Kreniigh's Profile

This was amazing. Reading it felt like watching a really good suspenseful movie thanks to expert pacing and layouts, and some really creepy images (which are effectively subtle, until they're not). There's a page not far from the end that actually made me gasp. Highly recommended.

One of the best ghost stories I've ever read. Punches me in the feels every time I read it.

Maybe Promethea can be a member of the next Defenders team.

Oh yeah. An audacious issue that'll have you immediately flipping back through it and that's all I'm going to say.

Solid emotional story beats for everyone! Zub made me feel sad for... Nanny? Great conclusion to the best Hickman era series.

I mean, Ewing kind of whiffed the swing by not finding room for classic villain Goldbug, but here's a 10 anyway.

Hm, an empty, over-the-top violence fest is followed the very next week by a brilliant new direction full of intrigue and possibilities... Feels like July 2019 again. I enjoyed this as much as (if not more than) Hickman's first issue of House of X. Gillen is a master of characterization, and I have a lot of faith in his ability to wrap up his plots satisfyingly. This is going to be a great era.

I don't give out 10s lightly. The end of Providence is an incredibly satisfying payoff to a story 14 years in the making -- 18 issues that tell a story that swallows the Mythos whole and extrudes it back out as a comprehensive, incredibly detailed 4-dimensional solid.

This is exactly what I wanted in the Krakoa era -- smartly defined characters bouncing in unpredictable but logical ways against the concept.

Tynion's creator-owner work contains stories that are arguably deeply Lovecraftian without leaning on the usual tropes -- cosmic horror rooted in the insignificance of humanity in the face of incomprehensible alien powers. It's his skill in characterizing the people forced to confront these horrors that makes these stories hit hard.

17 issues of meticulous build-up makes the eruption of action even more satisfying. That almost sounds sexual.

They actually did all that in an issue.

The first 10 I've given here.

"I! AMM! YUU!"

Lemire's art suits the story perfectly, and this is the best thing by Snyder that I've read.

This was a really good series.

Woke woke wokety woke?

This series was great, beginning to end.

Stray Bullets at its finest: A group of well-developed and well-drawn characters, already in motion on their various trajectories, knocked into a chaotic and violent series of collisions by the introduction of a new element, with a number of tragic consequences (the worst of which is never even explicitly spelled out). Even knowing where the plot is ultimately going, it's riveting.

Fans of China Mieville will love the world Spurrier's building here. It's not spoon-few and requires attention to detail, but as the series goes on, everything starts fitting together and the resulting tapestry is amazing.

Mind-blowing conclusion to a series set in the most imaginative and engrossing new fantasy worlds I've seen since Perdido Street Station.

Just to balance out the 4.0 review that basically said "I never read any of the previous issues so I don't understand what's going on." Well, I have read them, and it's a fine series, so here's a 9.5.

Going to balance out the 1.0 review troll here; the fact that the Nazis are villains in this series is too obvious to be geniunely overlooked. This issue contains several significant turning points and a long-awaited battle and is not to be missed.

This series as a whole has been a fantastic exploration of the catastrophic potential of Superman-level powers in the "real" world, the best since Moore's Kid Miracleman. The World War II setting provides plenty of opportunity for the conflicts to ramp up to an epic scale, and the attention to historical detail keeps it grounded in plausible (and horrific) reality. This issue is the last of the first volume, and it ends on a dark cliffhanger of operatic proportions. This is not a series to be missed if you're a fan of alternate history or realistic super-powered consequences, and I can't wait to start on the second volume.

Actually I give this an 8, but +1.5 to balance out the bad review by someone whose delicate political sensibilities were wounded by Kieron's backmatter.

Ewing really pays attention to the larger universe, and loves bringing in obscure elements from it.

This series is an interesting fresh approach to a franchise that's too often fallen into formula.

Awwww.....

Ouch.

I love the way this series has swerved back into the doom that it seemed to have avoided back at the end of Hell on Earth.

This series scratched a long-standing X-Files itch and I'd love to see more of these characters.

Classic 'Locked in a Closet' trope with an unlikely pairing. Unexpected and amazing.

