I almost didn't read this one because I had shrugged off Ahmed's Wolverine after just one issue, but this was unexpectedly charming! I don't know the history here since I haven't read the main series, but I found it quite new reader friendly — it never felt like I needed to know who Leonard is beyond "He's a monster who Wolverine saved". IDK if the actual plot is particularly interesting, but Leonard being earnest and wholesome like Superman while trying his best to fill the void left by the subverted Wolverine hooked me. We'll see if that's enough to carry me through three issues, but I'll at least be back for #2 more

Ooh that was a pleasant surprise! I definitely don't think there's 18 comics' worth of things to say about the latest low-energy rehash of Age of Apocalypse, but Kelly & Walker make a solid case for the question of "what's Spider-Man doing in the middle of this?" as being one worth exploring. And I'm surprisingly into a Cecilia Reyes/Peter Parker romance, considering that it's one I'd never in a million years considered. I love Kev Walker's art, but I can't help but wonder if something a bit more shadowy and atmospheric would better suit the postapocalyptic horror tone that Kelly is reaching for. But the shocking cliffhanger easily solidifies this comic's place in the list of AoR comics I'm going to pick up a second issue of. more

Plot
Alice visits the Fantastic Four's farm and is introduced to a new pet, a dog named "Jellybean." However, Alice doesn't perceive it as a dog, but rather as some kind of slimy creature with tentacles. No one believes her when she says it's weird.

Alice is working on her artwork and can't get the idea out of her head, aside from the unpleasant sensation, so she visits Reed and asks him a hypothetical question: what would happen if she perceived something very different from everyone else's? Reed describes the psychological phenomenon called pareidolia, in which the brain interprets patterns or faces in ambiguous or random stimuli. However, since Alice can't see, this effect doesn't work for her. This creature controls pareidolia and makes everyone see something harmless that is actually a threat.

At night, Alice is trapped by "Jellybean." Reed becomes obsessed with what Alicia tells him and creates a team that eliminates a kind of pareidolia force field. Everyone reacts, and Ben discovers that Alicia is completely enveloped by this slimy, purple, tentacled being that isn't a dog.

The Fantastic Four discover that these beings have been in our world for months and have deceived millions of people. Reed expands the effect of his device, and these beings decide to retreat; their strategy of global control is discovered.

This issue has all the elements of a magnificent Fantastic Four comic: science fiction, suspense, horror, and teamwork.

Art
Humberto Ramos shows off his artistic skills; with his characteristic touch, he elevates the action sequences and manages to recreate each completely different era. The color palette is brilliant and highlights all of Ramos' wonderful strokes.

Summary
Alicia helps the Fantastic Four stop a global threat under the guise of tenderness.
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The list of my favorite things about Ryan North's FF is long, but how well he writes Alicia is certainly in the top 5. Ever since the 60's she's been one of the best characters in this series, but North really delves into her potential as a Lois Lane-style ordinary person who is clever and insightful enough to not be out of place in a room full of superheroes

Also, I know Ramos's art isn't to everyone's taste, but I adore that cover more

I was skeptical when I read the solicits for this series about how they would get Laura to a place where she'd be not only on Revelation's side in this event but also taking the mantle of Sabretooth. I really liked Schultz's Laura series up to this point, though, and gave her the benefit of the doubt that there was going to be some continuity in characterization.
My skepticism was answered, as I think Schultz efficiently accounted for what seems to have been a complex and difficult journey on Laura's part.

It may be the case that some readers will not like Schultz's ideas about what happened to Laura in the "X" years separating Age of Revelation and the status quo/main continuity stories, but I don't think it's valid to say that Laura is "out of character" or that Schultz didn't explain the intervening years well enough (and I expect more explanation will be on its way in the next issues). I'm looking forward to seeing how Laura navigates between her feelings of duty to mutants as a whole and her more intimate connections to her wolverine family. more

I'm always charmed enough by the earnestness of Hickman's attempts at comedy that I almost want to forgive the fact that he's dreadful at it

This is just really good stuff. Sure, the overall pacing of the plot could be quicker, but I am liking everything this book has to offer. Especially the art, it is astonishing.

But the writing here is also really good. Keep on Kelly, you have not let me down yet.

Holy cow. I freaking LOVED this issue.

Im a big fan of no kill rules in my superheroes. I think its a strong moral framework that separates them from other vigilantes.

And despite the fact my favorite superhero Rocket is in this issue, and acts as an OPPONENT to that stance, this issue does a fantastic job of displaying why its such a strong stance to have. And Kelly, through Peter, words a fantastic argument for not killing.

But even aside from that, Peter taking down Black Dwarf? When's the last time we've even seen the Cull Obsidian in a book? It was a very cool fight. Pepe Larraz is in his bag as usual. May he draw spidey for many issues to come.

This issue had everything I want. This might be my favorite Spidey issue in YEARS. Peter was so good here. This felt like an 80s space farer tale, a ton of fun, but with a beating(or as Rocket says, bleeding) heart. more

Oh wow this one just wrecked me. Leave it to Ryan North to wrench such big feels out of a series whose basic premise is "Dog wanders around doing dog things (to robots)"

It's OK to take your 17-year-old student out for beers if you're sad

Wow, I really forgot how good the few issues by just Wood & Pugh with no other plotters or inkers were. A shame that cancellation came just as the comic got good again

For the second story Ellis is reduced to "from a story by" and despite this relaunch being centered on Ellis's name it's a huge improvement in that Wood seems actually interested in the job. The first couple issues of this story are probably the best the series had done in 40 or so issues

Ellis takes a step back from cowriting to just plotting on the second issue, and it's a considerable improvement; Wood's voices for the teenagers are vastly more convincing

Every Warren Ellis character talks like someone who justifiably gets punched in the face three times a day. While that shtick works for mean girl characters like Emma Frost, watching him try to write Banshee really shows the limits of his ability to replicate human voices.

Still, soft horror was a key part of what made the good years of this comic work, and after multiple bland, twee runs it is good to see a little darkness creep back in, even if the story itself is just Ellis indifferently tossing off outtakes from his Hellblazer story Shoot for a quick paycheck

Somehow the new costumes manage the challenging task of being even worse than the previous ones. What is up with that uh... skirt? that Monet is wearing? Especially colored pale blue on the interiors? The red on the cover doesn't look quite as bad

(Also, wow, Warren Ellis AND Brian Wood. Was Eddie Berganza not available?) more

This was really nice. Charming and just nice to read.

Hilarious and charming! The first issue was only OK, but this one is really what I wanted from a GWW Black Cat comic.