback depth, or even a stepping stone into the collected editions of the old-school adventures. All in all, even with the ending surprise being sort of not so surprising, this is a good outing for the agents, and makes me want to know what happens next AND what happened betwe
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There are some nice parts of this issue, mostly character bits, including a sequence where Luke fails to hotwire the truck he's trying to steal and instead picks it up and walks away, but mostly I'm left cold. Nick's actions during wartime notwithstanding, the flashback portions of the issue bother me as an attempt to bring "realism" to a comic book hero's story, and there's never a clear explanation of what is going on with Superia or why our heroes engage in unprovoked vandalism, theft, battery and mayhem. Moreover, as I mentioned at the very start, I'm bugged by the retconned insertion of this "Avengers Initiative," not just for the knot of continuity snarls I know it will start, but because it smacks of centralized world-building in a Marvel Universe that has long been known for versimilitude and sprawling narrative. If this is the story of how Nick created the Age of Marvels, it has the potential to shrink that narrative down to a common originating point, something that seems inh
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The new kids are intriguing, the use of Glorith (who was the main villain of the Volume Four Five-Year-Gap series) is interesting and alarming, and every one of the supporting character appearances made me smile. Blok and Mysa's absence from the team is more justified in just a few panels here than when they left the main LSH book, and seeing Chuck and Lu discussing the new young heroes reminds me of how old we've all gotten together. Seems like only yesterday they were getting married on Mars, or fighting imaginary yetis on Wondil IX. Night Girl's mysterious disappearance from the main team post-Action Comics is finally explained as well, and her six on one battle sequence shows what a fun character she can be. Levitz & Jiminez hit all the right notes here, and Phil's art is just beautiful. His future Metropolis is reminiscent of things we've seen before (Coruscant in the Star Wars prequel trilogy for one) without being cribbed, and the range of body language and expression in his art
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Overall, there's nothing in Heroes For Hire that is overtly unpleasant, and the major elements of story and art are nicely handled, but there's still an important unknown element missing for me. Maybe it's the "Misty in danger" arc, or maybe it's my leeriness of yet another Marvel attempt to launch a team book of perceived second-stringers given their track record (Young Allies, the second and third volumes of New Warriors, The Loners, S.W.O.R.D., reincarnations of The Defender & Alpha Flight, Captain Britain & MI:13, yadda yadda) and the current soft market. I want to love a book with The Falcon, Paladin, Iron Fist and more, but there's still a distance between me, the reader, and the narrative. All in all, though, it's not a bad book, with potential to be great, and I have faith in DnA's writing prowess, at least enough to get the book past the 6 month hurdle. Heroes For Hire #3 is an issue that shows how much potential the book has, earning 3 out of 5 stars overall.
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The simple fact of the matter for me is that a tale well told, even one I've read before, is worth the time and money. This serves as more than just a primer for the history of the superhero, it's a blueprint of what Fraction and LaRocca have done and what they intend to do with Shellhead. There's even a two-page preview of coming attractions (what I tend to think of these days as a "Geoff Johns Preview") that promises intrigue, adventure, Spymaster and possibly even The Mandarin, all of which make me happy. The $2.99 price point doesn't hurt my feelings either, making this a pretty affordable jumping on point for new or lapsed Iron Man readers. The best part of it all? If you're involved in the ongoing story of Tony and friends, you don't even HAVE to buy this issue and lose a month of momentum in the ongoing storyline, as it's a standalone issue that naysayers can easily avoid. It's pretty much a win-win, and if all the .1 issues are done with this level of workmanship, I'd say that
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Either way, as much as parts of the issue were quite good, it didnt really pop as a must-have issue. The art is well-done, but nothing to write home about, while the story gives us our first real glimpses of the big bad in action, something that Ive been hoping we would get for a couple of issues now.
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Its kind of a shame that the publicity machine shot their work in the foot by revealing the big spoiler ahead of time. Still and all, Fantastic Four #587 works on multiple levels, and sets the stage for the next iteration of the FF well, earning 4.5 out of 5 stars overall. Im sure that there are plenty of snarky comments to be made, but the fact is, its a comic that tells an entertaining story with good art, and does it while handicapped by the tropes and nature of the comic book industry.
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Indeed, a less impressive issue of The Boys is still a more compelling read than many regular monthly books on the stands. The Boys #50 only suffers in comparison with previous issues of the same book, giving us more depth and background and edging us closer to Butchers endgame, earning 3.5 out of 5 stars overall. Oh, and BRING BACK DARICK!!
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I had thought about this issue and the end of this series as a good jumping-off point for Buffy, but I am encouraged to see the creators moving back towards what makes the character awesome in my mind. Buffy The Vampire Slayer: Season 8 #40 is a bittersweet ending with a hopeful note, leading the character into her new status quo ably, and setting up the seeds for next seasons events, and earning a well-crafted 4 out of 5 stars overall. Id say that, for all the good issues of this book (and there have been quite a few) its well past time to move on to what comes next
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This issue isnt the most flashy or impressive of the title, but it makes its case clearly and gives you everything you need to get a foot in the door. Secret Six #29 earns a solid 3.5 out of 5 stars overall, doing its thing well and without fanfare
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Having grabbed all the issues (one of the fringe benefits of being in full control of the back issue stock of a medium-sized comic store, Faithful Spoilerite), I can say that its a shame a book of this quality is getting canned, and I think its a prime candidate for a reader-lead mail-surge return in the near future. Thor: The Mighty Avengers is a fine comic book, earning 4.5 out of 5 stars overall, and reminding us all that sales are seldom an absolute measure of quality
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Spawn #200 clears up a few points, resets the players for the next big arc, and calls on all of its 18 years (has it REALLY been that long?) of history to deliver a pretty damn good slam-bang thrill-ride issue. The sight of the heros costume rising up to fight infinite evil with a SKREEE! brought a smile to my face, causing Spawn #200 to earn a very respectable 3.5 out of 5 stars overall. I have to say the issue was a lot more enjoyable than I might have expected
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Im honestly going to be picking up the rest of this series to see where it ends up going, the most successful sign of a good #1 issue. Casanova: Gula #1 earns a very impressive 5 out of 5 stars overall, making me wish Id been onboard with this title since day one To the back issue bins!
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Its pretty much a disappointment on all fronts, taking us TOO FAR into the realm of the mundane for Superman to even seem relevant (see my remarks on whether making collateral damage part of the story is a good thing in a recent podcast) and doing it clumsily, to boot. Superman #707 earns a very disappointed 1.5 out of 5 stars overall with the core of the problem coming from a concept that just doesnt seem to match the character inhabiting it.
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All in all, its a well-done book with a character that I dont have a lot of attachment to showing why hes interesting. Daredevil Reborn #1 earns an impressive 4 out of 5 stars overall, looking and reading smoothly and hopefully leading the character into territory that isnt all about Bullseye, Elektra, Kingpin and the dead girlfriend of the week.
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The bottom line for me is that this issue felt quite generic, from the good-but-not-terribly-unique art to the overblown computer effects to the patented "Take-out-Dawnstar-so-she-can't-track-someone" subplot that gets namechecked in our brief Tellus sequences. The issue features 2 Legionnaires (3 if you count Dawny floating in a bacta tank) and one villain, and stretches out a minor fist-fight/exposition sequence to 22 pages without a whole lot to merit the attention. I like Mon-El as the Legionnaire chosen to wear a Green Lantern ring, but wonder why any Legionnaire had to wear one in the first place, and Sun-Killer not only bothers me for duplicating the abilities of existing Legion of Super-Villains member Sun Emperor, but for reminding me of Sun-Chained-In-Ink from Kurt Busiek's Trinity series not so long ago. It's not a disappointing issue so much as it is a completely uneventful "meh" kind of thing, a day-in-the-life of some Science Police guys who get to watch Mon-El fight and

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John Byrnes Next Men #2 is a good, if somewhat squicky, read and earns 3.5 out of 5 stars overall. While we may not know for sure why these things are happening, the storytelling is good enough that youre drawn into the issue regardless, making this one successful for me
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The Young Avengers have been trapped in a cycle of big-event crossover madness since about 2007, with Marvel seemingly willing to wait as long as it takes for Heinberg and Cheung regardless of the wait between series (or, indeed, between issues.) In this case, though, I agree with the decision, as the team works terribly well under the creators and less so under other pens. Avengers The Childrens Crusade #4 is a fine comic with wonderful art, and earns a delayed but still quality 4 out of 5 stars overall.
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This issue is mostly buildup and character work, but it never seems like filler, causing Jack of Fables #49 to earn 4 out of 5 stars overall. Im looking forward to next issue with a mix of excitement and dread, and wondering what the future holds for our cast of characters That in itself should tell you about the quality of the book.
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The Flash #8 is where the book really, finally hits its stride, and the only thing that keeps it from being a perfectly scored issue is the fact that the main character doesnt appear anywhere but in flashback, but its still good for an impressive 4.5 out of 5 stars overall.
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What If? works best when it plays with the Marvel Universe is ways that are fundamental but still leave characters recognizable, and the cliche that everyone dies isnt entirely squashed here, but Im pleasantly surprised with what we got. What If? #200 earns a pleasantly entertained 3.5 out of 5 stars overall, making me wonder if this concept would work as an ongoing series again.
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All in all, the issue wasnt bad, just somewhat fast-paced and inconsequential, even with the big reveal at the end. Geoff Johns is a good writer, Doug Mahnke & the inkers do good work, but something fails to gel for me with this issue. Green Lantern #60 is a book that just sort of happened for me, earning a not-bad-but-not-stellar 2.5 out of 5 stars overall. Its not on the chopping block, by any means, but I hope that I can reconnect with the story soon
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As first issues go, this one clearly knows all the pitfalls and works to avoid them, which is a wonder in itself. John Byrnes Next Men #1 marks a return to form for some old friends, but wont be alienating to someone who is meeting them for the first time, earning a very strong 4 out of 5 stars overall. And no matter the book or company, its good to see Byrne going all out
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Overall, even excellent art cant do much for an overblown emotional armageddon, and Im hoping that next issue gets us moving again (and maybe even goes into the plot points promised, but not delivered, for this issue as they sound kind of cool.) Booster Gold #39 earns a slightly disapointed 2 out of 5 stars overall, though not for lack of charm and skill on the creators part. Hopefully next month will be more to my liking
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New Avengers #7 is a very pleasant diversion, well-written and meaningful, even as nothing much actually happens, earning a very respectable 4 out of 5 stars overall. The only way this book would have been better would be more U.S.1, if you ask me
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Its a book that I highly recommend to anyone who digs comic books and the comic artform
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The Boys Forty-Nine is a fascinating study in how to make unsympathetic characters approachable, and earns a very impressive 5 out of 5 stars overall. Ennis and company are telling a story that no one else could (or even would) and its one thats well worth reading, as long as youre over 18
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All in all, I enjoyed this issue, but it would have carried a bit more weight in another franchise, especially one that had such a well-recieved finale episode.
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Brubaker is working his magnum opus here, and its fascinating to watch a master craftsman at work in an extended narrative.
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All in all, Im very impressed with this issue, and its clear that the identity of the soon-to-die member will probably be a surprise up to the last second. This is a damn good story, and an excellent take on the most difficult book in Marvels arsenal, leading Fantastic Four 585 to net a VERY impressive 4.5 out of 5 stars overall. Hickmans take on the FF is amazing, and Eptings art seals the deal.
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All in all, Im not so much off-put or bothered as I am just disappointed in how familiar all these pieces seem, and Im hoping that it gives our old heroes a shiny new coat of paint for their ninth decade. Of course, I was hopeful that Zero Hour would do the JSA justice, too. Look where that got me.
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I have to say, I understand why they chose to tell Hughies tale separate of the Boys main title (although I disagree with that decision) but this is one of the better issues of the book since Hughie learned the truth about his girl. This entire issue a pretty amazing piece of work, and I was fascinated by most every page.
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I like JR Jrs art this issue, which may or may not be attributed to Tom Palmer on inks, but the wheels are spinning in empty space for the most part. Avengers #7 is disappointing across the board, and even the good parts arent enough to make me happy to spend four bucks on a series of what amount to trailers, leading to 1.5 out of 5 stars overal
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The issue itself is much clearer visually than the last couple, but Im not at all convinced that Francis Manapul is the best artist for a book that relies on speed and motion effects, given his rather stiff figure-work and the pencil/watercolor effects of the finished art. Overall, its better than either #4 or #5, but it still evens out to a pretty average issue overall.
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[rating: 4/5[
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The fun in reading this book isnt usually the big plots (though those are awesome as well) but in the ways the characters work so hard to try and avoid changing or admitting their true natures as they do so. Gail Simones twisted team is always entertaining, and this issue is no exception. Secret Six #27 earns a well-deserved 4.5 out of 5 stars overall, even with the horrifying sight of Rag Doll in his Superman underoos.
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I find the concept pretty fascinating, even as I wonder who picked the five most fed up Avengers to play den-mother, and this issue proves once again why Avengers Academy is the best Avengers title on the stands right now. Avengers Academy #6 continues their streak with another solid tale, fine art and story, and even a little dinosaur mayhem for Rodrigo, earning 4 out of 5 stars overall. I continue to be pleasantly surprised by this title every month
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All in all, its an imbalanced but not terrible issue overall, with excellent art throughout the book. Adventure Comics #520 is slightly better than okay, but better than it might have been, earning a composite score of 3 out of 5 stars overall. If we get Mon-El out of the zone, this is potentially really good stuff
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Deadpool Team-Up #888 has good intentions, and nearly hits the mark a time or two, but leaves me with an overall disappointed feeling, earning only 2 out of 5 stars overall. Its not terrible by any means, but theres definite room for improvement from these creators.
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Captain America #611 is a complex issue, using the main character sparingly, but making it all about him in the long run, earning 4 out of 5 stars overall. I sincerely hope that this doesnt end with Steve simply picking up his shield again Thats far too easy, and a cheap copout move to boot.
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Its been a while since I picked up Action Comics, but I have to say, this issue wasnt a disappointment at all, even if it didnt go where I kind of wanted it to.
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This title is DCs flagship book (at least in my mind) and its time that it was legitimately good again. Justice League of America #50 is a couple-three steps in the right direction, earning 4 out of 5 stars overall, even with more Darkseid stuff in the margins
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Adventure Comics #519 is undermined by clashing styles, and while not truly awful, is a sadly below-average reading experience overall, rating 2 out of 5 stars overall, with one 1/2 star awarded solely on the artwork of Asrar. A few years ago, they tried to launch a series that would tell flashback stories of the original Legion, and now I start to realize why they scuttled it: It leads to stories that are either silly and dismissable, or meaningful but hard to reconcile with what we already know
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Chaos War #1 earns a mighty 4 out of 5 stars overall, setting up our conflict without ever pulling plot points out of thin air, and giving the latest crossover madness a strong takeoff (with some turbulance for our heroes.) Its good to have Hercules back again Now, where in the heck is my Iron Fist?
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Franken-Castle #21 wraps up the undead golem phase with a band and relaunches Frank Castle on his single-minded mission of blah blah blah fishcakes, and does it with style, earning 4 out of 5 stars overall. Im saddened to think that I wont be reading it with the same amount of zeal and excitement anymore, though
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The youthening and pantsening are no longer the focus of the story, and the events are very mythical and extremely well-drawn by Don Kramer and company, causing Wonder Woman #603 to earn 3.5 out of 5 stars overall. Its not just the same old thing, and with a character of this vintage, thats a damn good thing.
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This issues story is far too inextricably tied to Brightest Day for my tastes, and having dropped that book and missed a couple of issues here, I was still able to jump in and have parts of the tale feel formulaic and overdone. Still, based on its own merits, its more comprehensible than it could have been, allowing Green Arrow #4 to earn a not-at-all disrespectful 2.5 out of 5 stars overall. Im not necessarily going to jump right in again next issue, but nothing here drove me away, and sometimes that all you can as for out of a book
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Legion of Super-Heroes #5 is a welcome improvement, with lovely art by Yildiray Cinar and Wayne Faucher, and while I still want more XS, more Gates, more Matter-Eater Lad and more anybody who isnt Earth-Man, its still getting less annoying to read the book, resulting in a run-on sentence from hell and 3.5 out of 5 stars overall.
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Given that it has a couple of Oh, hell yeah! moments, a Heel Turn for a guy who never really went face and Thor shoving a hammer up Galactus nose, I cant in good conscience let those moments destroy the book for me. Avengers #5 is good, certainly better than 1 through 4, and earns a slowly-coming-together 3.5 out of 5 stars overall.
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Its well-drawn, even though I remember and miss the clean work of Asrar, and overall this issue suffers a bit from second-act syndrome, as all the pieces are in play and were just waiting for the last issue to wrap it all up with a big ol bow. Still, its good stuff, and the characters are likable enough (though I have the advantage of having read the whole original series first) causing Dynamo 5 Sins of the Father #4 to earn a strong 3.5 out of 5 stars overall. Im hoping that Firebird doesnt die next issue, because that would sour the whole experience for me
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This series got off to a pretty slow start for me, with yet another shoe-horned 1940′s love interest (although she may be the same Nazi girlfriend that appeared in the Adventures of Captain America miniseries in the 90′s) and some blah-blah-blah about Professor Erskines son, who should rightly be much older by any count that I can come up with, but it recovers nicely here. This particular issue gives us more than we usually get from Steve Elder Statesman With The Pep Talks And The Glayvin Rogers, showing us WHY hes so indomitable, and giving us a first-person narrative that lets us in his head. Ed Brubaker is good with this character, and as much as I mock the whole Were better because were more human! school of super-heroic thought, it works when its not overworked. (Batman, anyone?) My main complaints are incidental (weve seen the whole scrawny Steve-thing before, weve seen Captain America without super-soldier formula before, and by the way, didnt they remove it from
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If we factor in some plotting issues, add the huge plus of no more Gog, subtract weird and distracting coloring, carry the one, and bring in the fact that the title characters put in the equivalent of cameos, and we shake down thusly: Justice Society of America Special #1 earns a slightly below average 2 out of 5 stars overall, even as the art is pretty spiffy throughout.
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Maybe it's my 70′s Marvel bias showing, but I really enjoyed this issue, especially the appearance of characters that get little to no respect. They're not badass, and they don't need to be, and that's just fine. Victor's backstory gives him at least some claim to Luke's old fighting name, and if Marvel HAD to name a new Power Man, at least this one makes sense in context. Iron Fist and Cage have an amazing repartee in this issue, thanks to the amazing dialogue of Fred Van Lente, and the art in this issue is VERY good. My only real disappointment is that Mahmud Asrar didn't also handle the covers, as the guy drawing them has a completely different style and makes the new Power Man look oddly Caucasian and unappealing (not that the two are necessarily interchangable.) Shadowland is only a backdrop for this story of a son seeking redemption, and seeing how far Luke Cage has come in his time as a Marvel hero helps to justify the enormous Bendis-inspired push he's been getting the la
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Overall, though, Im intrigued and its a nice looking book, so Doctor Solar, Man Of The Atom #2 earns a hopeful 3.5 out of 5 stars overall. Its hardly perfect, but its certainly a good start for a new comic book world. Lets hope that we can hold off on Unity 2010 long enough to establish a decent fanbase
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Overall, its a competent piece of work that seems to be supporting my theory that Marvel wants all of its heroes to be the head of a hero family, with versions of them for all demographics. Daken Dark Wolverine #1 is probably a better book for those that love Wolverine and his offspring, but still manages to pull of 2 out of 5 stars overall from me.
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Jeff Parker does his usual stellar work here, and the art isnt bad (Sara Pichelli is not a name Im familar with, but she turns in a fine job here) but overall the issue ends up being kind of predictable and meh. There are touching moments as Namora is seemingly reunited with her lost daughter, but overall its pretty inessential. Moreover, the cover (with a dead-looking Namora floating in oddly black waters) seems to be evocative of the recent ecological tragedy in the Gulf, and is a bit disquieting if it was intentional. As much as Parker is a fave-rave, this story could easily have been told in the backup slot of the ongoing Atlas title and possibly had more eyes on it and done the character a bit more good.
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Im not sure what it is about this series that makes it less enjoyable than Incredible Hercules thus far, but its kind of frustrating for me. Amadeus goes from his usual awesome self to whiny schmuck for several pages, and its only a shot with the hammer of Thor that jars him out of it. Athenas ascension to the all-father role gets a back burner status here, but Im hoping theres a bang up ending coming (maybe one with Hercules in it?) Its not a bad comic, just not as awesome as the usual Incredible Herc issue has been.
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Amazingly, this book is written by comedian Patton Oswalt (he of the KFC Bowls routine) and is pretty well-done. Thats no surprising if you think about the amount of work that Patton must put into the writing and language of his routines, but his grasp of character, situation and even pathos are spot-on. Patric Reynolds art is quite good throughout, and his rendition of the cameo at the end of the book is just flat-out beautiful. This book sets me up for the possibility of more adventures of this cast in the post-universe configurations, something Id love to see. Perhaps a Joss Whedon produced Firefly Season 2′ series? Dark Horse, are you LISTENING???
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The art here isnt bad, and theyve done upgrades to Inferno since I saw him last, making him less annoying than before. I think my biggest Crusaders-related complaint is the way they took several characters from the Golden Age who were unique and modernized them in ways that are less so. (Hangman, for instance is basically stealing his schtick from The Spectre, even though MLJ already HAS a character in that role, Mr. Justice.) Its an improvement over some of what weve sen thus far, and its good enough to keep me on board (although I always like team books better for some reason) even as it still has some flaws that concern me.
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The best parts of the issue come in the use of Man-Thing as the teams transportation, and the chain belt buckle that Luke wears on the cover (evocative of his awesome old Power Man suit.) There are some issues with the art to me, especially Songbirds new haircut/skull shape. Cain Markos presence is annoying as well, as were once again in the depowered Juggernaut plays good phase, making it necessary in a year or two for him to go evil and power up again. (This is his fourth or fifth superhero team, isnt it?) All in all, theres potential here, but the issue makes some questionable choices that lower my overall enjoyment (Crossbones?? REALLY??) and drag things down a bit. I hope that it will live up to its premise sooner rather than later.
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I was pleasantly surprised by this issue, as Ron Marz gives us a good idea whats going on in her mind, explains her powers, gives us her backstory and sets up the ongoing storyline, while Kenneth Rocquefort makes it a very good-looking story. And, I was happy to note that my expectations of cheesecake were undermined, as the story-telling is quite good, and only one issue (a rear-view of her running) even goes anywhere near showing off her form over the story function. Velocity is an interesting read, and I will be checking out where this story goes in coming month. I have to say I was pleasantly surprised.
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The only real weakness comes in the big reveal, which I (and anyone who knows Ms. Zataras backstory) could see coming from three miles off. Theres a possibility that Zatannas book comes from the same thought process that brought us Heralds and/or Girl Comics, but I find this book much more likable until the last page. Still, it doesnt bring the whole story down, but it does lower my enjoyment of a good title somewhat. Good art, good characterization, and some very nice art but a predicatable climax still make for an enjoyable issue.
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Its a little odd to read a story without the usual conventions of 21st century political correctness, with relatively authentic 30s slang (including a couple of racial slurs and some old-school blaspheming) and a gangster motif. The gruesome aftermath of Katos unit invading Chinese territory are shown in a bright red wash, emphasizing the horror, making me notice the coloring throughout the issue, emphasizing and supporting the art throughout. Matt Wagners usual historical detail is present as well as nice character work across the board. This book is my favorite of the current Hornet crop, playing with the expectations and history of the character nicely
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This issue also provides the origin of Red Lantern Dex-Starr (the cute blue kitty-cat, who also gets in a few good shots on Lobos bulldog pal) and its actually touching, if somewhat manipulative in its emotions. Its a stronger outing that the last couple of issues of GL, which have been meandering as Brightest Day tries to keep up with the post-Nekron DCU, but its still not quite up to the high standards set by Johns in this titles past. Im still onboard this title, even with my growing distaste for the protagonist, but this whole Search For The Entities thing has already dragged on longer than I suspect it should..
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Green Lantern Stel's homeworld has been overtaken by Alpha Lanterns, and a task force consisting of Kyle Rayner, Soranik Natu and Ganthet set out to solve the mystery.
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Hawkeye is a character thats always fascinating (his last series and West Coast Avengers especially so) and Mockingbird is practically an empty canvas, and her new costume is pretty phenomenal-looking at that. I have high hopes for this book in the post-Dark Reign Marvel Universe, and I would love to see it become the next Iron Fist or Moon Knight, achieving critical darling status. This is a good kickoff, setting things up clearly, drawing the characters and setting up the villains. My only complaint is that Crossfire is kind of old hat, but even that wont be an issue if the book stays this well-written
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Incorruptible and its sister book, Irredeemable, arent written as the standard we have a story to tell and then well trade paperback it and be done paradigm so often seen these days from independent publishers, instead embracing something like the 70s Marvel storytelling style, where things dont follow a convenient arc but unfold more like real life, where things arent always tied together with neat little bows. Its nice work, and this is a good issue, adding depth to our protagonist, and showing his weaknesses, both physical and otherwise.
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The build-up to the Viltrumite War has its seeds in the very first issues of this book, and the cast assembled is a fascinating one (save for Tech-Jacket, whom Ive never had any particular affinity for, and whom I find to be a bit of a Mary Sue) and once again, Kirkman and Ottley arent afraid to show the real toll of battle, right down to blood and icky guts and consequences. Conquests death seemed a bit sudden, bordering on anti-climax, but seeing Mark get his revenge is still a visceral thrill, and this is still one of the strongest titles out there month over month.
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This book is one of the more fabulous things to come out of the Heroic Age for me, giving me an Iron Man that (while highly influenced by the Robert Downey, Junior movie) I can at least root for, and allowing him to rebuild his business and his supporting cast in a way that will make the eventual success of the business that much more entertaining. There are some problems for me with the characterization of Rhodey and Pepper, but its less problematic than it is intriguing. Its a strong middle chapter, even if not a whole lot actually happens during the issue
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This story is a compelling one, but structured in an odd way, as Plutonian has been off-screen for most of the last several issues, and the seeming heroes of the piece are so side-tracked with their own betrayals and situations that they havent even really addressed the fact that their world is being systematically destroyed by a giant alien from beyond. Its the most realistic take on superhumans since DP7 was cancelled, lo these many years ago, and its a really fascinating read to boot. Im not sure where its all going, but Im perfectly happy to go along for the ride. I wonder if its eventually going to come down to a battle between Max Damage and the Plutonian? It would be pretty ironic if the biggest villain on the planet had to take down the greatest hero.
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The transition from mostly-benevolent-capitalist to all-out-evil-thing was a slow one for Max, but its good to see him being at least kind of human again here. The use of these characters together is as much a repudiation of the JLI book (since the tone here is NOTHING like that book) as it is a celebration, but its good to see these mostly sidelined characters getting respect. Its sad that we had to destroy some of their new backstory to get there, but at least its good stuff to read. Im really hoping that Brightest Day shows its cards soon, and that the reveal is worth the time getting there. This issue is getting better, but its still got room for improvement.
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Flash takes the lead with a completely run-of-the-mill story pairing him with/against Weather Wizard, while Deadman gets a more unusual tale with some really impressive art by Jose Luis Garcia-Lopez.
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The Young Masters (the quasi-villain counterparts of the Young Avengers) get a moment in the sun (literally a moment, it's two pages long) andGauntlet of Avengers: The Initiative gets one page showing hisreturn to Iraq.
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Her fellow angely types arrivein time to bust her out, and a bigfight between herheavenly host and his dark minions begins.
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Their experiment is interrupted by Wonder Man, who attacks out of nowhere with unexplained fury and vehemence, then explodes into nothingness.
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Seeking out proof of Maxwell Lord's existence, Booster ends up stealing a videotape from his past self, only to find that it wouldn't make it back through the timestream.
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There's some interesting character dynamics, a guy who turns into a bear, and it's all tied together on bits of ephemera from 15 years ago, soit's nice.
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There's other stuff going on here, including awoman with toothbrushes on her head thatI believe came out of Morrison's run on the DP.
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All in all, you have to shake down on the side of the positive, and what works barely outweighs what doesnt, leaving this issue with 2.5 out of 5 stars overall. Its well-drawn, and its a good climax to the Days of JSA Future Past storyline, but theres ultimately too much left on the cutting room floor for a completely engrossing experience.
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The plot (about ancientChinesedeities returning in metahuman forms, only to be discovered as fakes utilizing secret government technology) heads towards a resolution here, andwe start to see the team act like a team for the first time in this issue.
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Overall, its interesting to see into Buckys head, and nice to have Steve Rogers as a supporting character in this title, but the effect of this issue is more of a Hmm, this could get good rather than a Wow, this is AWESOME! kind of experience. There might be some fallout effects from the Heroic Age going on, but the Cold War espionage of this title feels somehow out of sorts with the rest of the Marvel Universe, and I think this is affecting my overall enjoyment of the book.
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Do I love this book? I love parts of it. I love the Simone/Perez pages a lot. I want to see where the new era takes us. It's not perfect, and it's hard to remove the plot and story from the costume fooferfaw. It has potential for disaster, but all great stories do. Based on what works, and the appearance of Misfit ("Man,I'm about to lay some serious Dark Vengeance on these guys!") as well as the sublime moments in Amanda Connor's story, I'm going to give Wonder Woman #600 3 out of 5 stars overall. It's an intriguing start,and I hope it goes somewhere that makes Wonder Woman comics super-awesome and worthy of the icon-slash-intellectual-property juggernaut that she is.
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Its a mixed bag. This seems like an odd arc to start things off with, and Im unclear whether the previously-married Barry and Iris are still married, and I still dont know what the Brightest Day banner is supposed to mean for a title. (Based on this book, Birds of Prey, and Green Lantern, it seems to mean that the main characters will be metaphorically kicked in the butt and abused?) Its a likable enough book, though, with nothing overtly horrific going on, and as such Flash #3 earns a straight down the middle 2.5 out of 5 stars overall. Maybe its just me, but a major return like this might be worth a story with higher stakes and more substance?
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Wow, this book wasscattered. There are several seeds of interest going on here (the fate of Mekt, the missing Ranzz children, Tyroc's return to duty,the LSHer's response to the turd in their punchbowl) but it's all going on at once, making thissecond issue fall prey to the worstproblems that usually plague a FIRST issue. Yildiray Cinar's art is excellent,especially on Shadow Lass and Phantom Girl, and Paul Levitz hasmanaged to keep several key characterizations from his last run in place, but what does it all in for me is the shoehorning of night-on everybody into the book. It seems likeGarth will be giving up on his search for big brother awful quickly, and several of the other plot hooks that thisseries was launched with (coming out of Legion of Three Worlds and the Adventure Comics strip) may not get fully fleshedout in the new Levitz era. It's not as awkward as last issue, but there's still a lotofground to cover before I say that the Legion has once again regained it's stride. It

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Its a pattern that I know ends up being changed at least somewhat with the Eleventh Doctor and Amelia, but Id really want to see a Second Doctor/Jamie relationship or perhaps another Fifth Doctor/Tegan/Adric/Nyssa dynamic where theres more than just two players in action. Still, its a minor concern, and really isnt a complaint about this treatment of the character as it is the state of the BBC show itself. Doctor Who #12 is about to lead into the last Tenth Doctor story, but this has been a fun, fast-paced arc of quintessential Doctor, and earns 4 out of 5 stars overall.
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Its an out of continuity tale that works no matter when you learned to love Ms. Quinn, and it does what a one-shot should do, in making you wish it was an ongoing series even as you realize it probably wouldnt be this much fun every month. The Jokers Asylum II Harley Quinn is a good outing for Harl, and earns a well-deserved 4.5 out of 5 stars overall. The only thing this book was missing was sexual tension with Poison Ivy and a big wooden hammer to brain people with
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On paper, it works, but the execution is off here.
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Overall, its a nice continuation of a dearly missed series, and a well-handled continuation at that. Tom Strong and the Robots Of Doom #1 earns 4.5 out of 5 stars overall, and gives me hope that we might see more Top 10 or Jonni Future as well
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Still, even with that weakness, its a rip-roaring adventure tale, with some nice moments in it, as well as a lot of awesome character work the likes of which we dont usually get in a giant sprawling tale. The Thanos Imperative #1 does a lot of good things well, and even the flaws arent overwhelming enough to throw you out of the tale Thats a rarity in and of itself.
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The Brave and The Bold #34 takes two concepts that are pretty much polar opposites and puts them together smoothly and without fuss, earning an impressive 4 out of 5 stars overall. This series is designed to showcase whatever the heck J. Mike wants to come up with in his new exclusive playground, and Im very impressed with the results here
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Unfortunately for the readers, it's a case where we need a bit more show and abit less tell to get things going.
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Here's hoping that Atlas goes 100 issues this time around.
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It's a good ending to a decent book.
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Chris Batista's art is pretty much second only to Kevin Maguire himself, and overallI'm really thrilled to see where this book goes in coming months.
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Great art, but better production values than story values for me.
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Wouldn't you love to see a Ninth Doctor and Roseminiseries? Write them! Yell at them! Tell them Matthew wants it, and Matthew is awesome and stuff!3.
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I don't know if you can jump on this title, which worries me for it's longevity, but it's kind of a fun ride anyway.
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It'd be nice to see an Absolute Edition of this book in the near future.
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If only we'd seenthe characters on the beautifully rendered coverINSIDE the actual book? (And does anybody but me actually remember Shamrock, anyway?)2.
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The art is lovely, though, and John Cassaday's cover kicks serious butt.
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The current run of Hellblazer has mined aspects of thebook that we're familiar with in new anddifferent ways, which is hard to pull offonce a book passes 250 issues.
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Either way, it's a fun ride throughportions of the Marvel Universe that don't get a lot of of play lately, and it's got an interesting cliffhanger ending.
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Still, depending on how this is handled, it could be interesting in the long run, but my general feeling is that this arc has run about an issue too long without telling me what's going on, and now that it's over, I don't entirely remember what happened tokick it off.
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The arts quite good, and the Supergirl cover is quite wonderful, which earns a few points.
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Still, it's a nice strong start, and the variant cover is really beautiful.
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Ultron needed more time to be credible, and Jocasta was just kinda creepy throughout the series, making this issue come apart quickly for me.
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Disappointing on multiple levels.
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Idon't know if it's the time it takes to produce comics these days, or scheduling woes, or what, but I suspect that this book would have sold a lot better in 2008 or so, when there was a lot of excitement around the shiny new DCU and the characters that were reviving it? Bygones.
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The only thing that I have to say about all of this is: Juggernaut? A hero? Again?This trick never works.
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Michael Stracynski, but at the very least, it constitutes change for the amazing amazon.
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Doctor Who #11 does what a Doctor Who story should do, drawing you into a hopeless situation so that the funny Englishman can pull us back from the edge of destruction and earns 4.5 out of 5 stars in so doing. One of my coworkers, an avid Doctor Who fan, is incredibly jealous that he cant just WATCH these adventures when I describe them to him, so theyre obviously doing SOMETHING right
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Mike Deodato has finally balanced out some of the stunt-casting and female anatomy problems that made early issues of Thunderbolts so distressing, and Brubaker does what Brubaker does best: credible spycraft without mocking the costumes or the tricks of the trade. Secret Avengers #1 has potential, and has in my eyes the strongest overall cast of the relaunched books, earning a satisfying 4 out of 5 stars overall. Interestingly, for the first time in months, were dealing with old-school Avengers business, something Im happy with.
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An issue that felt like nothing but trailers for coming events is annoying enough without having had FIVE of the same, about the same story, in recent weeks
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All in all, Incorruptible #6 isnt as good as previous, but is still readable and etnertaining, earning 2.5 out of 5 stars overall.
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Avengers #1 starts off the new franchise in a good way, earning 3.5 out of 5 stars overall. Its not the lineup I would have gone with, but its a good one nonetheless
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Fractions work on this book has been a breath of fresh air after years of a very overbearing Tony in the Brainiac 5 genius/dick mode, giving us a much more accessible character whose motivations are understandable. Who doesnt know what its like to have to rebuild after a major breakdown?
