Certainly living up to the promise of the title, Avengers vs. X-Men #8 is one big, dumb battle between Phoenix Namor and a whole slew of Avengers. Including, once again, Beast, despite the fact that he walked away in this very book just a month ago. Namor is the obvious villain of this conflict, attacking Wakanda for no real reason other than his own insanity and bloodlust. He tries to make the argument that the Avengers brought it on themselves but, come on, Namor. No one is buying that load of crap. And fortunately, he is defeated, although the details of how that goes down are as of yet unexplained. It has something to do with something the Scarlet Witch can do. Presumably her sway over the Phoenix Force is going to be a major reveal down the line, so for now all we know is that she struggles against Namor's power but ultimately takes him down.
And that's fine. I don't expect to be spoon fed every tiny detail right away. It might have been nice, since this issue didn't deal with anything beyond this fight and its fallout, if the most important and dramatically tense moment of the combat made sense to me as a reader, but I can live without it. My bigger complaint is that, at this point, I just don't care. The scale of this fight is epic, but it still feels low-stakes, so I never found myself excited by or even interested in what was going on. We know full well Namor isn't going to succeed in wiping out the Avengers, and there's nothing else going on besides his pig-headed attempt to do so. There aren't any characters to latch onto or follow here because everyone's just pissed off and violent from start to finish, except the rest of the Phoenix Five, who show up at the very end in order to deliver the one important piece of info from the enitre issue: when a member of their group falls, the rest of them absorb that person's share of the Phoenix Force. What "falling" actually means isn't obvious. I assume, again, it has to do with whatever the Scarlet Witch did, because it can't be as simple as, "If you lose any battle you lose your power." Right?
Brian Michael Bendis doesn't do a bad job of writing this massive fight scene, it's just that he has so little to accomplish, story-wise, that the script ends up being a dud. There are one or two cool moments, but not a lot of truly inventive strategies or tricks employed by either side. It's a fairly straightforward one-big-bad-guy-vs.-team-of-heroes slugfest. And that's boring.
Adam Kubert does his best to liven it up on the art side of things, and for the most part he actually succeeds. It's not incredible art, but he handles the most blockbuster moments well: the Avengers falling from the sky en masse to attack Namor, the Phoenix Five becoming the Phoenix Four, even Wanda's appearance, despite the confusion it brought, was fittingly large-scale. The panel where Red Hulk has his arm broken looked silly and sloppy, and there were other, smaller things in the same vein. The Thing never quite looked right or consistent, for example, and Hope just looked bored. But Kubert does maybe the best Captain America I've seen yet in this title, and since he's such a central figure, it was nice to see him done with care and detail.
My interest is rapidly fading, though, in the events of this event. Marvel's obvious disinterest in keeping things logical or consistent makes it hard to allow myself to get invested. I have too many questions and points of confusion before I even start reading this book every other week. Avengers vs. X-Men needs to figure out what it wants to say and where it wants to go, and fast, because if it doesn't turn this mess around soon it'll be too late. Finding flimsy excuses to keep pitting the same characters against each other does not a story make. Hopefully the (wedged in and totally forced) addition of Xavier to the action will add a twist that saves the day. I'm doubtful, but it's all I have to hang onto as we move toward the final act.
4.5/10
Showing posts with label Avengers vs. X-Men. Show all posts
Showing posts with label Avengers vs. X-Men. Show all posts
Thursday, July 19, 2012
Friday, July 6, 2012
Pull List Review: Avengers vs. X-Men #7
Let me start with a list of things that confused me:
1. Why, exactly, do the X-Men care abut "rebranding" the Avengers as terrorists? I see, sort of, why they want to eliminate them, since the Avengers seem to be the only people left trying to stop this Pax Utopia project, and they have Scarlet Witch who can actually hurt the Phoenix Five, but the notion that they'd give a shit about how the public sees things feel off to me. If you had all that power and the whole world loved you, would you really care how they see your enemies?
2. What was the Avengers' plan with their little charms that made them look like Wanda? It didn't seem to slow the X-Men down for a second, and while I guess it gave Wanda the chance to do...something messed up to Namor, I'm not clear on what that accomplished. Meanwhile, the plan necessitated that the team split up and expose themselves to further ass-kicking at the hands of the X-Men. Why not just lay low and prepare yourself defensively? It just seemed like bad tactics with no payoff.
3. How did Transonic actually end up in Wakanda? It looked like she was outside the little transportation bubble, yet suddenly she's crash landing right next to the Avengers she was trying to chase. It was rushed, I think, a story detail that was glossed over so that we could get to the overly dramatic ending of Namor's attack. And while it was a pretty cool ending, the pacing of what led to it detracted from the issue overall.
4. What is Tony Stark actually looking at and/or doing? How is he getting this data? Are we ever going to get an answer or is it just impossible superscience based on nothing that I have to live with in order to get to the event's third act?