"THE BIG GUN IS BACK" indeed. What's Breakworld doing in this story? Oh, Ewing's using elements from Whedon's Astonishing run and leading up to a fairly audacious resolution to the Dormammu problem. Might have too much early Cable/X-Force nostalgia for most people, based on the reviews, but the plot and its use of past continuity is solid.

The first segment is such a pitch perfect example of the classic Tales From the Crypt genre that the issue's mutation into something more complex caught me entirely off-guard.

Very satisfying ending to a great series.

I'd read this if it were ongoing.

STOP PICKING ON THE REAL LIFE PERSON WHO ACTS LIKE THE CHARACTER IN THIS! THEY ARE NOTHING ALIKE!

"Every act of mercy saves the world for somebody. And sometimes, in showing mercy to others -- we save ourselves as well." What kind of fucking loser wrote such vile, hateful garbage?

Great conclusion to the story and a great capstone to Jessica Jones' character arc under Bendis.

This was pretty good with a great high concept. I'm hoping to see the story continue. Rating 9 for the series as a whole.

Brings a lot of plots together and rewards readers who have been following the series.

Characters with personalities interacting with one another. Refreshing.

Far and away the best of the new batch of titles, every issue.

As a reader of the Moench/Sienkiewicz run of Moon Knight when it first came out, I really appreciated the effort put into the first story here, and as a Stokoe fan, I really liked the second.

Pretty amazing, Kirby-level stuff. Marvel, make Ewing one of your main universe architects ASAP (if he isn't already).

I didn't have much interest in the Warps concept, but this is a completely gonzo parody of it that wouldn't feel out of place in Mad Magazine. You probably need to be a long-time Marvel reader to really appreciate it, though... Learning from a glossary that a certain character has elements of someone from DP7(!) can't possibly be as satisfying as picking up on it right away. I do think this is about as far as the concept needs to be taken, although I would read a Doctor Hyperjustice series based just on the name.

I can't even think of a pithy comeback to the race fear in these user comments.

I'm gonna miss this book. Hopefully the next person to write Jessica Drew won't kill Roger and make Gerry into a time-displaced demon spider monster.

I really liked this issue, and this series, so I'm giving it a 9. And I didn't even have to count up how many people of what race and gender appeared in it!

"If civilization is going to last... it will only be because we've learned to do one thing. To care for people who mean nothing to us." - Fred Flintstone. Is a quote/attribution I would never have expected to make.

Really loving this new version of the Priest.

I don't know why this isn't getting more reviews. It's not a book with a status quo; every issue is a chapter in a long and finite story unfolding over several years, and it's a good one. "What happens this month" isn't some random temporary character death or heel turn -- it's built carefully on the story so far and advances toward the conclusion. I hope it gets more attention than it seems to be getting.

Now that's something I haven't seen before.

Tense and satisfying payoff to some long-running plots.

Ewing has an amazing knowledge of deep-cut Marvel continuity and he's not afraid to use it. And he's not only acknowledging recent stories by other writers here (something that certain big event writers can't be bothered doing), but he's building on them to tell his own. I can't wait to see where this is going.

I guess if you hate the Morrison run, you wouldn't be a fan of this issue. I loved it.

This sort of special is often an excuse to dust off old characters and move them through relatively generic lesson-of-the-week stories, but this one dove pretty deep into their backstories. It probably works best for long-time readers who like hefty continuity.

I've been a little hard on this series, but this issue felt like it was finally hitting on all cylinders.

Think of all the Julie Power fans they missed by excluding her from the cover.

It's just what it says on the tin -- a genre mashup. I was predisposed to like it because I'm a fan of Mutti's art, and the story, while very tropey, was interesting for seeing two different sets of tropes collide.

The first time this comic has pulled off the sort of should-have-seen-it-coming changes-everything kind of plot twist that the best seasons of the TV show achieved. My only quibble is that the ultimate villain's plan seems overly convoluted and is triggered more by happenstance than insidious plotting. There was nothing specifically set up to guarantee that Buffy would utter the right words; it might have never happened. And why not just get someone else to say them?

I really missed Ryan Browne after the end of that last series he did, something about Astroturf. Now I'm enjoying devouring Carts Wars each and every issue!

