The finale of Punisher: Red Band doesn’t hold back. All in all, this was a pretty good series.

I liked this issue. Maybe the opportunity to draw Rawhide Kid inspired Marquez - his art looks much more detailed and naturalistic here than in previous issues. Also, Simone's story hits all the right notes. There are scenes and dialogue that took me back to the glory days of the X-Men and New Mutants in the 80s, and even if this current book doesn't quite reach the quality of those classic runs, it comes pretty close (provided Simone manages to put the identity politics aside and just focus on the characters and telling a good superhero story, which is exactly what she's doing here.) more

It’s interesting that Marvel chose to cross over the FF with the old Planet of the Apes movies, not the new ones, and it’s definitely the better choice! I’m a huge fan of the movies and Josh Trujillo just nails the different personalities of the ape characters. Andrea Di Vito provides solid art, although I think the book would have been so much better with a more traditional or even retro 60s art style. The modern, digital style doesn’t quite fit the nostalgic character of the book and makes it look forgettable.
All in all, POTA VS. FF #1 is a fun book though. more

It’s a satisfying conclusion to the first story arc, although it doesn’t quite have the emotional impact Fraction seems to think it has (judging from the montage page showing the story’s fallout.)
The open scene with Bruce and Dr. Zeller talking over multiple panels with the same camera view is incredibly well done and there are a few other calm moments in which this issue really shines - something I didn’t expect Jimenez to be able to pull off, since his style is mostly action-orientated. more

I can see Ayodele was trying to tell a good story here - that of a superhero confronted with personal failure and becoming a potential threat to the world as a result - but the full emotional impact doesn't translate into the finished comic because of the artist's limitations. In fact, Federica Mancin is such a huge step down from most of the artists working on the last Storm series, that I had to force myself to actually read the pages.

I hate to bash a newcomer artist, but this job was just not the right one for Mancin - and it's probably not even her fault. Marvel should have given her a book that can use a more cartoony approach, such as Champions or Runaways, to hone her skill a few more years before letting her draw a book like Storm. Maybe even then she would be wrong for the book, since Storm of all superheroes needs an artist with a more naturalistic style, capable of depicting the human form in all its elegance (R.B. Silva’s cover is great btw!).

To wrap this up: Storm is my all-time favourite superhero and it hurts to see her in a poor book like this. I have continued reading X-Men over the decades because of her - even when it was bad - but she isn't even in the X-books anymore. Avengers is not worth the paper it's printed on. And now her own solo book looks like it's going down the drain as well. Taking into account that she's not even the same character that I loved for most of my life, maybe it's time to let go. more

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