I guess that's all. I'm sure there were other, smaller moments that threw me as I was reading, but the questions above are what stand out in my mind. It wasn't all bad, of course. Matt Fraction handled the X-Men's in-fighting very well, and even though it was a bit of a left field move, it made Emma and Namor's kiss feel at least partially earned. And it's obviously going to be a significant thing down the line that some of the Phoenix Five are lying to and hiding things from each other (read "from Cyclops"). But more than any of the confusion, and in spite of the one or two legitimately good scenes, the ultimate problem with Avengers vs. X-Men #7 is that it feels like everyone, cast and creators alike, are just going through the motions. The X-Men attack the Avengers because, well...look at the title. The Avengers make weird plans and move to new locations because, well...they have to do something. Just look at the title. And even the bickering between the X-Men, while it worked for me, seemed more a means to an end (though I'm not sure what end yet, exactly) than a natural argument between these characters. The event is steadily trudging forward, but that doesn't mean it still has legs.
4.0/10
1. Why, exactly, do the X-Men care abut "rebranding" the Avengers as terrorists? I see, sort of, why they want to eliminate them, since the Avengers seem to be the only people left trying to stop this Pax Utopia project, and they have Scarlet Witch who can actually hurt the Phoenix Five, but the notion that they'd give a shit about how the public sees things feel off to me. If you had all that power and the whole world loved you, would you really care how they see your enemies?
2. What was the Avengers' plan with their little charms that made them look like Wanda? It didn't seem to slow the X-Men down for a second, and while I guess it gave Wanda the chance to do...something messed up to Namor, I'm not clear on what that accomplished. Meanwhile, the plan necessitated that the team split up and expose themselves to further ass-kicking at the hands of the X-Men. Why not just lay low and prepare yourself defensively? It just seemed like bad tactics with no payoff.
3. How did Transonic actually end up in Wakanda? It looked like she was outside the little transportation bubble, yet suddenly she's crash landing right next to the Avengers she was trying to chase. It was rushed, I think, a story detail that was glossed over so that we could get to the overly dramatic ending of Namor's attack. And while it was a pretty cool ending, the pacing of what led to it detracted from the issue overall.
4. What is Tony Stark actually looking at and/or doing? How is he getting this data? Are we ever going to get an answer or is it just impossible superscience based on nothing that I have to live with in order to get to the event's third act?
I guess that's all. I'm sure there were other, smaller moments that threw me as I was reading, but the questions above are what stand out in my mind. It wasn't all bad, of course. Matt Fraction handled the X-Men's in-fighting very well, and even though it was a bit of a left field move, it made Emma and Namor's kiss feel at least partially earned. And it's obviously going to be a significant thing down the line that some of the Phoenix Five are lying to and hiding things from each other (read "from Cyclops"). But more than any of the confusion, and in spite of the one or two legitimately good scenes, the ultimate problem with Avengers vs. X-Men #7 is that it feels like everyone, cast and creators alike, are just going through the motions. The X-Men attack the Avengers because, well...look at the title. The Avengers make weird plans and move to new locations because, well...they have to do something. Just look at the title. And even the bickering between the X-Men, while it worked for me, seemed more a means to an end (though I'm not sure what end yet, exactly) than a natural argument between these characters. The event is steadily trudging forward, but that doesn't mean it still has legs.
4.0/10
Thursday, June 21, 2012
Pull List Review: Avengers vs. X-Men #6
So, Avengers vs. X-Men is actually just an exercise in turning popular heroes into maniac villains, I guess. That's my takeaway from this issue. I'm not necessarily complaining, because taking the Marvel Universe's two largest teams and warping them into dick-headed bad guys who just want to one-up each other is way more interesting than having them squabble over Hope, but...I'm surprised and maybe a little nervous now that we're moving in this direction. In a conflict where, at first, choosing sides seemed pointless, what's happening now is that choosing sides seems...dangerous. I no longer trust any of these characters, save for Beast, to behave in a way that I would consider right or good, and I find myself rooting for some third party to step in an course correct these assholes. I suppose maybe that'll be Wanda's role. It certainly seemed to be her intention in this issue. Also seems like she's being set up as the true intended host for the Phoenix, which is...fine, if not entirely unexpected.
The point is, from the very start Avengers vs. X-Men could have been named Heroes Behaving Badly, and with issue #6 Jonathan Hickman pushes that concept to new extremes. The X-Men, now, are basically the Hyperclan from Morrison's run on JLA: claiming to be the dawn of a new age of heroism and peace, they force their objectives and opinions on the world through their massive power and the implied threat of force. Or, maybe they more closely resemble the Children of Tomorrow from Hickman's own work on Ultimates. Certainly Cyclops and Ultimate Reed Richards would admire and understand one another. The Avengers, meanwhile, are acting more like children than villains, or maybe villainous children. "Wahhhh! It's not faaaaair! We want to be the ones who win the Phoenix fight. We want to be Earth's mightiest heroes. We did it FIRST!" So they attack the X-Men at home, this time in an overt kidnapping attempt that never even pretends to be diplomatic or peaceful, and predictably get their asses handed to them. Then Scarlet Witch shows up for reasons still undefined, and we get the "No More Avengers" line promised long ago, and delivered in a way that I think is far less dramatic than intended.