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It is good to see a story that is treated seriously, with casualties and repercussions, and there is a redemption moment here that almost makes us forget that the character is the architect of his own doom. Still, looking just at this issue, we have a success story, with some excellent artwork by Coipel and Bendis doing sweeping epic worthy of Jim Shooter. (And that is a GOOD thing indeed.) Siege #4 isnt perfect, but it sets the groundwork for a number of interesting things, and changes the balance of power in a very effective way, earning 4 out of 5 stars overall
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Its rare to see a story end in a manner this satisfying, especially when the characters are UNSUCCESSFUL in their quest, but Busiek and company pull it off. Astro City The Dark Age Book IV #4 is a fitting ending, earning 5 out of 5 stars overall, and bringing the Williams brother saga to the better of its several possible endings Im also psyched to see that a Silver Agent micro-series will be coming in a month or two to finish HIS story as well. If only we could get a monthly Nexus comic again
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Rating:As the climax of the big reveal arc, this issue needed to deliver more than just warmed-over come-ons and vague notions of impending doom. As Buffy Season 8 winds down, though, the overall effect is still a positive one for me, and Buffy The Vampire Slayer Season 8 #35 still earns a better than average 3.5 out of 5 stars overall. The art and the stunning cover by Jo Chen (who draws a fine Eliza Dushku, by the way) do a lot to make up for the weaknesses of the writer
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This issue is intense, and Gail Simone's taut and individualistic dialogue is most of the reason for that. Dwarfstar's madness, Bane's immens self-discipline, Catman's rage, all are clearly conveyed through the word choice and cadence. That's NOT to say that Jim Calafiore's art isn't doing it's job, as the panel where Catman strikes is brilliantly rendered and surprising as hell. This is one of DC's best titles, monthover month, and it's a shame that more people aren't getting excited over this. Of all the characters, Catman has long been the one with the most "heroic" tendencies, and having his partners tracking HIM down, trying to stop him from going too far (in Deadshot's case, trying to stop a man he doesn't want to admit is a friend from ending up just like Deadshot himself) is powerful stuff. Add in a crazy Black Alice channeling The Demon to get even with Scandal, and you've got a fascinating melange of a book. Secret Six #21 takes what we know about the characters and turns it

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Virtually every storyarc to date has ended with people dying horribly, and I just hope that its not somebody weve come to care about, proving to me that Ennis and company are doing something right. The Boys Forty-Two serves as proof that theres more than just boogedy boogedy milkshake shockyouBOOM! and earns a very respectable 4.5 out of 5 stars overall.
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Astro City does the nearly unthinkable every month, but this month's achievement is very impressive, taking a retro story and making it feel completely contemporary and exciting without having to resort the universe-building tricks that the Big Two seem to be completely dependent on (see previous and following reviews for what I mean by that.
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I'm so glad to hear that this isn't the last hurrah of the AoA, and really happy to have read this miniseries, something I can always say when a limited is over.
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Marvel has gone back to their Secret Invasion tricks of showing us everyone's perspective in the moments leading up to the scene we all know about, and it's not working for me anymore.
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Either way, the way they handle the resurrection will be what defines whether I stay on the title or not.
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The death of Blue Beetle didn't break the timestream, why would Bruce Wayne? Bygones.
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It's worked so far.
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Joe has been wiped by the retcon bug, including the key Scarlett/Snake-Eyes romance, but I suppose that's the way of the world.
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I'll tell you right now, you're sorry if you missed this.
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Much like it's sister book, Irredeemable, there's no way to tell what's going to happen from issue to issue, and that's a very good thing overall.
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Still, anything that breaks Mark out of his weird funk is a good thing, and I am glad to finally see him talk it out with Cecil Steadman (as happened inInvincibleReturns #1last month.
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It's a good comic book that makes me sad when something as outre as a mechanical owl getting melted happens.
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Either way, I don't care, as long as they keep delivering issues with this much punch and artistic wherewithal behind them.
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I'm still onboard for the long haul, but this one was a miss in terms of entertainment value.
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The Mighty Avengers reveal that they're not nearly as broken as last issue would have you believe, and I'm sure that some Siege-fighting is in their future, butthere's justtoo much that's uncomfortable here, includingsome terriblyFreudian undertones to it all.
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The fact that we get some honest character development in between the sturm und drang makes this Avengers book work for me where the others didn't, and the Luke Cage moments were worth the price of admission.
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All in all, this is a nice wrap-up for an arc that was a little scattered stylistically, ending it all interestingly and opening new avenues of story for the Powers universe.
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Proof is one of those surprising series that I didn't expect to love and one that I still do.
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This title seems to work somewhat like DC's answer to Guardians of the Galaxy, a cast of known characters revolving around a central axis and deepening the mythos of the DC Universe.
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All in all, it's not been a good several months for the world mightiest teens.
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) It's kind of a shame that it doesn't sell better.
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Deon bagged and sealed every copy of this book before selling, as it has nudity, heavy violence, sex, swear words, and other adult content, so you have been warned.
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This issue is wonderful, and hits all the right notes of paranoia, even while making it clear that there doesn't seem to be anything to fear.
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Thunderbolts #142: More Siege, more dreariness, wherein the only really interesting portion comes when John Walker, the USAgent, finally finds out that Norm-O isn't on the up and up.
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She telepathically wipes herself from his mind and goes home to find Wolverine Junior in her bedroom.
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All in all, Iron Man #25 is like the armor itself: clean, futuristic, shiny and fun to look at, earning 5 out of 5 stars overall. Well see where the whole limitless power for everyone subplot actually goes, but this is a fine start to a new era for the Golden Avenger. Lets hope they can keep up the excellence
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Overall, this issue does some good things with the ending of the Two Americas arc, never truly condemning what BadCap and his Watchdogs are upset about, just their wacked out methods. The fight sequences are nice, The Falcon has a couple of serious badass moments (his wrist-claw grapping hook still works, in case you were wondering) and the climactic decision that Cap has to make has a different ending than it would had Steve Rogers been on the book, which is a good thing for me.
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The pacing has picked up somewhat from the first two issues, which is a plus, and overall this issue gets the job done. We find ourselves empathizing with Britt, and the art effectively and clearly delineates the action before us. Aside from jokes about the Hornets hat, the story carries itself briskly and entertains from start to finish. As we continue, I hope to see things coalescing into something more than the sum of its parts. Green Hornet #3 earns a respectable 3 out of 5 stars overall, with some sparks of brilliance that make me more than willing to see where all of this is going.
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First off, this is a really good-looking book, as Reilly Brown does a FANTASTIC job with the female Agents of Atlas and their mission of mercy, and Ariel Olivetti's renditions in the lead story are suitably epic for a battle of godly agents. Both of these stories are seamlessly crafted, and the various twists and turns of drama as the various Olympians maneuver and turn on one another, and fortunes are reversed at the drop of a winged helmet. The only real complaint that I've had about the entire "Olympus Group" conceit is that is seems somewhat similar to what Greg Rucka had done back in Wonder Woman pre-Infinite Crisis, but even that is a fleeting concern. The elevation of Amadeus Cho has been a slow and steady change, and in this issue he embraces his first-tier status in preparation for next month's starring role in 'Prince of Power.' The open admission that Hercules isn't really dead is very refreshing as well, given the current tendency to reverse even the most high-profile of de
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All in all, Justice League of America #44 is solid, progressing the team even while getting down to some old-school summer crossover business, and earns a very strong 3.5 out of 5 stars overall. If James Robinson can keep this pacing up without editorial panicking or the readers defecting, we may actually be seeing the foundations of the strong new League Ive been hoping for since 2006
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Is it funny? Occasionally, in a I hadnt thought of that sense, or if the thought of Brian Bendis getting killed and Matt Fraction replying I guess Im writing a dozen more books! makes you giggle. It is pretty, though Captain America Who Wont Wield The Shield #1 is pretty much a mess, earning 1.5 out 5 stars overall. The real joke is probably on the folks who pay $3.99 to own it.
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Theres a lot of discussion about whether we need 5 monthly titles featuring (fill-in-the-blank: Wolverine, Batman, Deadpool, Claudio Sanchez) but each of the monthly Hornet books has a specific place, time and perspective on the characters. Kato Origins #1 (Way Of The Ninja seems to be the title of the arc, and I cant tell if its a mini or an ongoing) is a good read, well-written, thought-provoking, and pretty as hell, earning 4.5 out of 5 stars overall. As a Green Hornet fan since college, its good to see the big guy and his majordomo back in the spotlight in such a quality book
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Green Lantern #53 isnt a bad piece of work, but it doesnt deliver a satisfying punch, and the sheer number of players on the field makes for a scattershot episode, earning 2 out of 5 stars overall. Hopefully, future issues will bring me on board for the next chapter of Lantern lore.
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The bottom line is, this book comes across as a manic, incoherent series of vignettes, a Wouldnt it be funny to see Deadpool in the year ____? exercise that doesnt deliver on either the premise, the title, or the four-dollar pricetag. Hulked-Out Heroes #1 earns a very disappointed 1.5 out of 5 stars overall, and I probably wont buy the next one because of the implied bait-and-switch of the title.
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Action Comics #888 is well-drawn but hard to understand, earning 2 out of 5 stars overall. Both Greg Rucka and James Robinson are writers that I admire, and I hope that Ill be able to be more charitable with their next works
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I am not the target audience here, and I dont have the prerequisite understandings that would make this crossover work. Its a Written For The Trade issue However, if I were to give the book a rating based solely on what happens in these pages, how I feel about the plot, the use of the main characters, and the overall? New Mutants #12 gets a confused and irritated 1 out of 5 stars overall. In the spirit of not being a total jerk about it, though, I vow to revisit this title AFTER Second Coming to give the adventures of Cannonball and company a fair shake
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This issue is a thriller, through and through, and Catmans path to revenge is riveting so far. Even the depth given to the Italian assassin are amazing, telling us in a page or so how much we should dislike a character without resorting to shortcuts or hot button shoot a baby moments. Secret Six #20 is a very strong outing, earning 4 out of 5 stars overall, and leaving me with the bizarre realization that I dont know if I want to see Catman follow through against his foes or not. For his sake, I want him to pull back, but the story will be so engaging if he doesnt What to do, what to do?
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Based entirely upon its own merits, though, its a strong piece, and Brightest Day #0 earns 3 out of 5 stars overall, providing intriguing kickoff points for a dozen stories, and none of the various art teams can be easily singled out as the weakest link I am a bit Sinestroed out, though.
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S.H.I.E.L.D. #1 is as fascinating a launch as I can remember anyone putting out in several years, and it earns a more-than-impressive 4 out of 5 stars overall. Bottom line: Its good, and I want to know more.
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If I boil it down to one simple question (How much did I enjoy this issue?) the answer is simple: Superman Secret Origin #5 earns 4 out of 5 stars overall, with detailed and attractive art, an intriguing story, and nice characterization of Lois, Clark, Luthor and all the regular Superman players. The only real failing of the book is that it reads as way too contemporary for a story that took place about ten years ago, and that causes me some consternation in terms of understanding the timeline
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Rating Buffy The Vampire Slayer Season 8 #34 serves as exposition and a sense of the shape of things to come, and while its not a bad issue, per se, its puzzlingly laid out:
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This comic makes Rage Cage and Jables throw 4.
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Young Nastyman uses his power (that telekinesis, Kyle) to killa yak from 200 yards away.
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Last week, Kyle took a bullet for me, causing this book to have to rock for 3 stars.
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It's a search for Insipirado,but it never quite finds that elusive something,drowning it's sorrows in 2.
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Tony Lee manages to find the core of The Doctor in each of his stories, and this issue is no exception, as I can hear David Tennant in every line the character is given throughout the issue.
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At one point, I was sure this book wouldn't make 5 issues, but now it's becoming one of the most compelling reads of any given month, and is the inventor of 3.
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The issue ends with a standoff, as Britt Jr and the mystery woman face down against more attacking goons, and Senior gasps out one word at the woman in red.
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5-star tribute done well.
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Max loses his partner just because he wants to take her far away from the mucky muck to a castle made of clouds, but that trick never works.
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Insert D Reference Here.
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Like Dio, MightyAvengers has rocked for a long,long time, and I don't mind at all that the book is about to pass the torch.
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I kind of like this moment, but like Blackest Night #8, the choice of whom to resurrect feels a bit arbitrary, and I'm afraid that this will be bad, but like Rich, it's good to have a lost friend back.
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That might be creepy, and harder to forgive than someone just taking your #$&$in' schnitzel.
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' I think that comparison, though, is the main reason the book never gelled for me, and while I'm upset to lose another top-tier female solo book, I'm not that crushed that it's this one.
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Or there will be1.
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I'll say it again: If you're letter the baser themes of the piece put you off this title, you're missing a ride, indeed.
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Variety is a good thing, and like the man says, you don't always have to $&#@$ her hard, you can give her 3.
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"Resistance is futile.
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Either way, this issue just doesn't ever quite put the pieces together, stepping on my decrees and making me request that Parliament remove it's kingly powers.
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Whats most interesting about this book is that, much of the time, I dont exactly know what John is going on about, and have to look up little bits of history, geography, and those items that are purely British in their nature and tone. I honestly love that about this book, how authentically not-American it manages to be, even after 22 years of continuous publication.
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The upside of this issue was its retro feel, steeped in continuity, referencing previous Spider-Man/Juggernaut battles, name-checking the kidnapped Madame Web (a plot point of Nothing Can Stop The Juggernaut, as well) and delivering a clever Spider-Man who works things as much with his mind as with his radioactive spider-bitten muscles. The downside is pretty much the same, as all the references take up a lot of time, and much of the issue felt like familiar ground for me.
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This arc has had a lot of political fallout and high-profile, but it feels oddly isolated from the overall Marvel Universe, virtually all of which is embroiled in the events in Oklahoma. The addition of some racial diversity (something that I, honestly, hadnt been thinking about in previous issues) makes the Watchdogs at once less crazy and more threatening, but their overall plot leaves me mostly in the dark.
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This issue has its ups and downs, but when I boil it all down, its kind of filler between B.N. #7 and #8, with Sinestro giving us a bit of exposition about the existence of Ion and Parallax and their ilk, and then spends the rest of the issue chopped in half before getting better.
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For all the mockery heaped on the announcements of this book, it's not actually all that bad. The plot is pretty epic and 'Lord of The Rings'-y, maybe even too much so for one twenty-odd page comic book. We're given glimpses of the King of Shadows, and enough character bits to understand some of his evil plan, but the reasons for the Firstborn being hidden among the WWE superstars aren't really clear. The dialogue is pretty much standard-issue tough-guy stuff, partly due to the sheer number of WWE characters showcased within. And speaking of which, if you don't know your superstars already, there's not a lot of context to try and figure out what all is going on. For instance, Kane appears, but is never named, and a quick shot of a Royal Rumble match gives us several characters whom even *I* can't quite identify. Overall, the art isn't bad, but suffers from the same problem that comics based on real characters always do: likeness issues. There's also a notable dearth of the identifying

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There's been more than a few funerals in comics in the last couple dozen years, and this one treads on some familiar territory, albeit in a funny and entertaining way. The stories of what happens behind the scenes in comics are truly fascinating (Don't ask, don't tell, eh Northstar?) and I found the admissions of Snowbird, the Black Widow and Namora to be appropriate tributes to Hercules, even if they may have been in questionable taste at a different funeral... Not much happens in this issue, save for character interactions, and questions of mortality from characters who usually find death to be not much more than a year or two of vacation out of the public eye. I fully expect a return of Hercules soon enough (after all, if we didn't see a body, there's little chance that he's actually dead) but the setup of Amadeus Cho as his replacement has been well-handled throughout this series. More often than not, death in comics is treated as nothing more than a "Good lord! CHOKE!" moment,
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Mark Waid didn't name this book "The Rise And Fall of The Plutonian," or "Superman Goes All Evil" for a very good reason, it seems. The book isn't about Tony, it's about what happens to, around, and because of Tony's reign and his childish temper. It's about real people making bad choices that have real consequences, and about how just being a hero doesn't mean that you're always going to get it right. I love that portion of the book, even as I get wrapped up in moment's like Bette's or Cary's. Once again, in this issue, I find Charybdis to be as unnerving as the demonic bounty hunter or the psychotic Kryptonian analogue, and the real understanding of what's up with Bette is scary on a much deeper level than just wondering what it would be like to see all the property damage in the city. I lavish a lot of praise on books that have casts of thousands or 70 years of continuity, and the work they do in such shared universes, but it's impressive to see a cast of this depth in a series
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I love me some Legion, and its good to see old friends again, but that lone wont carry an entire issue. Balancing out the excellence of the co-feature (an unusual protagonist in a by-the-numbers action movie plot) and the mixed bag of the primary feature (the revelation of the Legion, but as an ongoing chapter of a story I havent been reading, but super-fine art) ends up putting this one right down the middle
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I am aware of the hate-face towards Deadpool for his current ubiquity, but frankly, I don't see the problem. Recent issues of both his solo series have been entertaining, and this book is a breezy, irreverent bit of fun every month. When you really look at it, the Marvel Universe is a lot like working for Vince McMahon. When there's money on the line, we go with what we know sells, and thus the oldest superstars get the hardest push. Guys like Ms. Marvel, Iron Fist, Luke Cage and other 70's rejects are just now getting their place in the sun, while 90's-era characters like the 'Pool are nearly invisible at the main-event level. (The only other major player from that era that I can think of might be Cable...) Add to that the fact that this book is actually FUNNY, and I'm not hating the fact that Deadpool is everywhere, much like Savior Faire. I am troubled by the fact that this series is sold with Humberto Ramos covers, and the interiors (by Dalibor Talajic) are a completely different s
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I just cant get past the thought that this horrifying series of developments was created to somehow make Roy and Ollie more Punisher-esque, and weve been down that road before.
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It's a whole world of awesome that comics fans should be in on.
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It's a whole world of awesome that comics fans should be in on.
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The Marvel Universe moves pretty fast, and I'm quite certain that if we don't enjoy these characters quick, they'll disappear for a year or three.
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You don't read this, you ain't missing anything much.
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It's a pretty issue, though.
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Take a deep breath, and come back in a month or three, and all will be well.
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Take a deep breath, and come back in a month or three, and all will be well.
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Giffen's still got it, and the artists do some good stuff here.
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Doug Mahnke can draw his butt off, though.
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I'm starting to get bothered by the ping-ponging about of rings possessing everyone willy-nilly, no matter how strong the crossover started out.
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" This one just doesn't seem to get what makes the Corps, Guy Gardner or Mogo tick, and that's a big weakness.
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) Bottom line: Cosmic adventure hasn't rocked like this since Norrin Radd was drawn by John Buscema.
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It's hard to say which side Invincible will fall on in this war, and that makes for good comics.
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Atom Eve is a great character, and her interplay with Rex makes me sad that he's dead.
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Mark Waid has made a game out of defying every expectation I have for this book, and this issue is no exception.
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A fine story, told well.
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I'll bring popcorn.
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We end with another masked man sending Kick-Ass an email, ending with a familiar quote: Wait til they get a load of ME! Bottom line: Its a $&@*ing winner.
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Abnett and Lanning again, and the magic is still working.
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The Atom doesn't have to be torturing people's sinus cavities to be interesting.
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It's a good way to answer both Questions.
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Somebody at Marvel needs to learn some frickin patience.
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And while John McCrea is good, I still miss Darick.
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A book about China's superhuman functionaries can't be just the same old, same old, and this book delivers both an unconventional story and unconventional visuals, making both work in a new way.
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Its nice to see character who have no business being in Asgard being in Asgard.
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All in all, its an issue that has made me like Iron Man again, an issue that has returned the Golden Avenger to my pull list at long last, and an issue that sets up a brand new world for Shellhead, just in time for his new movie to come out. Salvado Larrocas art is very well done here, giving the appearance of Pepper Potts in a a hospital gown a heroic aspect (although his Captain America looka bit bulky in the ending shots. Invincible Iron Man #24 has done something I would have deemed impossible not so many months ago, and earned 4.5 out of 5 stars in so doing. Its good to have Tony back, although I still hate the current armor
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So, herein lies my issue: Even with greater powers, the villains (while creepy last issue) are treated completely as jokes. Not only that, The Living Laser seems to have taken a power DOWNGRADE, since the last story I remember him being in allowed him to nearly kill Iron Man with all the tools at I.M.'s disposal. Plus, he's INTANGIBLE. Jessica's rage is a nice touch, and plays very genuine, and Spidey has a couple awesome bits of dialogue, but once again I have finished an issue of New Avengers feeling that the whole thing is incredibly padded. Since this is part two of two, there isn't even the usual excuse of "writing for the trade" to fall back on, either. What we have is an issue that just really doesn't have anything to it. Breaking the story where we did gave us a big cliffhanger in#61, but #62 is a complete anti-climax, as Spider-Woman quickly breaks Mandrill's hold (something that the Valkyrie's godlike nature couldn't do twenty years ago, mind you), Luke punches out the Laser,
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Rating:It has camaraderie and classic Justice League, including Green Arrow getting impatient and eating a piece of the welcome cake; it has a Flash parade and a good time was had by all. So, why cant I shake this sense of impending doom? Still, in the interests of not pacing about like Walter Kovacs with a sign that says Barry Allen Foretells DOOM! I can admit that this is a well-crafted piece of work, and it heralds the Brightest Day in fine fashion.
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This issue is very moving, in a number of ways, we see Hercules accepting his ultimate fate, while Amadeus deals with the sudden responsibility of power, Athena betrays the one she loves, and Aphrodite is forced to realize that she has lost her path. We don't actually see the moment wherein Hercules dies, only a massive explosion, making me wonder what we DON'T know (and making me wonder about the nature of this 'alternate reality' that Continuum creates.) Seeing Amadeus stepping up to the role of Prince of Power is a bittersweet one for me, with my only real comfort coming from the 'Ben Grimm Corollary,' which states, "if ya don't see a body, he ain't fer shure dead." The art of Rodney Buchemi really sells the tragedy, was well, with Athena's expressions as she does what she has to showing all the conflicting emotions that the goddess feels. Well done on Rodney's part, especially given the resemblance of Hercules to the classic Bob Layton version in which I first encountered the

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- On the suggestion of Faithful Spoilerite Astrodinosaurus, I am going to be testing the addition of the "Faithful Spoilerite Question Of The Day," a query that came to mind while reading the issue reviewed, and one that I hope will spur some discussion amongst us all. -
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Last issue was troubling in both its implications and its execution, but it was at least thorught-provoking. This month's issue boils down to two conversations and a light-show. With Siege in full swing, it's obviously that we're again relegating the related titles to background stories, bits of ephemera to fill in the gaps in the story-telling of the big crossover, the same way that New Avengers spent six months showing us flashbacks of Skrullian treachery. Problem is, I resented the hell out of that, and I'm not much more thrilled with it here. Mike Deodato gives us a breath-taking scene of Sentry hovering over Manhattan Island, but it's not much more than a pretty matte painting background for more Bendis dialogue, much of it rehashing previous Osborn/Sentry conversations. There are also some killer layouts in the first few pages, taking a nine-panel grid and turning it a few degrees off plum, for some wonderfully inventive visual storytelling... But still, having already seen the
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This whole issue is wonderful, as John Ostrander's hand changes the tone of the book without undermining any of the razor-sharp characterizations set up by Gail Simone... Deadshot's gun-happy moment is a full-on "Hell, YEAH!" moment, especially for anyone who has read much of Amanda Waller in the past. The darkness of the issue fits with the crossover better than I thought these characters would, and the revelation that Amanda is herself the mysterious Mockingbird pulling the Secret Six's strings comes as a huge shock to even her own second in command. Jim Calafiore is handling the art here (I believe Nicola Scott was busy drawing Blackest Night: Wonder Woman) and his unique art style works quite well, making Scandal and Deadshot especially look awesome. I don't know if he's staying with the book or not, but if he does, I won't be too disappointed. My only real complaint about the issue was that I had to go back and research the history of the Six and the old Suicide Squad to remember
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I will say that this issue has some moments that got to me (like the multi-panel "push" on Iron Patriot's armor as Cap's shield grows larger and larger, the electrocution of Daken, and even Maria Hill playing cavalry) but events really moved at a breakneck pace throughout. Ares was suspicious in panel one, and dead by page 18, Thor was down and out at the beginning but frying mutants by page 20, and all in all a TON of things happened in quick succession. That's not at all a bad thing, though, since last issue felt like all-too-much prelude, and there really haven't been a lot of 'Hell, YEAH!' moments during the tense buildup that was Dark Reign. The end of Norm-O is quite obviously on it's way, and it's occasionally fun to watch a car roll downhill and burst into flame, metaphorically speaking. Olivier Coipel has come a long way since his early days on 'Legion Lost,' and his art here works quite well, especially in the detailed vision of one man ripping another man in half. Spider-Man
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I'll admit that I have some issues with Brian Bendis as a writer, but mostly I find his work to be at least intriguing. This issue, though, just felt... I don't know. Trite? Cheap? Given the way that Hood's goons have been dispatched in the last couple of years of this book, I have to think that Parker's Norn power has more than just made them powerful, it's made them twisted as well, which doesn't bode well for the Avengers. It probably says more about me than it does about the writer, but I find the repeated use of forcible mind-control here to be distasteful on a number of levels. It's more than just 'making the characters do things that they shouldn't,' we're dealing with an issue where main characters have been ordered to commit homicide, suicide and cannibalism as if this sort of mind-crime were the same as knocking over a bank or shooting out a window. A number of years ago, I was a voracious reader of the 'Wild Cards' series of novels, but my enjoyment of the books waned as sim
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So, what IS Cry For Justice? I think, oddly enough, that it's extreme darkness and depravity, with the maiming and the deaths and the nastiness, may be a precursor to good things for the League, at least if Robinson's tone can be believed. This issue is nicely done, with beautiful art by Mauro Cascioli (DC Comics official website has incorrect information, apparently) Scott Clark especially the first-page confrontation between Supergirl and Faux-zam and this issue is the first that doesn't seem to have been reworked and jury-rigged to fit the shape of things to come. This actually kind of makes sense, in that the first issues were probably in the can by the time the series was down-graded to limited status. James Robinson is a good writer, albeit one with a host of peccadilloes that must be accepted to really love his work, and I'm glad to see that this issue is not only free of some of the silly angstiness that characterized the first two in the series. The Atom as a dark and gritty "
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In two words: Brutal Honesty.
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Two words: Action.
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Two words: Uh oh.
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Two words: Spiffo neato.
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Two words: Guarded optimism.
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Two words: Old School.
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Two words: Iron Lad? 2.
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Two words: Genocide? Bleah.
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So, the real question here isn't necessarily the quality of the tale within, but instead whether it was worth the wait and the time anomalies that accompanied the additional issue. Let's be honest here, when this series was launched, the TITLE made it quite clear that Steve Rogers wasn't as dead as my headlines would have made one believe. This didn't change the fact that the issues thatcame AFTER the events of this one having Steve in them bothered people, maybe even enraged a few... And the intent of the additional issue was to give this story more room to breathe. Problem I have with that is, this issue is mostly fight scene. Sure, it's an interesting fight scene, full of MODOKS and giants and GLAYVIN, but... it's a fight scene. The most interesting parts of the battle between Steve and Johann was in the last issue, and if you just take this issue on it's own merits, the psychic battle is too short, and ends abruptly. Bryan Hitch always does good things with art, but this issue take
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This is an intriguing premise for a series, and it dovetails nicely with Waid's other book, Irredeemable, giving us a street-level view of a world shattered by Superman gone mad. There are a few moments that ring oddly, such as Max's insistance that his ongoing relationship must stop because the girl is underage. I'm not sure if it's just me, but that particular bit feels more and more like there's something important that Max isn't telling about his change in alignment, something that is about more than just balancing the scales against Plutonian (who, it should be noted, borders on the Adriatic.) The interplay between Max and Armadlae is well-handled, reminding me of Riggs and Murtaugh, in a way, and the art by Jean Diaz is excellent throughout. If anything, Incorruptible makes me want to know more about this particular backstory. A recent podcast had a long discussion about the superhero as a genre of comics, as a PART rather than the whole of the comic book industry, and this book
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The last arc of this series was an atypical one, filled with odd moments and stupid decisions on the part of Buffy and her slayerettes, so it was nice to have a return to more traditional characterization and dialogue here (coinciding, strangely or not, with the return of Joss Whedon to scripting duties this month.) Buffy's new comic-book super-powers are odd for me, and feel like a meta-statement about the change in presentation venue from TV to comics, but the sight of both Buffy and Willow flying about the mountains attacking three giant glowing thingamas is a little bit awesome overall. The Buffy/Xander talk is wonderful, especially given that Joss has long said that the long-term plan was once to put the two of them together. His level-headed explanation of things (You came THROUGH gay to get to me.") is both wonderful and tragic for Buffy, and overall I love the way the whole thing is handled, not too much movie-of-the-week while maintaining a feeling that this was really a serio
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The solicitations say that this is Geoff and Francis' big goodbye to Kon-El, making me wonder if Adventure Comics is even going to continue with the announcement of the new Legion of Super-Heroes series and the return of Kon to the mainstream DCU. Even knowing that this could be a big swan song, this issue does two things that bug me... The first is taking the really entertaining and fun checklist bit away long before it would have gotten old (for me, anyway.) This is doubly noticeable when I realize how much of this issue is drawn completely from old Silver Age Mort Weisinger edited comics: Lena Luthor. The Time Bubble. The Luthor/Brainiac team. The whole "Am I good or am I evil?" schtick was the real hook for this particular series, in my mind, and I'm left wondering where young Tom Welling goes from here. The second complaint comes in the fact that this is the second issue to not feature the LSH at all, in what is ostensibly their home title... Still, the strength of Manapul's art h
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...and that's ALL. Seriously, the story just ends on page 24, and the rest of the issue is a transcript of Norman's staff meeting that led to the invasion, as well as a preview of 'Fall Of The Hulks." $3.99 for 24 pages of story, an interesting but oddly placed (and, in my copy, mis-pasted) bit of screeplay, and a preview for ANOTHER huge crossover taking place across the aisle? Not a good buy, folks. I am bothered by how fabricated the tragedy in Chicago feels (and I'm not talking about Norm-O here, either) but it does, at least, set the stage for Osborn's coming fall from grace in a workmanlike way, with not-too-bad art, but a serious lack of satisfactory heft... For the start of the next big thing, it's a relatively small opening salvo. I'm irritated that another character had to be sacrificed to the grist mill of badassery, even one as minor as Volstagg, as though having anyone in the Marvel firmament who isn't suitably photogenic and tough-guy awesome. If they turn him into anothe
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There are a number of issues with this comic, not the least of which come with the art. Boomerang is comically cross-eyed in a panel where he was ostensibly meant to be threatening, and the New Rose has fists like country hams while standing four feet high and measuring about four feet wide. At it's best, the art resembles Todd Nauck, at it's worst, I'm reminded of early 90's Image Comics, books that were high on enthusiasm but low on craft. Moroever, the timing of this issue couldn't be worse, as most of the plotlines from the 'Brand New Day' arc of Spider-Man have been wiped clean as that book moves into it's new phase. The mystery of whether Jackpot is Mary Jane has been answered with a resounding "Nope," and a lot of the appeal of the character was in the 'Was She or Wasn't She?' question. And while the story of Sara Ehret (Rear Haste?) is an interesting one, she was clearly NOT interested in being a superhero in her previous appearance, and it's hard to believe her change of heart
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Oooh, that's ominous. Kinda makes you wonder about what that thing could be, doesn't it? I don't suppose it would have anything to do with a former gobliny guy rapidly going right around the bend, would it? Either way, I'm happy that Marvel gave me a swerve in this issue. I expected (as I'm sure many of you did) a Steve Rogers' Greatest Hits compilation, ending with him returning to the Avengers in glory, and they managed to give me something intriguing instead. The art shifts throughout the issue, mimicking classic Captain America art teams as we go. The Colan pastiche in particular was incredibly good, making me wonder if Gene didn't actually participate in the art himself. As interstitial stories go, this is a good one, giving both Captain America IX and Captain America I their due, and even deepening their friendship, nice work by writer Ed Brubaker here. They also make the point that Cap and Bucky worked together for only FIVE YEARS during the war before going their separate froze
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My New Year's Resolution for this book is a whole new focusunder Norman's successor (whom I suspect is someone that we have known and loved for many moons.
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MyNew Year's Resolution for The Flash is more moments that SHOW his awesome and fewer characters just talking about it.
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The end of Dark Reign is coming, and my New Year's Resolution for this book is asuper-dramatic meltdown and resolution of some plot threads.
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My New Year's Resolution for this book is a full-fledged"Hell, Yeah!" badass moment for Doctor V, and maybe even some time spent basking in the glory of being Supreme.
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Worst case scenario, we'll have characters to get blown away in cold blood ten years from now to kick off the new crossover event.
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) Fig and the surviving characters will be facing 2010 with a whole new living arrangement, and my New Year's Resolution for House of Mystery is a good solid series of stories, and stories within the stories as well.
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My New Year's Resolution for Atom Eve is a return toform after her power problems are resolved (especially since Iattribute them to hormonal changes due to her spoilery medical condition in the main title.
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My New Year's Resolution for this title is a good, long stretch of brilliance, with strong characters and a reason for being a League.
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My New Year's Resolution for this book ismore costumed Jessica madness in the near future.
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) PS238 is one of the titles I look forward to every month, and my New Year's Resolution for the book is twice as much of the awesome that I've come to know and love.
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My New Year's Resolution for this book is a revolutionary idea or two, something that will pull both tales up intogreatness of their own.
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This series has yet to disappoint me, though I'm once again surprised at the outcome. I expected this issue to be more about the faux-dead, but instead, it became about hope and how to counter the Black Lantern Corps. Turns out that the theory of rainbow power Captain-Planet-style is sound, they just don't have enough light-bringers yet. It's interesting how this book is most fascinating when dealing with characters who don't always get first-tier adoration and love: Ray Palmer, Mera, John Stewart and even Deadman have key roles here. I'm liking where this issue leaves us, with our first glimpse of hope, and the choices for ring-bearers make perfect sense, especially Saint Barry joining Saint Walker in the Blue Lantern Corps. (Maybe they should call him Saint Runner?) Geoff Johns gives us new sides of characters we've been able to read about for decades without undermining their essence, and Ivan Reis and Oclair Albert deliver on the art side, with a neat "Sword of The Atom" looking Ra
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The story has been kind of sagging a bit in recent months, as Suzanne Padilla has moved into place to be a credible threat, but this issue sets her up as the true villain of this arc, and possibly even the second half of the series. I didn't care for the reveal that his powers were designed to soften up Earth for invasion during the last arc, so I'm glad to see this story moving more towards the political maneuverings that brought me onboard so long ago. With the end of the series seemingly close (writer Bryan K. Vaughan has stated that the book will run fifty issues) I'm wondering how the wrap-up will go. It's been a subtle point, almost missed, that the series so far has been told by a bitter Mitch Hundred in flashback, so I'm wondering if he will make it to the White House, or even if he'll make the end of his term as Mayor. It's weird for me to realize that this book that I picked up as a lark has been ongoing for five years, and has been near the top of the read stack most of that
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Patrick Gleason busts out a fine twenty-odd pages of art here, with some gorgeous panels throughout (notably the arrival of the Red Lantern ring, and Mojos reveal) and Pete Tomasi does good work with a big canvas and a lot of players on the field.
