Oscar does a great job portraying a deathly serious Miles through his mannerisms, which accompany Bendis' undefeated talent for dialogue to push character development. Read Full Review

Aside from the hideous cover (Howard Porter has got to go, sorry--his covers are terrible), this is a good issue. Miles is all dark, but this issue does a nice job with his supporting cast, trying to help him find perspective. The opening scene with Bombshell is well done, and Bendis actually has us consider the plight of the bad guy. Good fight action with Hammerhead here, as Oscar Bazalua does a fine job on pencils.

Hammerhead beating hard on Bombshell doesn't do anything to help Miles's embattled state of mind. It's a pleasure to watch this title swing into high gear after ages of drifting. This issue is speedy and eventful, and the plot is building to something epic in future issues. Oscar Bazaldua's art continues to impress and Brian Michael Bendis tucks more than a little humor into an otherwise-grim storyline. The decision to close the issue with Miles's mom doing not much - while our protagonist is in mortal peril - feels like a huge mistake, though.

There is something interesting in the fact that Miles is slipping further into emotions. This is especially true if you remember the vision of Miles killing Steve on the steps of the Capitol building. There is a good amount of action in the issue. What bothered me is it seemed to mirror the issues that come up in the last issue. I think seeing where this leads may put this chapter of the story in a different light, but until then it was just another case of Miles being taken over by his emotion. The art is of course still strong. It does a good job of representing the action as well as the slow moments. Still a consistent title.