I know this all sounds like I didn't like this issue, but that's not the case. I think the second act of this series opened in a bizarre way, but it's far more compelling a story than anything offered in Act 1. And Oliver Coipel elevates the art tremendously from the sketchy sloppiness John Romita, Jr. had been providing. His take on the new Utopia is breathtaking, and he captures the unimaginable power of the Phoenix Five perfectly. Best of all, though, is his Beast, who steals his only scene not just through dialogue but simply by drawing the reader's eye more than anyone else we see. Coipel's Magneto, too, is an imposing figure, and opens the issue with the appropriate level of gravitas.
Despite the strangeness and unlikability of basically the whole cast, Avengers vs. X-Men #6 is a step up in quality on all fronts. The conflict between the two teams now has some clarity of meaning, and even if all they are is two equally stubborn and misguided sides railing against each other, their reasons for doing so have become far more interesting. This shift in story is welcome, as is the accompanying shift in art, and while I wasn't exactly blown away by this issue, it definitely ignited a small fire of hope that this event might not be a total waste after all.
6.0/10
The point is, from the very start Avengers vs. X-Men could have been named Heroes Behaving Badly, and with issue #6 Jonathan Hickman pushes that concept to new extremes. The X-Men, now, are basically the Hyperclan from Morrison's run on JLA: claiming to be the dawn of a new age of heroism and peace, they force their objectives and opinions on the world through their massive power and the implied threat of force. Or, maybe they more closely resemble the Children of Tomorrow from Hickman's own work on Ultimates. Certainly Cyclops and Ultimate Reed Richards would admire and understand one another. The Avengers, meanwhile, are acting more like children than villains, or maybe villainous children. "Wahhhh! It's not faaaaair! We want to be the ones who win the Phoenix fight. We want to be Earth's mightiest heroes. We did it FIRST!" So they attack the X-Men at home, this time in an overt kidnapping attempt that never even pretends to be diplomatic or peaceful, and predictably get their asses handed to them. Then Scarlet Witch shows up for reasons still undefined, and we get the "No More Avengers" line promised long ago, and delivered in a way that I think is far less dramatic than intended.
I know this all sounds like I didn't like this issue, but that's not the case. I think the second act of this series opened in a bizarre way, but it's far more compelling a story than anything offered in Act 1. And Oliver Coipel elevates the art tremendously from the sketchy sloppiness John Romita, Jr. had been providing. His take on the new Utopia is breathtaking, and he captures the unimaginable power of the Phoenix Five perfectly. Best of all, though, is his Beast, who steals his only scene not just through dialogue but simply by drawing the reader's eye more than anyone else we see. Coipel's Magneto, too, is an imposing figure, and opens the issue with the appropriate level of gravitas.
Despite the strangeness and unlikability of basically the whole cast, Avengers vs. X-Men #6 is a step up in quality on all fronts. The conflict between the two teams now has some clarity of meaning, and even if all they are is two equally stubborn and misguided sides railing against each other, their reasons for doing so have become far more interesting. This shift in story is welcome, as is the accompanying shift in art, and while I wasn't exactly blown away by this issue, it definitely ignited a small fire of hope that this event might not be a total waste after all.
6.0/10
Thursday, June 7, 2012
Pull List Review: Avengers vs. X-Men #5
What Avengers vs. X-Men needed more than anything was a shake-up, a shift in course. It gets it here, and even though I don't exactly love this issue's resolution, I was glad to see something unexpected. Matt Fraction does a good job examining Hope's take on this Phoenix situation, making her sound both as intelligent and as young as she's meant to be. And though no one can save Scott Summers from sounding fanatical, Fraction at least gives him some emotional depth beyond being extremely angry or stoic.
John Romita, Jr., for his part, delivers stronger material than the previous four issues. There are still some awkward figures and faces scattered throughout, but the baseline quality improves. And the biggest moments, like everything with Stark's giant disruptor robot and the X-Men being empowered by the Phoenix at the end, all looked great for a change.
This event still hasn't hooked me, but with slightly more than half to go, and this chapter feeling like a possible turn in narrative inventiveness and quality, I'm actually feeling what might be described as optimistic. Cautiously so, of course, because even Avengers vs. X-Men #5 wasn't a knock-out, but it was a solid superhero tale with a likable and relatable lead and a truly surprising twist at the end. So maybe all is not lost. Or maybe they got lucky once.
5.0/10
John Romita, Jr., for his part, delivers stronger material than the previous four issues. There are still some awkward figures and faces scattered throughout, but the baseline quality improves. And the biggest moments, like everything with Stark's giant disruptor robot and the X-Men being empowered by the Phoenix at the end, all looked great for a change.
This event still hasn't hooked me, but with slightly more than half to go, and this chapter feeling like a possible turn in narrative inventiveness and quality, I'm actually feeling what might be described as optimistic. Cautiously so, of course, because even Avengers vs. X-Men #5 wasn't a knock-out, but it was a solid superhero tale with a likable and relatable lead and a truly surprising twist at the end. So maybe all is not lost. Or maybe they got lucky once.