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This issue is a good one from an action perspective, with an all out battle between robot monsters and the Avengers, the fight between Cap and Red Skull in Steve's mind, and the fighty-fighty of battlin' Caps against a backdrop that represents liberty itself. That said, there's not a lot OTHER than the action going on here, as Steve's participation is kind of tangental to the action. Bryan Hitch's art is always good, but here he reaches heights that I haven't seen since The Ultimates Version 1 a few years ago. I can certainly see why they chose to expand this series, though, as finishing everything up in this issue could easily have made it all cramped. This issue, like Flash Rebirth #5, features a battle between resurrected hero and their definitive villain, but here it works better for a couple of reasons. Brubaker doesn't spend a lot of time analyzing WHY Steve Rogers would stand against the Red Skull, it just has him do it, and more importantly, has him do it definitively. We're in
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This was an oddly uneven issue, as themore engaging tale of the two has a much less entertaining or sympathetic protagonist. Tom Welling Prime is a whiny, pathetic little weasel, but his rage, his loss, and his pain really come through. Jerry Ordway's art is it's usual excellent self, to the point where I was able to identify Dan Didio immediately during his cameo appearance... The Kon-El second feature has a much more relatable character, but is short enough that it doesn't quite gel for me, giving just the hint of the coming Luthor/S-boy conflict, and returning (presumably) Lex's lost half-sibling Lena Thorul to the continuity, a very Geoff Johns touch. Francis Manapul's new art style is refreshing and fun, looking like it's shot direcly from the pencils. All in all, this issue balances itself out, with a slightly strong moment for, strangely enough, the Kryptonian from Earth-Prime. Adventure Comics #5/#508 is a well-handled issue on all fronts, earning a respectable 3 out of 5 stars
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The plan (narrated by a recording of Tony himself) involves invasive surgery, taking the repulsor generator from Pepper's chest (apparently something that Tony did to save her life some time ago, allowing her to be an armoredsuperhero called Rescue.) The "electronic repulsor battery" is implanted in Tony's chest (something that everyone who has seen the Iron Man movie can clearly identify, as it is the same device from the movie, visually) but without a power source, it's useless. (Tony has destroyed all existing repulsor generators to keep Norman and Obadiah Stane from getting their hands on 'em.) In his dream state, Tony's mind dreams that he puts on the unearthed armor, but he won't be able to turn on all the switches without help. Once again, Howard reminds his son of an unpleasant truth: "Knowing you need it and ASKING for help are two different things." Tony accepts his help, but the armor doesn't power up, and monstrous robots again come to kill them all. While Pepper gets her h
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For some reason, when I read the name Tony Bedard, a part of my brain wants to go "bleah" and move on. With this issue, I realized why this happens... Tony Bedard has a somewhatunusual writing style, but one that I find that I enjoy. My imaginary problem with his work comes from his following beloved writers on series that really mean something to me, following Judd Winick on 'Exiles,' Gail Simone on 'Birds of Prey,' and Mark Waid on 'Legion of Super-Heroes'. This series carefully balances the expositional bits of origin with the ongoing struggle, and manages to conceptualize a Chinese superteam that isn't just the JLA with epicanthic folds. The use of the central party as the real source of power in the book is nicely handled, and the character bits are fun (as when Ghost Fox Killer angrily turns her pet jade lion on Celestial Archer after he shoots her lover, the August General In Iron.) The names of the characters are great fun, rolling off the tongue in awesome ways, while their pl
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Wow. This issue carries one helluva punch, with Jonah Hex in full-out 'Man With No Name' regalia, a star turn from Tallulah Black, and some incredibly beautiful art from Darwyn Cooke throughout. The opening plays comically, with some cute bits, slowing turning horrific as the pages keep turning. I actually audibly gasped as the madwoman began slashing at the pregnant Tallulah, and the ending actually brought tears to my eyes. Usually, I go off on a rant about threatening or injuring a child, but the deft hand with which Cooke, Gray and Palmiotti tell this story didn't set off my anger, only sadness and a profound sense of loss on Jonah and Tallulah's behalf. As saddened as I am to see whatever is between them going this way, the non-linear narrative of this title doesn't preclude seeing the Hex/Black pairing at different points in their history. Watching Jonah track down the men in his cold and calculating way is horribly contrasted with his silent rage at the sight of the woman who ki
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That last panel may reveal what happens at the end of Captain America - Rebirth (or, more honestly, what happens at least briefly in the wake of Captain America - Rebirth) and serves as one of the best parts of this issue. Let's be honest here for a second... I paid FIVE DOLLARS for this issue. What I got was a pitch for a Captain Marvel Boy limited series, a preview of 'Siege' that I've already seen three or four times, and a cameo from two Captains America. That is NOT what I call a value. Chris Claremont used to run seven or ten different sub-plots simultaneously, with characters dancing in and out of the stories issue by issue, but Bendis seems to use a different tack, telling a story that is focused exclusively on the bits that he wants you to see and ignoring everything else so that we can have an issue like this every few months that gives us the bird's-eye lowdown on what has been happening. I have to say, I would prefer the subplot. If you had parsed this story out a bit at a

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This issue is a nice buildup to events in Blackest Night, and does finally explain how these seven lady truckers differently motivated Lanterns got their various acts together in order to work as a unit, if not a team. The constant conflict between them starts off well, then gets a bit tiresome, then comes back around again and is funny. The fighting tends to be on the red-to-green portion of the spectrum, while the other end kind of stands around looking passive (which is the danger of a book that uses emotional states to represent entire armies of people.) If I had any complaint about the plot, it's that Carol, Walker and Indigo don't seem to have much to DO while the big guys slap each other around out of rage, avarice and/or fear. I do like the fact that even Atrocitus has more than one mood, though, and the revelation that he is partially motivated by love of his lost people is a good one. The art is well-done, with the aliens sufficiently alieny, Hal heroic, Sinestro shady, and C
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Walker's Dean Martin routine is quite wonderful, and the flashbacks are the highlight of this issue, making me wonder what is upcoming in the rest of the storyarc. Walker's "I'm so old I don't remember all the cool stuff I've done" routine is truly inspired, sort of a reverse Wolverine characterization, where certain places, realizations or faces will bring forth memories unbidden. Enki's character is also kinda intriguing here, as she tries to get past the stigma of working for I.A. and make the rest of the cops trust her, with little success. Heck, any time a book contains a relatively graphic sex scene that's NOT my favorite part of the issue, I'm sold. That hasn't happened since 'Concrete: The Human Dilemma' a few years ago. Overall, this is a characteristically strong opening for a Powers arc, with Oeming delivering a very detailed and visually entertaining art job. I've always maintained that Bendis works best in a Bendis world, where everybody drops f-bombs and has strange inter
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This book makes me thankful for the JLI, for Bwah-ha-ha, for Kooey Kooey Kooey, and for the remembrance of times past.
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This issue makes me thankful for Robotman, for Keith Giffen's no-nonsense plotting, and for remembering Celsius, Negative Woman and Tempest ever existed.
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This book makes me thankful for myths and legends, and brand new takes on familiar names.
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Looking good, and reading crisp, this issue made me thankful for family dynamics and good storytelling.
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This issue makes me thankful for Kirkman's unique take on heroes and on families, for not having an idiot father-in-law, and for the detailed and loving remembrance of soiled women past.
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This issue is a little odd, but still a strong outing, and makes me thankful for unconventional stories and for the realization that not every one is cut out to be a hero, powers or not.
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This issue makes me thankful for Weird Western Tales, for the odd ghost story/western crossover that is El Diablo, and for Jonah Hex continually being involved in crossovers whether he wants to or not.
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This issue makes me thankful for Alan and Jay and what they stand for after 7 centuries of knees-bent running around and punching out neanderthals.
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This issue makes me thankful for characters who have depth and soul far beyond the trappings of shiny Alex Ross costume-design-as-character schools of thought.
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This issue makes me thankful for family who understand me, even when I'm being an idiot.
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This issue makes me thankful for genre stories, and for the breaking of old stereotypes for the benefit of new stories.
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This issue makes me thankful for wild hairs and weird ideas, the wellspring from which all the best comics truly derive.
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This book makes me thankful for John Goodman, and for remembering that you don't have to be condescending or overtly edumacational to entertain, even if you're targeting the little ones.
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This book makes me thankful for the Golden Age, and having a choice of WHICH revived old-school characters I can read about.
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This issue makes me thankful that it's never too late to jump back into the back issue bins and see what you missed by not picking up a title.
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This issue makes me thankful that older creators like Jon Ostrander are still willing and able to ply their craft and remind us of days gone by.
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This issue makes me thankful that Rose Wilson is a strong enough character to carry her portion of the book, and also for my original Wolfman/Perez Titans run, which made all of this fooferaw possible.
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This issue make me thankful for nostalgia, for the lost ideals of times past, and the realization that just because something isn't the next big thing, it isn't automatically irrelevant.
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This issue makes me thankful for tales of swamp creatures past, and for some pretty lovely art.
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This issue makes me thankful that Marvel is willing to devote energy to making sure that a quality title like Agents of Atlas finds it's following, rather than letting it die like so many strong concepts have.
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In my very first Blackest Night review, I took a moment to show off my souvenir authentic space-zombie ring, and this issue of Blackest Night came packaged with a Red Lantern ring, completing my set of rainbow Lantern baubles. My overall assessment of the rings is highly positive, as each one is shinier and more fun that the last. My daughter was thrilled to complete HER own set, but it's nice to have a collectible that, first of all, FITS on my rather chunky fingers, and doesn't make me feel like I'm a nine-year-old giant nerd. Though I prefer the version of the Green Lantern ring that looks like an actual lantern, these are a nice piece of ephemera, and even managed to help DC sell a couple of struggling titles (REBELS and Doom Patrol come to mind.) It's a win-win, as the rings drove business to the store, we sold out of even the most esoteric of titles, and it was a fun little treasure hunt over the course of the last few months. I'm going to wear my Red Lantern ring to work, allowi
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Okay... That answers that question, and does it in a way that I liked. Barry's strange disassociation since his return has come not from a desire to darken and "Batmanify" the Flash, but because the villain of the piece orchestrated it all. Zoom killing Barry's mother and altering time (as well as claiming responsibility for having brought Barry back in the first place) makes that piece of the narrative work, and explains why we saw his mom and dad together up until the original Crisis killed Barry. Of course, the thought that a nearly immortal villain, with phenomenal cosmic speedy powers, would take the time to beat up a sixth-grader (EEEVIL!) is kind of ludicrous, andI was struck at how rushed the middle bits of the issue were. "I'm not dead!" "Me, neither!" "I'm not sick anymore, now I'm Impulse!" "And now we have new clothes!!!" The crowded pacing makes me think that giving another issue to let this story's climax breathe a little isn't a bad thing at all. Of course, some little p
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My problems with this issue start with the first panel, with the implication of bait-and-switch tactics in the art style. The fact that three different characters, two of them representatives of two different alien races, look so similar is bothersome (though the revelation that the Beast apparently resembles the males of Brand's alien half's race kind of makes sense in and oddly Freudian sense.) The breakneck pace of the issue doesn't help with clarity, although the art does very well with spacecraft and technology and things of that nature. All in all, there's a lot of obvious influences in this book, from the 'Silence of the Lambs' riff to the teasing 'Nick & Nora' nature of Brand and Beast's relationship, to Lockheed's single-mindedness about Kitty. Indeed, the characterzation of Lockheed as an angry hardcase may be the thing that moves this book from blah to amazing, as but there's just too much introduced all at once, and a very nontraditional narrative in use, wherein the questi
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Well, THAT was surprising... More and more, I suspect that DC isn't going where we think they're going with all of this, as most of the deaths in previous issues of this book and the crossovers with Blackest Night have been (forgive me, Garth) relatively minor characters. Kyle's death, alongside some of the deaths in the last issue of B.N. lead me to believe that this story is going to have huge ramifications for the DC Universe. I occasionally have issues with Patrick Gleason's art, but in these battle sequences, against these foes, it's very appropriate, and nicely handled. His flyin' zombie babies are seriously disturbing,and the sight of BlackLanterns, some whose bodies are half destroyed, descending upon thecentral power batteryispretty amazing. Last issue's interlocking stories were kind of difficult to follow, but this issue clarifies much, giving us big moments for Soranik, for Kilowog, andmost of all for Guy Gardner, whose coming transformation to another color spectrum may be
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This particular Immortal Weapon was my least favorite in her initial appearances, especially after she was absent during the battle with Zhou Cheng for some reason, but she made up poins with her "I have an itch" gambit in hell. This issue moves her to a status second only to fave-rave Fat Cobra in terms of sheer awesome. Duane Swierczynski delivers a nice tale with a slightly telegraphed Rod Serling ending, but gives TBD some much-appreciated depth while maintaining her status as half-naked ass-kicker extraordinaire. Khari Evans delivers what is probably the hardest part of an issue like this, making sure that TBD and her sisters are credible both as beauties and as warriors. Indeed, in a couple of panels, Li Hua has a bearing and stature that remind me more than a little of Wonder Woman herself, which is no mean feat. All in all, this is a very enjoyable issue, with a bit of eye candy, a touching story of mother and daughter bonding even after death, and some battle sequences that wo
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My first read of this issue was a troubled one, as the shifts in place and time made it difficult to follow, but on a second reading (one that, admittedly, came after more sleep and with less stress) this is a nice little story. Tony Bedard's writing and I have a tumultuous relationship, even in the best of times, but here we have the inertwining of an origin for Accomplished Perfect Physician and the inrodution for what will presumably be the threat for this miniseries. There's much of interest here, with the real-world conflict between Tibet and China in the forefront, and the revelation that the "Robin Hood" A.P.P. was actually August General's most pervasive combatant. Scott McDaniel's art is always interesting, and his stylized, blocky figures work in this context, makin the characters seem to be almost woodcuts out of an ancient scroll or something. It's a strong opening, albeit one that takes a bit more effort to get into than your average, garden-variety comic book story. I bel
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In a word: Piquant.
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In a word: Cathartic.
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In a word: Intriguing.
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In a word:Conflicted.
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In a word: Surprising.
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In a word: Disappointing.
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In a word: Bwah-ha-ha-HA!.
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In a word: Wordy.
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In a word: Metatextual.
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In a word: Trippy.
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I have to say, I found this issue surprisingly good,even withoutthe music of Queen, and I'd be willing to come back for the next mini from ArddenEntertainment.
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In a word: Braaaains.
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In a word: Poignant.
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In a word: Derivative.
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In a word: Curious.
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In a word: Sassy.
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In a word: Scattered.
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In a word: Unsatisfying.
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In a word: Cosmic.
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In a word: Wonderful.
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In a word:Trainwreck.
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In a word: Unusual.
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Ina word: Brutal.
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There's been a strange sort of imbalance to previous issues of this title, wherein the Batwoman portion of the book seems to be a little more engaging than the Question portion, but that imbalance is somewhat correction with this issue. Montoya's quest and her actions are much more decisive than before, while Kate Kane is tied up with issues of her past, giving us an issue that's mostly flashback. That's not necessarily a bad thing, as it fleshes out the character in wonderful ways. Part of me wants to make a snide remark about the "evil twin" subplot, but as a whole this book works for me, and even though the revelation of Alice came out of left field, it served more as a "What DO we know about this character?" moment rather than an "Everything you know is WRONG!" situation. Batwoman's traumatic past has been referenced before, but this issue's chilling explanation (made even more horrifying by the fact that we never actually SEE what happens, only the aftermath) makes Batman's trauma
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Ed Brubaker is a very, very good writer. His story of the events leading up to the return of Bucky, the conspiracy, the death of Rogers, the ascension of former sidekick to center stage was riveting, and even when it sagged, you desperately wanted to know what came next. This story, for a number of reasons, is denied that sense of uncertainty, that confusion over whether it's real or not. I suspect that this return is what Marvel really wanted to tell when this whole thing was put together, but they did their job TOO well. They involved me so much in what Steve meant, how he died, how his friends mourned, that the revival itself just falls a bit flat. Bryan Hitch and Butch Guice provide some good art in the issue, although I felt again that Hitch was falling back too much on his design work for Ultimate Cap in Ultimates. All in all, this issue is well-done, but for some reason, I just couldn't get engaged bythe story. The announcement that we're going another issue of this series befor
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This book picks up right where the Invincible Presents Atom Eve series ended a couple of years ago, and features exactly the same creative team. I really enjoyed the story of how Samantha become Atom Eve, and this first chapter of Rex's story is equally entertaining. The only real problems that I have with the story are problems that I occasionally have with Kirkman's work, that being the general expectation that most people (specifically Rex's father) are bastards at heart. Radcliffe's parental concern and pride in Rex is well-handled, and there's a couple of moments of real emotion, such as Rex's first surgery to gain his explosive implants. Nate Bellegarde has an unusual art style, somewhat akin to Ryan Ottley's, and is very attractive, save for an occasional problem with scale (such as in the first panel with Rex, and again in the last page introduction of Eve. A majority of this story is told in montage, which works both for and against it, but the overall effect is to answer the

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Rodney Buchemi really does a good job with the art on this issue, making Amadeus look his age, and giving great depth to the sequence where the boy finally collapses in mourning for his mom and dad. Greg Pak and Fred Van Lente take threads in play from Cho's very first appearance (in Amazing Fantasy Vol. 2 #15, some years ago) and weave them seamlessly into a story that gives depth and meaning to everything that has happened in this book since World War Hulk. With two dueling arcs, Incredible Hercules has seemingly been coming out every forty-five minutes all summer long, but now the main characters must be drawn back together, and Amadeus now has a burden of his own to bear, a mythological labor that even Herc might not have been able to work out. Not everything is spelled out here, which I very much like, and the fate of Little Miss Cho is still up in the air, but overall this three-issue arc has done something amazing for Amadeus Cho: made me like him more. Incredible Hercules #137

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I'm having great fun with the main Blackest Night titlefor some time now, but I have to say I'm not as in love with this issue, or with the Green Lantern portion of the overall.Various pundits havebeen joking about the inevitable appearance of a "White Lantern" forsince pretty much day one, and this book does little to dispel the thought thatwe're headed precisely there. Hal Jordan is a bit limiting as a main character (at least for me) in that his current portrayal is a little bit too "Cosmic Batman,"positing that nothing will ever throw Jordan off his game as he's just too darn awesome. When the rest of the cast includeshis ex-main-squeeze andhis bestfrenemy, I want to seea little more psychological ramifications. The real star ofthis issue is Sinestro, who deals decisively with his ex, as well as his former best friend, and even makes a remarkably rational decision when faced with death. The overall effect is to make me like HIM more than our ostensible hero, at least if we baseall

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Overall, this is a good anniversary issue, with a nice showing by Asrar (his last on the book, mind you) and some fun stuff from Jay Faerber with the kids. The powers have been essentially a MacGuffin thus far, with the characters and their ineractions taking center stage. While I'm troubled that the "siblings switching powers" routine reminds me of Marvel's 'Power Pack' series from the 80's, it's still nicely done overall. The switching artists do create some varying quality in the solo stories (Bridget's story in particular making her very unattractive and weirdly anime-inspired) but at least none of the characters physically resembles one another. I was entertained to see them trade their so-so superhero names for an entirely new set of so-so superhero names, but again, the codenames aren't really the point, here. The issue also ends with the difficult announcement that the book will be on hiatus, and probably will be returning as a series of miniseries ala Astro City and Hellboy, m
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It's been public for some time now that the big bad behind all of this was, indeed, the Lord of the Dead his own bad self, Nekron. For those of you NOT conversant in his history, it has always been said that if he enters our reality, bad things are going to happen. We're talking 'Don't cross the streams' bad here, "Zombie Apocalypse" bad, maybe even "Jim Carrey Is Ebenezer Scrooge" bad. (Okay, maybe not that bad, but lord, it ain't good.) Even knowing who was behind it all didn't lessen the goosebumps and enjoyment that I felt as Nekron showed up in this issue, thanks partly to some very suspenseful dialogue and pacing, and partly to a beautiful redesign of the character by Reis and company. Having his Black Lantern as part of a Grim Reaper scythe is truly inspired, and even if you don't know who he is (as most of today's readers seem not to) you can tell that he's bad news. The horror of previous issues isn't as oppressive this time around, but there's still some gruesome moments here
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There's not a lot of rhyme or reason to this issue's story. Despero suddenly pops in, and just as suddenly pops out, as if to remind us that he did this before, in the historic Breakdowns crossover. After swearing to Superman last issue that she won't give up on the Justice League, Vixen suddenly changes her mind in this issue. Having the pivotal events to this decision appear off-panel (indeed, off-panel and in the FUTURE) doesn't help the situation much. Robinson sets up an intriguing first couple of pages, delivers on the promise of a Leaguer's death, but we then get several pages of characters standing around talking. Yes, I'm sure it's difficult to take over a title in mid-stream like this, but I'm not entirely sold on the writing end of the results here. Of course, on the art side, I'm highly impressed, with Bagley delivering the most attractive Vixen since the JLU cartoon, an impressive Zatanna, and delivers on the premise of a disrupted, melting Plastic Man most disgustingly. E
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This issue has it's nice touches. I like how the implication is that Moonstone/Ms. Marvel/Dr. Sofen seduces Bullseye not because she likes him (he's actually a reprehensible excuse for a human being) but because he's wearing a Hawkeye costume, a callback to old-school Thunderbolts. I like the opening sequence, which feels like a drive-in horror movie, leaving me yelling at the stupid girls to get back in the car. I liked the use of Venom here, showing the obvious consequences of Norman's shotgun approach to medication. But there are a lot of things that I can't quite figure out. Wasn't the Sentry left for dead at the end of last issue, his brains blown out? How long has it been since Captain Marvel/Marvel Boy/Noh-Varr disappeared, anyway? Why is the Man-Thing in Louisiana, and not his usual Nexus of Realities in Florida? And what about Naomi? My biggest complaint about this issue is the way it seems to exist as an island unto itself, not really tying in to anything else in the Marvel U
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This issue is the darkest and most disturbing comic in a while, featuring bad decisions all around, as well as some deep character work on the likes of Bane, Jeannette and Scandal, and Gail reveling in how far the characters can sink. It's a thoroughly unpleasant story with thoroughly unpleasant people, but it still manages to keep me riveted to the events. Bane's removal of Scandal from active duty is a shocking moment, she being a core member of this team from it's inception, but the fact that her teammates seemingly supported this decision leaves Scandal gobsmacked. None of these characters will ever be mistaken for superheroes, surely, but it's a little shocking to see them all in brutal action. Nicola Scott's art is always wonderful, but here she manages to create a tone of dread and foreboding, a darkness that I don't recall seeing in her work before, but one that I enjoy. This is a very good climax for an interesting and thought-provoking arc, and a very successful issues overal
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David Tennant's portrayal of the Doctor is(as with most everyone who has everytaken on the role) a very personal sort of thing,deliveredphysically, vocally, and through facial expression, taking him from merry prankster to somber lonely godand backusing only his face and his bearing. It is to the credit of this book's team that they manage to capture so much of thecharactersuccessfully on paper.Artist Matthew Dow Smith doesn't have a heavily photo-realistic style, but still captures the essence of Tennant in every frame. Tony Lee'sdialogue is a lot of fun throughout, especially the bits where the Judoon warriors stalk about, screaming"Resistance is futile" and all. There's a truelove of the Whoniverse (a phrase which, now that I'vewritten it, seems incredibly fatuous and smarmy) here, with logical progressions of themethroughoutthirtyyears of Doctor Who programming. It's a nicely donestory,the space battle as science-fiction staple, run through the prism of the veddy British show. Impr
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Geoff Johns continues to deliver on both fronts with this book, as Kon's story deepens with each issue and this issue's Legion vignette gives us something entirely new and wonderful. I'm enjoying Francis Manapul's art on the S-Boy portion of the tale, offering a lighter touch and a more "pencilled" look than his work on LSH recently. The coloring is nicely handled, using pastels and sepia tones that give the story a quiet, retro feel. The moment where Red Robin takes off his mask and the two old friends finally got to see one another face to face is great. ("You really need a haircut," says Connor. "You need a real costume," retorts Tim.) As wonderful as last issue was for Connor and Cassie, this issue surpasses it, as best friends finally come clean with one another and their friendship is rekindled. As for the Legion, the new friendship of the Sun Boy/Polar Boy team shines, as we get one of our first looks at Tharr and get to reconcile the nerdy, reject Polar Boy with the Levitz-era

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This series is the only real consequence of World War Hulk that's still about in the Marvel Universe, and it's long been an enjoyable thrill ride. What's most surprising is how touching parts of the story are, as Thor tells Zeus that only Hercules could have saved the day here. It's also nicely handled when Thor mentions that he understands all too well the condition of an angry father who wants to teach him some sort of lesson, and the sheer surprise as Zeus realizes that Hercules fights only for his honor and approval... Reilly Brown's art is wonderful throughout this story, with facial expressions that are wonderfully expressive, just bordering on cartoony, while keeping their reality (see the panel when Thor gives Hercules the low-blow for a great example.) Greg Pak and Fred Van Lente's script is a very knowing look at the reality of Herc, and underlines the difference between him and his fair-haired Avenger cohort, making Hercules more than just Thor without a hammer (a difference
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I'll say this for Garth Ennis: he can take something that should be horrifying and somehow turn it on it's head and make you forget that it should be such. He did it in Preacher (notably with Arseface, but to a lesser extent with Cassidy and even the Saint of Killers) and he does it here with the story of Mother's Milk. Nobody ever thinks that their life is unusual. They lived it, after all... But this issue is remarkably subtle about the question of whether the now adult, 6′8″ Mother's Milk still has to draw his namesake from it's source, and it's strange how engaging his story becomes. The death of his brother starts out ridiculous, going from farcical to horrifying to tragic in the space of a few panels, and the reaction of his father to the loss of a child is absolutely unbearable. What's most amazing about this story is how the telling of it draws us in, makes us see that this life may have had it's oddnesses, but it wasn't really all that much more unusual than any of
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I'll tell you straight: this issue is more consistent than the previous few, but still feels like it takes place on some alternate Earth somewhere. Green Lantern is acting weird, Supergirl is acting weird, The Atom is flat-out nasty, and even those characters who are on their game seem to be oddly out of phase. The presence of Plastic Man and Zatanna in a League that seems to pre-date the breakup of the team in the JLA home title is odd, and the Hawks are a very odd addition to this team. With cameo appearances by members of the JSA, of the Teen Titans, as well as Mon-El (who is wearing his old-school costume, placing this issue in HIS past as well, at least in theory) it finally gives the story a wider-scale feel than before. A one-panel cameo of Batwoman (whom Robinson's early interviews on this limited identify as one of the members of the team) confuses me, making me wonder if the book hasn't been re-dialogued and rejiggered due to the changes in the DCU status quo. Actually, wonde
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It's easy to look at someone else's strategy in retrospect and poke holes in it, but this one seems to be pretty transparent: the magic is the only thing that gave them a shot in Hades of facing their foes with anything approaching a defensible position. Giving it up completely was a terrible idea, a longshot that proved to be it's own downfall. I have never understood, nor have I enjoyed any of the ridiculous nonsense regarding Willow's "magic addiction," even when she tried to destroy the entire universe in a fit of pique. But, I admit that it makes for good drama, and even I have to say that this has made for an interesting storyline. This issue is half setup and half battle, focusing on the overall conflict, which makes it feel a bit remote for most of our sprawling cast. Willow's screen-time is well handled though, and the realization that she shouldn't have given up her magic because she ISN'T going to have given up her magic in the far-flung future is heart-breaking... The overa
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Rick Remender is a name that I've heard a lot, in reference to his run on Fear Agent and over series, but I have only ever read his work as the new writer of the All-New Atom not so long ago. I have to say, though, he handles this character well, giving Jericho an interesting voice, allowing him to stand toe-to-toe with Doctors Doom and Strange and not immediately get taken down. His use of different magics gives Voodoo a new take on the post, as well as a built-in weakness down the line, and I enjoy the fact that he was able to stand against Doom, but NOT to easily defeat him. A new Sorcerer Supreme shouldn't immediately be the new baddest badass ever just to give the character an immediate rub to start his book. Overall, the art adds to the creepiness of the affair as well, with Jefte Palo creating a dark and sinister tone throughout, reminding me in places of Mike Mignola's early work. Although I liked the fact that someone like Doom wasn't so easily taken out, I wasn't entirely sur
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I went into this book with super-high expectations, all the while knowing that it was highly probable that the book wouldn't live up to the hype, but in this case, I was happy to be wrong. This book wasn't what I expected (indeed, I had kind of forgotten that Dowling was defeated last time) but it was an enjoyable issue nonetheless, giving closure to each of the four main characters, finalizing the respect between the different methods of Snow and Drummer, and finally closing the one remaining open case in the Planetary ledgers. John Cassaday's art is stellar throughout, especially the subtle differences between the various alternate reality Planetary teams, and Ellis delivers a script that is complex without devolving completely into "technojargon as dialogue," a common problem with futuristic/super-sciency storytelling. This issue's only real weakness is that it gives a reader almost no guideposts to the story, relying that we've all read the previous 26 issues (which, given that thi
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Brent Anderson is on his game this issue, giving Astra a grown-up version of the features established in her previous appearances, and making her seem credible as party-girl, superhero, while maintaining an air of innocence about her at the same time. The story is fun, especially the contrast of Astra's extraordinary life with her boyfriend's increasing disbelief, and the moment where the monsters (led by a dragon who looks remarkably like Fin Fang Foom) burst out of a six-inch deep creek to crown her as their princess. Kurt Busiek's Astro City scripts are wonderful to behold, unfolding naturally, with amazing depth and character work throughout. If I weren't so in love with this series, I'd be jealous of how amazing the writing is... It's a difficult proposition, creating characters and situations that are so engaging that, a decade later, still feel like old friends. Astro City: Astra Special #1 earns a wonderfully complex 4.5 out of 5 stars, losing points only for the conceit that A
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The last couple of issues have balanced the frivolous with the serious, but we finally overbalance the scales here, and not in a good way. Firestar's life or death struggle really overshadows Monica and Patsy's man-troubles and Felicia's commitment issues. The 'Sex And The City' vibe is great, but being so focused on things that seem so petty make our protagonists look petty themselves. I like Angelica's general strength, but she's being portrayed as pretty bland in this ish, while Daimon's arrival puts him in a much darker light than the last couple of issues. This issue, while not as strong as #1, is still well-done, and Tonci Zonjic's art is still phenomenally unique, giving the characters a glam edge and an amazing depth of expression. The big draw here is the interaction between the core characters, and that is still in full force here. Marvel Divas #3 earns a "Big" deal 3 out of 5 stars, and I'm hoping for a big finish next issue. (With any luck, Angelica and at least one of our

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Gail Simones dialogue carries its usual brilliance (I think I swallowed a fishing net, laments Giganta, having walked out of the ocean) and the art by Aaron Lopresti is everything youd want out of the title of the most significant female superhero, but there just hasnt been a clear enough focus for me on the Olympians threat and what the heck it is that he wants. Wonder Woman #36 earns 2 out of 5 stars overall, falling more into the awww, I had real hopes for this category than into any sort of failure. The spark that returned with the Black Canary two-parter is still here, but it just feels a little bit dimmer this time round.
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I'll tell you one thing for free: Dan Abnett and Andy Lanning know themselves some space epic. This is not in question. What surprises me is how well they're using their scattered cast, the ties to nearly every era of Marvel history through the Guardians (a team which is threatening to rival the LSH in sheer members) and how cohesive the storylines are, and how wonderfully the various personalities mesh. Everyone has surprises here, and even a C-Lister like Jack Flag is given due respect and a mysterious prophecy. Wesley Craig delivers an art job pleasantly reminiscent of Michael Avon Oeming's work on 'Powers,' and offers a streamlined design for the alternate future Guardian team that's almost better than their regular uniforms. Overall, there's a great deal going for this title, but I'm somewhat worried about a lack of press and/or a seeming lack of excitement about it. It's easily as well-done as Nova, as well drawn as Mighty or Dark Avengers, and is as entertaining a read as any of
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As one-shots go, this one is quite good, establishing a character who hasn't really been front and center in the Marvel pantheon of late, giving him a nice comedy bit with Deadpool, some super dramatic moments, a continuity tie-in from the old series, and even a fake ad for the "Fat Tiger Fighting Academy." If there's any problem with the book, it's that it is targeting those who are already fans of Shang and the Deadly Hands days, which may lead to some accessibility problems in the world of Wolverine and Bucky-Cap. Still, the presence of Deadpool might bring some new kids on board, and the basic character structure of the Master of Kung Fu is still a sound one. There's a wide range of art styles on display here, some more successful that others, and the stories each have a little something interesting going on. The weakness of the anthology is also in effect, though, giving each story it's own little weakness as well (the art on the M'nai story, for one, the fact that the clever subt
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Still, this book delivers the crime-fiction, delivers the street-level vigilantes, and some excellent storytelling overall. Detective Comics #857 earns a very strong 4.5 out of 5 stars overall, and makes me happy to be reading a bat-title again.
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This whole issue has a split personality to it, with the first half being oppressively dark and broody and the second half launching without prelude into a full-on spy story. Bendis' love for the character comes through in every panel, but the early missteps (the long "hey, I'm kind of like Wolverine!" monologue combined with a suicide attempt) make me really uncomfortable with where Spider-Woman is going. If this is going to be the story of a kickass alien fighter and how she overcomes adversity and her past to carve a new future blah blah blah fishcakes, it's one thing, but if we're going to be constantly treated to heavy-handed moralizing about how sad it is that nobody loves her anymore, I don't know how long my particular haul will be. The art of Alex Maleev is always interesting, once you get used to it, and the successful parts of this issue remind me of the brilliance that was Bendis and Maleev's run on Daredevil. I was also somewhat disappointed to see that the cover image by

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There's also an Iron Fist backup, but this chapter is pretty much forgettable, with some truly bizarre art and a short fight sequence, but the real treasure comes in the main feature. There's such power and pathos in every moment of the story, two boys fighting against poverty and starvation with only the thought of their hero to sustain them. Rick Spears' script is wonderfully handled, and the art is note-perfect throughout, especially the reveal that the actual Dog Brother #1 is pretty much another scrawny war dog under his armor. I really like this issue, as much because of the setting and tone as the characters, tying into a portion of history that you seldom see in comic books in a highly creative manner. The Immortal Iron Fist relaunch has been an amazing success creatively, and issues like this remind us of exactly why. Immortal Weapons #3 earns 4.5 out of 5 stars, only losing points for the strangeness of the Iron Fist episodes' art. It's everything you didn't realize you wante
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The little characters bits work better than the overallstory (Butterball's newfound famebrings a smile)but I'm still finding this book too scattered to be really enjoyable.
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The first half of the book is meh, the second half is shocking and well done, for a composite score of3.
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I suspect that next issue is going to be a Dirty Dozen-inspired "ragtag group of somethings" coming together to overcome their captors and find common ground thing, but as with everything Doctor-related, it's all going to come down to the execution (no pun intended.
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The arton both features is pretty gorgeous,though, and the return of the Bwah-Ha-Ha team is nearly worth the price of admission all by itself.
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This series is winding down, andthe last couple of issues have felt a little bit padded, but this one manages to bring back the strange balance of real-world politics and super-hero conventions that brung it tothe dance.
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Even with the coolness of the characters, Dancedoesn't quite put it all together in the end.
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Thewhole Blackest Night crossover has been nicely handled, and this issue is no exception.
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I don't know if the whole overarching plot is working for me (especially whenpal Chas tellsJohn that he obviously loves her more than any other girl in the past, a total Mary Sue moment) but this issue is strong enough to earn 3.
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It's a series that started with potential, and hasfound itself a victim of "Gilligan's Island" syndrome, in a way, as we keep findingstranger and more esoteric ways of keeping the castcaptive.
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It's a very satisfying issue that makes Amadeusnearly as formidable as Hercules himself, and sets us upfor their reunion in (I hope) the very near future.
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Next month'sdebut of the Robinson/Bagley teamshould be interesting, but I hope it's not another false start with bigideas that go nowhere.
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There's a cute moment where Spider-Man slaps Norman Osborn around, all the while saying that he wishes he were a better man so he wouldn't enjoy it so much, butin the final analysis, there's just not enough storyto float the book.
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Nicely done, but not for the squeamish.
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Proof's unrequited love for a married woman evokes the best kind of parallel to Neil Gaiman's Sandman series, and RileyRossmo's art gets more complex and thought-provoking each issue.
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It's a nice little end to astory that has been more about the man than the mask, and even though there probably won't be any long-term consequences or Marvel Universe involvement,it's enjoyable on it's own merits.
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DeMatteis hits all the right notes and really makes this book feel unique ina sea of costume heroic fiction.
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X can't save this one from a terminal case of "WTF?" 1.
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Stop badgering me!) It's an interesting issue overall, with the most promising bits coming in discussion between Cyclops and Professor X and in the acclimation of Namor to the mutant side of the Marvel Universe.
