This is my favorite issue of Hyde Street so far. While the protagonists in previous issues were pretty much horrible human beings before meeting their fate on Hyde Street, Oscar Oddman, the Matinee Monster, is relatable from the start, which makes his inevitable demise even more tragic.

The only reason to pick up this book is for the art. I think the artist does a good job considering he's drawing nothing but people talking.

This is a loose tie-in to One World Under Door where Doom has taken over the world. Everyone seems pretty fine with it, however. Even the Fantastic Four seem not too worried about the situation. Sue and Ben send their kids off to school and then go out to lunch with Jen. No biggie. It's all good. You would figure that Reed, of all people, would be tinkering in his lab to figure out a way to defeat Doom. Nope. He has plenty of time to make energy bars for blood-sucking vampire children who are busy playing, moments after their parents are killed. The parallels to real-world politics are a smack in the forehead and this book is a complete waste of time. I only picked it up because She-Hulk was in it and I'm currently re-reading the Byrne run. What a drastic difference.

My Comic Review Channel - https://youtu.be/k22dGD-gPI0 more

You've gotta be kidding me. This is how the FF deal with Doom taking over the world? By exchanging niceties with She-Hulk and fighting bigotry against vampires - who, by the way, should be their enemies?

FF #29 is not only a clumsily written superhero comic with almost no superheroing happening, it's also a misguided and inappropriate allegory that North uses to force-feed the reader his political propaganda. The funny thing is, he is actually doing the minority groups he wants us to root for a disservice by comparing them to undead bloodsucking killers. WTF. more

I found this issue to be a frustrating read. Firstly, it suffers from the same decompressed storytelling as all the other issues before. Secondly, so much in the story doesn't make sense. Why does Storm explain to Xavier that she has to play by the book now, but then decides to fight her former teammates for him, who basically want the same thing?
Then there's the uncalled-for mutilation of Maggott - completely inappropriate, considering that Cyclops wasn't even as seriously hurt as it first seemed the case. Murdering and mutilating seems en vogue in the mutant titles in recent years, and I really hate it.

On the positive side, this is the first time I have seen Cyclops's team well drawn and not looking like cartoon characters. I still don't like most of them, but at least they look good here.

Vecchio's artwort has its moments, but it doesn't save this mess of a story. more

The setup of this issue is puzzling, to say the least. When we last saw Prof. X, all he wanted to do was help his daughter. Now suddenly he is after the last Krakoan seed, which makes the inclusion of NYX in this crossover feel forced and unnatural. I also wondered if I had missed an issue of X-Manhunt.

Of course Kelly and Lanzing need to insert their usual moral lecturing into the plot. There's no question that Xavier is the most despicable mutant alive, and they tell you so in each and every scene. Unfortunately the art is quite good, so I can't give this issue the rating the story deserves.

Writing: 2
Art: 8 more

There is a lot to like about this issue. While I found many issues in this run boring, this one grabbed my attention immediately and managed to hold it until the end.
There are a few confusing scene transitions, but overall it felt like the good old days of the 80s and 90s X-Men. The art by Javier Garron is different, but gets the job done.

Why am I only discovering this series now? This was an excellent read.

Although the concept of giant dead bodies floating in space and being dissected by spaceships is a bit ridiculous even for comics, it serves as an interesting catalyst for what's to come. The world building certainly feels bold and intriguing.

The art is excellent for a sci fi book, but the blur and flare effects and extreme perspectives made it hard to understand what was going on at times. With clearer storytelling, this would be a 10 from me. more

A fast-paced stand-alone issue with a predictable twist. The guest art by Andrew Krahnke reminds me of both Carmine Infantino and Jim Cheung, but doesn't reach those artists' quality. Definitely one of the better filler issues I read in the last months.

This was probably my favorite chapter in the story so far. The writing is spot-on and the art is just perfect.

Someone wrote in their review that the story is too political for their taste, because it supposedly criticizes juvenile prisons. Well... maybe it's just a story.
When did we start interpreting any individual situation, person or institution in a story to be an allegory for a whole demographic, system or political situation? Maybe Gotham just has a really bad juvenile prison. We wouldn't have superheroes if we didn't have corruption and evil in their worlds. more

I never thought this series could get even worse, but apparently it could. From the story, to the dialogue, to the art, this was abysmal.

With some great, believable dialogue and strong characterization, especially for Firestar and Blue Bolt, plus a relatively well-drawn action scene, this issue fares a bit better than the last one. However, if the quality of the art doesn't improve soon, I don't think this will be a very long run.

Decent book, but not very accessible to readers like me who haven’t followed Laura Kinney and Hellion over the years.

I’m not a fan of two artists on one issue, even if both artists are as excellent as Cagle and Federici.

One of the better issues in the series so far, mostly because the ideological preaching is pretty much absent.
The art is great as usual.

I really enjoyed the first half of the issue. The story was much more interesting than #1 and Coleman‘s art has improved a lot. But then there‘s the second half… something changes and it takes all the suspense out of the story. Plus, the guest art is not very good, which makes this issue a very mixed bag.

The amateurish art prevents the good moments in Simone‘s script (and there are a few) from shining.

I haven’t been a fan of this series from the start, but I find myself more intrigued by Ayodele‘s story with each issue. Even Werneck‘s art is growing on me. This is also the first issue in which Werneck‘s oversized panels work for me. What felt like a waste of space in previous issues, makes much more sense when illustrating the raw spectacle of the cosmic powers of the Marvel universe.

For some reason I enjoyed this issue more than the previous two. Maybe it was that apple tree moment.