5.0/10
Thursday, May 17, 2012
Pull List Reviews 05/17/2012
Avengers vs. X-Men #4: Somehow, even though so little happened, I ended up liking this issue slightly more than the previous three. Partly it was John Romita, Jr. who, despite some noticeable mistakes (the guy cannot get a handle on Colussus' helmet, huh?) generally delivered stronger work than before. The Polar Bear was nice looking, and Romita seems to have finally pinned down Hope. Mostly, though, I just enjoyed the Hope-Logan interactions as written by Jonathan Hickman. To my knowledge, he's fairly new to these characters, but I warmed to them. For a while, anyway. In the end it all got ruined because Wolverine decided that being a dick on the Moon is somehow different/better than just doing it on Earth, and then there was some dumb yelling, and then we were done. The middle was also weak, showing us tiny and often poorly-drawn glimpses of fights taking place in other titles. Still unimpressive overall, but just the tiniest bit less so than the earlier issues.
4.0/10
Birds of Prey #9: I understand that, ostensibly, Birds of Prey lives within the bat-family of titles. And it takes place in Gotham, too, so I see the argument for including it in the "Night of the Owls" crossover. However, so much about this issue felt forced: their reasons for joining the fight, the solution they reach to kill the Talon, and especially the incredibly rushed ending. Travel Foreman is a welcome addition, and draws the hell out of the Talon, so if upcoming villains can similarly fit his style I think he's going to elevate the series overall. He did make Starling a bit more scantily-clad than necessary when seen through the Talon's twisted perspective, but he killed it with Katana and Canary both, so I think I can let that slide. But all Foreman got to draw here was one long, drawn out fight, and no matter how good that looks it gets boring. Hopefully once Duane Swierczynski doesn't have to shoehorn a crossover story in, he can return to the excellent superhero action-thriller he's been writing all along.
5.5/10
Daredevil #13: I just don't think Khoi Pham is right for this title. He did an OK job with Daredevil himself, but his Foggy Nelson and Matt Murdock are both failures. And the panel where we see things as they look through Daredevil's pink sonar-vision things was a mess. Come to think of it, the New Avengers didn't look too great, either. Though not quite as bad as his first time on the title, Pham still feels like a poor fit here. Unfortunately, the story doesn't do all that much to help. I'm not a big fan of trick endings, but more than that, the whole thing felt more complicated than necessary, particularly when Daredevil ended up giving the drive to someone who asked for it ages ago. I know DD wanted to give Megacrime a new target, but I just wasn't thrilled with the solution Mark Waid cooked up. Still, Waid has earned a lot of credit with this title so far, and now that the Omega Drive stuff is winding down I'm anxious to see what's next. Plus, you know, DD in Latveria intrigues me...
4.5/10
Hardcore #1: A fairly standard first issue: introduce the high concept, the good guy, the bad guy, and the hook. I guess it's not totally obvious yet if Drake or Markus will be the ultimate hero of this tale, or if either of them even will be, but for the time being the roles seem set. The basic premise is a pretty cool bit of spy sci-fi, and Robert Kirkman introduces it clearly, but the exposition is largely delivered through kind of lame dialogue. While overall the character voices are strong, in those moments where they are explaining the concepts or their own actions they sound unnatural. Brian Stelfreeze handles the action scenes and the sci-fi elements all very well, and brings a nice energy to the overall feel of the book. His characters have some generic details, like facial shapes and glasses and such, but we know who's who and there's a lot of fun, entertaining stuff. I'm definitely curious to follow the title from here.
6.0/10
Hellblazer #291: I see why this is officially the epilogue to "Another Season in Hell" but truthfully it's more of a standalone story. A really good one. Constantine assembles a simple enough plan to take down his evil twin, puts it into action, and succeeds. Sometimes it's nice to just watch the hero win. Sometimes it's what they and the reader need. And it always feels good to have a major plot thread like this finally reach its resolution. Gemma is seemingly shuffled off the board for the time being, after being an integral part of the cast for a long stretch, and it feels not just right but good to see her go. First, of course, we get to see her torture the shit out of her own personal demon, and that feels just as good as her departure. Gael Bertrand really knocks out the artwork during Gemma's attack, and actually did a pretty fantastic job all over. At first his style was a bit jarring, but once I settled in it felt totally fitting. In a story about luring out a demon, Bertrand makes everyone looks a bit demonic, which sets a nice mood. Peter Milligan continues to tell wonderful tales of dark magic and violence and the Constantine clan, offering up a done-in-one story that still has major significance for the larger series.
8.5/10
Saga #3: Yes, this series is Brian K. Vaughan's idea, but make no mistake, Fiona Staples is the reason it is so excellent. Vaughan kicks ass in his own right. He keeps us plugged in to all the previous characters and advances their stories while still primarily using the issue to introduce Izabel, the ghost girl with no legs from the cover. And Izabel is a lot of fun. She's perhaps a bit of an archetypal chatty teen, but her history is interesting and I appreciate her go-getter attitude. I also continue to love The Will, and adding a bit of bitter romance to his character through The Stalk was a brilliant development. However, as I said, Fiona Staples' art is the reason to be reading this book. I finally realized it when I got to the page of The Will eating cereal with his cat. It so perfectly set the mood of the character for the conversation that followed. But really everything Staples draws, right down to her awesome colors, is breathtaking. Even the violent bits soothe the eyes. Vaughan and Staples are carefully constructing a universe together, and so far it looks and feels amazing.