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This issue runs the gamut from creepy (as the Novas investigate the mysterious ship) to all-out action (as Richard faces down with Monark) to a 'don't cross the streams' bad moment at the end. The story moves at quite a clip, and the reveleations within the issue are given just enough room to breathe before we move on to the next thing. I have a strange feeling that Zan Philo may be more than he seems, and Monark Starstalker proves himself to be a strong and capable character in his own right (which is as should be, given that he's one of Howard Chaykin's manly cosmic badasses.) I like the admission here that War of Kings is now over, and the galaxy's other threats haven't gone away. As the Galactic Cops, Richard and hisNovas don't have the luxury of sitting back to rest just because the direct threat has gone away, and DnA's story shows that nicely. I like the art here, a good bit of work by Kevin Sharpe (a name I'm not familiar with, but one I think I'll look out for) and the issue g
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It's interesting to see Grant Morrison's unorthodox writing style with a more mainstream artist, and oddly, the effect (as with Tony Daniel in the 'RIP' arc) is more unsettling than having the stylized renditions of Quitely or Richard Case. Having the characters and the city look so very much like your average bat-book, with the outre concepts that G Mo brings to the table makes the madness that is Batman even more entertaining. I'm not usually a bat-reader, but the first arc of this book was a high-speed thrill-ride, with an arc that was short and to the point rather than drawn out for potential trade paperbacking down the line. This issue joyfully kicks off a new arc, and it's only real downfall is that I, at least, can't think of anyone else for the Red Hood to be other than Jason Todd. If there were other characters built up, it could be a mystery, whereas this seems more fait accompli to me. Dick and Damien's jostling for control of their relationship seems to have simmered down a
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This issue is a fascinating read, with unusual strategy by Woo, and character-based brilliance across the board. This three-issue arc hasn't been a typical fighty-fighty, instead hinging upon Jimmy's unorthodox tactical brilliance and Jade Claw's not-quite-absolute villainy. There has been a lot of noise about AoA getting cancelled, but the AoA/X-Men series has been solicited, as well as the Agents as a backup feature in Incredible Hercules.So, the time has come for Matthew to call upon the Faithful Spoilerites...If you've been uncertain about this book, pick it up. Pick up the X-Men crossover over, if you're an X-Men fan. Pick up Hercules and enjoy TWO wonderful stories.I really think that if even a few of ourresident"wait for the traders" jump in and start following the Agents, we canhelp revive a title truly worthy of adulation (I'm looking at YOU, 'Dark Wolverine.') The art in this issue is by Dan Panosian and Gabriel Hardman, and it's phenomenal throughout, with the robot battles

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Oh, my... This issue totally makes up for the muddle of Mighty Avengers, as Brian Michael B. shows off his chops throughout. Taking a character like Ares and giving him an authentic voice is a real achievement, and the standoff between Fury and the goddawar is tense and fascinating, as two veteran soldiers size each other up. The tidbits about Osborn, Sentry, Noh-Varr and even a discussion about Spider-Man's sense of humor (Bullseye points out that the web-head is funny when you're in the mood, prompting Venom to snark, "then I'm NEVER in the mood." Heh...)are well-handled. There's nearly as much going on here as there was in Mighty, but the pacing and breakdown of events is much more controlled and greatly effective. Mike Deodato's art is excellent throughout this issue, and the transition from angry Ares shattering concrete to worried father is really an amazing bit of artwork. Dark Avengers #9 earns a very impressive 4.5 out of 5 stars overall, and really giving me a reason to antic
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This issue suffers on two fronts, in my opinion. The primary problem with the issue is that there's just TOO MUCH going on in the issue, with three separate story threads, a whole team of Avengers that AREN'T the team that the book is about, as well as a new Chinese super-team in the mix. Hank/Jocasta's romance is name-checked for a moment, and Amadeus Cho gets a tiny cameo in the book, but overall the issue could have been somewhat more successful by focusing on one or two fewer things happening. The second failing for me is the art, with Khoi Pham's pencils creating some storytelling issues, as well as an unpleasant tendency to omit eyeballs ala Leinil Yu. The crushing blow comes for me when the mutated USAgent looks (aside from a couple of rips in the costume) indistinguishable from the unmutated USAgent. Mighty Avengers started off with such promise, giving us a chance to finally see Hank Pym showing Tony Stark how it's done, but the team has yet to really gel, and the whole "viper
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The art on this issue is fan-freakin'-tastic, with Bryan Hitch reminding me of why I liked him waaay back when he took over She-Hulk from John Byrne. The awkwardness that made his Fantastic Four so difficult to read is gone here, leaving behind the epic scale and clear storytelling that made Ultimates fun. Ed Brubaker seems to be having fun here, weaving together plot-threads and hints from the last three years of Cap and related side-stories. There's still two issues to go here, so I imagine a few twists are still in store before we deal with the actual revelations and/or resurrections. My major disappointment here is in how much I like James Barnes as Captain America, and (much as with Barry Allen) how bringing back the old guy feels a little bit too much like the return of the status quo. Still and all, this issue is the first where Steve actually gets to DO something heroic, which is nice, and the story isn't sagging the way some five issue stories with 'Rebirth' in the title seeme
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I've never been a fan of the big giant crossover, but once again, I am surprised at how well this one sticks together. The official debut of the last colorof the emotional spectrum comes at the perfect dramatic moment, and their revelations about the weaknesses and the origins of the Black Lanterns are obviously at the heart of the Blackest Night saga. The characterization throughout this issue is note-perfect, including a creepy turn by the Hawks and the Dibnys, whose corrupt Black Lantern essences make every word out of their mouth a skin-crawling moment of disgust. Hal Jordan is forced to play it safe, Barry Allen is forced to slow it down, and Jason Rusch gets a character-defining moment that makes me look forward to a real showdown between him and Ronnie Raymond. Even the seemingly-silly concept of thesuper-morgue in the basement of the Hall of Justice delivers a moment of true horror, as the bodies of Max Lord, Alexander Luthor, Killer Frost, Copperhead and others lurch and shamb
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The Smallville half of this issue is very nicely handled, showing Kon's search for identity very neatly, and giving us a deeper glimpse into the relationship between Connor and Cassie. I especially like the fact that she sees right through his recent actions, telling him that he's obviously trying to grow up just like Superman. Ma Kent's sadness about the loss of her beloved husband as she watches the kids kiss is beautiful as well, making the first half of the issue pretty bittersweet. As always, Geoff Johns has a wonderful ear for dialogue, and Francis Manapul makes Wonder Girl so beautiful and expressive that the reader half falls for her as well. The Legion story is a bit more problematic, though, as it's almost entirely about Lightning Lad. That's not inherently a bad thing, but with this incarnation of the Legion just relaunching, it seems questionable to spend a whole story on ONE member of a team of 24, ESPECIALLY when a good portion of that team is missing. Even so, the story

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This whole arc of Secret Six has been a new and different beast, taking the team further into depravity and seeming evil than we've ever seen them, and each of the group has responded in ways I didn't respect. Gail shows us the resolve of Catman, the professional ethics of Deadshot, Ragdoll's indifference to everything except fun, Jeannette tragic core, Scandal's odd nobility, and even the hero hiding inside of Bane. This book is ALL about character, and the characters here make decisions that almost seem to hinder the storyteling but are still true to what the reader thinks they would actually do. It's a fascinating look into shades of gray... Nicola Scott's art is, once again, beautiful, giving depth to all the expressions and characters, even the random guards and slaves floating about the issue. That said, this issue is a little weirder than some that have come before, and a little harder to get into because of that fact, but it's still compelling and worth the journey. The standar
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I gotta say, this issue is intense in ways that I didn't expect. Hawkeye's lethal attitude (however out of character it may be) at least doesn't pull any punches, taking a chance of killing both Bullseye and Venom during the attack. I'm bothered by a couple of things, though, including the stupidity of attacking a man who employes both Ares and the Sentry, as well as the fact that forcefields were used as plot points both for and against Ronin. If you stop to analyze what's actually going on here, it kind of falls apart, and makes Clint Barton look quite a bit stupider than I'm comfortable with him being. Norman Osborn is well used here, but his ubiquitousness is starting to lead to overexposure for me, and as engaging asClint's whole "Die Hard" schtick is, it still falls apart at the end. Overall, though, this issue balances itself out, with some very lovely art from Marko Djurdjevic, and cute dialogue almost (but not quite) covering up a fundamental lack of brains in the plot. The pr
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A couple of digressions: Recently, one of my agents (James, if you must know) was reading a "Betty and Veronica Digest" that he bought at the grocery store between calls at work, and I spent a few moments reminiscing with him over how awesome the old-school Archie comics are, with their perfect love triangle, and the simple stories that still pack andramaticpunch. It was a little weird thinking about being a kid and reading these stories, and even weirder to run into them in a work setting. Digression the second: There wasa time in my childhood where one of my most anticipated moments was Saturday mornings when I could watch cartoons, and I clearly remember seeing "The Archies" in that bizarrely primitive Filmation cartoon style, and just loving the characters to death. With that in mind, I guess I shouldn't have been surprised to enjoy this story as much as I did. Archie, Jughead, and his friends are allstill the charactersthat I remember, and the MacGuffin is done in such a cute and
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I've been very happy with this crossover, showing as it does the heroes' first real response to Norman's Dark Reign, or at thevery least the first response that might actually ACHIEVE something. Cyclops instinctively plays the same game as the former GreenGoblin, using television and grandgestures to create goodwill among the public. Who knew that PR could be a super-power? Luke Ross does a good jobwith the art here, in a style that's somewhat different than his recent Captain America work. Rather than emulating Steve Epting (or emulating the Captain America house style WITH Steve Epting, whichever) Ross an altogether less angular look to his figures while maintaining a clear and pleasant line. Matt Fraction again shows why he's one of Marvel's best writers, delivering another fun chapter, and incorporating concepts and characters from ALL eras of the X-Men. If I were to register anything resembling a complaint, it would be the almost complete LACK of Dark Avengers in this Dark Avenger
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I'm fascinated to find that the Agents may have a decent counterpoint to their Venusian/Atlantean/Siren/technological/were-ape awesomeness, and I really want to knowhow Suwan managed to put together her OWN giant cabal of evil (called 'The Great Wall') that rivals her uncle's.
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Royal's quest for vengeance leads to 3.
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Johnny's face turn combined with Greer's perfect seasoning of a dish served cold earns3.
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I'm still unhappy with the whole "addiction to magic" plot point being resurrected, though, and not sure where it's supposed to go from here.
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Father and son conspiracy-busting earns3.
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It's an awesome look at an underutilized Marvel superstar, and it's nice to see that evenNorman doesn't have all bases covered.
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Kate's tactical error and Renee's bullet wound earn4.
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Theta Sigma's temporal lunacy earns3.
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It's good to finally see this back-burner plot come to a boil, and I'm intrigued to see where it all ends up.
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Allegations of Mitchell's impropriety earn2.
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I want to love this book as much as it's potential, but right now the story is falling a tiny bit flat.
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As with'Dance,' it probably would have worked better as a shorter series.
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Miller's wild ride earns 1.
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Gamora's combat-skill and Adam's brutal naivete earns3.
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The Bride's feeding frenzy earns2.
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Amadeus' long bus trip earns 4.
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The Plutonian's foster home flashbacks earn 3.
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Michael's Scarlett O'Hara vow earns2.
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Kara's teenage sense of rejection earns1.
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Either way, I'm intrigued by what's going on here, though I'm wondering how unwieldy a team of this size is going to be for ongoing storylines.
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Clint's appearance, John and Pietro's assclownery, and Cassie's naivete roll together into a nicely textured 2.
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The Hood gets new abilities, thanks to Loki and the NornStones,while both New and Dark teams are left at the mercy of The Hood's super-army.
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With the support of his new Corpsmen, including his little brother, Rich vows to become a force for good in the universe, and also to find a new place to live, as a headquarters in the brain of Ego is a little creepy for him.
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The Ravager backup is pretty much forgettable, too.
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" Starlight makes a stand, The Female wakes up (and breaks Hughie's arm for trying to steal her candy) and Butcher earns his name at the end, preparing to torture Soldier Boy for information.
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Vic's complete imbecility earns3.
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David's sense of justice and Crispus' sense of duty earn3.
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Mysterious machinations are coming together, and Norman Osborn's mutant team is coming apart, and overall, the effect is mesmerizing.
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Diana and Dinah'sundercover extravaganza earns3.
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Anna's bigmoment in the sun earns2.
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The entire first arc of this series has had an extremely unsavory tone (owed partly to Quitely's art, and partly to Morrison possibly being bonkers) and this whole issue maintains that tone throughout. The setup of Sasha as an ongoing character is nicely done, and Damien's realization that perhaps Dick Grayson isn't useless after all is a subtle character moment for a character who doesn't really do that much subtle. I like the art, I like the overall storry here, especially the ease with which Jim Gordon seems to realize that this isn't his usual Bat-buddy. The new villains are creepy, and the setup for something even more sinister is achieved without telegraphing the relevant plot points. I don't have Stephen's love/hate relationship with Morrison as gonzo-storyteller, and I have found this new Dark Knight to be extremely entertaining, new and different. It's a reversal of the old dynamics, but it's working and working well. Batman and Robin #3 earns an unexpected 3.5 out of 5 stars,
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This is going to sound weird coming from me, but... this issue has TOO MANY references to past stories in it. We have a bunch of callbacks of Carol's runs as Star Sapphire, John Stewart's backstory, the Sinestro Corps war, Hal and Sinestro's shared history, the Alan Moore 'Tales of the Green Lantern Corps' stories from back in the day, the bits of the Omega Men's history that relate to Vega and Okaara and why the Guardians don't go there, the 'Emerald Twilight' era Hal Jordan stories where Jade and the other Lanterns were lost and... *Gasp.* I love the hell out of a universal crossover that actually IS universal and doesn't shy away from the old stories, but MAN there's a lot going on here. Hal doesn't even appear in this issue (even though Sinestro and Carol's conflict is ALL ABOUT him) and it's still crammed full of Lanterns on every single page. This issue continues the trend of each Lantern Corps having a living planet and an Avatar (Black Hand for the Black Lanterns, Ion for the G
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One of the highlights for me of the old Justice League Europe was the mellowing of Kimiyo "Doctor Light" Hoshi from ultra-mega-bitch to merely kinda snotty, a characterization that seems to have been reversed in recent months. Moreover, having her feud with the extra-lovable Plastic Man sets her up to be even less likable. The cards (pun fully intended) are against this team from the get-go, leaving us with another arc of JLA that feels a little bit off. Whether it's the not-so-fresh feeling of the RFG, the art job (passable, occasionally impressive, but not stand-up-and-take-notice good) or the realization that new creative team James Robinson and Mark Bagley will probably leap off into a bold new direction, this issue manages to come across feeling a lot like filler. It's nice to see Len Wein's writing again, but sadly, Justice League of America #36 earns a disappointed2 out of 5 stars overall. I'm not sure how long Len's on the book, but I'm hoping that he has a slam-bang ending tha
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Greg Pak and Fred Van Lente deliver another ripping yarn this month, taking what might have been the end of the premise that made the book go, and instead going someplace completely unexpected. Clever dialogue throughout, and some neat moments ("I just figured out that I control the weather... which is AWESOME.") combined with a nicely handled villain reveal make the story really sing, while Reilly Brown and Nelson DeCastro's artgoes from roadside diner to Svartalfheim without a hitch, rendering killer trolls and Hum-Vees with equal skill. Hercules is still hurting from the seeming betrayal of Amadeus Cho, and throwing himself headlong into an adventure is exactly what he (and the ongoing storyline) needs right now. This issue manages to take an unexpected sidetrip while maintaining everything that I've loved about this series since World War Hulk: mythology combined with tongue-in-cheek brilliance, all done at breakneck pace without losing the subtle, enjoyable character moments. Incr
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Last issue captured the best of the 'Sex and The City' ouvre, giving us four sassy, fun, independent female characters who are friends, regardless of their differences, and this issue keep that up. At the same time, though, it also brings in some of the less-fun elements and the melodrama that occasionally bogged down Carrie Bradshaw's story. Felicia and Patsy both find themselves contemplating a return to bad ideas of the past, and for the second time in recent years, we're given the implication that, even though Stephen Strange might be ABLE to cure cancer, he is somehow ethically barred from so doing by the laws of magic, even more complicated than the legendary "Law of the West." Even though it's not as light and funny as last time, this issue is quite good overall,even with the depressing subject matter. Tonci Zonjic's art is wonderful, though, managing to keep the four characters distinct and separate in facial structure, body, and even height, and has wonderfully expre
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The real star of this issue is Gail's dialogue, going from wonderful (after Wonder Woman threatens to castrate Deadshot, Rag Doll explains how he doesn't miss his "boys," and how there are now flavored substitutes) to horrifying (the description of Jeannette's death) to sad (as Scandal explains to Bane that he needs to Venom up again.) The entire issue takes place over the space of about twenty minutes or so, and the battle sequence is quite well-handled, given the imbalance of power levels involved. I'm still unclear on the real reasoning behind the creation of this prison, with it's "Nine Circles of Hell" theme, and I'm wondering where this split will leave the team after this mission is over, but overall it's a good issue, with Nicola Scott once again delivering some of the most wonderful (and overlooked) art that the Big Two has to offer, as she does month after month. Secret Six is an overlooked gem of a title, and Secret Six #12 earns an impressive4 out of 5 stars overall
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We also get some interesting bits of Legionnaire business, in the coming attractions section that Geoff Johns seems to put in his #1's these days, including hints about Dream Girl, Mon-El, Element Lad, complications for Blok and a fist wearing both a Legion flight ring and a Green Lantern ring. Clay Henry nails the Legion portion of the issue, even giving life to some of those weird Gary Frank costume designs from Action Comics, while Francis Manapul tries out a softer, more "pencilly" style in the Kon portion of the title, creating a nostalgic feel for the kid's homecoming. This issue was pretty much a laying of groundwork on both fronts, with enough information to bring those unfamiliar into the stories, while giving those of us who have been following the characters in "Legion of 3 Worlds" something new and shiny to obsess over. In three words or less? It's good. Good to see Kon back, good to have a Legion title again, good to have the ORIGINAL Legion back. Questions of
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This issue is as effective as #1 was in creating an air of menace and horror, and captures the whole "Monkey's Paw" moment of a dead loved one returning to rip out your heart perfectly. The scene with the Atom (who, by the way, doesn't appear with the League at the end, making me wonder if they ate him or something) is skin-crawling, and even the bravado of Green Lantern can't overcome the feeling of oppression and impending doom created here. I was slightly less enchanted with the art this issue, but it's still a good job, and the moment where Black Lantern Aquaman raises the dead sharks is purely shocking. I wasn't expecting the body count to continue rising with this issue, and I'm a little concerned over what happens after the series is over. I hope it's not one of those "Kill the head vampire" moments where Garth, Hawkman and company just revert to normal because of the Worcestershire sauce helpline. Either way, this issue is once again an example of event writing done r
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Oooh... Ominous. The menace of Twilight aside, this issue is problematic for me in that it returns one of the more annoying portions of the original Buffy television show, the whole "magic as drug" aspect. It's troubling in that we have characters whose lives have been forever changed by magic in relatively positive ways (Buffy no longer a slave to fashion, Willow no longer a wallflower to be ignored) and then have them trying to fight against that nature, which is kind of counter to the whole point of the show. I'm happy to see Oz again and I like the fact that he has built himself a life separate from the craziness that has enveloped the rest of the cast, but unless this arc ends with the characters able to mask their usage of strange powers, I will probably still be annoyed. The book maintains it's usual art quality, and the story of Oz overcoming his own (and others') inner wolf natures is a well-told one, but I'm still left with a vague dissatisfaction. Maybe it's just
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All in all, it's a strong issue from Christos Gage, and along-overdue return to badassery fromthe legendary Were-Cat.
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The art is well-handled, but ultimately there isn't enough going on here to justify the cover price, offering little more than two flashbacks and a mysterious vignette for 4 bucks.
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It's a strong ending that makes me sad we couldn't get another 10 issues out of this premise and the team.
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And how, exactly,does this have anything to do with Dark Reign? 1.
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" That moment alone pushes this one higher than it probably would have been in and of itself, continuing a string of "Utopia" issues that hit the mark squarely.
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Still it's a well-done issue, and the art is phenomenal on both halves of the book.
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Has virtually nothing to do with Final Crisis, though.
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(What's most wonderful is the photorealistic representation of the dead-eyed models from Cosmopolitan andthe other newsstand chick-lit publications, and the absolutely relentless skewering thereof.
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The characters dominate this book, and Abnett and Lanningremind me why they worked so well on the Legion, handling a back-breaking character mix and space-faring adventure without ever letting us see 'em sweat.
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It's one of the most enjoyable arcs this book has had in several years.
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Very good work from Greg Pak and Fred Van Lente, leading intonext issue's big Thor crossover thingy.
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Still,there's enough going on here to keep meonlineand interested to see where this all ends up.
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" I like the personalities at play here, andWein is an old favoriteof mine, so I have high hopes for this arc, especially afterthe endless meandering Starbreaker saga of recent months.
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Chris Batista is someone that I want to see on a regular monthly title, especially if he can keep up this level of excellence every 30 days, but the storyhas gotten a bit flabby in the middle for my tastes.
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It's a first chapter, and so it does what it does well, but I'd have liked more focus on the character moments and less lead-in to another high-concept six-issue arc.
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)Warren Ellis breaks the urge to be a superhero down to its basest level here, but it makes perfect, horrible sense, and I couldn't spoiler thesimultaneous hilarious and horrifying ending, even if I could find the words to describe it.
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A nice, tense story that reads fast and works well.
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Power Girl gets to be as clever and resourceful as her cousin, though, so that's very nice.
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There's potential here, but it feels a bit too quick, and more than a bit too familiar for my tastes.
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Is she undercover or is she on the wrong side, now? It's hard to tell, but we've seen six issues of feints and misdirection withoutgetting much in the way of straight answers, which has brought me to the point where I'm going to be dropping the title from my list I don't mind a book that doesn't play fair with the answers, but you have to give us something to work with if the misinformation is to have any actual impact on the readers.
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Both stories were okay, but again, it's seems as if they suffer somewhat from having to share space in the issue.
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The reveals is intriguing, but the logistics of it all hurt my head and the overall story consistency.
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I really liked the final panel of this issue, but I have to say that I'm ambivalent to the overall miniseries. Despite liking these characters and the previous minis, I just didn't feel the love. It started strong, but came apart in the middle, and never really recovered enough for my tastes. Had this and the previous miniseries been one 6 issue series, I think we would have had a much stronger overall product. Fred Van Lente does excellent work with dialogue, but the plot doesn't quite gel for me. Also disturbing is the cover image, with a strangely proportioned Jennifer Kale looking like her spine will break under the weight of her pectoral regions. It's a disappointing book (especially from Van Lente, whom I have a great deal of love for after "MODOK's 11″) and with the imminent return of the original cast of Marvel Zombies, it feels like a good jumping off point for this franchise for me. Marvel Zombies 4 #4 earns 1.5 out of 5 stars overall, less through being b
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My greatest complaint about this issue (and indeed about last issue as well) is that Bryan Hitch drawing Captain America cannot help but evoke images of ULTIMATE Captain America, who I consider to be a less interesting character. Sure, it makes perfect sense that he wouldn't go into battle wearing a cowl and wings on his head, but the helmet and belt pouches motif is similar enough that one can't help but make comparisons. The story here is interesting enough, but it's been set up for the better part of 2 years in Cap's regular title, giving me kind of a sense of "Okay, I remember this, let's go." Still, the characterization is strong throughout, and Steve's attempts to control his situation make me think that he's going to be an active part in his own rescue, rather than a living macguffin throughout this mini, so that's nice. It's well drawn, and well-written, with a clever if not really shocking twist at the end, as the media goes into feeding frenzy mode at the release of t
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After several issues where the main character has had to deal with an increasingly dark and humorless world of fighty-fighty, this one struck me well. Maybe it's the girl-power vibe going on, maybe it's the way that Black Canary manages to be so perfectly in character and tongue-in-cheek (it's good to hear Gail's version of Dinah's voice again) but I liked this issue in ways that I didn't enjoy the last three or four. Lopresti's art is note-perfect this time, and the battle sequence is exciting and well choreographed, and even the throwaway costumes that the 'Birds of Paradise' wear are wonderful. Best of all is the half-page shot of an enraged newly-orphaned Hawaiiangoddess on the last page, a piece that is powerful, regal, and even sexy without being pandering. Gail Simone seems to be taking a breather from doom and gloom here, while continuing the Genocide subplot, but her piece de resistance is T.O. Morrow's simple explanation of who he is. It's an incredibly deep momen
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Many people only know Rich Johnston from his work as an online gossip columnist, but he really shows his fiction writing chops here, catching the distinctive voice of David Tennant's 10th Doctor and delivering a really hard to create backwards conversation that takes up the center of the book. The plot is such that you actually have to read certain pages again backwards in order for it to become clear, and it's a clever little bit of plotting. The art, by Eric J. gives us a really expressive Doctor, and some interesting alien designs, with a nice thick art line and some crisp linework throughout. Structurally, mechanically, the issue is fascinating, and the story (while very simple) is very 'Doctor Who' in it's tone and execution. I wasn't sure what to expect from this issue, wondering if it might be a celebrity-written trainwreck, but it pulls it's own weight as a comic, as a story, and as a one-shot worth the cover price. I am a Doctor Who fan, and we can be a hard to impre
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This is an exciting issue, serving as our first real glimpse of what the Black Lanterns are and what they do. J'onn's channeling of the power of the ring with his own telepathic and physical powers is awesome, and it was a little bit shocking to see him acting without restraint here. The horror of any zombie tale is seeing someone essentially just like you become a monster while still remaining recognizably human, and that's used to great effect in this issue. The art is simply awesome, as Doug Manhke actually manages to convey the horror of seeing your friend return as a shambling corpse with FACIAL expressions, a deft piece of work indeed. After Blackest Night #1 a few weeks ago, I have been chomping at the bit to see what the BLC has to offer, and this issue was satisfying in that regard. I'm still not entirely onboard with a resurrected Barry, especially given the hasty way that we killed Batman, Aquaman and Martian Manhunter to retain the illusion that JLA members can st
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When Fat Cobra debuted, I immediately heralded him as one of the greatest characters in Marvel history, and I stand by that. But when I picked up this issue, I didn't expect to be as moved by his story as I am impressed by his bravado. Several art teams handle the image chores here, and none of them drop the ball, and the coloring throughout is appropriate and well-handled. The first chapter of an Iron Fist backup story is likewise well-handled, detailing Iron Fist getting involved with the drama in the life of one of his School of Thunder students. Overall, though, this issue is exactly what I wanted from a Fat Cobra one-shot: kung fu and lust for life, with the unexpected bonus of an effective dose of pathos. Immortal Weapons #1 earns a very impressive 4.5 out of 5 stars from me, giving me backstory that COULD have undermined the character, but instead made his eventual triumph and transformation into Immortal Weapon a bittersweet and wonderful moment...
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There's a lot going on here. This book is an impressive one, giving Cyclops a moment in the sun, showcasing the growing mania and instability of Norman Osborn, adding depth and shading to the conflicts in San Francisco, and making me almost enjoy Daken's antics. What it DOESN'T do is show us much of the actual Dark Avengers, save for a few panels in which Bullseye dominates. As a Utopia/Dark Reign cross-em-over, obviously the book has a ton to do, but it reminds me a bit too much of the X-Factor crossover back in the day which showcased only Cable, Wolverine and Forge, none of whom were (or, at the time, had EVER BEEN) members of X-Factor. Overall, though, it's a good issue, with a nice art job by Luke Ross (invoking but not slavishly emulating Mike Deodato's art style, and even moving Dagger's "X" symbol up a chakra) and some good dialogue throughout. What we need is more Mimic and less Dark Wolverine, if you ask me, but overall it's an enjoyable book. Dark Avengers #7 ear
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My first impression of this issue: Why did they ruin Gene's art with such garish coloring? It's as if somebody decided that moody and compelling art isn't enough to make a vampire tale eerie, they needed to Photoshop the crap out of it. Granted, Colan's work has grown more difficult to color as his craft grows more complex, but somebody really needed to reign in the computer guy on this issue. The cover identifiedthis bookas "A Very Special Issue" (albeit not one where Blossom loses her virginity) and it comes across as such, but it's an odd sort of choice in both timing and content. The WWII purview is neat, and the flashback story is well done, but the Civil War behind-the-scenes makes me wary that we're going to see another situation like "Avengers Flashback Theatre," where the stories in the titles were halted, and the monthly issues used as DVD extras for the huge summer crossover. If they do that with the regular Cap title during the run of "Rebornded," I'm going
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It's not entirely what I expected, but it does avoid the kind of problems that could have arisen out of a book like this... The appearance of the Post-Crisis, 5-Year Gap, and SW6 Legionnaires finally fulfills the promise that this series would contain EVERYONE who had ever been a Legionnaire, and it was good (and also saddening) to see the likes of Laurel Gand, Laurel Kent, Kent Shakespeare and even more obscure luminaries such as Ferro Man. This series has managed to distill the essence of the Legion, while taking things in new directions. The upcoming Adventure Comics thus has many built in plot hooks, such as the eight missing Legionnaires, the new kids assimilating, the Black Witch's actions and more. There wasn't the big sense of disappointment that many big event series tend to engender, and I'm left wondering where the Legion goes now. That's a good thing. George Perez delivers his usual brilliant, detailed, insanely character-filled art, and each page is rife with
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It's an oddly introspective issue-ender for a character that seems to be all about two-fisted attitude, doesn't it? This series has a lot going for it, not the least of which is the breakneck action movie pacing (something Kirkmand and Walker have down to a science by now) and the complicated family subplots but it suffers from the same failings that cripple a lot of limited, and especially a lot of Marvel's limiteds: Odds are that it will all be forgotten in six months. Indeed, this seems to take place in a corner of Marvel continuity that doesn't even feel like the Marvel U, and no matter how much fun it is, it comes across as a cotton candy trifle, entertaining while the sugar buzz is on, but hardly nutritious enough to live off of. Cory Walker's art is quite fun, and the design of the monstrous KRAKOOM (is that a shout-out?) is creative and disturbing, and Kirkman does good things with the family dialogues throughout the issue. And yet... there's a nagging sense that so
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Jeff Parkerrevels in the cool touches (an issue summary to the tune of the Brady Bunch theme,Jimmy's old Edsel refitted as a flying interdimensional transport) and the art isnicely handled throughout.
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I'm honestly impressed with how effortlessly this reinvents one of the oldest heroes around.
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How embarassing is that? Combined score for both stories:2.
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That, combined with the resemblance tosomething DC already publishes left me more than a little disappointed.
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It's pretty much by-the-numbers, and Iam sad to say that I suspect this series will be completely forgotten in a year or two.
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I have to say I liked this somewhat more than Rodrigo, but wonder if it might have beensomewhat more successful if theycould have just said "Charlie Chaplin.
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Still fun, with wonderful art byMahmud Asrar, but doesn't it seem like forever since the last issue of this book?3.
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soon,and that the eventual reveleation of truth isas impressive as ithas been arcaneand sinister.
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The art is good (though the cover stylings bear no resemblance to what's inside) and the story does what it needs to, but Mikeis at once too bland and too sleazy tobeas lovable as TonySoprano.
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It's effective, it's beautiful and it's very disturbing from front to back.
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Best viewed as an indictment of the Guardians and a lesson about absolute power.
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The villain isa walking retcon, the art and coloring combine to a generally incomprehensible muddy mess, and the issuejustshouts and shouts and shouts without saying anything much interesting.
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It's a nice way to cap off the Nexus saga (for now) and is beautifully drawn throughout.
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Could be so much better.
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Doesn't change the fact that this was fun.
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Previous issues of Spotlight have been awesome (including one with Sixshot)but this one neglects to giveus enoughto work with.
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) It's a fun read, but someone who reads this book for a wholeyear will spend over 200 buckson aeven-more-difficult-than-usual to store and maintain format.
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We've had some spirited discussion of whether or not The Boys is all shock and no substance, but Herogasm's most depraved sex scene doesn't quite stack up to what we see here. My issue has a wraparound cover taking place in a fast-food restaurant which features blood, beatings, and a man forcing another man's head towards the deep-fat fryer. There's some interesting character work in the issue, especially as regards Geoff's confession, but it ends up being covered in a thick layer of blood and gore and much of it's power thus lost. It's hard to assess this issue for me. Blood and gore, ala the 'Saw' movies isn't in itself a deal-breaker for me, and 'Night of The Living Dead' is a fave-rave, but there's just too much focus on the horrible things that the Crossed are doing, with this issue featuring the graphic on-panel murder of not one, but TWO children, a moment that just doesn't sit right with me. Yes, it doesunderline the reasons why Kitrick has had it bad, and why he's si
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The promotional Black Lantern ring that came with this issue, depending on your location and availability. Even my status as store back-issue monkey didn't guarantee me one, but manager Jim still had some left when I picked up my comics, and I got the freebie with my issue. I'm old enough to remember when they gave away Green Lantern rings and Eclipso diamonds back in the day, but this piece is MUCH superior. First, it's natural circumference is such that it fits comfortably on even my chunky-style hands, and I can wear it without discomfort (meaning no "plastic pinch") on the middle finger where such power trinkets belong. Most of all, it's a tough little piece of plastic, unlikely to break immediately like so many comic premiums. Overall, the experience of this issue was a pleasant one, taking me on a decently handled horror thrill-ride and giving me another unique piece to keep in my collection of esoteric junk. Blackest Night #1 (andit's accompanyingcollectible Blac
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I know that Dark X-Men is just a gateway drug, and that it will eventually drag me into an undertow of the X-titles and the crossovers and the GLAYVIN! Frankly, I don't care. The Namor stuff in this issue is the best use of the King of Atlantis since J.M. DeMatteis stopped writing the Defenders 20 years ago, and the very PRESENCE of the Mimic has me on board. Don't ask me why, he's just one of the characters I insist on following. I even own the couple of issues of X-Force (UGH) in which he played villain during the naughty 90's. The Dark Avengers is an intriguing title, but this book is even more so, taking characters who are outcasts AMONG among outcasts and giving them a new high-profile gig. I've really got high hopes for this whole crossover, and this issue makes me think that I won't be completely disappointed. Dark X-Men: The Beginning #1 earns a bright-eyed-and-hopeful 3.5 out of 5 stars. I await the chess game between Slim Summers and the ex-Goblin with antic
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It's good to get Astro City on a monthly basis again, even if I know that next issue is the last one of this arc... Kurt Busiek manages to tell stories that remind me of classics like the Kree-Skrull War or the Justice League's battles in the Microverse, while being about more than the super-pants dancing around. The story of Charles and Royal's quest for justice has been going on for well over a dozen issues now, and while it's frustrating to see a near-miss like this, it's also impressive to note that the characters' don't feel like they've been spinning their wheels to get here. The return of the Silver Agent (prophesied in his last appearance) was a thread I had almost forgotten about, but it effortlessly tied into events that have been set up throughout this volume. Brent Anderson's art is as quirky as ever, with character designs like Encephalon (a cross between a flying squid and the Metaluna mutant) sharing an unlikely sense of reality and tangibility. It's no secret
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In his text piece for this issue, James Robinson inadvertently points out the biggest problem with this book when he opens with "It's hard sometimes to know if a miniseries is going to matter or not..." My associate Joshua said something that really resonates with me, pegging this issue by arguing that the plot threads "are so old, they feel dusty." Sadly,Josh is exactly right. The issue of JLA that name-checked this series came out several months ago, and the setups for parts of the plot date back to 52. That's THREE big crossover thingammies ago (four if you count Trinity) which in comic termsmight as well have happened during the Ming Dynasty. I don't know if the series took longer because of the admittedly wonderful fully-painted art or other issues, but there's nothing here that feels timely, from the appearance of Leaguers who are no longer Leaguers (or are dead) to the references to the now-forty-year-old 'Hard Traveling Heroes' arc. Don't get mewrong, I love com
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There are some timing issues with this particular issue, coming as it obviously does AFTER the events of the only-halfway-completed Herogasm limited series. I also have some issues with Ezquerra's art, which is unattractive in a way that I think (but can't quite confirm) is intentional. Garth Ennis' scripting feels somehow different without the slick art of Darick Robertson, and Ezquerra's ugly, rough-hewn Butcher is almost a completely different character than the smirking devil-may-care lad Darick draws. Given that one of his own has been attacked, though, it's very apropos to seeButcher's facade slip to show the monster underneath. This series has long been one that revels in the moments that you can't believe they got away with, including a particularly uncomfortable sequence that more than likely cost Stormfront his testicles, ina not-so-serious look at some serious violence, in an issue not shy about the bloodletting. This isn't the time for a casual reader to come
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Thisserieswas created to actas the equivalent of a television season, and as such, we're at the point where things look very dark and we know they're gonna get darker before the dawn... It's interesting to see Oz back, though I wish it hadn't been spoilered in Previews months in advance. (Granted, given the name of the website where this is seeing print, I suppose I have very little room to complain.) This issue is one of those transitional episodes, where we are brought up to speed on "The Story So Far," some complications thrown in, and the next phase set up, and in that it succeeds well. The art is Georges Jeanty doing his usual superlative job, with likenesses that are clear enough without being overly static and photo-referenced. Jane Espenson will have you in the "I Can't Believe It's Not Joss Whedon" frame of mind, and overall it's a nicely handled issue. There are some plotting/pacing issues for me (the coincidental timing of everyone's arrival, and what feels
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...except for the damn name.
