Great character and I’m happy to have the original Betsy back in a comic but if I wanted to rehashed continuity blast I’ll do it the right way and read classic X-men. At least then I got Art Adam’s covers. Book is so wordy and just who asked for this story ? When X-men are the worst they have ever been … you put this out ? Try again.

There's no doubt that Kirkman, Finch and Leoni are all excelling in their craft. However, every issue of Skinbreaker looks the same. Same faces, same setting, same monster, same colours. I'm sorry to say, I'm losing my interest in the title.

I was glad to hear they put the real Psylocke, Betsy Braddock, back in the spotlight, but unfortunately this is a poor retelling/continuation of a classic X-Men story, masterfully told by Chris Claremont, Marc Silvestri and Jim Lee back in the late 80s, that nobody needed. Maybe Marvel should focus more on making the present day X-Men cool again, instead of trying to rehash the glory of days gone by. more

I like the writer. I like the character. What happened ?? How was this book such a bore ? Man what a bummer. Tony doesn’t even appear till 10 pages in and he’s highly unlikable. What a missed opportunity here from a writer who is talented enough to do way better. The art is very mid as well.

Let's be honest, Joshua Williamson is probably on board because he is paid relatively well for his name, which is hot right now. His script for this issue, however, isn't on the same level of quality as his G.I. Joe work.
The artist, Carmen Carnero is doing solid work, but her stuff on Exceptional X-Men, as bad as that book was, looked better.

All in all, Iron Man #1 is a mildly entertaining middle-of-the-road superhero comic, but it's neither revolutionary nor good enough to make me interested in #2. more

For some reason Mikel Janin’s art isn’t as great as usual this month - might be the inker’s fault - and the story continues to be okay, but not very exciting - which, of course, is absolutely subjective.

Good issue, but Adriano Lucas's colours looked a little underwhelming this time - so much so, that I first thought they were done by somebody else.

I hate to say this, but X-Men of Apocalypse is the best X-book right now. The story is a variation of what we’ve seen a hundred times, but Simone Di Meo‘s excellent art makes it feel fresh, exciting and fun - the three characteristics all the other x-titles are missing.

JRJR may be a reliable artist for Marvel, but deadlines aren’t everything. Looking at these pages is just so incredibly painful. Even the colorist can’t save them.

I almost liked this issue, but despite a few nice moments in the first half that felt like I’m actually reading the Fantastic Four, the train of writing derails completely towards the end of the issue. And then it just ends… somewhere.
Of course, I also have to translate every panel into art that’s actually good in my mind to make this even work, since it’s Humberto Ramos and his fricking Picasso faces. more

Valerio Schiti was good in the first arc, but Delio Diaz and Frank Alpizar are even better if you ask me. This is fantastic art and the writing is great as well, if you can get into all the political intrigue and a Cap that is just as conflicted and downtrodden as idealism in the US seems to be these days. Personally, I miss the carefree days of Cap just hitting some bad guys without a myriad of political implications and repercussions, but that's probably too much to ask in times like these. more

The art looks surprisingly solid. Not great, but solid, which is something I can't say about many Marvel books these days. However... Hellverine!?! Seriously? Even the name is cringe.
The whole team roster looks odd, with just two other male characters besides Cable and Boom Boom as a token woman. WTF.

Anyway, I was willing to give X-Force a chance and… I didn’t expect it to be that badly written. For half the book, the reader doesn’t actually know what Cable’s plan is, and then it turns out to be protecting Kamala Khan of all people? There are some nostalgic references to the classic X-Force, but ultimately, this book is just a shadow of all its former incarnations and just another opportunity for Marvel to push the impeccable Kamala Khan. more

The writing is better than last issue, but Tony Daniel's mediocre art is still unrecognizable. When it comes to the story, I can't shake the feeling that we've been here many times before (a mutant virus, Dark Beast, Cassandra Nova scheming, Joseph being manipulated... yawn.)

I love this series so far. The action is cinematic, the violence is visceral and Julius Ohta's hairy bull version of Frank Castle is kinda hot.