8.0/10
Scalped #58: Very much a middle chapter, Scalped #58 is great, but the actual events of the issue didn't wow me. Important and heavy stuff happened, yes, but really Jason Aaron just turned the temperature up a little bit on all the chaos, bringing things that much closer to truly bubbling over. The cast seems to be getting set up for a final confrontation of some kind where everyone is trying to kill everyone else, but in this issue all we get are a few small moves in that direction. Important moves, yes, but small ones, like Dash learning about his child or Dino proposing an attack on Red Crow. Still, with only two issues left, Aaron and artist R.M. Guera both clearly know what they're doing from here on out. Guera brings his typical A game, which I mention as a courtesy since it's basically a given that any issue of Scalped which he draws will look phenomenal. Guess what? This one does, too. As big a void as it's going to leave, I'm more excited to read the conclusion to Scalped than anything else currently coming down the pipeline.
7.5/10
The Shadow #2: Garth Ennis' take on The Shadow is superb. Lamont Cranston is a no-nonsense, no-mercy kind of hero, who feels a genuine hate toward his foes. He acknowledges a certain darkness within himself, and embraces it, gladly giving up his own soul to fight the good fight. He's also a total badass, able to handle himself in a fight on an airplane where he is outnumbered and outgunned. And the details of his powers that we discover this issue make him all the more terrifying and fascinating. Ennis also writes a fully-realized and highly-likable Margo Lane. She's strong and capable but ultimately kind, an ideal counterbalance for Cranston whose just strong and hard from head to toe. They're a fun couple, and as we learn about them they also learn about each other. Aaron Campbell has a few rough moments on art, but mostly triumphs. The champagne glass in the eye is a great image, as are the fire extinguisher going off and The Shadow's initial entrance. Campbell is a talented noir artist, which is, of course, exactly what this story calls for. The Shadow is very quickly climbing up the list of my current favorite titles
8.0/10
Thunderbolts #174: A very Thunderbolts kind of ending, to be sure. Fixer being at the heart of the story helped with that, as did Jeff Parker's skillful use of his entire enormous cast. Parker and artist Declan Shalvey both have clearly hit a real groove with this series, and I am relieved the name change doesn't mean a change in creative team or, necessarily, cast. There will be additions, but based on this issue pretty much all the old-timers are sticking around, somewhen or another. That's definitely good news, but I appreciate that the end of the title Thunderbolts included the end of one its founding character's stories. An intelligent and satisfying way to make the transition.
6.5/10
Uncanny X-Men #12: So, why is Cyclops comfortable with ALL OF THE OTHER CHILDREN being in Avengers custody, but not Hope? I get that he wants the Phoenix to get to her and is afraid the Avengers will prevent that or whatever, but it still felt like it undermined his position somewhat the way he so forcefully brushed that topic aside. That's just one small gripe, and truth be told I have many. This title seems to really suffer from being forced into a crossover, because so far all that its tie-ins have offered is a bunch of fighting with no victors and no point. Visually, Greg land continues to underwhelm, particularly with Hepzibah and Namor. Their faces kept bothering me, as did their less-than-witty flirting from Kieron Gillen. The saving grace of this issue was the Tabula Rasa guy (whose name escapes me or maybe doesn't exist). He had some really fun bits all throughout, and his final assumption that all this fighting would lead to mating was awesome. A perfect little fuck you to the whole event. Even if that's not the intention, that's how I choose to read it.
4.5/10
Wonder Woman #9: So, so frustrating. I know Brian Azzarello likes wordplay, but Strife's stupid little turns of phrase alone made me want to pull my hair out. As if that wasn't enough, Tony Atkins doesn't make her look nearly as cool or powerful as when Cliff Chiang is drawing. And she's on practically as many pages as the title character. Speaking of, Diana was especially passive here. I'm starting to find this take on the character less of a stoic badass and more of an impossible-to-read, weird sort of blank slate. Her conversation with Persephone was as dull as it was uncomfortable. Ditto her chat with Hades at the end. Meanwhile, we meet not only Persephone but Aphrodite, Hades' father, and those weird dog-women maidens, too. I assume they have names from classic mythology, but I don't know 'em. The point is, Azzarello is piling on new characters, racing through his mission of building a complex world for the gods of Wonder Woman, and sacrificing storytelling along the way. This series impressed me so much when it started that I have tried to stick with it in these recent, rocky months, but this was a definite low point.
3.5/10
4.0/10
Birds of Prey #9: I understand that, ostensibly, Birds of Prey lives within the bat-family of titles. And it takes place in Gotham, too, so I see the argument for including it in the "Night of the Owls" crossover. However, so much about this issue felt forced: their reasons for joining the fight, the solution they reach to kill the Talon, and especially the incredibly rushed ending. Travel Foreman is a welcome addition, and draws the hell out of the Talon, so if upcoming villains can similarly fit his style I think he's going to elevate the series overall. He did make Starling a bit more scantily-clad than necessary when seen through the Talon's twisted perspective, but he killed it with Katana and Canary both, so I think I can let that slide. But all Foreman got to draw here was one long, drawn out fight, and no matter how good that looks it gets boring. Hopefully once Duane Swierczynski doesn't have to shoehorn a crossover story in, he can return to the excellent superhero action-thriller he's been writing all along.