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Excellent work as always, with plot twists that no one could have predicted.
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Hope still remains for the future, though.
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Who wants to bet that Sentry and Noh-Varr are the keysto Norman's defeat? Well-drawn by Mike Deodato,even if the story seems a bit padded.
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A great relaunch that I hope maintains it's intensity.
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This seems to be going somewhere, but it's a bit pedestrian in the getting there, evil Guardian manipulation notwithstanding.
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Marvel has a tendency tocreate these agglomerate super-teams, seemingly to keep multiple trademarks up-to-date at the same time, but when it works (as it does here) the resultscan be spectacular.
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The last issue (for now) of this title mostly makes me remember how the title used to be more awesome, even as this issue doesn't do too badly for itself.
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As always, great work from Pak and Van Lente.
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Overall, it's another kind-of-interesting but hardly essential comic, and I hope that James Robinson keeps some of theinteresting characters on board when he takes over.
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Nothing really wrong with it, but as with previous Ordway issues, itdoesn't feel in any way current or related to the continuity as it stands right now.
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Great art, not a bad story, but paralyzed by a feeling of inessentiality.
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This issue goes to the well one time too many, I think.
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Well-done, indeed.
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A good issue, filled with skewed moralities and twisted personalities, that miraculously even makes me like Artemis a little.
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That'sexactly the endorsement of this book you expect itwould be.
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A strong but inconsistent work, I'm interested in seeing how this one ends.
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It's a fun, if somewhat dark read, and, best of all, it doesn't require that you read all the Dark Reign tie-ins to work.
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It's a confusingissue in a series of confusing issues, and the parallel arcs of Genocide and the Olympians still seem awkwardly welded together.
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What this issue does well is position both Cyclops and the White Queen as power-players, with Emma playing a long game and Cyclops uncharacteristically getting his hands dirty with some field work. A virtual army of mutants appears, in various permutations that we are not expecting (including the presence of Sunspot, who I thought was now with the New Mutants) and overall, there's a lot of familiar faces and "Hey, it's that guy" going on. The plot doesn't really advance the "Mutant vs. Human" conundrum, but it does give us some new takes on it, as well as some big picture thinking that doesn't usually show it's face in comic book punchemups. The Dark X-Men lineup is an interesting one but I don't think that it's nearly the focus that the advertising for this arc made it seem. Either way, though, it's an intriguing start to what Marvel swears will be a change in the status quo, and Matt Fraction's script is sharp as a tack. Terry Dodson's art is excellent here, seemingly added
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There are a number of interesting things going on in this issue. The continuation of Sharon Carter's character arc is nicely handled, as we're once again shown what made her SHIELD's finest. The art is well-handled throughout, and Bryan Hitch delivers. Zola and Osborn have a long conversation that explains how Marvel's claims that Cap was really, most sincerely dead, even though this loophole to resurrect him exists that almost works for me. It's the almost that ends up being the downfall. I'm reminded of the moment after "The Other" where Peter Parker and Tony Stark have a pointed on-panel conversation explaining a seeming plot inconsistency after which they both look at the reader as if to say "So stop complaining about it already..." My gravest reservation, though, comes from the previous fifty issues of the Captain America title. Brubaker has gone to great lengths to give us a Captain America story that is set in the shared universe, but keeps the characters on a more
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I am a sucker for a team book, especially a team book with unusual characters, so the fact that I liked this issue is no surprise. Joe Kelly really handles the characters and their neuroses and crushes well, and Andre Coelho's art is evocative of manga without being a full-blown stylistic knockoff. The whole issue feels like a prelude to something more, though, and the endings of both the battles come somewhat abruptly, leaving a sense of anticlimax throughout. Still, the "Twitterati" feeds that serve as thought captions for Most Excellent Superbat are still fun, and the story overall seems to be heading somewhere interesting. This sort of territory (the corporate/media superteam) has been well mined these last 15 or so years, but I like the new angles that we're seeing here. It's more than just 'Youngblood 2.0′ (something that can't even be said for Youngblood these days)with the book ending upin a more existential "What are we here? What are heroes anyway?" kind
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First of all, let me say that Major Spoilers does NOT condone the use of illegal and/or disgusting substances, nor the utilization of orgies to get at your political enemies, though we do not, in theory, have a problem with multiple partners within the boundaries of a healthy consenting adult relationship. (Or, maybe that's just Matthew. Bygones...) However, this issue seems to have gone a lot further into the realm of shock and awe than the previous, even as the plot makes it's first step forward. If you are an adult, and you don't have a problem watching implied sex and drug use, this issue has several things going for it. John McCrea's art is interesting, and the fact that it's not photo-realistic does help to offset some of the creep-factor of half-naked superheroes. Garth Ennis takes some chances with his script, and while it doesn't ever really capsize, there seems to be a palpable sense of "How do we top last time?" The balancecomes outa little bit off-kilter,
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The primary reason to read a book like Madman is because of the personal involvement of the creators, but in this issue things felt a bit... odd. Mike Allred admits in the letters page that he writes Madman from the first person, and that Frank Einstein is his alter ego, but having Frank end up as the lead singer of Mike's real-life band seems a little bit self-indulgent. The usual charm is there, but the second half of this issue felt a little forced. I like that we're finally getting a sequel to Red Rocket 7 (or at least a continuation of themes therein) but somehow the blatant utilization of Frank as Mike-analog felt a little incestuous. Still, the art in this issue is phenomenal (Allred in the second story, and Joelle Jones, whom I'd love to see more from, in the second) and the charm of the first story is enough to overcome most of the objections I have about the second. Madman Atomic Comics #16 earns a better-than-average 3 out of 5 stars. As Frank Einstein moves on t
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Let me start with the obvious: It's good to have Static back. Writer Matt Wayne captures the goofy intellectualism of Virgil Hawkins well, as well as his relationship with best friend Frieda, and the vitriolic response he has to "sell-out" Black Lightning before the truth is raised is very well-handled. The use of Holocaust made sense in this setting, although I can't recall whether or not Black Lightning's electrical field should be able to shrug off super-heated plasma that easily. Doesn't matter, though, as Howard Porter's art makes the whole issue sing, using an art style somewhere between his old JLA style and the new painted rendering his did on 'Trials of Shazam' not so long ago. Black Lightning in any context is awesome, and the acknowledgement of his status as first DCU hero of color feels right, as well. The issues conflict is a little bit cardboard, but it's not really supposed to be a deep sturm und drang story, just a setup to get these two in the same room for t
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I believe that there is a perception that I don't like big event comics (not without evidence) and that I prefer DCs over Marvels (again, a case for which evidence exists) but I have to say I liked this issue. I'm not a fan of the renumbering phenomenon that Marvel has beenengaging in lately, but it at least works as lip service to a more historically respectful era of Marvel. This issue worked for me on many levels, with stellar art from many fave-raves, an advancing of the overall plot for the new Captain America, and some nice story work from other authors as well. If I have to pay $4.99 for a comic book, I at least want it to be packed with features, and this issue delivers some entertainment for your five-spot. Captain America #600 may not have lived up to it's media hype, and I may not know how I feel about the seeming resurrection hovering in the near future, but at least the book was a fun read, and a 4 out of 5 star experience overall. I expect that things are goin
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Writer Eric Trautmann knows his game here, having been co-writer on the Checkmate series that set these dominoes in place a couple of years ago, and he crafts a taut story around Mr. Terrific and his double life as superhero and superspy. The balance cannot and should not be easy for him, as the tenets of both jobs are in conflict. The art is VERY well handled by Don Kramer, and the whole affair feels like the continuation that Checkmate SHOULD have had instead of the Mary Sue-ish inanity of the Chimera storyline. Honestly, I suspect that's what this series actually is, and, even worse, that the book might have survived had they let it play out there. Still, the issue is a good one, with a nice show of character from Mr. Terrific, some righteous indignation from Power Girl, and a brilliant piece of strategy in the Mirage-9 program. JSA vs. Kobra: Engines of Faith #1 earns a really well-done 4 out of 5 stars, even if I'm not sure where or when it all takes place...
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I... uh... Hmm. This series is really surreal, and the transitions from place to place, from scene to scene are jarring, sometimes completely inexplicable (though intentionally so, I believe.) It's strange, and the headtrips just underline my expectation that we're looking not at a prison of the body, but of the mind. The parallells to the Prisoner are more muted this issue, but still there (as well as comparison's to Neil Gaiman's issue of "Miracleman" where Evelyn Cream shows up in a town where all the agents are kept to keep them out of trouble in the Brave New World) and there's still not a clear sense of when or where this is happening. Had this come out BEFORE Final Crisis as a strange preview of the World That's Coming (Heh...) I think I'd have been more likely to love it. As it is now, the sense of anti-climax kind of permeates anything Final Crisis, and the trippiness of the issue doesn't help. Still, I feel more positive about the series 1/3 of the way through,
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Wouldn't that just tick Josh Brolin off? This series is one of the strangest things that DC is putting out right now, a book with no continuity ties (most of the time) set in the old west, with nary a cape nor cowl in sight, and yet it's one of my most anticipated reads each time. Jonah's adventures are hard-edged things, filled with death and unpleasantness, and I like the hell out of them, especially the rough-egded hero. Jimmy Palmiotti and Justin Gray have been turning in wonderfully realized done-in-one stories for several years, with this being their first noticable foray into multi-part stories (a Crisis on Finite Dodge Cities, if you will) and the setup has me interested, if only to see Hex and Talullah give Turnbull and company a taste of their own medicine. Art this issue is by Cristiano Cucina, who gives the proceedings an appropriately Spaghetti Western feel, and the overall effect of the book is impressive, dirty, and reminiscent of stories like 'Unforgiven.' Jon
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I don't know if The Female is actually dead or just badly hurt, but either way, the final shot of the Frenchman is heart-wrenching, even if the overall art in the book isn't quite as smooth as Robertson's usual job. Carlos Ezquerra does a good job overall, but forsome undefined reason, the art doesn't quite gel for me. It may just be a case of high expectations (though I feel the need to mention that Robertson's name DOES appear on the cover) but the final shot and the overall story make up for it all. The protagonists of this book aren't heroes in any sense, but they are people with emotions, and seeing Frenchie's utter devastation at the seeming loss of his friend is powerful. It's a transitional issue, moving us from the G-Men plot intoa new direction, and giving us some new motivation on the part of the Homelander, whose hatred for Butcher drips from every word of dialogue he has. Eventhe worstissue of The Boys has so far been pretty good, and this one isn't bad a
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Hmm... There are a couple of troubling bits of this issue, and a couple of things that I truly loved. Barry's completely out of character doom-and-gloom attitude is actually quite refreshing, and is working towards actually exorcising the spirit of 'Saint Barry' once and for all. The moment where Barry finally cuts loose and leaves Superman in the dust has been a loooong time coming, and I like the family aspect of the Flashes coming up again. Impulse/Kid Flash's concern from his lost mentor and father figure was also nicely handled. Now, here's the bad part for me: Kid Flash is recently back from the dead. Iris West is back from the dead. Reverse-Flash is back from the dead. Barry himself, likewise. With a sizable number of the characters in the book easily escaping the realm of Pluto, I have a little problem thinking that Barry's own resurrection is going to end up any way other than a bed of roses, which is too bad. The best parts of the series have been the subt
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This is a good book, and this issue is a good example of why. The father/daughter dynamic between Bane (who may or may not have had a family) and Scandal (whose father wanted to kill her and use her organs for spare parts) is beautiful, and the subtlety of the relationship between Deadshot and Jeannette simply SHOULD NOT work... and yet it does. Nicola Scott provides beautiful art, and Gail Simone provides a real look at the devastatingly damaged humans behind these "supervillains," and the whole thing is charming as hell. With a perfect balance of personalities, the Secret Six themselves are fascinating, and this new job seems to be more brutal and disgusting than any before, which should lead to interesting character developments for the "team." Last issue's "superheroics" were laugh-out-loud funny, this issue has moments that are sweet and touching, and yet the characters maintain their dark and gritty stance in a world that's all shades of grey. Secret Six #10 is an i
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Brian Bendis continues to mine the territory opened by Thunderbolts, to great effect, with the amorality of the characters providing a great deal of the fun here. Moonstone and Marvel Boy provide the most shocking moment this issue, while the Sentry manipulations have to come to a head soon enough (and I suspect that Norman and his team won't be nearly enough power to clean up that particular mess.) Mike Deodato does great work with an issue that is mostly closeups of Norman at a desk, providing incredible "acting" from the big guy throughout. Norman's retorts to the questions we've all been asking ACTUALLY SOUND PLAUSIBLE, and even believable (if you're not an omniscient reader, that is) which is an amazing achievement for writing. This is the best issue yet of a series that has been good from the get-go, and Dark Avengers #5 earns an impressive 4.5 out of 5 stars overall. To get this kind of drama out of what is essentially a monologue and three flashbacks is impressive ind
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It's still unclear what Pyramid actuallywants (they seem focused on the superhero team called the Apollo 11) but what is clear is that neither Williams brother is going to be able to survive it alone. Kurt Busiek's script manages to remain personal and focused on the main characters, while giving us a grand scope and the superhero-type stuff that Astro City is known for. Each concept is more outrageous and awesome than the last. Brent Anderson's art is sublime as always, giving each character a completely unique and recognizable face in every scene. Since this series wasn't solicited until the issues were mostly completed (in order to keep it on target for monthly release) we know that the next part of the story will ship on time. This is good, as Astro City issues are always fascinating reads, and always make it to the bottom of the read pile (where I put the good stuff that I want to savor.) This issue is another good one, moving the story along without forgetting that
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This issue is awesome, and no summary can do it justice. The interactions with the denizens of the afterlife are priceless, and much as with the issue of She-Hulk a couple of years ago that made it possible to explain nearly every character inconsistency or retcon, it sets the Marvel Universe up with an easy explanation for when, say, Jack of Hearts returns from the dead, as he probably eventually will. Herc and Cho are awesome together, and some quiet hints are thrown about as to the REAL association between them (something I've wondered about myself.) The group at the end of the book includes a couple of folks I don't recognize (but know that I should) and their presence indicates that last issue won't be easy, even for the Scion of Olympus. This issue really ratchets up the tension, even with the humor, and the art (by Ryan Stegman, a name I'm going to be watching for in the future) is quite good. Greg Pak and Fred Van Lente combine forces to give us another winner here, a
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Criminally underrated, and excellent as always.
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That can't be good.
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Blade (whom I haven't liked this much inyears) is the real star here, but the overall issue is a bit flat.
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" It's a fun little issue, with cameos by the Sixth and Ninth Doctor, enjoyable even if you don't have the encyclopedic knowledge of Doctor Who fandom that some ofus might.
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) I kind of feel like I've read this issue before, honestly, and I really hope that this series gets it's groove back soon.
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I'm still reading this one in the hopes that he'll get the beating he so richly deserves.
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Have we, to anyone's knowledge,ever seen the Guardians regrow a limb before? Wanna bet that we will soon?2.
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It's more effective than Hal's story, though that's partly due to the fact that it's got a wider canvas, and makes the impending War of Light seem more epic in scale.
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A solid bit of business from Marvel.
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With anoy luck, somehow next issue will give us clues to what's going on as well as the requisite moments of suspense and stuff.
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Next issue is the last issue of Immortal Iron Fist... sort of. The book will continue as a series of one-shots featuring the Immortal Weapons, and is supposed to be relaunched soon after that mini concludes. Still, this issue is an odd one, and hard to process for me. I like the intrigue and political maneuvering, but a relative lack of character depth (at least for anyone who isn't Iron Fist) leads to a lack of practical consequences for Danny and for the reader. There's never a sense of heavy tension that they might fail, and Davos' near-betrayal isn't really a surprise. It's nice to see Danny win over his opponent, and I like the idea of the original Iron Fist returning to a city of lies to show them the truth, but the writing feels very remote, and the practical upshot of the moment is muted by that. The art, by Travel Foreman, is okay, evocative of 90's era Jae Lee, with huge pools of black and sharp angles everywhere. Overall, it's a good issue, but not a great on
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This issue is a decent middle chapter, but the overarching menace of Starbreaker and the Shadow-Thief is so muddled as to be meaningless, and the firing of writer Dwayne McDuffie doesn't leave me much hope that it'll be a coherent ending.
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With any luck, this issue will lead into a fantastic new start for the original super-team, but this one ain't it.
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It's good to see Gerry conway back in the business (with Len Wein on JLA and a recent mini by Cary Bates, it's apparently old home week at the new DC) and Chris Batista's art is excellent, but this issue does littleto make me want to spend 3 or 4 bucks a month to seehow the whole thing ends.
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Dan Slott has big plans to legitimize Pym, so they say, but constantly reinforcing his former issues with stability reallydoesn't seem like the best way to do it.
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)I sincerely hope it's not just another big swerve.
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Not a bad issue, the biggest problem is figuring out where the hell this fits in New Avengers continuity, especially since this costume is head and shoulders above the one Bobbi wears in that title.
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It's creepy as hell,while remainingcompelling to look at.
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Well-done, ominous stuff from Abnett and Lanning, and t's good to see Rich back in the blue and gold saddle again.
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I don't know what the hell it's all about, but damned if it isn't exciting as all getout.
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Still, it's better than the recent "Deathtrap" crossover clusterschmozz.
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Well-done art buta meandering story, combining into an overall "meh" experience.
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This book is really a lot of fun, with classic Joe Casey writing (reminiscent of the not-really-missed Intimiates title from Image a couple years ago) and Chriscross trying out a new art style to interesting effect. The roundness and cartoony expressions that I expect from Chris (and that's NOT an indictment, as I like bothhis old and new styles) has matured into an angular style with elements of Bill Sienkiewicz and a little Kirby here and there. The whole "media superteam" angle has been done, in WildGuard, in the aforementioned Intimates, in Morrison's New X-Men, even in old-school Youngblood, but the characters' belief that they're destined for something more makes this issue an interesting study. I suspect that a true test of heroism is coming for the Fab Five, and I kind of want to see it. It's a comic that so trendy (Facespace, the pseudo-rave, the cutting edge pop culture references) it'll seem dated by Autumn, but it's still a fun ride, and the best of the Final Cris
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This issue is really charming, really funny, even touching, and does a great job of humanizing the larger-than-life X-Men, and a second tale gives us a really funny bit where the kids fight off monsters during a game of Truth or Dare. I haven't read Runaways regularly in a year or two, and it's nice to see that the interactions of these unique and fun characters are thriving, even under a new writer. Sara Pichelli's art is wonderful as well, with an animated feel but realistic expressions and wonderful perspective and framing. You can't go wrong with Runaways, apparently, and it's nice for a book to remind me of the things I really enjoy about the Wolverine character. Runaways 3 #10 earns a much-deserved 4.5 out of 5 stars, missing the perfect score by only the barest of margins (some odd changes in Nico's magic powers implying a bit of Dark Phoenixing on the horizons make me leery) but overall, this book is still charming, fun, and exciting. Best of all, it's not mired in overarching
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That sequence bothered me greatly, actually, in that Nick Fury (while always a soldier) seemed to be a soldier with a conscience, the kind of man who wouldn't kill agents of SHIELD just because they made a bad work decision, but this is the new tougher-than-a-two-dollar-steak Nick for the brave new Dark Reign world. This book is really difficult for me to like, simply because of the greytones of the morality involved. I do tend to like the big heroic icon guys with the clear-cut sense of right and wrong, but this isn't the book for that. Still and all, it's an intriguing premise, well executed with terribly effective art from Caselli, and some nice touches by Bendis, only undermined by what feels like a lack of depth in Nick's tough-guy facade. Secret Warriors #4 earns a more-good-than-bad 2 out of 5 stars, and has at least made itself welcome on my pull list for more than the requisite 6 issue tryout stint. Depending on where it goes, this could become the flagship title of
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Upon my initial reading of this book, I kind of hated it. A lot... Some time has passed since that assessment, and rereading for this review has revealed some charms that my first pass missed. The references to a certain British television show are interesting, and the trippiness of Marco Rudy and Mick Gray's art is a selling point. The use of existing DCU references like Cameron Chase, Rick Flag, et al, puts it squarely in continuity, but the series borrows liberally from Jack Kirby's original OMAC series from the early 70's. The old cliche of pitching "X meets Y with a touch of Z" feels a bit true here, but overall it's not a bad issue. The surprise ending kills off the character I found the most compelling though, and 28 pages of Nemesis passing out feels less like a superhero comic and more like the middle chapters of Elvis' auto-biography. Final Crisis: Escape #1 is better than it could have been, but not as good as a book as I wanted it to be, earning a hopeful but
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With issue #600 in the wings, it's obvious that this book couldn't be the big giant anniversary extravaganza of Captain America. Instead, it ends up be a big giant pean to James Barnes, something I like a bit better anyway. The struggle of Bucky to live up to Steve's reputation is one that really resonates, especially in the new topsy turvy Marvel Universe, and it's good to see Brubaker focusing on the man behind the mask. With rumors of "The Return" flying fast and furious, this is the perfect time for a little Bucky-centrism, and the story goes down smooth like good barbeque sauce. Captain America #50 earns a well-deserved 3.5 out of 5 stars, giving fans new and old something to get excited about...
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Great ending tokinda iffy overall issue, but still compelling stuff in the Brave New Marvel U.
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If the main character doesn't get his just desserts by the time we're done, however, I'm going to have little use for this series.
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More Deaderpool and Simon will suit me just fine.
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This series is interesting, bringing Hawkeye back to his old-school characterization, and revamping Mockingbird for the new world with some excellent art.
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Here's hoping that WendellVaughn is back to stay, though.
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Good character, good story, great art.
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Proof is an enigmatic but likeable main character, and the various "Cryptoids" sprinkled throughout are fascinating in themselves.
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It's brilliant, creative, unundeniable, unique madness from start to finish, and I have to admit I cheered for El Macho, in spite of myself.
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I felt like there were references to things I had missed, but nothing compelled me to seek out the missing elements.
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Disturbing stuff from start to finish.
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" Interesting, if scattered, but it's coming togther at last.
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This issue is a cute one in which not a lot happens, but the writer's affection for the characters and their world is made 100% clear. Geoff Johns has put his heart and soul into these characters for nearly 100 issues now, and it's a nice handoff to the incoming writer, but also serves as thank you and goodbye. With so many characters, it's hard to guarantee that everyone gets their due, but Johns comes damn close in this one. Dale Eaglesham's art is pretty wonderful, too, with a range of expression that borders upon superhuman, from Courtney's embarassment to Power Girl's bemusement at Starman's ice cream gobbling ("He ate the candles, too.") to the smile on Green Lantern's face as Atom-Smasher sets Damage straight. This is a good issue, hampered only by the sheer amount of material and heroes therein. Johns didn't join until JSA was already under way, but his contribution has made the series what it is, and he will be missed. Justice Society of America #26 earns a long an
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It's a taut little issue, and the moments where Royal sneaks about the Pyramid compound are claustrophobic and well-handled. Brent Anderson's art is note-perfect, especially in the rare glimpses of superhero activity from the Apollo 11 and the First Family. Throughout the first couple of arcs, Royal is the one we worry about, with stable Charles trying to save his criminal sibling, but here the balance shifts, as we see a competent Royal navigating difficult waters while Charles seems to have popped his cork. The reveal at the end was surprising, and the "inside look" at a Kobra Hydra Pyramid induction process is an eye-opener. Kurt Busiek makes a personal search for closure into a pretty good adventure-type story here, and it's well worth the wait. Astro City: The Dark Age Book III #1 earns a spiffy-keen 5 out of 5 stars, even if I've been drinking the Kool-Aid for years. In a perfect world, this book would be the weekly dose of Busiek...
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Heh... With the exception of her horrifying swath of teenage petulance during Season Six, Dawn has always been a phenomenal character, and I really like this issue and the focus on her dilemma. For over two years, we've been getting bits and pieces of the story, because she didn't want Big Sister to have to sweep in and save her from the unknown. This issue teases that, then gives us the swerve, allowing Dawn to save herself (and unintentionally allow Kenny to redeem himself) and letting her stand alone as a young adult. The recent arc of Buffy with it's more loosely connected storyline has been a bit up and down, but original series producer Doug Petrie has a strong handle on the character voices, and Georges Jeanty delivers his usual excellence with the art chores. Buffy The Vampire Slayer: Season 8 #25 earns a strong "mid-season loose ends" episode rating of 4 out of 5 stars overall. In an industry teeming with mega-events, it's good to see a strong character piece done
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The last story ends with a teaser to check out Thor #601 to find out more on what's going on. This annoys me in a number of ways, actually.. First, I dislike when a book like this is so blatantly designed to get me reading another title. Second, it's not really Thor #601. And Third, this Doom and the Doom from the first story don't seem to exist in the same reality, and I preferred that Doom characterization over this, even if it was all a dream. Our Joe Bob totals: Good story turns out to be imaginary; Okay story serves mostly as history lesson; Pretty good story undermined by main character; Okay story hampered by "Where does this take place and why do I suspect we'll never see this kid again?" syndrome; And finally, nice character bits used as bait to pull me into a new book. We're looking at some great art in this issue, from Adi Granov, Daniel Acuna and more, and some nice writing as well, but the overal effect is just above average. I like seeing more de
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After either five or six issues featuring Barry Allen after his return, in this one we FINALLY get into how he feels about what has happened, and what he's doing to try and cope. Barry's discomfort with Hal rings very true for me, in that Hal wants to bond over both of them coming back, but Barry doesn't know what to make of his resurrection. And even with the big signals, I didn't see the last bit coming (even though I feel like I probably should have.) I liked this issue a lot more than the first, mostly because of the insight into Barry's state of mind. Ethan Van Sciver seems to be trying out a different art style here, something much more Kirby-esque than what he did on Green Lantern: Rebirth, but still workable. I like the use of the hero who used to be the only one who STAYED dead acting as the emobidment of death, and I'm starting to think that the return of Barry Allen is a temporary thing. Perhaps DC editorial have stolen a page from the Joe Quesada/Vince McMahon s
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No, not really. Still, Hal is in dire straits, and this issue gives us a different take on ring-based emotional light powers. Instead of an army wearing rings, Larfleeze has a ring that contains an army. It's a fillip that at least helps to differentiate them from the existing Corps and helps to offset what I'm percieving as a dilution of the Green Lantern shtick. This whole "all colors have rings and all rings have special powers" conceit could actually disappear up it's own ass if not handled correctly, but I think Johns and company did good work establishing the orange light as unique. This does punch a small whole in my "Hal wears all colors of rings and becomes Uber Lantern" theory, but I'm just glad not to have the GL or Sinestro Corps duplicated. The manipulations of Guardian Scar are well-handled, as well, duping her fellows into doing her dirty work for her and putting the pieces in place for her power move. It's a good issue, with a credibly scary opponent, and
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I gotta be straight with you here: I liked this book. Zeb Wells obviously knows the character history of the New Mutants as well as I do, and penciller Diogenes Neves has a pleasant vaguely retro-style throughout that I enjoyed. (He even nailed the now-customary superhero team "Bad Ass Power Walk" sequence...) Maybe my history with the New Mutants is showing, or maybe I'm biased towards Marvel (inside joke, sorry) but New Mutants #1 really pleased me in a surprising way. It's good to see the characters fall into familiar old interactions, the way old friends do, and seeing Cannonball finally comfortable in his own skin made me kind of proud. I remember him as the gangly, awkward, square-headed kid, but he's now an experienced member of the X-Men, and an impressive leader as well. Illyana's time-twisting powers have given us some tantalizing hints of something brewing, and I'm even interested to see where Dani Moonstar fits on the team now that she has no mutant powers to
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Well... That was... kind of stupid, actually. I'm really bothered by that revelation, presuming it's actually true and all. Either way, this issue is jam-packed with all sorts of revelations, and reminds me more than anything of the first Crisis, where characters we recognized got one panel or word balloon to describe themselves before they were annihilated. I'm not sure what the overall effect of this series is meant to be yet, but right now, it feels like "Teen Titans Resurrection Theatre," and the lack of focus is hurting this book. Sun Boy-1 is back, but there's not explanation of why he felt the death of Sun Boy-3, and there's just far too much going unexplained (Mordru absorbing Kinetix essence, how and why Kryptonite suddenly works on Prime, Dawnstar's sudden change of heart) and a few too many characters that aren't Legion related for my taste. If this has input on Final Crisis (which I doubt) I could see it, but having Sodam and Kid Flash and Kon-El just feels as t
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Well, THAT was unexpected... Though it does explain why he, and only he, survived the "mutation" that killed the rest of the Krew. There are some issues with the storytelling here, as the art has moments of clarity, and the whole premise feels a bit out of sync, what with the Secret Invasion over. You wonder why HAMMER isn't taking out all these Skrull nests for the good publicity, right? It's not a bad book at all, but not really anything that leaps up and grabs you by the throat either. The dialogue isservicable (though a scene with the African-American Ryder requesting "Crackers!" in the diner and being misunderstood is a little cringe-worthy) and the overall effect, even from the big reveal at the end. The original SKK was the brainchild of Grant Morrison and Mark Millar, and had a wicked edge throughout, while this one seems somewhat defanged. Perhaps the rest of the issues will change my mind, but Skrull Kill Krew #1 ranks an undecided (but not unmoved) 2.5 out of
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Again, good stuff happens, but it's damagedboth by not feeling timely and by not feeling all that important.
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Some solid art completes the package, as Dynamite againrevamps and revives a character I didn'tknow I wanted to like.
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Good read, with good characters, andthe art ain't bad either.
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That's a very good thing.
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I'd love to see more from this team, andit's nice to see John looking good again.
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It's right up at the top of Marvel's offerings every month.
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It's a bit confusing, but interesting enough.
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It's lovely to read, and pretty to look at, but the overal effect of the issue is somewhat off.
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I wonder if I would like this a bit more if it weren't so Hood-centric? Either way,the search for a new Sorceror Supreme isan interesting notionand this issue hassome problematic aspects, but it ain't the worst Avengers comics in recent memory.
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The only real downside of it all comes in the black and white interiors, and the fact that one-shots, no matter how awesome, alwaysleave me feeling incomplete afterwards.
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THAT was unexpected... The only bad part about this particular issue was the long wait since the last one, and the expectation of a long wait before the next. Mark Millar strikes the perfect balance between superhero convention and real-world kick in the nuts, and John Romita, Jr's art is once again note perfect. The silly aspects of the superhero personas are right there in front of us, and yet, Millar is able to get past that and show us a story about people. Sure, they're people who do stupid and foolhardy things in funny tights, but they're relatable in ways that even Batman isn't. Kick-Ass is one of those stories that grabbed me by the neck with the first issue, and this one has another gutshot shock ending that makes perfect sense in retrospect, but ya still never saw coming. Kick-Ass #6 earns an awesome 4 out of 5 stars (including the sequence with Dave's busty teacher and her new low-cut top, the kind of pain I can totally relate to) and shows that there are still o
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This was good... A bit surprisingly good, actually. The dialogue and interactions were nice, and the revelation that the First Fist ain't no fist at all was well handled. Danny manages to straddle a line between worldliness and tradition here in a way he hasn't successfully done since Fraction and Brubaker left the book, and Travel Foreman's art has settled down considerably (though Fat Cobra looks a bit like John Belushi, I don't mind it very much at all.) This issue is the best of Duane Swierczynski's run, and I'm looking forward to the denoument of it all next time around, as well as some big changes reportedly in store for Iron Fist in the near future. Immortal Iron Fist #25 nails an impressive 3.5 out of 5 stars, signalling what I hope is a return to monthly awesomeness for a book that does what every comic wants to: redefines the character without damaging that which has gone before.
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This issue is what I hoped Dwayne McDuffie would do for the League: give it a whole new start. This version of the JLA has been drowning in "big events" and "crossover fever" and lacking greatly in character development and the things that actually make reading about the team funny. The first twelve issues of this book skipped over the parts that would have made us CARE why fourteen people were working together in the first place, but we're finally getting some background and interesting moments of personality conflict. I love the fact that this League won't admit that their boss said they're fired, and especially love the fact that the team isn't all white guys in their mid-20's anymore. Rags Morales' art also made this one of the best looking issues of the whole run, giving us actual consistent backgrounds, and a realm of expression that the JLA hasn't seen since Doug Mahnke left the old JLA series. It's a strong issue, and a great building point towards the future of the J
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Wow... Unlike many comics fans, I don't consider Batman to be a favorite character. There are certainly good stories about him, and even some bad ones that I hold dear to my heart. Batman, for me, transcends character, existing more as almost a genre unto himself, a blank slate upon which so many stories, so many different takes can be done. I love Englehart and Rogers, and the laughing fish. I love O'Neil and Adams, and the love-god who Ras admired and Talia loved. I love the fun-loving, square-jawed big brother who slapped Robin heartily on the back as they leapt into their always-non-fatal adventure. I enjoy the old man who snarks that he wears a target because he can't armor his head. They're all good, they're all Batman, and, most of all, THEY'RE ALL VALID. Each is a perfectly legitimate take on the phenomenon of Batman, and each is somebody's favorite. So, when I say that I don't care for Batman comics, it doesn't mean that I don't love me some Batman, and fin
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For an issue in which not that much happens, this one works very well, giving us strong character bits with Sam and Sharon, the welcome return of Peggy Carter, and following up on the mystery of what the Red Skull was really up to that night in Washington. There's a palpable sense of foreboding on every page, and Sharon's recognition that her memory loss and Aunt Peggy's memory loss are very similar provides some touching moments. The art is beautiful throughout, as Luke Ross and Rick Magyar easily portray every emotion Sharon feels with a facility that makes me extrememly jealous. There's no trace of the main character in this issue, but it still works well across the board, and sets up next issue's #50 extravaganza, which will be followed almost immediately by #600, both of which could be an interesting point to possibly make my post headers for the past two years lies. Either way, I'm enjoying the book overall, and this issue is a nice change of pace well-written, well-drawn
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Gotta say, even thought I saw that one comin' (wondered about it from day one, actually) it's still an effective reveal, and doesn't in itself weaken the character of Sinestro the way I worried it would. Granted, we'll see how it all plays out in the long term, but it's interesting to see a variation on the old argument about nature versus nurture (or even "ontogeny recapitulates phylogeny") play out. Hopefully, the cliche about apples and their relative distance from their relative arborial points of origin upon the release of all potential energy in a kinetic fashion isn't true, at least for Soranik's sake. Overall, this issue is good, though the fight in the scincecells suffers a bit from unclear storytelling (partly because of the various bug-eyed-monsters looking a bit similar save for color of Lantern) and Arisia's eyes are often disturbingly huge. Still, it's a nice setup for more "War of Light" stuff, giving depth to the story in Green Lantern last week (as this chaos t
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I'm still on the fence about this issue, for a lot of reasons. I don't like the use of the She-Hulk name, especially with the original actually in the book, and I'm not entirely sold on Lyra as a character. Her visual, however striking it may be, is just a mashup of She-Hulk and Thundra, and the issue doesn't give us a whole lot to love about her in terms of character, what with the mass destruction, and the yelling and the GLAVIN! Still, it's well written (by Fred Van Lente, one of my new fave-raves) it fits snugly into continuity at some point during the Dark Avengers fiasco, and there's a Norman Osborn appearance with both Venom AND Dark Wolverine that threatens to take my "TOPICAL CAMEO" meter into the red, with the possibility of bursting into flames. There's potential here, and the art is very striking throughout, so it's not as though the issue was a failure, but it's still got a lot of rough eges that I'd like to see sanded down before I can whole-heartedly recommend it
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This issue is a joy to read, but really hard to explain why without quoting the entire issue for you. Gail Simone is in full force with the fun asides (such as when Scandal tries to buy dog collars for Jeannette, and uses the stockboy's neck for a comparison of size) and excellent dialogue, and the moment where young Liana stuns the immortal girl, the banshee, and the paid killer with her insight is beautifully handled. Regular penciller Nicola Scott isn't on board for this one, but I have no complaints about Carlos Rodriguez, other than his Scandal not being quite as petite as I always picture her being. I like the fact that the consequences of the previous awesome scene have come back in a big and unexpected way, and the Jeannette/Deadshot relationship is a creeeeeepy yet brilliant flower in a garden of interesting ideas. Secret Six #8 earns a romantical 4 out of 5 stars, and once again illustrates why this series is a hidden gem amidst the various detritus of company crossov
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Nice! Betrayal from all side, odds against him... must be Thursday for Hercules. I liked this issue a lot. In fact, I've been enjoying Incredible Herc off the stands while at work for long enough that I suddenly realized how ridiculous it was not to buy the book, much less review it. This issue is balanced between tension and conflict, and the main character has not suffered under Greg Pak's pen. Indeed, his characterization as "fists first, questions later" is maintained, but it's obvious that Hercules is no dummy. He may be quick to act, but he's a battlefield general with remarkable foresight and presence, and centuries of experience. This is one of the most effective Dark Reign books I've read, in that it's not all about the Norman, and yet he's still in full force, and as threatening and cunning as I've seen him. Deitrich Smith handles the pencils on this issue, and the art is well handled, from boardroom to diner to dark alleys and warehouses, and the closest th
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This issue isn't a bad first outing for a series, as Fred Van Lente really handles Marvel Universe ephemera in a way that isn't offputting, while feeding the egos of the old dudes who remember what he's name-checking. I like the balance of characters (with the sole exception of Son of Satan, whose presence here undoes the events of the recent "Last Defenders" miniseries in a single line of dialogue) and Zombie Deadpool is pretty awesome. Kev Walker's art is still wonderfully moody and evocative, and overall, it's a good issue. As upset as I was at the end of MZ3 to find that it ended with a cliffhanger, this at least starts to vindicate that decision. They've also found a relatively clever way to offset the "zombies can't win" aspect with the chance that one of our own heroes could turn cannibal and have to get squooshed. Marvel Zombies 4 #1 earns a respectable 3 out of 5 stars, and I can even deal with seeing the $&@$ing Hood in this context, as it makes perfect sense fo
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It's fun to see Robert Kirkman working in the Marvel Universe again, and Cory Walker's art is always a joy, but this whole book feels an awful lot like Kirkman's OTHER invulnerable geezer book, "Brit," right down to the tough-guy dialogue and terseness of the main character. Still, it's not an unenjoyable ride, the comic book equivalent of walking after missing the first half hour of a decent action movie. The opening gives us a clear picture of what the Destroyer is about, and the scenes with his family are well-handled and (in some places) quite touching. I like this book a lot more than I should, even if I have a vague feeling of Deja Vu, and Destroyer #1 earns a quick run-and-gun 3 out of 5 stars. I added this to my pull list before I even left the store, and I think it's a good read for the grown-ups in the audience who aren't bothered by cursing and a little of the old ultra-violence...