I totally don't understand the website critic who gave this a 4.0. If you're a fan of the series, you'll want this issue as it contains seriously crucial backstory. Plus it's just as good and funny as a regular issue.

I am interested in these characters, so I enjoyed it.

Perfectly cromulant.

Solid.

The last four pages were a weak ending, but the escalation of the main gag had me giggling uncontrollably.

I've been pretty harsh on Bendis's super-hero comics, but this is a great return to one of the series that made me a fan originally.

The early setup with Misty Knight is so plausible and convincing that it made me rethink Jessica as a sympathetic character; I was mildly disappointed by the shade this cast over her earlier series... Which made the later twist particularly satisfying. A very well constructed issue.

Only Grant Morrison would make DMT hallucinations (google "machine elves" for more info) a foundational part of the origin of Santa Claus and still end up with a comic that could play well to the mainstream. Well played, sir.

Spoopy.

I'm enjoying Orlando's dense writing on this more than I have on his work for DC because I actually get most of his obscure continuity references (and have Paul O'Brien's annotations on House To Astonish to fill me in on the rest). It's still a slow read but I'm learning to appreciate that. I wish the art were clearer in some places, but Carlini's Cassandra Nova really shines.

This was a really interesting series packed full of ideas and black humor, although if Gillen hasn't been the writer I wouldn't have found it, as the Avatar art style isn't really to my taste. This final issue was a hoot and a half.

The best Pathfinder series so far, both in terms of art and story.

Almost feels like the writer taking an extra issue to explain what he was getting at -- the point of the story that got buried under questionable marketing, pointless controversy, and a grueling slog through a story that simultaneously felt overstuffed and underdeveloped. The conversation between the Caps in this issue doesn't redeem the flaws of the series, but it's interesting on its own merits. Some reviewers said that the surprise election of Trump made this storyline inappropriate, but (possibly allowing for some course correction on Spencer's part) it may have just made the message even more relevant.

Even though we know where this series is going, this issue shows that there's plenty of room for surprises, and a lot of dark fun to be had revisiting familiar characters.

I just wanted to say this: "The Unbearable Lightness of Being Appliance Animals."

I read this series in one go, and it was perfectly cromulant. Good art, characters with interesting powers, a few twists, some fight scenes... If this had come out as a miniseries in the 80s, it would probably have been received better. Some of critics seem to be taking it to task just for being a miniseries, or (ironically for something that started out as an event tie-in) for not having much of a point in the larger universe. But I liked it just fine.

As far back as the first Nomad stories, Captain America has never hated America, but has always been willing to criticize those who would twist its ideals in service to hate and division. Englehart, Gruenwald, and DeMatteis all wrote Cap as someone with ideals that would be considered 'progressive' today.

Is it just me or do all of the critic review snippets for this title sound AI generated? "The Witcher: The Bear and the Butterfly should be perfectly aligned with your expectations from the setting and characters. My recommendation: a fantastic conclusion to a four-part comic series for Witcher fans of all kinds." Anyway, a good ending to a good series.

I'm usually pretty focused on plot, so it says a lot that with only one more issue to go, the character work in this issue was the highlight for me, easily mitigating my usual concerns about getting a satisfying conclusion. (Maybe I just have extra faith in Tynion's storytelling after the brilliant Memetic and Cognetic.) The jumps through Ben's history may seem like unnecessary padding to some critics, but the character evolution they highlight is what gives this series an epic feel. I'm excited to see the conclusion next month, but I'll miss these characters.

If Mark Gruenwald's continuity wonkiness married Joss Whedon's balance of humor and action.

Confusing but in a way that I enjoy being confused.

Deadpool's backup plan is a very clever use of X-Men mythology, and Rogue's (temporary) new look is pretty goddamn amazing. This should go down as a classic Rogue moment, but it will probably go unnoticed with so many X-titles and crossovers flooding the shelves.

Looking at the user reviews for this series so far, I wonder if it reads best as a collected story. Reading it all in one go, I can see how it felt slow as individual issues, but I did really enjoy it.

I liked the series as a whole quite a lot. There were some interesting interpersonal relationship, and the moral ambiguity of the main character elevated it beyond a standard alien invasion story. But why was it named War Wolf? Not War Bear?