5.5/10
Daredevil #13: I just don't think Khoi Pham is right for this title. He did an OK job with Daredevil himself, but his Foggy Nelson and Matt Murdock are both failures. And the panel where we see things as they look through Daredevil's pink sonar-vision things was a mess. Come to think of it, the New Avengers didn't look too great, either. Though not quite as bad as his first time on the title, Pham still feels like a poor fit here. Unfortunately, the story doesn't do all that much to help. I'm not a big fan of trick endings, but more than that, the whole thing felt more complicated than necessary, particularly when Daredevil ended up giving the drive to someone who asked for it ages ago. I know DD wanted to give Megacrime a new target, but I just wasn't thrilled with the solution Mark Waid cooked up. Still, Waid has earned a lot of credit with this title so far, and now that the Omega Drive stuff is winding down I'm anxious to see what's next. Plus, you know, DD in Latveria intrigues me...
4.5/10
Hardcore #1: A fairly standard first issue: introduce the high concept, the good guy, the bad guy, and the hook. I guess it's not totally obvious yet if Drake or Markus will be the ultimate hero of this tale, or if either of them even will be, but for the time being the roles seem set. The basic premise is a pretty cool bit of spy sci-fi, and Robert Kirkman introduces it clearly, but the exposition is largely delivered through kind of lame dialogue. While overall the character voices are strong, in those moments where they are explaining the concepts or their own actions they sound unnatural. Brian Stelfreeze handles the action scenes and the sci-fi elements all very well, and brings a nice energy to the overall feel of the book. His characters have some generic details, like facial shapes and glasses and such, but we know who's who and there's a lot of fun, entertaining stuff. I'm definitely curious to follow the title from here.
6.0/10
Hellblazer #291: I see why this is officially the epilogue to "Another Season in Hell" but truthfully it's more of a standalone story. A really good one. Constantine assembles a simple enough plan to take down his evil twin, puts it into action, and succeeds. Sometimes it's nice to just watch the hero win. Sometimes it's what they and the reader need. And it always feels good to have a major plot thread like this finally reach its resolution. Gemma is seemingly shuffled off the board for the time being, after being an integral part of the cast for a long stretch, and it feels not just right but good to see her go. First, of course, we get to see her torture the shit out of her own personal demon, and that feels just as good as her departure. Gael Bertrand really knocks out the artwork during Gemma's attack, and actually did a pretty fantastic job all over. At first his style was a bit jarring, but once I settled in it felt totally fitting. In a story about luring out a demon, Bertrand makes everyone looks a bit demonic, which sets a nice mood. Peter Milligan continues to tell wonderful tales of dark magic and violence and the Constantine clan, offering up a done-in-one story that still has major significance for the larger series.
8.5/10
Saga #3: Yes, this series is Brian K. Vaughan's idea, but make no mistake, Fiona Staples is the reason it is so excellent. Vaughan kicks ass in his own right. He keeps us plugged in to all the previous characters and advances their stories while still primarily using the issue to introduce Izabel, the ghost girl with no legs from the cover. And Izabel is a lot of fun. She's perhaps a bit of an archetypal chatty teen, but her history is interesting and I appreciate her go-getter attitude. I also continue to love The Will, and adding a bit of bitter romance to his character through The Stalk was a brilliant development. However, as I said, Fiona Staples' art is the reason to be reading this book. I finally realized it when I got to the page of The Will eating cereal with his cat. It so perfectly set the mood of the character for the conversation that followed. But really everything Staples draws, right down to her awesome colors, is breathtaking. Even the violent bits soothe the eyes. Vaughan and Staples are carefully constructing a universe together, and so far it looks and feels amazing.
8.0/10
Scalped #58: Very much a middle chapter, Scalped #58 is great, but the actual events of the issue didn't wow me. Important and heavy stuff happened, yes, but really Jason Aaron just turned the temperature up a little bit on all the chaos, bringing things that much closer to truly bubbling over. The cast seems to be getting set up for a final confrontation of some kind where everyone is trying to kill everyone else, but in this issue all we get are a few small moves in that direction. Important moves, yes, but small ones, like Dash learning about his child or Dino proposing an attack on Red Crow. Still, with only two issues left, Aaron and artist R.M. Guera both clearly know what they're doing from here on out. Guera brings his typical A game, which I mention as a courtesy since it's basically a given that any issue of Scalped which he draws will look phenomenal. Guess what? This one does, too. As big a void as it's going to leave, I'm more excited to read the conclusion to Scalped than anything else currently coming down the pipeline.