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Which is a surprise that might have worked better had he not been on the cover. Still, it's a good issue overall, though better in the present than the past. The moral ambiguity of passing themselves off as villains is fascinating, and Marvel Boy's telepathic peek in to the minds of Sentry and Green Goblin during their meeting is terrifying, on both counts. The use of Venus as camp counselor is perfect, and M-11 once again proves itselfto be more useful than a hundred Eagle Scouts with Swiss Army knives and the assistance of Phineas, Ferb, all three Brainiac 5's and R2D2... though I may be exaggerated. I was a little disappointed with the pacing of the issue, as the flashbacks seemed to take over much of the book, and having the cover featured character appear only in a cameo on the last page bothered me a bit. Still, the two art teams deliver some pretty pictures, and the dialogue and character moments make the book sing. Agents of Atlas #3 still makes the grade, earni
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It's kinda cute in it's "Say one thing, show something different" bits, though, and overall I suspect it will hit well enough for the target audience.
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Get the trades, my young friends, because this is a hidden gem.
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) This issue is more coherent than the last, but it continues Marvel's tendency to treat Death like a subway stop in The Bronx (sure, you might stop briefly, but you certainly don't wanna linger.
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The issue quickly and effectively shows us the depths to which this particular supe has already fallen, and does it in a way that horrified me, but was incredibly effective With solid art from Peter Krause, I'm on board for this one.
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Now, granted, I'm not too thrilled with those changes, but if they're going to just undo them, there are more elegant ways to do it.
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Still, it's a fitting end to a book that doesn't really fit any of the cliches of superhero titles, and refused to play by the rules.
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There's only three more issues on Secret Warriors' complimentary "Wow Me" trial period, but I'm going to need to see a lot more out of this book than the Dum Dum Dugan cameo at the end to keep me for the long haul.
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A pretty interesting start, and I love that Static gets to single-handedly pull off the save.
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It's very pretty to look at, and there are some clever fillips upon previous Top 10 stories, but it's difficult to fully recommend a book where my favorite portion is the Harvey Birdman cameo on the cover.
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My reaction to this issue is roughly the same as Butcher's at the end of the issue... "$*@! me." The truth behind Godolkin's child-slavery-sex-ring-super-team is as disturbing as it is blindingly obvious, and once again Garth Ennis manages to convey in very deft strokes the depravity of the superhumans, and making us all aware that Butcher's crusade to take them down is more mercy killing than brutality. Wee Hughie's compassion for the G-Wiz kids and his rage at seeing them butchered (no pun intended) reminds us that he, of all the Boys, is still closest to normal, and the sheer soulless corporate evil of Vought-American is highlighted, underlined, and surrounded by blinking pink klieg lights. Best of all, Darick Robertson is back on art chores, and man did I miss him during the issues he was off. The Boys continues to be one of the best, most disturbing, most awesomely disgusting but irresistible reads on the stands. The Boys Twenty-Nine earns a very impressive 3.5 out of
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Review: Buffy The Vampire Slayer #24By: Matthew Peterson | April 4th, 2009Or - "Sigh... Faaaaith. Mi Querida, Mi Amor... What Do You Mean 'Restraining Order'?"
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I'm not entirely sure what's going on here, yet, but I'm intrigued. I think I may be in a minority, but reading this issue didn't leave me confused in a "WHAT THE HELL IS GOING ON?" manner, but instead in a "puzzle that I don't quite have all the clues to unravel" manner. The issue has beautiful art going for it, as Cameron Stewart nails every page, switching from pathos to sillness to sheer terror and back with ease. Seaguy is a mystery, wrapped in an enigma, with a slice of avocado and red pesto hummus sauce, and I liked the hell out of it. Granted, being one of the few who remembers the original series probably works in my favor, but the book entertained the hell out of me. Seaguy's return is a long overdue winner, and Seaguy: Slaves of Mickey Eye #1 earns a strange-but-still-wonderful 3.5 out of 5 stars. I expect great things out of this series, and I recommend it to anyone who has an open mind and a sense of the bizarre.
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Still, its a very pretty issue, with Ethan Van Sciver delivering the goods on all fronts, and theres nothing inherently wrong going on, just a vague sense of Im not buying this. Its still a strong enough issue that Flash: Rebirth #1 ranks 3 out of 5 stars. If we can ease back on the hero worship and get inside that crewcut next time, I still might be swayed into the realm of the believers
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This is another excellent issue from Brubaker, giving us a Captain America story that almost completely avoids the long shadow of Steve Rogers, and still plays upon the history of the character in ways that none of the other candidates for the shield could have. Namor is played brilliantly here, The Black Widow is smarter than anyone else in the book ("I am a spy, James," she says after not only figuring out his plan, but tracking him down and saving his ass), and Captain America's characterization is flawless. Butch Guice turns in an impressive art job (which, honestly, looks more like the regular art team of Epting and Ross than like anything I've seen from Guice before) and the issue goes down smooth like a pint of Guiness. Captain America #48 continues the build toward 50 in stellar fashion, and delivers the goods on all fronts, earning an impressive 4.5 out of 5 stars. It's hard to avoid comparison to the previous Cap, but issues like these make it unecessary to worry abou
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Hmm... I'm torn. I love Gail Simone, and there are a couple of badass Wonder Woman moments in this issue that really bear out Gail's skills with dialogue and plotting. The art, by Aaron Lopresti, is quite nice, and his Wonder Woman never seems anything less than awe-inspiring. The torture scenes were offputting, and Diana's bringing down the house was a powerful moment, but her unilateral decision to disband the Society rang false. I enjoy what Genocide represents for Wonder Woman, but the character herself isn't really as interesting as her backstory, her PLACE in Wonder Woman's story would have her be. The Zeus subplot is strange, and seems out of place, and I'm still uncertain of what all is really going on here. Due to some confusion on my part, and a slight dissatisfaction with the overall pacing of this issue, Wonder Woman #30 earns 2 out of 5 stars overall. I have faith in Gail, and I'm cerainly not leaving the title, but I'm just not feeling this issue...
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I'm not a big fan of the art in this issue, as Khoi Pham is not one of my favorites, but the redesign of the Wasp is well-done, and the storytelling is mostly clear throughout. I'm bothered by the fact that Jocasta is virtually invisible throughout the issue, and the battle sequence never seems as epic as it should due to claustrophobic tightness in the staging, but it's not overtly unpleasant. Dan Slott's story is good, but there are some parts that feel very telegraphed, and the use of Iron Man (Crap... ON... TONY STARK!!!!)as a complete jerk felt... I don't know. Not exactly wrong, as it's just a magnification of the whole "futurist" thing he's been doing for years now, but the situation was just a bit forced. Slott does his best work on Amadeus Cho, and his Hulk is oddly clever, but overall the issue never quite gels for me. Maybe once the roster is actually a roster, things will feel more complete, but honestly, the whole point of these three issues was to overturn s
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So. There you have it. This issue troubled me on a number of points, even as it serves as an improvement over previous months. The suddenness (to us, I believe weeks have passed for the characters) of the members' changes of heart grates on me, and feels very unnatural. The unceremonious end (seemingly) of the promising Hawkgirl/Roy Harper romance makes me sad. The use of Black Canary as DC's own Hank Pym (i.e., the one long-term member who couldn't cut it as leader and will get no respect, even from lifelong comrades) irritates me to NO end. And after the sturm und drang of the Shadow Thief arc, and the Final Crisis blah blah blah fishcakes, I had hoped we might get a little something uplifting, or at least not annoying. There were some high points, though. Oliver Queen trapped between his best friend and his wife was fun... The banter between Vixen and Green Lantern about Hal ("Sure. Miss Daisy is your bessssst friend.") was very JLU and nicely done, and the cover
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This issue is really of two parts, the first being aheadgame of epic proprotions from Norman (which works well) and the second being a confusing mess of time-travel and fighty-fighty (which really doesn't, at least for me.) As with most of Bendis' big fight scenes, it seemsuncoordinated somehow, as though he told the artist"Draw a big cluster$&@$, I'll dialogue it later." The battle with the Iron Man armors in Mighty Avengers is another example of this syndrome. Norman and Doom working together really underscores how unlikeable our main cast is in this title, and while it's an interesting moment at the end, I'm not as keen on a "Hell, yeah, PAYBACK!" moment when it's Doctor Doom giving the payback. Still, Dark Avengers looks nice (Mike Deodato handles the art chores well) and the first half is amazing enough to carry my through some filler. Dark Avengers #3 earns a slightly-schizophrenic 3.5 out of 5 stars. If they can keep up the quality before the ineveitable ne
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Before we go over the issue itself, I have to tell you something that may reveal a bit of bias on my part: I hate Parker Robbins. I hate him more every time he appears, a two-bit minor player who keeps getting the huge push to the main event level without provocation or the chops to really pull it off, sort of a super-villain version of Jeff Jarrett. There's nothing about him that I find in any way interesting. Of course, that does lead to the paradox of the issue: I like the idea of Strange and Robbins fighting over the mantle of Sorceror Supreme. The problem comes when Parker actually wins (as I strongly suspect that he is going to.) The characterization here (much like in Dark Avengers earlier) works a lot better than the action, and the revelation of Jessica's crush on Peter is a wonderful moment of interaction that, unfortunately, goes nowhere. All in all, though, the issue is okay, with Billy Tan's Peter Parker and Doctor Strange really standing out as well-done, bu
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I have to say, as interesting a concept as it is, I'm not entirely sold on this "War of Light" spectrum of ring-bearers thing yet. The Sinestro Corps was an interesting extension of the character we've hated for years, but to have EIGHT different Lantern Corps running through the universe kind of undermines the uniqueness of the GLC for me. Heck, it wasn't all THAT long ago that someone at DC decided that even ONE Corps undermined the uniqueness that was Kyle Rayner... Even so, the buildup has been slow and steady, and this issue keeps up that sense of "WTF is going on???" On the downside, though, Atrocitus has felt throughly cardboard and not-as-scary-as-he-should-be throughout this entire affair, and having the same cliffhanger two months running (Hal possessed by the power of a different color) makes the whole synergy feel a bit stale already. Here's my prediction: Hal has currently worn four of the eight available ring colors. Whaddaya bet the War of Light ends with h
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I've namechecked it in recent Nova reviews, but I'm very gratified to see the return to many of the late Mark Gruenwald's stories in recent Marvel comics, and this is another, with the return of one of Wendell-Quasar's greatest foes. The issue itself, though very pretty to look at, kinda drags in places, with some seemingly endless dialogue, as well as a bit of self-indulgent craziness from Maelstrom. Still, it's one of the stronger issues of Guardians in recent months, and crosses over with neither War of Kings or Dark Reign, so it's alright with me. Occasionally impenetrable, but interesting, even when less-than-coherent, Guardians of the Galaxy #11 is a good issue overall, earning 3 out of 5 stars. With a little more focus (and maybe a clearer idea of who is/isn't a Guardian right now) this could be the equal of Nova or Iron Fist, but even so, it does it's job as a story that ISN'T a standard-issue soopahero tale, but still well told and enjoyable...
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The real charm of the original Top 10 series (not "Beyond The Farthest Precinct," which frankly lacked in all aspects but art) was delivered by the in-jokes. A visit to a hospital could easily result in cameos by Doctor Who, Doctor Smith, and Doctor Doom, while a visit to the robotic ghetto would almost certainly be filled with Robbie the Robot and other cameos. This series, by original Top 10 artists Gene Ha and Xander Cannon, brings those visual cues back, and their plotting, while not as byzantine as Alan Moore's, is still well-handled. I was confused by this particular series, in that I would have sworn it was solicited as a 5 issue series, and the closing didn't really resolve a lot of the plot points that the series opened. A quick check of Wildstorm's publishing schedule shows a Top 10 special in the works, so hopefully more is to come... Either way, this issue almost captures the complete awesome that was the original series, and Top 10 - Season 2 #4 ranks an impressi
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This is a good issue. It may not be as good as the initial arc of the book, but it doesn't suffer at all, bringing the clever, the funny, and even a kinda shock ending to the whole thing, as well as some shocking brutality that still works in the context. I'm warming to Travel Foreman's stylized art, and the dialogue is excellent ("I don't care what you do to me. Burn my chest, kiss my @$$... but I am not fighting an old man.") but what really sells the book for me are the flashbacks. My only issue with all of this fooferaw comes in the fact that the previous arc flat out says "EVERY OTHER IRON FIST was murdered by this dragon-thingy," and immediately afterwards we're given one who got away. Yeah, the statement is hyperbole, and we're dealing with centuries of history, but having the two moments appear so close together undermines the seamlessness of the history of the Iron Fist. Still, it's not a deal-breaker for me, just a minor annoyance, allowing Immortal Iron Fist #2
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This issue successfully does a couple of things: It differentiates Clint and Bobbie from that other archer/bird girl couple (whose book wishes it was this good, lately.) It gives Mockingbird her own new raison d'etre, and a cool new costume and attitude. It shows us how good a couple they can be, all the while taunting us with the realization that it could all be over. The art (by David and Alvaro Lopez) is really excellent, with a muted color palette and a nice eye for details and expression, and I really enjoy it's uniqueness. This is a strong issue, only slightly undermined by what feels like a completely different Hawk/Mock relationship in New Avengers #50, and by the fact that (ONCE AGAIN) there's some issues that I have with the 'when' of the Marvel U. I'll probably have to learn to live with that, I'm sure, but New Avengers - The Reunion #1 is an issue I can totally live with, earning 4.5 out of 5 stars.
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Humberto Ramos' art feels oddly unfinished throughout the issue, though, and undermines the story a bit.
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Ominous stuff, and a well done issue, with cute pokes at superhero costumes and specifically Power Girl throughout.
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It's got some nice character moments, but doesn't really stand up on it's own as a story.
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Andrew Kreisberg has written a Batman story here, and it doesn't work with Oliver's voice.
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It's a "Meh" issue, even with a ton of Rocket Raccoon and Groot.
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It looks as though John Constantine is headed forhome, and all hell is coming with him.
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I'm not sure what's going on, but as the secrets unfold, it seems like there's not a lot of substance in these shadows.
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It's a very nice issue, very sweet, with an awesome flashback story done very well.
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Good, tense issue.
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Which doesn't keep Scandal from hiding it in her bra anyway, y'know, just in case? A nice twist-filled tie-up to a great arc.
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) It's a nice story, and Stefano Caselli's art is characteristically good, but they're quickly squandering their goodwill with byzantine plotting too early in the book's run, if you ask me.
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30 years later, I'llwager that there'sno real memory of this guy, no matter how high his creative pedigree.
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The presence of a gun-toting loon called "Solid Citizen" is also good for a laugh or two, but overall, this feels like someone's high school superhero characters (and we all had them, don't lie) put in a context that wouldn't work even if we knew what was going on with the heroes.
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Not a bad issue at all, and it's good to see this title with some momentum.
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Get that dwarf a Swiffer or something, wouldja? This issue is maddening in some aspects, but it does make me want to see what will come of all this, and the art is very, very good.
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This is a good book. That's really all there is to it. Two different art teams handle the two different eras, but both are distinctive, and both are very well done. Jeff Parker continues to nail the characterization, with Namora's flip-out sealing a deal with Osborn, while Gorilla-Man is sneaky and snide, Marvel Boy detached and ominous, Venus ever-changing, and The Human Robot completely inscrutable, as always (though it should be noted that the Robot goes out of it's way to stop Namora's rampage, implying something...) Overall, it's a total package, putting new(ish) characters in an old and deep setting, and doing a very good job of some seamless retconning. Agents of Atlas #2 is a gem, earning 4.5 out of5 stars. I'd love to see this book get some mainstream love, because it's the best Dark Reign title thus far.
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This is an odd series, from top to bottom. I remember Marvels fondly, and even I'm not sold on the need for a sequel. Busiek ties in a host of real historical Marvel events (which really kinda makes the Shooter-era comics seem like a dark and unpleasant place to be, which wasn't entirely the case) as well as a lot of sturm und drang, but the overall effect is mixed. I like the art a great deal, but the moment where Phil watches the Silver Surfer and the Molecule Man rebuild the Rockies with the Power Cosmic (Oh, heck! I Spoilered it!) is ludricrous on a number of levels, not the least of which the fact that it actually happened that way. I don't know why, but this issue of "Eye" didn't quite gel for me for some reason. A lot of sound and fury, with an oddly downbeat ending, ending up signifying only that the mini goes on for a couple more issues. Marvels - Eye of the Camera #4 ranks a kind of disappointed 2 out of 5 stars, and I hope that Busiek has something more compe
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Plus: STATIC!!!
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This is a very good story, and (for once) I'm not at all worried about it's canonicity or it's place in the world. It could have taken place at anytime during season 3 or 4 of "Doctor Who" and that's fine. It's a nice showcase for Martha, and especially plays off the strengths of the David Tennant Doctor. Leah Moore (daughter of Alan, natch) and John Reppion deliver a script that is simply and elegant, and Ben Templesmith's art is manages to capture David Tennant and Freema Agyeman without being slavishly photorealistic. Doctor Who comics are notoriously an odd lot (remind me to tell you about the one where Seventh Doc companion Ace is blowed up on panel, in complete contradiction to other licensed probably-non-canonical media) and this issue is no exception, but it is a good read, and pretty to boot. Doctor Who: The Whispering Gallery earns a well-deserved 4 out of 5 stars,as well as giving me my Doctor Who fix for the duration... Let's hope IDW can keep this streak of q
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This is a really interesting issue, giving some depth to a character who is often used for sheer comic relief, and even making him an almost tragic figure without undermining his super-geek mystique. If we were to look at this series as a season of television episodes, we're hitting that point in mid February where we get some depth before the overarching plotlines kick into gear and we head out for the big finale in May. It's a well-done series, and the geek cred is tangible (since I followed a great deal of the ephemera that Andrew was yammering about for a page and a half) and gives us a nice little sword battle and some tension to boot. Georges Jeanty does an impressive art job this issue (it helps that Andrew is one of the characters who is drawn closest to his real life actor model)and Buffy series writer Drew Greenberg has a real ear for the dialogue that makes this series tick. Buffy the Vampire Slayer #23 is a good 'un, earning 4 out of 5 stars, adding another notch in
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I'm still on the fence about this arc, feeling as it does like a book lost in time. The team's lineup harkens back to the previous JSA iteration, with Jakeem and Atom-Smasher, while large portions of the plot are a sequel to Jerry Ordway's 'Power of Shazam' series that ended nearly a decade ago. Still, it's good to see Ordway's pencils again (though his wicked Mary is just disturbing as hell) and the story manages to convey a sense of urgency, as well as giving us more insight into the transition of Isis from gentle fertility goddess to vengeful harpy in the sky. Taken just on it's own merits, though, it's a well-done issue, with story and art complimenting one another, and a nice balance of characters (including a focus on my fave-rave Jay Garrick.) Justice Society of America #24 earns 3.5 out of 5 stars, with the hope that Jerry Ordway can, once and for all, bring Mary Marvel back from Cuckootown.
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Wow. I did not expect that. Hawkeye's move is a bold one, but I can't be sure that it's not one that will have huge negative consequences down the line. I was worried that this issue was going to blow the big Avenger vs. Faux-venger battle so early in the Dark Reign era (like Vince McMahon says, ya gotta make it last to the pay-per-view) and it's nice to see the team in action against honest-to-Pete villains, but this whole "The Hood is the most powerful blah blah blah fishcakes" is getting old. If he's that big a threat, why does he get beaten senseless every time he appears, hmmm? In any case, the issue isn't a bad one, and serves as an okay milestone, giving us some depth on the various characters, and showing how they see the new world order. I do like Bendis' Spider-Man banter, and the explanation by Wolverine of how he needs to kick Daken's ass to teach the boy a lesson is an example of how to write Logan dialogue well. The various artists do well, but I wish we had
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This is a really good issue, with great dialogue, a stellar art job from John Romita, Jr and more subtlety and plot ins and outs than I thought Mark Guggenheim capable of. The story as a whole is suspenseful and nicely done, and the cameos by Iron Fist and Daredevil nicely handled. It's nice to see some of the ongoing plot points starting to wrap up, even though I am unhappy with the revelation that most of the cops featured in the book are corrupt. Overall, it's a very strong issue, with the only weakness being the fact that the weekly frequency makes it really hard to keep up with all the various developments in Peter Parker's life. Amazing Spider-Man #587 earns a very impressive 4.5 out of 5 stars, and I'm looking forward to how this whole thing wraps up this week...
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The Joe-Bob totals: shattered Sun Boy, disintegrated Karate Kid II, most of Metopolis squooshed, but we got a Teen Titan back... The greater part of this issue isn't actually about the Leigon, it seems, with the recruitment of Yat, and the return of Kid Flash taking up large portions of the issue. It's interesting to find that the death of Sun Boy version 3 seemed to have some sort of effect on Sun Boy version 1, and there's some good stuff going on in here. The literal "wave-a-magic-wand to-restore-Live-Wire" bit didn't work for me at all, and a couple of moments with Superman and Tom Welling Prime made me think that Geoff Johns writes Superman as waaaaay too forgiving (this kid has killing hundreds, y'know?) Still, it's a strong issue,and probably even more impressive if you're a Legion fanboy like me. The sight of dozens of Legionnaires flying down into Weisinger Plaza behind Brainiac 5 is goosebumpy, and the return of Gates, Ferro, Shikari and XS is well-worth any confusi
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So, that went badly. For Doom and the Dark A's, that is. The issue itself was actually quite good, with Mike Deodato hitting his game, keeping the cheesecake AND the stunt-casting under control, and a strong script from Bendis, obviously having fun with Norman's new status quo. There's a lot of nice touches in this issue, from the young Doom, to Norman's tirades, to Moonstone having no idea who Daken is, and overall (a few silly magic words notwithstanding) it's a strong outing. Dark Reign, so far, has been an interesting exercise in villainy, with the characters acting like heroes (at least publicly) and a real smart turn from Osborn, as even he realizes that saving Doctor Doom is not an ideal first mission. Twists and turns and badness unbound, but it's quite fun. Dark Avengers #2 earns an impressive 4 out of 5 stars, making me think that not all event comics are entirely bad...
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If you read the solicits, one day is coming soon, as apparently he'sabout to hookup with Justice and his New New Warriors, but... whatever. This issue works better for me than any previous issue of this series, actually, which makes me sad that they saved up the good stuff for the end. Then again, this particular story with it's finality, it's dark tone, and downbeat ending, wouldn't have been the same in the context of an ongoing series. Night Thrasher finally became the kind of hero that he will need to be, presuming he sticks around, and the team realized that they just weren't cut out for this kind of crusade. Add to that the fact that the Initiative is no longer in power in the Marvel Universe, and they book kinda had to end, didn't it? Therein lies the rub. The concept of this book (rebels against a world gone wrong) only works while the Status Quo it's rebelling against works. Since The Initiative was an inherently limited concept, this was, essentialy, doome
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This issue was delightful in tone and dialogue, with the Agents of Atlas achieving a wonderful character balance throughout. Venus is flirty and interesting, Gorilla-Man the sarcastic veteran, Namora serves as the taciturn enforcer, and Marvel Boy and Human Robot counter-balance one another as strangely alien presences, each revolving around secret agent Jimmy Woo, now the head of a universal secret agency. The whole team is entertaining, and Jeff Parker turns in a script that emphasizes the team's unique place in this new world order, even making Norman Osborn seem intimidating... Carlo Pagulyanchimes in with a pretty spectacular art job, and the overall effect of this issue is one of the few bright spots in the dark and gritty sameness of Chocolate Reign, and the whole package is wrapped up in a gorgeous Arthur Adams cover. The backup tale is one of the few times that I've been entertained by Wolverine in recent months (unless you count the story where he diced Jubilee
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This issue is a pretty good one, but it's oddly placed soming after the 18 years of Goggery. In a way, this issue feels more like a continuation of the earlier JSA series, of 52 and of Power of Shazam than it does of this JSA volume, and that's not a bad thing. The art of Jerry Ordway is always a treat to see, even when it doesn't feel as detailed as it normall does, and Johns and Ordway turn in an interesting script here. The developments with Isis and Adamfeelvery natural (butI'm a little amazed to realize that 52 was almost four years ago) and it's good to see Billy being Billy Batson again, rather than being the wizard Shazam stuck on a rock. I'm kind of hoping to see some redemption of Mary Marvel after her pervy S&M turn in F' Continuity Final Crisis. Still, even with creators, characters, and a continuation of stories I like, this issue has a strange edge to it, something that doesn't quite sit right with me. Maybe it's the thing with Hawkman, or perhaps th
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As always, Ed Brubaker delivers a gripping tale, without any of the strangeness that last issue left me with. Seeing Namor in action is always nice (when he doesn't look like a drunken porn star, mind you) and the nods to the years of camradery between the former Invaders is very well done. Subby doesn't consider the fact that Bucky was a kid when they fought together to make him any less of a warrior, nor any less worthy of his word, which is a nice touch. I'm still wondering what in the hell is going on with Zhang Chin, as well as what plans are ahead for Jim Hammond (though I hope to see him returning to action, as I've always been a fan.) Overall, this is a nicely done issue, with the usual excellence from Steve Epting, and great moments for several Marvel characters. Captain America has been excellent for several years now, and this issue is one that upholds that honor. Captain America #46 earns 4 out of 5 stars, leaving me impressed with both the quality of the book
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This series reminds me of old-school Vertigo, back when guys like Morrison, Moore, Milligan, and some writers who probably didn't start with "M" were knocking them out of the park every month. As a fan of sixties music and the history (though I admit to much more familiarity with The Monkees) as well as the superhero ouvre, this book feels really special, and the overall message of this issue, that it doesn't take a funny costume to be a hero, is one that resonates with me. It's really well-drawn, a rare interior job by former Hellblazer cover guy Glenn Fabry, and the dialogue is wonderful throughout, especially when the characters realize that the climactic alien battle has caused one of them to lose control of their bowels. Greatest Hits #5 earns a helter-skelter 4 out of 5 stars, and if you haven't been reading this one, I highly recommend you pick it up in individual issues or in trade...
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This issue was a very strong one, though it may be my Daddy instincts kicking in. Luke Cage skirted the line, but didn't cross it, even where I might have. The moment where Norman taunts him is incredibly vivid, and the pure rage in Cage's eyes makes me wonder if he won't just squot the Goblin like a punkin. But I'm glad he didn't. Billy Tan's art still maintains a lot of the scratchy "hey, look at all the lines!" hallmarks that I dislike so much in Leinil Yu's art, but has greater clarity and espression, giving us a cocky Bullseye, a resolved Cage, and a Norman Osborn so crazy and soself-righteous that you want to kill him with a crowbar yourself. Even baby Danielle looks good under hispen, and Bendis once again shows why he's so great with stree-level characters, giving Luke dignity, and making it clear thathe's no happy with the depths to which he's sunk, but that he will do anything to save his family. This is a very good issue, easily worth the soon-to-be 4 bucks
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I don't know why this issue left me with such a huge feeling of "meh." Sean McKeever's script isn't bad, though the the plot is a fairly straightforward thing. The presence of three different teleporters makes the switching of locales a little too easy, and the art is competent, but nothing special. Unlike the Wonder Woman issue I covered on the last podcast, this really is a story about the Face of Evil on the cover, but the story isn't actually that compelling. Sebastian Blood should be creepy, but in his sleek superhero-like costume, he's like a long-lost X-Men character, and the depiction of hell is indistinct and more than a bit weird. This issue does the basic "establish the villain and his motivation" bit well enough, but if comics were food, this would be a four-piece McNugget box. There's some meat to be had, but it's mostly processed and shaped into something that is inoffensive, but terribly bland. Overall, Teen Titans of late has been essentially unremarkable,
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Hmm... This issue's storyis one that I've read before (though the story itself is nearly as old as I am, I have a pretty good run of Bronze Age JLA) but the overall comic is a mixed blessing. Chris Cross does interesting work, not at all reminiscent of his days on Blood Syndicate, and Len Wein delivers an interesting retro treatment of the team. I can't tell if I'm old, if Len is intentionally tweaking the cliche dialogue of 1972, or what, but some of the lines were cheesy in an almost awesome way, while others fell seriously flat. Having Arthur Curry throw the final punch that takes him down reminds me of why I miss Aquaman (Let's see YOU get by underwater the way that he does on the ground!) and there's some nice team moments as well. Problem is, it's not our CURRENT team... The weakness of the book comes in having it be mostly flashback, especially at a point where last issue's storyline was starting to coalesce into something I was interested in. It's almost a non-s
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I have to say, honestly that parts of this issue work for me, parts don't. The art works, mostly (although the Third Doctor never quite looks right) and the parts where it falls down on the job aren't deal-breakers. The story clips along, reveling in the history and characters of Doctor Who, even causing some almost-tears when the Doctor finally got to give Susan a proper goodbye. If there was any weakness to it all, it was in the conceptualization of the villain, and the fact that it's powers made the entire series a literal headgame. ("Ey, who set dis t'ing to Connect Four?") Still, the journey was enjoyable enough, and the little moments of character with the previous nine Doctors hit the mark, with Number One crochety and high-handed, Number Two congratulatory, Number Three taking a potshot at Four, who responds with a joke, Five pleasantly confused, Six self-important, Seven taking the starch out of Six, while Eight laments the previous lives, and Nine gets in the line o
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Here's my major problem with this issue: timing. It comes after the formation of the New New Avengers, after Norman Osborn went public with his Dark Avengers, at a point where the Hulk is running free, where Hercules and Amadeus are in the United States, where Tony Stark has regained part of his fortune, where Quicksilver (last seen by me in Mutant Town) has been kidnapped... Blah, blah, blah. I don't dislike the issue, I just find it breakneck in it's pacing, and pretty unclear in everything except the fact that Hank Pym has had a huge upgrade in powers and abilities with the loss of his ex-wife. It's nice to see Jocasta again, and the little glimpse of romance between Vision and Stature was high-school cute. I think my greatest complaint with this issue is that I suspect it's meant to be a big ol' status quo altering issue, but most of the characters (and the Mighty Avengers title) doesn't really have a status quo to tamper with. Hank has been in a bubble, Jocasta has bee
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It's a very unnerving scene, with Butcher having put a fist through his monitor, and obviously still not happy, though he pets his dog seemingly calmly. There's a real sense that something big is about to happen in this issue, as Hughie's cover may be blow, Butcher and Mother's Milk both find breaks in their cases, and the peculiar psychoses of John Godolkincontinue to come to light. The only real weakness in this issue was one of comparitiveness, as fill-in artist John Higgins isn't quite up to regular artist Robertson's standards. The plot gets more motion than in the last couple of issues, and Garth Ennis still manages to make us like unlikeable characters with his take on G-Wiz. Overall, this issue is a goody, though not for the squeamish, as perversion and adult themes abound throughout the story. The Boys Twenty-Six is a strong 3 out of 5 star affair, keeping the story arc going without feeling like they're stretching too hard..