After my initial excitement for Skinbreaker, I am quite disappointed at this point. The art, as perfect as it is, is always the same, and so is the story. Although the four issues span years, all we get is the same story (with small variations) over and over again - duel after duel, without ever focusing on anything other than the quick succession of chiefs. We could have had the beginning of a quest by now - different landscapes, some real progression, not for the tribe, but for the reader. I have no idea where this is going, but I’m starting to lose my interest. more

Gail Simone‘s writing is hit or miss. This issue was surprisingly good. The only thing missing was a satisfying resolution at the end. Maybe that’s on purpose, but it felt inappropriate to just let Mutina go, considering that it was addressed several times how much of a danger she is to everyone.

David Marquez‘s art is hit or miss as well. Generally, he’s an exceptionally good artist, but I notice that his work is becoming a bit shoddy lately. There are not many backgrounds, the linework is sketchy, smaller figures don’t have faces anymore. And it seems he’s becoming more and more influenced by Manga, which is not a good thing when your overall style is more realistic. His artwork still shines when he’s drawing the male characters, especially Wolverine. He also nails the action and dark atmosphere.

All in all, this issue wasn’t perfect, but I enjoyed it. more

This is not good.
Very little story in this issue.
Artist is not at his best.
Characters are acting out of character.
Some of Scott’s dialogue is extremely out of character. Even for a Scott that is from ten years in the future.

There’s nothing wrong with this second installment of Planet She-Hulk. Then again, it’s also not exactly essential reading. I like that Jen’s lawyer side shines through, but I also strongly dislike that she destroys a magnificent tree just because she’s angry. Treating plants as if they were inanimate objects in comics is really a pet peeve of mine.

This isn’t a terrible issue but it has the new author creates the bestest love interest ever that will last for eternity (see Carlie Cooper in Spider-man). It never sticks. Bruce takes Doc out on a date not a date to talk instead of just talking at the office which would be simple and logical.

Doc is dressed in a tight skirt and f#ck me pumps, while driving a John Wick movie breaks out. Bruce saves the day and meets a manga character that turns into birds. While climbing a ladder to get away, the premise is laid out - changing identity tech is scary to villains. Robin shows up and calls Bruce father because he doesn’t see Doc around the corner. Secret exposed.

Like I said, this isn’t a terrible issue, but it has things I don’t like. Author pet introduction. Also character spills the beans in a foolish way that depends on unbelievable coincidence. I mean Robin knows enough to track Bruce down and know who birdgirl is, but doesn’t see the civilian Bruce is dragging around? That is some silver age Denny O’Neil things happen because plot requires it to happen stuff.

The art was nice, but this issue has some of my pet peeves, so ultimately not a fan.

Or I could be wrong. more

Either I just had a stroke or nothing in this book makes any sense. Cyclops shouldn’t even be capable of wielding Magik’s sword, and this is just the most obvious oversight when it comes to X-Men history and consistent characterization. I won’t even mention the bad storytelling decisions and anticlimactic scene transitions, since those are just the bare minimum of bullshit I have come to expect from a Jed McKay book. To make things worse, Tony Daniel used to be good, but his style is almost unrecognizable here. It's obvious Marvel wanted a big name artist to save the line, but it looks like Daniel only put in the minimum effort.

I have already dropped all X-books from my pull list, but I wanted to see where this story goes (apparently Marvel can’t finish stories at the end of a crossover or event anymore). After reading this issue, I’m convinced it’s going nowhere. more

Of all of Marvel's artist clones, Lorenzo Tammetta at least makes that particular style look good. However, he only drew half of the book, since artists can't be bothered to stay on the same book for longer that two issues these days. The other half is drawn by Edoardo Audino and doesn't even come close to the quality of Tammetta's work. As a matter of fact, it looks pretty crappy.
I've talked about Justina Ireland's mediocre story and incapability of writing compelling dialogue in my reviews of issues 1 and 2. The worst part however, is that it doesn't really feel like a Cloak & Dagger story. Plus, what was the point of this mini series as a part of the Age of Revelation event?

Writing: 5
Art: 7/1 more

The dialogue between Bruce and Annika Zeller has some chemistry, but I don't like her portrayal as a stupid bimbo. She's a doctor FFS. Also, the villain in this issue is some manga character that looks about as stupid as the X-Men's Mutina. If I wanted to read a manga, I'd read a manga.

On the good side, Jorge Jimenez draws great action scenes, the colouring is amazing and the issue has a nice flow. more

I'm not excited about this story, but the art is simply amazing.

Art: 12 of 10
Writing: 6 of 10