7.5/10
The Shadow #2: Garth Ennis' take on The Shadow is superb. Lamont Cranston is a no-nonsense, no-mercy kind of hero, who feels a genuine hate toward his foes. He acknowledges a certain darkness within himself, and embraces it, gladly giving up his own soul to fight the good fight. He's also a total badass, able to handle himself in a fight on an airplane where he is outnumbered and outgunned. And the details of his powers that we discover this issue make him all the more terrifying and fascinating. Ennis also writes a fully-realized and highly-likable Margo Lane. She's strong and capable but ultimately kind, an ideal counterbalance for Cranston whose just strong and hard from head to toe. They're a fun couple, and as we learn about them they also learn about each other. Aaron Campbell has a few rough moments on art, but mostly triumphs. The champagne glass in the eye is a great image, as are the fire extinguisher going off and The Shadow's initial entrance. Campbell is a talented noir artist, which is, of course, exactly what this story calls for. The Shadow is very quickly climbing up the list of my current favorite titles
8.0/10
Thunderbolts #174: A very Thunderbolts kind of ending, to be sure. Fixer being at the heart of the story helped with that, as did Jeff Parker's skillful use of his entire enormous cast. Parker and artist Declan Shalvey both have clearly hit a real groove with this series, and I am relieved the name change doesn't mean a change in creative team or, necessarily, cast. There will be additions, but based on this issue pretty much all the old-timers are sticking around, somewhen or another. That's definitely good news, but I appreciate that the end of the title Thunderbolts included the end of one its founding character's stories. An intelligent and satisfying way to make the transition.
6.5/10
Uncanny X-Men #12: So, why is Cyclops comfortable with ALL OF THE OTHER CHILDREN being in Avengers custody, but not Hope? I get that he wants the Phoenix to get to her and is afraid the Avengers will prevent that or whatever, but it still felt like it undermined his position somewhat the way he so forcefully brushed that topic aside. That's just one small gripe, and truth be told I have many. This title seems to really suffer from being forced into a crossover, because so far all that its tie-ins have offered is a bunch of fighting with no victors and no point. Visually, Greg land continues to underwhelm, particularly with Hepzibah and Namor. Their faces kept bothering me, as did their less-than-witty flirting from Kieron Gillen. The saving grace of this issue was the Tabula Rasa guy (whose name escapes me or maybe doesn't exist). He had some really fun bits all throughout, and his final assumption that all this fighting would lead to mating was awesome. A perfect little fuck you to the whole event. Even if that's not the intention, that's how I choose to read it.
4.5/10
Wonder Woman #9: So, so frustrating. I know Brian Azzarello likes wordplay, but Strife's stupid little turns of phrase alone made me want to pull my hair out. As if that wasn't enough, Tony Atkins doesn't make her look nearly as cool or powerful as when Cliff Chiang is drawing. And she's on practically as many pages as the title character. Speaking of, Diana was especially passive here. I'm starting to find this take on the character less of a stoic badass and more of an impossible-to-read, weird sort of blank slate. Her conversation with Persephone was as dull as it was uncomfortable. Ditto her chat with Hades at the end. Meanwhile, we meet not only Persephone but Aphrodite, Hades' father, and those weird dog-women maidens, too. I assume they have names from classic mythology, but I don't know 'em. The point is, Azzarello is piling on new characters, racing through his mission of building a complex world for the gods of Wonder Woman, and sacrificing storytelling along the way. This series impressed me so much when it started that I have tried to stick with it in these recent, rocky months, but this was a definite low point.
3.5/10
Thursday, May 3, 2012
Pull List Reviews 05/03/2012
Animal Man #9: In terms of story, pretty damn boring. I mean, yes, everything we see here is probably necessary. We certainly had to learn what Buddy "dying" at the end of last issue meant and where it would lead. But this issue is literally just characters traveling without getting anywhere, which makes for a less-than-thrilling read. Steve Pugh's art continues to suit the title perfectly, and there are numerous stunning visuals in Animal Man #9: the Bone Orchard, the Shepard, the Island of Decay or whatever it's called. Detailed and compelling images, to be sure, but the story they're telling this month is lightweight at best.
6.0/10
Avengers vs X-Men #3: So, when this event started, despite my general hate of massive events, I was devoted to reading all twelve issues of the main title. No tie-ins from series I wasn't already reading, none of the AvX: Vs. stuff (it's a cool enough idea but I don't care to spend my money on it), just one, fifty dollar, six month commitment. So here we are at issue #3, only one-fourth of the way to the finish line, and I find myself already so underwhelmed by what I've seen that I am seriously considering dropping this title outright. This issue, written by Ed Brubaker and still haphazardly drawn by John Romita, Jr., felt like so much wheel spinning. The Avengers and X-Men talk to each other, then the X-Men run away and the two teams talk privately, then Captain America becomes an even bigger asshole than Cyclops, for no reason other than to give readers the cheap thrill of watching Cap throw down with Wolverine. And even that fight is uninspired and ends in a stupid, stupid way. I'm not sure what exactly I want from this title, but it is most assuredly not what I've been getting.
2.0/10
Blue Estate #11: I appreciate that here, as the "first season" comes to a close, Blue Estate didn't bother with any new complications or twists. It's been full of them up to this point, and has done a great job of juggling all the balls in the air, but with only one issue left before this story concludes I was glad to have a more straightforward installment. Also, Clarence and Rachel finally getting together was a big moment, and their relationship is just as strong and as much fun face-to-face as it has been during all their previous phone conversations. Maybe more so. Blue Estate #11 is a lot more action than story, it's true, but this final, enormous fight scene between the two crime families has been a long time coming, as has the Clarence-Rachel team-up, and it is all well-executed here. I've never been wild about the art style in this book, put together by a team of artists under Victor Kalachev's guidance, but it's certainly reliable, it tells the story clearly, and in the midst of this termite-infested gun battle it even heightens the chaos. Not bad at all.