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Hmmm. Hmmmmmmm... I don't know what to make of this debut. On the one hand, it's a briliant piece of treachery on the part of Norman, and a very complex and nuanced situation to use a the premise for a new super-team. Unfortunately, it requires us to believe that Tony Stark, futurist, is a titanic window-licker, that the entire government can be duped as easily as a little blonde college girl can be coaxed out of her miniskirt, and, most importantly, that no one will be able to tell the difference between these knockoffs and their real counterparts. The last one, sadly, is most believable... Norman's character in this issue is the real star, trying to decode the complexity that is the superhero into something he can break down and amass personal power and cash from. The doppelganger situation makes Marvel's already tangled antecedents even more so, as Noh-Varr becomes (I think) the ninth Captain Marvel, Bullseye the third Hawkeye (with BOTH the other ones still active) as
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This is a very run-of-the-mill, cliche-laden issue from top to bottom. Black Canary has apparently taken a whole bunch of stupid pills, racing straight at an archer when she's been dating one since 1965 is the kind of move that only a real piece of Samsonite would attempt. Oliver fares a little better, but his tough-guy bravado with Merlyn irked me, and Merlyn's sudden admission (with NO real impetus, mind you) that Oliver is a better archer, after years of claiming otherwise, rings very false. The plot is a flimsy thing, designed to bring the archers face to face, and the kid who serves as the MacGuffin is so meaningless that he just DISAPPEARS during the battle, with no mention of whether he was caught, whether he ran, whatever. This, by the way, is a man who hired a killer and is indirectly responsible for the deaths of four people. The issue overall suffers from a lack of both consistency and clarity. The art, by Mike Norton, is serviceable, reminding me of a slightly l
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This issue has a lot going for it, but one thing really irritated the hell out of me when I was done. The title page identified this as "Part 3 of 3." The last page ends with "To Be Continued." Seriously? I don't mind longer arcs, or even interrelated arcs like this, but the ending of this issue isn't really an ending at all. When they gave us Part 1 of 3 a couple months ago, I was stoked to have a short arc to follow up the 16 issue "Death of Captain America" storyline. This is pure bait-and-switch, and it's really annoying to boot. Still, though, the quality of the issue isn't bad, with penciller Luke Ross growing on me, especially in any scene involving Batroc. The Man With No Face seems to be kind of a one-trick pony (grab the throat, phase through the heart, lather, rinse, repeat) but it's interesting to see them growing a Rogue's Gallery all James' own, and the interplay between Captain and Widow keeps its bite (pun probably intended.) Overall, though, this issu
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This issue is very well-done, with first-person narration from Deadshot (who is pitch perfect in his black humor) and Bane (whose nobility is weirdly moving.) Jeannette looks to be a pretty fascinating new character, showing guts, brains, fighting skill, and a core of steely determination, as well as a fascinating streak of aristocracy. As Deadshot notes halfway through the issue, "the cleavage don't hurt any." Heh... I'm loving Bane's fatherly interactions with Scandal, and though Catman isn't in the forefront this issue, even he gets in a couple of good lines. This book is well-written, beautifully drawn, featuring a storyline unlike anything else in comics right now. I am hoping strongly that we've met the team's new sixth player (because Tarantula does nothing for me) and am really looking forward to the ending of the first arc of this book next time out. This issue, this arc, this book really is one of the best things that DC has going right now, and I just hope that
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This issue is weirdly paced throughout, with several big cliffhangers that I might have expected to be issue-enders crammed into place. My assumption is that the schedule on the book might have been pushed up to get all the story in before the close comes next issue, but it makes this a choppy and disjointed read. Francis Manapul's art this issue is nicely done, especially the moment where Projectra reveals herself and takes out Saturn Girl, but it's just not strong enough to deliver the goods with this much plot stuffed into the issue. Shooter's latest Legion run has been suffering from a case of the "Whatevers" for a couple of issues now, and this one tries to put a lot of bang in for your buck, but only succeeds in stacking the deck so high that it falls over. Next issue will be the last for the current Threeboot Legion series, and while I'll miss the great parts of the Threebooted team, these last few issues haven't added much to the mythos. Legion of Super-Heroes #49 ear
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I have to say, I'm really impressed with this series. It's hard enough to write a good Doctor Who story for comics, but one that captures the various voices of the eras in which the character existed is even tougher. This issue's climax is the only part that's confusing, as the duplicate Doc left Earth with Rose, ostensibly to be her boyfriend forever... Granted, the realization that this is taking place in the TARDIS means that it may be taking place entirely in his mind. Still, this issue gives us a tantalizing glimpse of what the Eighth Doctor's adventures could have been, and a tale that feels right for Christopher Eccleston's Ninth (though the artist doesn't ever quite get his likeness down) and the overall feeling is excitement and suspense. It's a nice tale, with lovely art by a returning Pia Guerra, and it's a nice placeholder to try and get me through to the next Doctor Who special. Doctor Who: The Forgotten #5 earns a "fantastic" 4.5 out of 5 stars, reminding me w
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Review: Justice League of America #28By: Matthew Peterson | January 17th, 2009
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This was actually fine issue for me, with Dan Slott and Christos Gage delivering a nice script, using the image of the Wasp to great effect, and coming up with some horrifying imagery when Trauma shows Tigra her greatest fear (imagine the birth scene from "The Fly" with a litter of green tiger-hybrids.) The art isn't bad either, from a name I don't recognize, Steve Kurth. His faces are occasionally a bit blank, but the overall effect isn't unpleasant. Some might find troubling overtones in Tigra's decision, but bearing in mind that Greer was a product of the Women's Lib movement of the '70's, her status as Pro-Choice rang fine to me. Overall, this issue was chockfull of moments that enriched my Secret Invasion reading experience, and it hopefully sets up Henry Pym as someone to watch in the New World Order. Avengers: The Initiative #20 earns a nicely done 4 out of 5 stars, setting up new storylines well, and giving us some of the human cost of the interstellar conflict that a
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Twelve issues ago, we saw Superman arrive in the lives of the JSA. Twelve issues during which we saw characters introduced, many of whom got little to no face time, in favor of Gog, Superman, and the coming apocalypse. Now that it's all over, the point of it all seems to have been a little hero worship for the Big Red S, and it falls a tiny bit flat for me. It's nice to see Alex Ross doing what he does best (that's paint, by the way) instead of co-plotting, something I've never found to be a strength. I'm pretty glad that this seemingly endless jaunt into Kingdom Come is finally over, but I"m not sure what we've accomplished. I like the introduction of the Judomaster/Damage relationship, but I have no idea what's going on with her. I like seeing Cyclone, Citizen Steel, and Amazing Man in action, but still haven't got a good handle on who they're supposed to actually BE, the characters within the costume designs. Overall, this sequel has been less than satisfying, and the
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detracting from the story.
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Tony Bedard has never gotten the voices of Dinah and Barbara to my taste, and this issue doesn't change that.
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Overall, it's not much more than a coming attractions book, and even if the moviesare good, I'm kind of irked at paying four bucks for the trailers.
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Not a bad issue, just not the best Ex Machina issue.
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As for Darkseid, I knew he was bug-#&@$ crazy and evil already, so this issue left me feeling like there's nothing at all that I didn't already know here.
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The issue shows that even Vertigo's warhorse has some life left in him.
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It's an odd little tale, enjoyable, but not as accessible (to me) as it could have been.
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Allred isn't mean enough to kill Joe right after resurrecting her, so whatever is coming should be interesting, but overall, this issue is really focused, really tense, with an underlying sweetness in Frank's longing for his girl.
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It's not bad, but it is a bit difficult to follow.
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Great effort, but a little toopredicatable in the middle.
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help FROM NORMAN OSBORN!! It's well-written, tense, and Billy Tan's art keeps enough of the Leinil Yu to keep his fans happy, while being less scratchy and angry for those of us who don't like Yu's work.
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WEARING THE CREST OF A NOVA CENTURION! It's a funny moment that spoofs DC's rival space policemen and Mogo, and it's a satisfying issue spotlighting Marvel's least respected team.
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Nice character work, a creepy creepy villain, and beautiful art make this one a gem of a book once again.
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A nice character study, wrapped around some fighty-fighty, well-executed.
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The main problem I have with this issue is the fact that, once again, the death of Janet is treated as an abstraction, shown only as a tool to get Herr Gruppenfuhrer Stark the serious verbal beatdown that he so richly deserves for the last two years of continuity. There are some moments that show a loving husband missing his lost wife, but mostly Jan is treated as a plot device to get the heroes to the gates of Dark Reign. The multiple artists trick actually works to the advantage of the story, as Weeks handles the flashbacks with warmth, whereas the sequence with the funeral proceedings was strange and alienating. Mighty Avengers #20 earns 2.5 out of 5 stars, as once again more effort seems to be put into setting up the new status quo than cleaning up the threads left over from the plots that got us there.
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This issue really brought the pain, in more ways that one. Store Manager Deon (Gatekeeper Hobbies, Huntoon and Gage, Topeka! Ask 'em about our "Warrior" magazines with the first appearance of Marvelman!") opined that this is the best Wonder Woman issue in a very long time, and he's not far off. The battle last issue was brutal, and the aftermath was awful to see. Genocide, so far, reminds me a bit of Doomsday 15 years ago, but with somewhat more depth and motivation, and I'm wondering what it is that the lasso of truth really does... This issue skirts the difficult line of how to show peril to a character who is essentially as powerful as Superman himself, and really allows writer Gail Simone to delineate the difference between that character and this one. Wonder Woman #27 is well-drawn, well-written, and claustrophobically suspenseful, and earns a nicely done 4 of 5 stars. This book has been back and forth in my subjective quality rankings for a while now, but if this stor
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This is an entertaining issue from a couple of viewpoints, as Georges Jeanty returns to Buffy for the framing sequence, delivering a detailed and photo-realistic Buffy and Xander before handing off to Eric Wight, Ethan Beavers and Adam Van Wyk, who deliver an animated Buffy tale that really manages to show what such a series might have been like. All the characters are still recognizable, even Principal Snyder ("Maybe he'll get eaten by a giant worm," sez Buffy. Heh.) and the action sequences are pretty amazing. The only real failing of the art is that it's NOT animation, that is, it doesn't give us the motion, but it's still amazingly detailed and awesome. Jeph Loeb (of Heroes and Long Halloween fame) delivers a Whedon-esque script, right down the Buffy-Angel dynamic, and brings a tear to your eye with Buffy's realization that her mom is calling her to wake up. The seamless transition between dream and reality is handled well, and the overall effect is both wistful and hopef
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This was a really good issue, fleshing out Richard's personality as a leader, rather than the last standard-bearer of the Nova force. We find that Worldmind has agendas of it's own, that Robbie really is a little jealous, and even see how cool a universal force of Nova Corpsmen could be. Dan Abnett and Andy Lanning are known for their ability to do space opera, but here they manage to pull off the kind of earth-bound drama that Mark Gruenwald used to do so effortlessly in Quasar years ago. Willingont Alves and Geraldo Borges are said to share the pencilling chores this issue, and their work looks really good, showing the Human Rocket and his inhuman partners in action most of the issue, while still differentiating them in body language and the expressions on the visible portions of their faces. I'm really enjoying Nova these last few issues, as it manages to work the Secret Invasion in without having it take over the entire book ala New Avengers, and making the charater the poi
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Okay, here's the bad news: There is very little in the way of focus in this issue, jumping back and forth from one bit to another. Although this has always been the way Top 10 stories go (it's a 'Hill Street Blues' ensemble cast, after all) but this issue, and to a lesser degree, this limited series, has a real problem with bouncing back and forth from bit to bit. Gene Ha's art is exquisite throughout, giving us a look at what superhumans might be like in an actually realistic setting, but given that this is #3 out of 4 issues, I can't fathom how next issue is going to be anything more than a desperate race to wrap up all the plotlines in a big hurry. While I was disappointed in the pacing, the actual content of the issue wasn't bad at all, but the focus on Peregrine's husband over the regular cast felt a bit forced. Stil and alll, Top 10: Season Two #3 ranks 2 out of 5 stars, making me wonder if even most of the original creators can overcome the loss of Alan Moore's writing
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This is a really fun issue of a really fun series, and writer Fred Van Lente manages to merge two of my favorite things in recent Marvel history, the dark horror of the Marvel Zombies and the wry, vicious Aaron Stack from the late, lamented nextwave. Kev Walker manages to convey pure horror and comedy (sometimes even in the same panel) especially where a burning Kingpin steps out of the rubble of his home screaming for vengeance. Marvel Zombies 2 lost a bit of the fun that the original series and Dead Days nailed so well, and even brings new luster to characters like Morbius, Jocasta and Machine Man, proving my theory that everything more than 30 years old is now considered Marvel Gold (witness Spider-Woman, Luke Cage, Iron Fist and others, once considered second-tier losers, now among the upper echelons of the MU.) Overall, this is my favorite issue to date, though the Machine Man fan in me may have something to do with that... Marvel Zombies 3 # 3 earns an impressive 4 out of
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This was a nice issue in terms of team dynamic for the LSHers, showing them all working together, and putting their diverse opinions (with the notable exception of Jeckie) to the test without excessive conflict. Nice character bits come through for Invisible Kid, Brainiac, Lightning Lad and others, but the whole Invader Planet storyline seems to have been going on for about two years now. I'm torn between being excited about the new adventures (pun fully intended) in store for the Legion and wishing that this iteration of the team could have a little more time to establish itself, but this issue read quick and went down easy... It's a breezy little look at LSH parliamentary procedure, and gives us some cheesecake to boot. Legion of Super-Heroes #48 earns a well-done 3 out of 5 stars, and at least my usual 'writing for the trade' complaint is moot. This time, I know exactly when this storyline will be wrapping up.
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Maybe Spider-Man should be married, and maybe he shouldn't, but at least the creative team is doing something with Marvel's flagship character that doesn't make me roll my eyes.
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I can only imagine what those of you who aren't aware of how cool the Bug used to be must think of this.
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Good thing, too, I hear this Secret Invasion thing is going on.
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"I'm on YOUR side!" What the hell??? Jay Faerber manages to layer on the character moments, as well as giving us a cliffhanger worthy of the most underrated comic on the stands, and I'm desperate to find out what happens next.
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Gatekeeper manager Deon says that this is a better Final Crisis than Final Crisis, and I kind of agree with him, but at least Renee Montoya seems to have something up her sleeve.
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" This book is a very weird melange of history, pop culture, comics and and ruminations on fame, and both story and art are top-notch.
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New writer Andrew Kreisberg brings the good stuff here, though a few cliches do get through, and Mike Norton's art feels familiar enough.
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Hopefully this book will return to awesome soon, as a book with a gun-wielding raccoon should always be a self-starter.
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There are signs here that this could be Vertigo's next "Sandman" or "Preacher," and this book shows the depth and care required to be the flagship of Vertigo.
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Hopefully, the next arc will pick things up a bit.
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Riley Rossmo's art continues to impress, and this book also starts to remind me of Neil Gaiman's Sandman in all the good ways.
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It's really fun, really well-written and drawn, and it makes me sad to think that most of you have probably never heard of it.
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Not terrible, just meandering and kinda endless.
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Either way, it's a nice end to a nice little story, and it's good to see Cary Bates back in comics again.
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I... have... no idea... what happened in this issue. From Frankenstein's monster quoting the writing of Milton to the disassembled OMAC androids to the lion men, this entire issue seems to be devoted to freaking me out with the most outre concepts that Jack Kirby created for DC. My problems with the whole thing are these: Last month's issue really built the tension and suspense up, only to have this issue return to the signs and portents and cryptic hints business that has made this series so infuriating. Second, things seemed much worse in last month's 'Submit' and 'Resist' one-shots then they do here. Still, the issue was filled with moments both awesome and awful (Mary grinding on Shazam and suggestively offering him his own "magic word" is disturbing as hell) and the issue merited a second reading for comprehension, something many comics will never achieve. Final Crisis #5 earns a confused but intrigued 2.5 out of 5 stars, balancing moments I really liked with mom
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This issue finally explains the whys and wherefores of what Evil Willow was up to, having fallen prey to the immortal's curse. There's some cute moments (Kennedy telling Buffy and Willow to watch their hands in the climactic hug is cute as hell) a couple of bombshells (assuming that it *IS* Riley, mind you) and some nice brainwork by Ms. Summers, not usually known for the grey matter. Overall, the effect is nice... The artwork (by Karl Moline, co-creator of Fray) is nicely done, but not as photo-realistic as one might have hoped for a book like this, making for some confusion in certain situations, but handling the fight scenes awesomely. The pacing felt a bit strange for some of the issue, but overall, it's a nice piece of work from Joss Whedon and company. Buffy the Vampire Slayer: Season 8 #19 earns 3.5 out of 5 stars, an very nice issue overall. I am not sure how long this particular "season" is going to last, but at the very least, it's nice to see that we've got ideas
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This was a really nicely done issue, and this arc feels a lot like Bucky-Cap finally getting to tread his own ground with the shield and winged helmet. The villain of the flashbacks looks familiar to me, and during the issue I realized that he appeared on an Invaders cover back in the day, and I have absolutely no idea what his name is... A quick web-search yields no clues, thus I shall dub him "The Fandom Strangers." In any case, it's an interesting plot, and it's well-crafted, as always, by Ed Brubaker. It's kind of funny to think that Bucky might have people looking to get revenge on him, but the tale takes it deadly serious, despite any odd connotations that might crop up from such an odd premise. Captain America #44 earns a nicely done 4 out of 5 stars, and shows that this book has life well after Steve Rogers' ghost has been (even just temporarily) exorcised.
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This issue has been solicited as the end of Secret Invasion. It is not. It is actually the beginning of Dark Reign. The end of the battle is wrapped up in a perfunctory fashion, and the death of the Wasp is treated almost cavalierly. The reveal and return of the lost heroes had a little punch, and thought the issue contained some interesting moments, the combination of Leinil Yu's unclear storytelling and Brian Bendis' tendency to gloss over plotholes with reams of dialogue make the limitations of the story really obvious. With a story like this, we know the aliens aren't going to win, so the fun comes in the journey. This issue, more than any other, fails in that, tripping all over itself to set up the new Marvel Universe and failing to satisfactorily close up the old Marvel Universe, which itself was only set up a summer or two ago in the wake of Civil War. Marvel has often been accused of favoring style over substance,and the denouement of Secret Invasion is an examp
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What I love so much about Bryan Vaughan's writing on this title is how it doesn't feel like a superhero or comic story at all, more like a television drama, with excellent pacing and dialogue throughout. Most of this issue is just a conversation between two people, but it is filled with enough tension and conflict to really draw you in. The realism in moments like Mitch breaking his hand punching Trouble, his advisor telling him to "hang the #&!* up," and Mitchell's realization that he may get a shot at political office well above mayor are all very well-done. Tony Harris does his usual awesome job on art (nobody draws a braided hairdo better) and the overall effect is wonderful, and even with large breaks between the issues,the pacing feels dead on. This is a great issue, and even though the story itself took only a short time, it still felt like a satisfying chunk of story for my 3 bucks. Ex Machina #39 earns a nicely done 4 out of 5 stars, giving me drama, intrigue,
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Next issue promises the return of the ugliest coat ever known to man, and hopefully Pia Guerra, though this month's art was hardly inadequate. For a Whovian, the references are plentiful and entertaining, and it's nice to see the playfulness of Tom Baker's era return. The overall effect of this issue is one of painstaking love for the character and his adventures, and the art (while not capturing the character likenesses as well as Guerra) is still very well done, and gets the hard-to-draw face of David Tennant dead on. It's a really good issue of a really well done series, and probably my favorite read of the week. Doctor Who: The Forgotten #3 earns 4 out of5 stars. Since it is Thanksgiving day, I'd also like to thank y'all, the faithful Spoilerites for supporting whatever it is that we do here. We wouldn't be having this kind of fun without your support, your aid and abetment, and it's only because of the readers that we get to act the fool like this on a regular basis.
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This series reminds me of the recently-departed Checkmate, in that it has a lot of characters who have played relatively minor roles in other series, working together with a common goal. Writer Paul Cornell does make it a very British book, which is a definite plus for Marvel. Too often, their heroes all seem to be stuck in New York together. The art, by Leonard Kirk, is very well done, though I'm not too keen on the Black Knight's t-shirt, jeans, leather jacket and giant heraldic helmet combo. Faiza Hussain is turning into an interesting P.O.V. character, but this issue, while interesting, feels a bit rushed. Perhaps it's just a matter of the pacing, but I might have wanted more "Heart's Desire" scenes interwoven in, and more time devoted to Blade and Spitfire. Over all, though, it's an interesing issue of one of Marvel's more eclectic titles, and keeps me interested in coming back next month. Captain Britain and MI:13 #7 earns 3 out of 5 stars, with the hope that they m
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I have to say, I really didn't like this issue that much. Bruce Jones delivered an okay plot, but the issue was bogged down by some cliche dialogue, and some pretty terrible characterization. I quite disliked the moment when Crimson Fox flashed the embodiment of evil, and the whole "I Am Legion" litany of names was just silly and distracting in the middle of what was meant to be a compelling battle sequence. Manuel Garcia's art is pretty good, though, and his take on female characters Gloss, Jet, and Fire is particularly welcome. Of course, Chimera's deus ex machina powers and awful gray character design don't do his work any favors, either. The wrap-up is one of those moments where you can literally hear the writer saying, "Crap! Only two pages left!" and the ham-fisted metaphorical imagery in the denoument is inexcusable. Overall, I'd have to say that I'm upset that this arc killed a book that I really liked, and doubly annoyed at the overt Mary Sue-ism thatChimera re
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"This is a doll, right?" It's cute, occasionally funny, but it's also as scattershot as all hell.
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It's a nicely done issue, full of geekery and "Hey, it's THAT GUY!" and makes the crossover blues a bit more palatable.
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"I believe that's your wife?" Some of the characterization is pretty opaque, notably the Blade/Spitfire interactions, but overall, it's a strong issue.
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If you're not reading this, you should be.
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Even so, it's a good book, and MIke Norton's art makes it very nice to look at.
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Writer Fred Van Lente really knows how to make obscure characters shine again, and I love him for it.
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) It's a compelling little plot-hook, and a nice issue overall.
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I have no idea how to process this issue. None at all. I'm stunned at the fact that Brainiac 5 apparently had an all-night sex-fest at the Metropolis Hilton, and I can't imagine what in the hell has possessed Projectra. All in all, though, this was a well-done outing, with lots of little moments that I didn't see coming and even a couple that I missed upon first perusal. The art was done by Rick Leonardi (not to be confused with Leonardo Leonardo) whom I've always associated with X-Men titles, but does a nice job here. His Dream Girl is literally a dream girl, warm expressions, softness of feature, while Projectra is equally attractive, but somehow still conveys menace in her tone and carriage. Jim Shooter knows how to craft a story, and he knows Legionnaires, which makes this issue's plot and characterization work very well for me. I still haven't forgotten that Legion is probably not going to exist in this form in a couple of months, but this issue made me sad for what
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So, who is Jackpot? Apparently, she's a Nancy Reagan PSA lost in time for a couple of decades. Like I said up top, either she was Mary Jane or she wasn't, and either way there's negatives to her identity. Jackpot's costume, her demeanor, and her overall sauciness led me to really like her, even given the few interactions that I've had with her, and I'm saddened to think that she's probably going to be nothing more than a footnote in Spider-Man's history, a living example that drugs're bad, mmmkay? Still, it's not a terrible issue, with a nice turn by Marc Guggenheim in terms of Betty's characterization, Spider-Man is suitably irreverant and fun, Reed's cameo is well-handled and the art is absolutely amazing throughout the issue. Walter DeClun falls absolutely flat for me, though, a poor man's Kingpin, and Alana's death was weirdly anticlimactic. Amazing Spider-Man Annual #1 earns a better than average 3 out of 5 stars, giving me a new appreciation for Guggenheim's work (I f
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The depth of this issue and it's ruminations on life and death are tough to summarize, honestly, but really interesting in a spiritual sense. The character who was about fun, puns, pop-art references (Mott the Hoople, anyone?) and silliness has evolved into a deep study in philosophy and mortality, and more power to him. I don't suspect that this kind of thing is for everyone, but Allred's art has a new subtlety to it, with the artitecture, the vehicles and technology nearing photorealism, while the characters maintain his trademark stylization, while his writing meshes high-falutin' spiritual talk with down-to-earth real people dialogue nicely. It's a strong outing for Madman, earning Madman Atomic Comics #11 3 out of 5 stars, and making me once again happy to connect with an old friend now grown-up.
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This is a fun little issue, just as #1 was, and has lots of nice little touches (reversing the polarity, the fact that the Second Doctor's flashback, like his episodes, is presented in black and white, Ace's Nitro-9) for the long-term fan, but still hangs together for the new kids. I expect that having the various lives of the Doctors playing out like this may actually add to the fun for those who are only familiar with the latest series. I'm not as thrilled with the art this time around, though Pia Guerra nails the Second, Third, and Tenth Doctors, her Martha Jones doesn't gel, and old-school companions Jamie and Jo don't look at all like themselves, at least to me. Still, the overall effect is impressive, the dialogue excellent, the plotting interesting, and the mysterious Curator's (who I think is designed to make us think that he is the Master, but I suspect is not) identity is still a compelling chunk of MacGuffin. We're looking at a fun book here, even if you don't alread
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The visuals this issue were stunning, a fascinating job from Luke Ross, whom I think has replaced Steve Epting on the book. (The pencillers tend to rotate on Cap, so I'm not entirely sure." Ross delivers the goods, with a tortured James Barnes, a formidable Batroc, and a dead sexy Black Widow, both in and out of costume, and his technology is first-rate. Brubaker again shows the good stuff in his dialogue, with Bucky trying to come to grips with going from kid sidekick to contract killer to patriotic icon of millions. Overall, it's a nicely done issue, with some fun moments sprinkled throughout, and I'm glad to finally see James Barnes starting to make his way out of the shadow of his predecessor. Captain America #43 earns 3 out of 5 stars, an intriguing start to a new storyarc for Marvel's newest Captain America.
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This is a seriously dark issue, but it's one of the first that actually FEELS like a Final Crisis. Morrison really hits home with his words this issue, underlying the futility of Anti-Life, and the heroes fight against the unstoppable. The art doesn't exactly suffer this month, with Carlos Pacheco pitching in to help JG Jones, but his more conventional superhero storytelling isn't the bolt from the blue that Jones provided in previous issues. Of course, there is more clarity in this issue, but I can't tell if that's from different art, or from Morrison being at the point where we're putting more cards on the table. In any case, this is the day that evil won from the title, and evil has won pretty dramatically. A long time ago, Morrison wrote a book called "Aztek," and in that book's last issue, Aztek was given an entrance examination to the Justice League. He was asked what he would do if Darkseid had taken over Earth, and the heroes were lost, a very powerful moment that s
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This is a mighty quick read, to be frank. Ain't a lot here but the fighty fighty. There are some nice character bits from page to page, and a few moments that really stand out as well-crafted, but overall it's a 20+ page battle royale, and if you're not a fan of the artist rendering said battle, you may not enjoy the royale so much. I greatly appreciate the forward motion in this title, but since we're seguing directly out of this into Dark Reign in ten minutes, I don't know that I'm all that psyched to see the ending. Bits of groundwork are laid for the NEXT big event here, which makes me want to ask: at what point will we get to breathe? When will the endless series of earth-shattering crossovers slow down? This isn't a bad seventh chapter of an ongoing story, but as a stand-alone issue, there's a lot of flatness between the peaks, and the deus ex machina ending set up by a flashback issue of Avengers kind of annoys me. Sure, it's 2008, but it's just as unrealistic to s
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Man, that was a mouthful. This issue was filled with Legion lore, little moments where my inner fanboy lit up and took notice. Cosmic Boy's reference to his relationship with Night Girl, Blok and Mysa's sweet moment, Mordru's history with the Witch, Wildfire and Dawnstar discussing their history...There was even a momentwhere the Rebooted Dreamer saw the grave of the Threebooted Dream Girl and wondered if she was going to die, a nice touch. The problems with the issue are in that approach. Every one of the major Legion villains is represented here, and the kind of power they wield is really going to take three Legions to try and offset. But I can't imagine this is a book that's in any way easy to understand if you're not fluent in Legion lore. Heck, I suspect that most of our Faithful Spoilerites wouldn't know about Rond Vidars as Green Lantern if I hadn't just Hero History'd him recently... With the sheer volume of good stuff in this issue, I'm metaphorically stuff
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This issue is really well done, taking the reader along with a dazed Deena as she almost sleepwalks through a series of events that wrap up the plotline she's been in for lord only knows how long, leaving her better off in some ways, but still haunted (oooh, cliche counter clicks on that one) by the past and her own secrets. I am happy to see Deena back from the edge, but the realization that she really did kill Royale (one of the series long-running questions) as well as the complete meltdown of the Internal Affairs cop (who got fired for basically being in the wrong place at the right time, AND was correct in her suspicions about Deena's unlawful activities) surprised the hell out of me. The moments between Pilgrim and Christian (hey, I just got that!) were extremely well-handled, and Oeming's art was it's usual self, managing to be amazingly expressive while keeping the cartoony stylization that makes this book stand out. Bendis has made announcements indicating that Powers wi
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This issue is pretty awesome overall, consisting of equal parts alien-fighting, family bonding, classic superhero stuff and some loving tributes to the late Mark Gruenwald. The entire Project Pegasus portion of the storyline recalls Mark's work on Quasar's own book in the 90's, and the new head of Pegasus is a dead ringer for him, as well as sharing his name. It's also good to see Nova contrasted to Darkhawk, one successful as a leader and a hero again, while the other views himself as a failure, barely able to protect a simple research facility. Word through the Marvel grapevine is that Darkie may end up being a recurring cast member in this title, and I'm happy to see it. His run in Loners bugged me (and I'm not even a real fan of the character) as a complete waste of an interesting character, and it's good to see him getting some play in a positive role. Overall, the art is extremely well-handled, shared by Wellinton Alves and Geraloo Burges (both of which sound like alias
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This issue feels like a more complete and satisfying story than some recent issues of this book have, but I'm left with some irritation at plot-points. Projectra's story seems to be dragging on and on, and just when I find myself liking her again, she does something stupid. Having an issue that features both Ultra Boy and Phantom Girl reminds me of how well the complimented each other pre-Crisis, and how sad it is that the classic relationships have been broken in this new telling of reality. Her sweetness and empathy really would do wonders for his brash and thoughtless tendencies, even here. My problem with the fake 30th century florging sprock-head cursing continues in this issue as well, though mostly in the mouths of non-Legionnaire characters. The art this issue was only okay, with some nice action sequences lessened by sharp-edged faces and long, spindly Aeon Flux anatomy, especially on Invisible Kid. A book that started with the honey-smooth imagery of Barry Kitson
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Or - "Slowly Crawling Back Into My Good Graces..."
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This is a very good way to cap (no pun intended) the story of the death of Captain America. We see the beginnings of the new Captain America (no more Bucky-Cap for me, folks) some just desserts for the Red Skull, the beginnings of a new romance, a new career, and a promising new era for the Marvel Universe. Even Sharon gets something of a fresh start, as the James Barnes era is officially underway. Lots of excitement and stuff blowing up, and quite a few plto threads in action. Overall, this was a very effective arc, and this a very effective issue from all perspectives. There were some issues of clarity with exactly what was happening to Sharon in the Skull's machine, and I had to reread the moments just before Sharon's shooting of Lukin to figure out that Zola had transferred the Skull consciousness out of his body while we weren't looking, but overall it's a very strong piece of work. Captain America #42 rates a nicely-done 4 out of 5 stars, and I'm looking forward to wh
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Tony Bedard is not at his best here, and the art, while acceptable, is a bit sketchier and more angular than a book filled with attractive women probably should be.
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THEN STAKES HER THROUGH THE HEART.
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I wish I could say that I'll miss this book, but honestly, the Checkmate I enjoyed ended when Jones took over.
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When he accidentally gets stabbed (nice parenting, Oliver) and heals immediately, something is obviously up with the younger Green Arrow.
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There's a lot of things that could go horribly awry here, which is nice, but it all feels pretty disjointed, to less happy effect.
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The art is nicely done, though not really evocative of the 1930's (though the antique cars were very well rendered.
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The former Suicide Squad is discovered to be double agents by the new Crime Doctor, and Kate realizes how to REALLY hurt a corporate entity, with the promise of courtroom smackdowns next time.
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It's unusual, it's intriguing, but I still don't have a lot of investment in these characters.
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It's an interesting place for the story to go, but with the book ending soon, it's a little hard to get too invested.
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) Riley Rossmo's art gets more and moreintricate every issue, and the story is likewise increasing in complexity.
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5 stars for clear art, interesting storytelling, and a love of comics ephemera.
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I just hope that we can get a new status quo soon, so that DC can destroy it again in five months.
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This book is one of the good ones.
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This issue spends a lot of time in exposition setting up the characters for the final arc, and as such, isn't quite as satisfying as many of the previous ones.
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At issue's end, the Wonder Woman movie is scuttled, Diana returns home having helped a woman in need, and even had a sweet moment with a couple of kids to whom she is a hero.
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It's a nice take on a familiar character, and a 3.
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Review: Jack Of Fables #26By: Matthew Peterson | October 10th, 2008
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Visually, Tony Daniel isn't the best storyteller around, but he gets the job done, and while the coloring is somewhat muddy in the middle, the high contrast red and black ending of the book and the Batman's-eye-view as he collapses are very well done. It's a strong issue, and I wasn't lost by it, even having only a vague idea of what went on before. Batman #680 ranks a very impressive probably-Stephen-infuriating 4 out of 5 stars, because it made me care about a character I'm not emotionally invested in anymore, and made me remember what's really fun about comics...
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This was actually a veryeventful issue, with a lot of plot and a lot of character moments for the regulars, but it suffers a bit from having sooo many different angles to cover. The Shadow Initiative. Ant-Man. 3-D Man. The greater war. The Skrulls final weapon. There's a ton of stuff going on here, and not enough space devoted to most of it. Dan Slott and Christos Gage really know how to put a tale together, but it's a case of a little bit too much going on, jumping back and forth in space and time. The art (by Harvey Tolibao, though I'm not sure if it's a fill-in or a new assignment for him) is fair enough, with Mutant Zero's dressing sequence being the best rendered bit, but there's an element of grotesquerie to his art, with bulbous noses, huge sunken eyes, and (in the case of Queen Skrull Spider-Woman) a chest that looks like she's been shot square in the back with a pair of cruise missiles. His faces have the strange scratchy lines that I associate with Leinil
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I'm not a big fantasy guy normally, but I was drawn into this story immediately due to the unique art (courtesy of Michael Avon Oeming of 'Powers' infamy) and the versimilitude of the story. It's familiar, echoing 'Star Wars,' 'Lord of the Rings,' and other sources without feeling like something we've all seen a million times before. The political intrigues of Mouse versus Rat are fascinating, and Karic's naive belief in the Templars is palpable. These aren't humans, but their tribulations are very human, and the story moves quickly from point A to point B, ending with a painful moment that really resonated. I've never read an issue of Mice Templart before this, but I'm definitely going to read more afterwards. Mice Templar #5 is a well-done package, nailing a 4 out of 5 star rating, and really impressing me with it's complexity, while remaining very accessible...
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This was a nice issue, sort of a change of pace from the usual dark and significant Booster/Rip arguments, and the life or death consequences of the last few issues. The moments with Booster in action with Elvis jumpsuit and flight ring are a lot of fun, and Goldstar out-thinking big brother is a running gag throughout the issue. Dan Jurgens' art, which I've mentioned in the past is sometimes an acquired taste, really does it's work here (though it's probably significant to note that he is the creator of B.G. and thus Booster's costume and antics are perfectly suited to his pencilling chops) and Chuck Dixon's story moves at quite a clip. It's an entertaining package overall, and proves that losing Johns doesn't have to be the death knell for this title. Booster Gold #12 ranks 4 out 5 stars, and a clear recommendation for those who like their comic books to still have that long-lost essence of fun.
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This was a really taut story, from the first page, with a really nice internal mythology and a tone of pure creepiness that works wonders... I'm not sure that Joe Hill would be thrilled by the comparison, but his word choice and structure really remind me of his father (Stephen King, for those not in the know.) The voices of the kids feel like kids, and there's a very clear tone toSam Lesser'sdialogue that shows how unhingedthe bastardactually is. The art, by Gabriel Rodriguez, reminds me of Phillip Bond, in a very good way. It's clean, expressive and clear, with the familial ties of the characters showing through in their character designs, and the creepy architecture of the house serving as an additionalcharacter in the story. It's not my usual cuppa tea, but it's a very well done gothic horror/suspense story, with a nice ending, and an ominous Rod Serling bit at the end that sets up the next Locke & Key series, down the line. Compelling story, good art, and
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Well, let's start with the good. The cover is exquisitely rendered and painted. The interior ar is expressive, it's imaginative, and there are some killer computer lighting effects. Zee is a mostly likeable protagonist, and I was at least a little bit interested in the overall plot. My problems came from three elements. First, and foremost, the coloring is incredibly dark, using a murky blue-green palette that is obviously designed to emulate Tony Scott-style high contrast film making, but unfortunately serves to muddy up the story-telling badloy. I actually had to go back and clarify from panel detail whether or not it was actually Daedalus on the final page. Issue #2 with issue #2 comes with the dialogue, featuring moments like "I know what you do with your hookers," "Zee, they are almost here, take control now, you crudsucker," and "What the crud are you doing?" The use of "Crud" for any and all cursewords, regardless of whether it makes sense, is distracting, and th
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So, we're three-quarters of the way through Marvel's latest event of the century, and I have some good news: There's some good stuff here. Laying aside for the moment the fact that Avengers and Mighty Avengers haven't told us a thing in about three months laying the backstory and the fact that (in Marvel time, anyway) it's been twenty minutes since World War Hulk, and about a week anna half since Civil War, this issue isn't bad at all. Leinil Yu's art is more impressive than I found it on Mighty Avengers, though that might be a question of inking. His Spider-Woman is less skeletal than it was there. The story, while far-reaching and not stopping to focus on any individual character much, does move pretty quick-like. I hope that somewhere we get to see the true story of what happened with The Hood and his Underworld Avengers entry into the battle, but overall this is well-paced and interesting. The seeming revelation that the Skrulls believe they have the Almighty on their s
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Hmm... I don't quite know what to make of this issue. A pacifist Wolverine, one who only wants to pay his rent and be left alone is kind of interesting, in a Spaghetti Western kinda way, but the story seemingly makes it obvious that he's going to have to give up his vow of non-violence tosave his brother from Chin-Wa who won't let him get rice cakes for fatherHawkeye from his own murderous spawn. Even having not read the first two issues of the story, there's still a pretty clear idea of what's going on here, and everything that needs to be spelled out is spelled out, barring a strange bit about the Moloids being Earth's immune system and destroying the human infestation.As for the art(by Steve McNiven and Dexter Vines) it's pretty good, though my usual complaint of McNiven's bulldog faces still shows up periodically. The big swerve at the end was a bit telegraphed, but still nicely executed and Ashley's murder of the Kingpin on panel did give me a bit of a shock. I
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Hmm. This issue has a ton of things going on, and it never quite gels into something coherent. Delroy's new importance to the world is undermined by the fact that he keeps having to be pulled out of danger by the Kill Krew, whereas the events at Hammond and in New York are just little behind-the-scenes bits that, once again, tread water with the main plot until Bendis breaks the internet in half again. Dan Slott and Christos Gage give us some interesting dialogue, but the time switches really don't do the story any favors, and the whole "This has been a commercial for War Machine: Director of SHIELD" sequence did little more than irk me. The issue was all over the place, and I'm waiting for Secret Invasion to catch up with itself and GO someplace, already, and the loss of momentum here really hurts this book. The artwork, by Stefano Caselli and Luca Malisan, is actually quite good, especially their technology, and they've finally managed to give 3-D Man a mask that doesn't ma
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This is a pretty awesome debut issue. The Six's previous appearances in Birds of Prey and elsewhere keep us from having to go through the usual setup of dramatis personae, instead going to some awesome character bits and SHOWING, not telling us how damaged each of these people are. I'm terribly impressed with Nicola Scott's art, making Scandal look drunk and gross while still maintaining her as an attractive woman (once she gets the vomit off her shirt) and makingDeadshot and Catman in civvies look truly deadly. Deadshot and Catman's ice cream run is a classic moment, with trademark Gail Simone wit, and the interplay between Bane and Ragdoll gives me hope that the big doof will do more than bring bat-fans to the book. This is the total package, folks, great art, great story, intriguing setup, a truly touching moment with Scandal and Knockout (or a hallucination thereof, anyway) and even the minor characters have life and voice of their own. Secret Six #1 earns the much-cove
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This is an interesting issue, filled with twists and turns that I wasn't expecting (the vampires in the water was a particularly breath-taking swerve) and ending on a pretty shocking cliff-hanger overall. I suspect that next issue will wrap everything up, and I hope that it gives us some explanation of what's going on with Willow... Still, Joss Whedon does here what Joss Whedon does best, with crisp dialogue, and characters that have their own agendas, even within the bounds of the story. Karl Moline's art works perfectly with this style, giving us nice contrasts between the shiny aspects of the future, it's dark underbelly, and the woods of Scotland. The questions of "Who is Twilight?," "What's up with Dawn?," "What is happening with Willow?" aren't the main focus, but none of them are allowed to fade away while the main character has her big crossover, something I really liked. This issue didn't really hit any false notes for me, giving me all the value my three bucks could
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I don't know precisely what's going on in this issue, but that's okay. It actually works for the story, as Kick-Ass doesn't know either, and the narrative conveys that well. The mystery of Hit-Girl and Big Daddylooks like it may be the step past the whole "coming of age in a wetsuit" business into a story with some real-world consequences, (though, I suppose having your spine broken and relearning how to walk is a consequence)but I have to say that the pain of watching Dave pretend to be gay to get a girl (Huh?) is moreworse than that of allthe decapitations, disembowelings and car-crusher-murders combined. John Romita's art is as detailed as ever, giving us characters that are believable for their age and general demeanor (Hit-Girl, f'rinstance, looks like a ten year old girl, albeit a ten-year-old girl with acrobatic skills and a penchant for chopping off limbs) and handling action sequences with aplomb. Mark Millar crafts a fun story, about which my only complaint wa
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This is a really good Doctor Who story. It's a really well-drawn comic book. It's a good story in general. I'd have to say, in fact, that Pia Guerra was born to draw Doctor Who, nailing both the hard-to-draw David Tennant (Doctor #10) cheekbones and the somewhat-hard-to-find-photo-reference-for First Doctor as well. I came in a fan, so my assessment will certainly be a bit biased, but this book is the total package, with tension, character interplay, a historical flashback, a compelling mystery in the plot, and even that most difficult of all portions: drawings that look like the real people from whom they're drawn. Doctor Who: The Forgotten #1 earns a well-deserved 5 out of 5 stars, giving us possibly the best-written Doctor Who comic book story to date. I highly recommend it (along with the DVD collections of the first three seasons of the new show) but I have to say I'm especially looking forward to the issue that gives me the Fifth Doctor (my favorite) in action...
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'" HA!) Old-school jokes like Mitsu Bishi (the Japanese version of Ambush Bug) and the Amber Butane Corps return, and more madness from Go-Go Chex, the de facto villain of the book.
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The issue ends with a panel of a smiling Flash running towards the reader, but anybody who's read anything about Final Crisis knows that his happiness isshort lived.
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Big menaces balances with small character moments, and a healthy dose of melodrama sets it all off in LSH style, for a 4 out of 5 star issue.
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Machine Man was a hit, Man-Thing was a hoot, Weapon Omega was okay, and Vanguard incomprehensible (and immediately contradicted by the return of Blade in another book, I'm sure) for an above average 3 out of 5 star rating.
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The issue is all flashback, adding nothing but character bits for unnamed Skrull footsoldiers, and my review ranking is likewise a flashback.
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This issue is okay, but could have been a two page flashback in an issue that actually WAS an Avengers story, and not yet another flashback with a New Avengers logo on the cover.
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Hopefully, the Young Avengers will finally get their relaunch out of Secret Invasion, and we won't spend another five years waiting for a continuation of what was a pretty compelling story a couple of years ago.
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It's another superlative effort, less incendiary than last issue, but more informative, even with the annoying child-murders.
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It's a good ending, a good scene, and really the first point where I believe that Bucky is mentally up to the task that has fallen to him. This issue is taut, and suspenseful, and I was amazed how easily Brubaker made me feel for Doctor Faustus, even like him, just a little bit, while maintaining his manipulative aura. It's a well-done bit, and his "gift" to Sharon, shows that the fat man has a surprising level of compassion. Steve Epting is back on art, and it shows, as this issue was very well done, from the clear distrust on the face of Sharon Carter while speaking with the Doc, to the obviously exhausted Lukin, to some spectacular action sequences. Thankfully, we don't have a chance to focus on the loss of Steve and Sharon's baby (another annoying example of endangering a child to up the stakes) for long, but I'm still wondering what evil doings the Skull is up to with his final endgame. It's a pretty awesome issue, not perfect, but very well done, and earns a mighty fine
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...to be continued! This issue packs in a LOT of stuff all at once, but thankfully caps off the Amazo subplot (hopefully for frickin' ever, since the character is utterly beyond boring.) The main problems that I have with this issue aren't with McDuffie's high-octane high-speed script, but with characterization and art. Allan Goldman drew this issue with the DNA of Ed Benes stuck to the end of his pencil, apparently, as this issue maintains the majority of Ed's artistic tics, while downplaying the T&A and adding a very welcome element: backgrounds. Still, the issue is mostly Zatanna's show, with the Big Three getting their moments in the sun, Firestorm pointing out the obvious, and Steel getting a good line in near the end. With a cast this big, though, it's good to see ANY character development going on, as any LSH fan will tell you. It's an okay issue, but is it really necessary to have a 14 member Justice League? Either way, Justice League of America #24 gets by mo
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So. That was a reeeeee-hee-hee-hee-heeeeeeally long review. This book has a ton of things going on, including reviewing virtually everything we know about the 30th Century, re-establishing relationships, worlds, the core of the Legion, killing off Brande, restoring Prime to dangerous levels, and showing over 100 different Legionnaires for at least a panel or two (including Tyroc, Matter-Eater Lad, and even Bouncing Boy.) It's a well-written book, but parts of it seem almost over-written, such as R.J.'s speech to the U.P. representatives. Even for me, knowing what I know, there were a couple of moments where I had to go, wait, which one is that again? It's NOT an easy book to get on board with, but if you're looking to see where the LSH goes in their 50th year, this is the place to be. There were a couple of issues with the art for me, as well, with Perez doing a stellar job on Superman and Mon-El's classic costumes, but having a bit more trouble with the Francis Manapul-des
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Holy. Crap. Kinda didn't see that one coming, I can tell you. This issue's art is handled by Fray's co-creator, Karl Moline, and he does pretty impressive work here, aside from having issues making Willow look like Alysyn Hannygyn (or however one spells it.) The action sequences really worked for me, and Dawn & Xander's facial expressions during the "You'll have to ride me" scene are hysterical. Buffy looks enough like Sarah Michelle that you can hear her speaking the dialogue, while Fray (who doesn't have an actress archetype, at least that I'm aware of) looks as much like a real woman as Buffy. Joss plays with the Buffy conventions here, having Ms. Summers flummoxed by FRay's language, which is essentially an extension of her own verbal fluidity, while noting that future Manhattan is more like Buffy's idea of it that the current edition. It's a very good issue, with a VERY surprising ending (though, I suppose I ain't the first to spoilers it online) and now I'm real
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This is avery intriguing first issue, with a nicely topical and not-at-all retro feel. I kind of expected Cary's writing to feel more like it did when I was a kid,but I suppose it did, in thatthe entire issuewas nicely done and exciting. The story surprised me a couple of times, something that a long-time comics reader like myself greatly appreciates, and the only thing even bordering on a negative is the blah factor of the character's battle names. The art is by comics legend Paul Gulacy, who has a flair for piercing facial expressions, interesting textures and very attractive women, and does not disappoint on anyfrontthroughout the issue. Gulacy's take on the Fantastic Four is the highlight of the issue (ranking slightly above Payback in the bikini... I'm sorry, but this is really good-looking art, ladles and jellyspoons) and makes the first family of the Marvel Universe look like real people while maintaining their iconic status. This is a pretty damned impre
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For the first issue of a new team, it follows pretty seamlessly from what has gone before, without any real missteps save a couple of moments of dialogue that ring funny. The moments between Luke and Danny and especially the interaction with Misty and Danny feel as genuine as before, and the visuals (by Travel Foreman in the present, and the legendary Russ Heath telling the 'Times Past' tale) are still excellent, without much in the way of jarring changes from the previous art team. Of course, Heath has been handling the flashbacks for several issues now, so that helped. Travel's work here reminds me of Leinil Yu, with a strong grasp of anatomy and greater depth of field. The issue is a pretty gripping one, taking us through Danny Rand's breakneck day at high speed until the payoff at the end puts the exclamation point on it. If anything, the implication that there's a person who kills IF's might be considered somewhat out of left field, but then, the introduction of Orson Ra
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As crossovers go, it's quite decent.
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I'm disappointed in this book, which had recently been sooo much better.
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Juan Jose Ryp's art is, as always, inhumanly detailed, but Warren Ellis' script lets it down.
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This issue has a lot of potential, evenfalling a bit short of it's goal.
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Daniel Acuna's art is gorgeous, but once again the script doesn't do it justice, as the Knauf brothers have put together a mishmash of things that I'm not quite sure about.
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It's a puzzling issue in a series therof, with nice art by Freddie Williams II, and a script from Peyer that seems very.
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I like the book, but this issue isn't really anything special.
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The art is pleasant enough, but I don't know what in holy hell any of it was about.
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issues in recent memory.
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1 star, mitigated somewhat by the hopes that some of these characters come back someday, in a form that lives up to their potential.
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Good stuff, well-written, well-drawn, and clever.
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We end with Amazo ready to kill Vix, and the whole issue goes by so fast, I'm not sureI have an opinion, other than:Something new, please?Ed Benes does his usual scratchy artwith pretty girls, and McDuffie at least nails the dialogue.
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WTF? Either way, this is a solid issue, answering some questions, and raising more, and it's very pretty to look at as well.
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Either way, I'm stuck at 2.
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I have to say, this issue is extremely well crafted in terms of the plot, getting us from point A (a town without defenses) to point B (the all-new all-different Dynamo 5) efficiently and with a natural through-line. The side trip with Gage and Hector is compelling, and raises questions similar to what Stephen, Rodrigo and I discussed about mind-control powers in a recent podcast... Bringing in characters that writer Jay Faerber has (mostly) used before in his other works is nicely done as well, showing that we are in an extended universe that reminds me of the 70's Marvel comics, before this kind of crossover became passe. In a really interesting meaningless sidebar, Scrap spends the whole issue with her long mane of black hair tied up, giving the illusion that she's too busy to worry about it with all the fighting she's been mired in. It's asubtle artistic touch, but a nice one. Mahmud Asrar's pencils are, as usual, nicely done, bridging the gap between avisually simp
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Overall, this is a well-done issue, with Terry Moore's script conveying just the right edge of teen angst without making me want to strangle Miss Watson with a Hot Topic t-shirt, or something else topical that you kids like. Maybe something to do with those MTV video games you love so much. Craig Rousseau's art is very nicely done, though his Spidey is a bit more cartoony than I'd like, I think I can forgive it in a title aimed at (what I presume to be) tween readers. It's not Watchmen, but judged on it's own merits, I enjoyed this issue a lot, though the Moore cover art makes Mary Jane much cuter than the interiors. Of course, since she's all of sixteen here, and I'm old enough to be the creepy stalker who lives down on the corner, I s'pose we should cut that line of thinking short. Bottom line? Spider-Man Loves Mary Jane Season Two #1 rates a strong 3 out of 5 stars, giving us the kind of comic we could safely recommend to a theoretical niece or nephew who enjoyed the Spi
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This issue was a non-stop series of comic book in-jokes, slowed only by commentary on the current DC Universe, served with a side of snark. If that's your bag, as it is mine, you should enjoy this series. Writer Giffen is joined by Robert Loren Fleming for the first time in over a decade, and the proud parents bring back the Bug in style. There's more narrative than the last couple of times we've seen Ambush Bug (though his cameo in 52 was pretty awesome) and I suspect that the series may have a narrative through-line, even if I (and Ambush Bug) miss the thought balloons. I suspect it's not an easy series to jump on to, as Giffen's art is more normal than his esoteric Trencher days, or the original A.B. series where he was aping Jose Munoz, but it's still not your average comic pictures. I'll tell you this: I loved it, and I think with an open mind (and Wikipedia) you can love it, too. Ambush Bug: Year None #1 earns an impressive 4 out of 5 stars, and I hope that I've bee
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And we're done. Seriously. Some of you reading may be thinking "Was that all?" Don't feel bad, I read the issue, and felt the same way. Much like the issue of Mighty A's a week or so ago (I reviewed it on the podcasta while back) this information, while interesting, is inessential. Back in the day, Stan and Jack would have done this ENTIRE ISSUE as a three-panel flashback at the beginning of an issue, then made whatever happens next the meat of the story. It's interesting, in a way, to see such versimilitude and depth being given to the alien aggressors, but the underlying point of this story seems to be that the evil Skrulls must be stopped. Much as "The Killing Joke" unnerved me by making me almost sympathize with the mass-murdering #&@$head known as the Joker, this issue (and the Elektra issue as well) are trying to make me feel empathy for the shape-shifting invaders. Fine enough, and a very post-modern viewpoint, but I don't WANT to sympathize with these shmu
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Let me start with the obvious admonition: This book ain't for everybody. It combines a very unique point-of-view with a narrative steeped in (what *I* believe to be) sarcastic but good-intentioned commentary and a healthy chunk of some rather esoteric comics history. It's a very personal work,feeling very much like Dave sat down at his drawing board and said "What do I feel like talking about today?" The art is beautiful, breathtakingly so, and I like glamourpuss as a character, if you can call her that... The ruminations on glamour mags, on commercials, even on gender relationships are enlightening, even if they are as subjective in their own way as the things that they're lampooning. Rumor has it that Dave Sim will not respond to requests for interviews unless the interviewer signs a statement indicating that they do not believe him to be a misogynist. I don't know if I would be willing to sign such a statement (though I don't really know what the heck that really *mean
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This issue is a pleasant return to form in the art department, as Steve Epting returns to picturating, and really makes the battle between the Cap-personators looks nice. His Sharon Carter is the picture of determination, even if I am upset at how quickly Der Schadel Kinder took her down in combat. The story has slowed a bit, with mostly emotional resonances, even in the dual fight scenes, and the ongoing implications that the allicance between Fat, Headless, and Arrogant may not be as seamless as one might have thought. All in all, Brubaker still delivers the goods, even if it's not my favorite chapter of the serial so far... With the rather upsetting impalement at the end implying the probable death of Steve and Sharon's baby, I'm left with a slight bad taste in my mouth which mitigates the star rating a bit. Still, Captain America #40 is a strong issue, earning an above average 3 out of 5 stars and bringing us that much closer to the Skull's ultimate goal... whatever it ma
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Fade to black... This is the issue we've been building up to for months, the big reveal, the capper of the "Deena gone rogue" storyline, and while I like how it went, I'm troubled. The reveal that Calista was just messing with her "kidnappers" was wonderful, and I enjoyed the interplay between Christian and Pilgrim (ooh, never noticed that parallel before) but I'm afraid that Deena's redemption will immediately lead to her returning to the force. Yes, I know that has nothing to do with this issue, but this issue doesn't really have much to complain about. Michael Avon Oeming (how the hell do you pronounce that, anyway?) does his regular sizzling job on art, and Bendis nails both plot and dialogue spot-on, with nice moments for everybody, and a big "F You" to the I.A. jerk who has been a minor villain in the book for months. This is the climax of a loooong chunk of story, dating back to before series II started at Icon, I think, and as such, it's very satisfying. Powers #29
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For those of you keeping track at home, that actually means this issue ends BEFORE it began, moments before the Slayers fight off the building. I like that. Karl Moline rocks the art this issue, with a Buffy that looks more like Sarah Michelle Gellar than even Georges Jeanty, while Joss Whedon returns to the story with a vengeance, even though the interim arcs didn't suffer for clever dialogue and tight plotting. This issue sets up a "Who'd Win?" that BtVS fans have been quietly wondering about for a while, though, as the experienced comic veteran, I'll wager they have a short fight due to misunderstanding before combining forces to take out the real threat. Either way, I am really looking forward to things to come, and I think that Kennedy's return to the main storyline is a welcome addition. Even when it disappoints, this book doesn't hit many false notes, and this particular issue does the equivalent of nailing the solo from "Knights of Cydonia" on Hard... BuffyThe Vam
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To be continued... Garth Ennis has gone on the record as saying that this is the series that will "out-Preacher Preacher," the book that went far beyond the boundaries of good taste in the name of an over-arching story, and this issue is really the first one where that feels like a real statement. I'm leery of how the 9/11 plot is going to play out (as well as a reference to V-A picking Vic for their moron because the youngest Bush sibling wasn't available.) This whole issue is really the first glimpse into the inner-workings of what must become the center of the story, and it doesn't disappoint, but it does shock. From the Stan Lee stylings of the Legend, to Starlight's fellatio introduction, to the Lamplighter's cries of "Ware mah paaahr" (sounds a bit like "beware my power", doesn't it?) this issue is designed to find hot buttons, to shock. But the story, and the characterizations are still as brilliant (if unsubtle) as they have been, and the history lesson is fascinating
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This issue builds the tension nicely, with Gog's repeated acts of healing making it harder and harder to think that something bad is going to happen, even though we KNOW that it will. The team is starting to take sides, as well, with JSAers on both sides of the "Is he is, or is he ain't the devil?" conundrum. The art is very good as well, with Fernando Pasarin giving us well-defined characters with real emotions, and even imbuing the stone-faced Gog with real personality. Geoff Johns really nails his story points here, as we finally really get rolling into the meat of this story, and making Superman-KC feel relevant as more than just a "ZOMG!", something I've been whining for since roughly March... The pacing works for me, and the ominous tone of it all clicks as well. Justice Society of America #17 is a well-crafted issue,easily earning an impressive3.5 out of 5 stars...
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I want to know where this Platinum Flats business is leading.
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Still,Mahmud Asrar delivers thegoods on pictures, and Jay Faerber again hits all the right notes, leaving me looking forward to the next issue.
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Maybe the projected third part of the story will reawaken my interests, but this issue only ranks 2 out of 5 stars.
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The Magus, anyone? Either way, it's nicely done, if not that revolutionary, and progresses the story well.
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Here's hoping for a ballyhoo ending.
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With L3W in the wings, this all feels like an excercise in futility.
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Michael Gaydos does an excellent job on the art, and Andreyko provides the usual brilliance.
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I wish there were more books that were this enjoyable to read.
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This book really has yet to recover from One Year Later, in my opinion, no matter how many revamps or lineup changes DC has tried.
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This issue is moving, its beautifully drawn, and its exactly what I love about J. Michael Straczynskis writing.
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Stephen gave this book a low grade due to what he saw as schmaltz, but I have to say, I was very much moved by this one. J'onn's various histories are resolved into one, with nice touches referencing the Ostrander series, events throughout the DCU, even giving us a nice nod to the "Bwah ha haaa" era of the Justice League. There's sentiment to be found here, yes, but as a Manhunter fan, it worked for me. The main problems that I had with the issue were the point-blank depiction of homicide, and the fact that the J'onn seen on the cover and in the coffin aren't the character as he is usually depicted. Honestly, is the character's funeral the best place to do a graphic overhaul? But, all in all, this issue worked for me, both as an epitaph, and as a story, and I'm glad to see that the most powerful being in the DCU went out on his feet, fighting every step of the way. These kind of issues are always tough, though. As Barry Allen proved a couple decades ago, having a charac
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Or - "Swan Song, Anyone?"So. I'm back. Those of you who listen to the podcast may have heard my oblique references to having a swollen arm and generally whining about something or other. The clinical diagnosis is "tendonitis," which means that my left arm swells, and throbs, and basically makes life miserable, and fine motor work (like, say, typing?) has a tendency to cause agony. I'm mostly over this bout, thanks for asking, just in time to go on a bravado run of reviewing unmatched by any man, woman, or energy being in a tiny scale model spaceship in recent memory. Provided, of course, that I manage my pain. In any case, my return to active duty coincides (in a general sense) with the end of Brubaker, Fraction and Aja's run on Immortal Iron Fist. Danny Rand has been through the fire over the last year and a half, and now he's ready to change his lifefor the better. The problem is fate, as always,has a surprise or two up her sleeve for our Daniel Rand-Kai...Previ
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The tension in this issue was palpable, with the plotting and dialogue really giving us the full Monty for suspense, delivering a taut little tale that I greatly enjoyed. Unfortunately, Brubaker's script was let down (just a little bit, mind you) by some overly muddy art by De La Torre. The promised battle between Caps has me looking forward to next issue, and hoping that, by some miracle, Jack Monroe might return from his seeming death to confront HIS ex-partner. Not gonna happen, I know, but a man can dream. Even with the letdown on the art side, Captain America #39 is a solid issue, earning a very respectable 3 out of 5 stars. In either case, the pacing on this tale has been excellent, and next issue promises to give us resolution to at least some of the threads brought up in the death issue, seemingly a million years ago.
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The return of Dwayne McDuffie to the main storyline is noticable, and admirable, even though we're still cleaning up the previous writer's plot threads here and there. With the ongoing drama of Red Tornado's life, as well as the Amazo interference, bits of the plot seem very familiar, but it's nicely handled with some lovely story elements all around. Ed Benes does what Ed Benes does, with some of his art feeling oddly unfinished and scratchy, but the second half of the issue (especially the interaction between Black Canary and Vixen) exceeding my expectations of Ed Benes drawings. It'sa strong outing for JLA, and a welcome return to quality after several issues of "WTF," earning a nicely done 3 stars. Had there been a bit more bite to the character interactions, or if the Amazo twist wasn't somewhat telegraphed, it could have easily nailed 4 stars.
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*Takes a breath...* Man, that was some breakneck pacing... This whole issue is like a shotgun blast of superheroes straight to the sternum, like mainlining comics history straight out of a rusty needle. I'll say it right now: I know who many of these characters used to be, and I have no idea what's going on in this issue. There's myriad references to stories untold (many of which have NEVER BEEN told) and even if you know the characters, there's just too much going on for the book to be cohesive. Carlos Paul does an okay job on the interior art, if you don't mind some indistinctness in facial features, and a general kind of sketchiness that seems like an odd choice for a book fronted by the crystal-clear imagery of Alex's covers. The character who is ostensibly our "viewpoint" guy, Fighting Yank, spends most of this issue dead, and even though I just read issue #3, I'm puzzled as to how any of this pieces together with previous issues. It's a deadly mess, honestly, hardly
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This issue really does what it promises, shaking up the status quo in a pretty huge way, leaving sweeping changes across the Kirkman image titles, and making me wonder what Mark Grayson is going to do now. The Guardians of the Globe have changed, with most of the members quitting, and Cecil has been set up to be the greatest villain Image has ever seen, not to mention finally getting Mark & Eve together. This issue was quite awesome, with Ryan Ottley and Cory Walker knocking the art out of the park, delivering action and buckets of blood, with Kirman's writing living up the Invincible's title of "Probably The Greatest Superhero Comic Book In The Universe." It's a 4 out of 5 star book, easily the most anticipated buy in this week's sack of comics. I suspect that next issue would bea good point to start jumping onboard, if you're interested, and I highly recommend you do.
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I have to say, this book has been a favorite, and Mark Andreyko is on his form, delivering action, drama, a compelling hero (I've decided that I'm not thrilled with the term heroine) and a mystery. He once again reminds me what I loved about this book (the interplay with Obsidian, Kate's resourcefulness, the awkward moments with grandpa) and the art, by Michael Gaydos is really appropriate for the title. Kate Spencer is fascinating, Manhunter is interesting, and you really should be reading this title. The return issue is a solid 4 out of 5 star affair, and I highly recommend this book. There aren't a lot of title out there with a strong female protagonist, so it's a rare treat to see one done this well...
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This issue is the one I have been waiting for. The issue where the "ZOMG! FORESHADOWING IS AN IMPORTANT LITERARY TECHNIQUE!!!!!" finally actually GOES somewhere. Gog's backstory (drawn for two pages by Alexander himself) is interesting, although calling it the Third World bugs me, since the Congo is also referred to as part of the Third World. Dale Eaglesham really knocks it out of the park on the Gogster, giving us an otherworldly presence with a wonderfully joyous smile, and really creeping the #&@$ out of me. The only downside of the issue is the fact that our titular heroes did little more than point up into the sky like extras in a Godzilla movie. But even that isn't enough to ruin my buzz, because JSA is actually a fun read this month, unlike the Kingdom Come-shots we've been slogging through for so long. This issue is intriguing, well written and well drawn, earning a returning-to-form 4 out of 5 stars. But, dammit, Al Pratt did NOT have explosive powers...
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This issue is well drawn by Pat Oliffe, and Rick Remender's story is good, but it's another lame duck incarnation, andyou can feel it in the story.
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I'm not as worried about what will happen without Brubaker and Fraction on this title.
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This issue is the best of the lot, introducing the first of "The Others" referenced in the first issue, and giving us some stunningly rendered murders.
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It's good, but mystifying.
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It's $*!#ing good.
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Not much happens here, but it's a vaguely compelling nothing, with art that reminds me of Butch Guice, but doesn't quite hit the mark.
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This issue moves from the first second, but unlike many last chapters, it manages to satisfy during it's non-stop action. The murder of Renee is a huge shock, but not nearly as much as Dracula's Bad Motha #*$@er moment later in the issue. Willow and Buffy's conversation about "experimenting" is beautiful and funny, and even Xander gets a tough-guy moment within. George Jeanty once again rocks the art, giving us some way cool battle sequences and a mecha-Dawn who looks hysterically like Michelle Trachtenberg. Drew Goddard nails the Buffy-isms, gives Xander steel without negating his humor, and ends the Buffy/Satsu love affair with style and evena bit of dignity. The best part of this issue is the feeling that it's both a pretty damn great comic and a well-done episode of Buffy at the same time. I give it 4.5 out of 5 stars, with the only disappointment coming in the fact that the promising Renee/Xander relationship died when she did... Still, and all, if that's my worst
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Needless to say, to be continued... This issue reveals some of the longest running secrets in the New Avengers title, namely what the hell happened in the first five issues. This is good, in a way, in that it's fascinating to see the story behind the story, but it's also indicative of what's wrong with Marvel right now: Bendis was allowed to drag this story out for over four years. After all that build-up, the payoff better be MASSIVE, and I'm not talking "Spider-Woman is the queen of the Skrulls" massive, I'm talking 'Galactus is marrying Aunt May' massive. Secret Invasion has a couple of things going for it, though, the primary being that it's not nearly as nauseatingly all-encompassing as Civil War, and the second being the interesting hook of the Skrulls being able to replace anyone. This issue flies by, with Billy Tan's art giving us an excellent old-school Spider-Man, a sexy Shanna, and some credible action sequences, but the breakneck pace works against the book as wel
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This issue worked for me as a middle chapter, sort of that point in the summer blockbuster where the special effects slow down for a few minutes and they throw in the obligatory love interest and/or guest appearance by Rob Schneider. It's that part of the story where your brain starts to look at the plot holes and think, "Waitaminnut!" but then Will Smith says something funky, or we get a nipple shot of a model/actress/future feature dancer at Scores. For what it is, it's interesting, but there's still too much bait and switch going on for my tastes. The art, by Leinil Yu, is at least more attractive than his work on New Avengers has been (something I attribute to inker Mark Morales) and I'm still irritated by the revelation that Spider-Woman, one of the best things Bendis ever inexplicably decided to revive, is a Skrull spy. It's interesting to finally see somebody catch Tony "I Have To Be The Marvel Universe Batman" Stark flat-footed, but the issue overall is a cotton candy,
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This issue was powerful, no doubt about it, and some of the things that happened were very interesting (I've been bitching about when Norman is going to put on the suit for literally months now) but it all pales in comparison to the wonder of Norman's ongoing monologue. Mike Deodato's art is powerful, and manages to convey brutality and insanity in equal amounts, and the story really cooks, with some powerful and frightening images along the way. In fact, those powerful moments are really the story's only downfall, with the "give 'em all cancer" and crucifixion moments feeling a bit too "Warren Ellis is being controversial" for my taste. Still, it fits into the overall picture quite nicely, and for the first time in some time, the story is up and running. There is still some issue with the clarity of location and backgrounds, but this book was a wonderful 4 out of 5 reading experience...
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I can't decide what I think about this book. The script, by the Shadowpact team of Bill Willingham and Matt Sturges, is well done, and avoids many of the pitfalls of "Vertigo-itis," but it does remind one of the Sandman quite strongly, especially the "World's End" storyline, where various characters interact in an inn and swap stories. Willingham's story of Sally's marriage is very compelling, more so than the framing device that is probably meant the be the focus of the piece, and the art is quite strong throughout. Luca Rossi does a very good job keeping his characters distinct and giving them their own identity and personality. It's a good issue, and there's elements of what might be awesome here (see Fables #1 if you're wondering what I mean) but right now, the jury is still out. It's disturbing in parts, touching in others, and we'll see exactly where it's going. Right now, I'm happily confused, and willing to give the benefit of most of the doubt, awarding House of My
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The issue stops there, and part of me wants to rage against decompressed storytelling again, but this issue works on it's own merits. The story of where Nick has been is gaining momentum, running concurrently with the events that he predicted, and this issue works, giving us tantalizing hints about new players in the Marvel U. Daisy Johnson has never worked for me before, but all of a sudden, as Nick's courier and majordomo, she has a unique and necessary place in the world, and the cast of characters interests me, especially with the offspring of Doctor Druid and Phantom Rider in play. Still, I could have done without the grandson of the ORIGINAL Ghost Rider having powers evocative of the completely unrelated DANNY KETCH version of Ghost Rider, but that train has sailed. Overall, it's a good issue, not too cramped, not too leisurely, and Bendis' dialogue really serves the characters well, as the talky-talky might have been annoying in lesser hands. The art, by Alex Maleev is
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Still, it's a pretty good issue, overall, tying up old threads while giving us the beginnings of the new storyline and some new mysteries to focus upon (although the question of who Mutant Zero is, as well as what happened to War Machine, and others have yet to be answered.) The art by Steve Uy is good, but is ill-served by some rather agressive pastel computer coloring, especially in the Cloud 9 and 3-D Man's horribly gauche new uniforms. Chris Gage and Dan Slott bring the funny and the touching in equal amounts, and manage to wrap up the first arc of the Inititive with style, in a 3.5 out of 5 star outing that makes me like Iron Man for a while, makes me dislike Ms. Marvel as usual (dressing up a teenage girl in your old uniform? Mid-life crisis much, Colonel Danvers?) and makes me wonder what the next batch of recruits will bring...
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This issue is interesting, but passes by quickly, and the events, while noteworthy, don't really give the impression of a full chapter, instead seeming more like a few pages in a larger continuing story. It's not a satisfying chunk of action, even with the nice character developments for Saturn Girl, Ultra Boy, Timber Wolf and Princess Projectra. Shooter's story is nicely plotted, but I'm not feeling the urgency of "What will happen next?" The art, by Aaron Lopresti, is more reminiscent of Barry Kitson's work than Francis Manapul's reworking of the teamfrom recent issues, but it's solid nonetheless. Overall, this issue, while good, doesn't quite get past the 2.5 out of 5 star mark, well-crafted but not overwhelming, and while I am interested in where the story is going, I'm just not getting the world-shattering changes that DC's hype seemed to be promising for the LSH. Still, at least we don't have women with breasts twice the size of their head screaming "I'm dripping with
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I'm not sure, but I think this may be Ed Brubaker and Matt Fraction's swan song on this book, but even if it isn't, it's a good way to end the sprawling saga of the Seven Cities. Plus, Fat Cobra on Earth equals comedy gold. Regular artist David Aja is MIA this time around, but the chores are ably picked up Tonci Zonjuic, Stefano Gaudiano, (who I think is the regular inker) Kano, (appropriate given the Mortal Kombat overtones of this storyline) and former Heroes for Hire penciller Clay Mann, who has the kind of cool name that only pro wrestlers and cartoon characters have. I honestly didn't realize that we weren't looking at the regular artist at first, which is impressive in itself. This is one of those rare books that balances character, continuity, action, emotion, and suspense, and really outdoes itself, becoming more than the sum of it's parts. Immortal Iron Fist #14 is that rarest of beasts, a 5 out of 5 star book, and maintains Danny Rand's run as Marvel'smost quality
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That last panel is really horrifying, with K.D. bleeding and wounded, obviously having been tortured within an inch of his life. This is a good issue, coming back up to speed after a run of not-so-great issues. The Teen Titans is one of the books most hurt by the One Year Later gap, but Sean McKeever seems to be returning the book to it's roots: a story about a group of kids who just happen to be super-powered. The art this issue is quite good, with Carlos Rodriguez capturing both the sweet and evil sides of Miss Martian with equal aplomb. It's not a perfect book, but it's still a good 'un, ranking an impressive 3 out of 5 stars. I'm glad to see Titans turning around, and I hope that Final Crisis doesn't chuck another wrench in the works that will take another year to resolve.
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Much like the Grant Morrison run on 'X-Men,' this was an honest attempt by Marvel to give us something DIFFERENT, something unique, rather than just writing a love letter to an older version of the team. Some of it worked, some of it didn't, even for me, but when Jack Kirby erased Reed's scar and gave them a happy ending, I loved it... Comics don't always have to be sturm und drang, death and destruction, blah blah blah Civil War, "Peter Parker's life will never be the same again." Sometimes, we just want a good adventure story, and every once in a while, we just want to go walk out with a big, goofy smile on our face. It saddens me that Mike is gone now, but at least his body of work is still out there, in back issue bins and thrift shops across the globe, just waiting for us to come across 'em. Fantastic Four #511 earns a poetic 4 out of 5 Things, and an honest wish that the run had gone on a little longer...
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I imagine the editorial conference when like this: "Hey, why do we need another dark and gritty fighter with a healing factor and weapons in the back of his hands?" "Well, this one's Russian!" "Oh, well, carry on, then!" All in all, even though the first story is better than I expected, it's not enough to carry the $4.99 pricetag alone, knocking off half a star and giving GSW #1 a scaaary but respectable 2.5 stellar masses.
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Some sweet, some bitter, some all-out action and a surprising ending make for a full comic-reading experience.
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Star-Lord's whereabouts have been revealed, and his return to the Guardians promises more complications. Add in a really good art job and it's an interesting issue, even if it is a bit of a head-scratcher in places.
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It's a new take on Hulk Vs. Thing, and Ewing's script combines with Bennett and company's art to give us the beginnings of a beautiful frIendship.
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Great art, some really well-done dialogue and the reveal of Korvac's plan make for a strong issue.
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I really enjoyed this issue's character work, especially the Bulk/Skull interaction, but Lord Zedd and his crew are also entertaining, while the question of who's under the Green Helmet continues. Fine comics all around.
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Peyer delivers an entertaining story (as do the writers of the back-up text stories) and the art is a perfect balance of traditional superhero art and slightly wacky comedic funnybooks. Nicely done.
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It's not for the squeamish, the timid or those with weak stomachs, but there are some impressive moments in these pages. Even with my concerns, it's a strong issue that sets up for what's coming.
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Well-conceived and well-drawn, with some smart use of D&D "shorthand" while maintaining roots in reality. I have missed this book.
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This one is even more mean-spirited than the ones that came before it and. I'll be honest, it's kind of off-putting.
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A really engaging story, beautiful art and subtle storytelling work. I sort of love this book.
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