7.0/10
Daredevil #12: The friendship between Matt Murdock and Foggy Nelson has always been an excellent one, and in Daredevil #12 we get a bit of an origin story for the two old chums. It works well, with the right blend of humor and sincerity, even if it doesn't teach us a lot of new information about the characters. The same is true of the present-tense date between Murdock and ADA Kirsten McDuffie, a blossoming romance I am actively rooting for. Chris Samnee's artistic contributions are solid as well, clean and crisp and fitting. Not a fan of those last few pages. I mean, if Black Spectre can be "reborn" so quickly, then why did "The Omega Effect" happen at all? Why is the Omega Drive even a threat to these megacrime organizations if one of them can so easily bounce back? But since that ending was basically disconnected from the rest of this issue, I'll ignore it for now and focus on the excellent personal stories Mark Waid tells instead.
7.5/10
The Defenders #6: What is going on with this title? Remember just a few issues back when it was an awesome, end-of-the-world, madcap adventure series? Now that Matt Fraction has changed his focus from The Defenders defeating a clear threat to The Defenders stumbling over an enormous cosmic mystery, it seems like the series has lost its juice. Fraction still has a really good handle on the voices of his cast, and I got some laughs out of Iron Fist and Silver Surfer trying to communicate. But beyond that, this was mostly a bizarre and not-that-entertaining history lesson coupled with some semi-educated guesses about what these concordance engines might be/do. And Victor Ibañez, while not doing a necessarily bad job, definitely brings us one of the worst-looking issues of The Defenders to date. The monster Silver Surfer turned into was alright, but the whole thing was a bit cartoony without really committing to that style, and the overall effect was big time meh. Meh everywhere.
4.5/10
Dial H #1: As far as first issues go, Dial H #1 is simply marvelous. From the very opening scene, China Miéville expertly introduces us to the strange and depressing world in which this series takes place, and I would like to spend as much time there as possible. Our main character, Nelse, is perfect. He's depressed and maybe even a little hopeless, but a genuinely kind man and good friend, which makes him an ideal candidate for these numerous bizarre superhero identities. And the heroes themselves, in this first issue anyway, were logically connected to Nelse, one having cigarette-related powers and the other having sadness-related powers. The real treat, though, is how Miéville handles the psychological aspects of Nelse's transformations. While it never stops him from fighting evil or accomplishing his goals, it was nice to see the confusion and disorientation that come with suddenly taking on a new persona and set of powers. And Mateus Sanolouco's art complements the story perfectly, adding a gritty reality to things and launching the madness into the stratosphere when needed. There were some really excellent villains introduced as well, and others only hinted at, so it seems evident that Dial H has big plans for itself. I, for one, can't wait to see how they unfold.
8.5/10
Earth 2 #1: James Robinson uses an interesting approach in this debut. Rather than fully introduce us to the characters who will star in Earth 2 (we see a little of three of them at the end) he takes almost the entire first issue to instead teach us the history of this alternate reality. It's an awesome little tale of struggle and sacrifice, of an inter-dimensional war and the heroes who fight it, and of how Earth 2 lost its first wave of superheroes five years ago. So now we're set up to see who will take their place, and as anxious as I am to meet them, I still had a pretty great time reading what was, basically, this prologue to their future adventures. Not least of all because of Nicola Scott on art who, even if there are a few smaller panels with awkward expressions or angles, generally kicks ass. So much of this issue is huge, high-powered, chaotic violence, but Scott never loses us in the insanity, and makes all three of the DC Trinity look good in spite of some lame costume redesigns. And those moments with Mercury were spectacular. Pretty good opening chapter, even if all the main characters in it were killed off by the end.
7.0/10
G.I. Combat #1: Both the "War that Time Forgot" and "Unknown Soldier" features felt they like suffered from having to share this title with each other. The former, essentially, did nothing except for introduce its concept in the most basic way: soldiers find dinosaurs and fight them. Little else to say about that, except that Ariel Olivetti can draw some damn convincing dinosaurs. On the "Unknown Solider" side of things, it was kind of the opposite problem: too much going on in too little a space. Plus the jumps in narrative point of view were awkward, and I still do not understand how, exactly, this guy ended up riding with the U.S. military. I hope at least one of these stories can find its legs, and fast, because all this opening issue did was briefly introduce us to the main ideas behind each feature and nothing else. Nothing to come back for, yet.
5.0/10
Green Arrow #9: No surprises here, as Ann Nocenti continues to tell one of the most confusing, least interesting comicbook stories I've ever read. Even worse this month, we get her pathetic attempts at writing old-West-style dialogue, which she simply does not grasp whatsoever. I've been really enjoying Harvey Tolibao's art since he joined Green Arrow, but under Nocenti's breakneck pacing, his fluid line work starts to feel a little overwhelming. Like the images themselves are being swept up in the ridiculousness of the narrative. I'm hoping the next arc can take a quick breather, settle into some kind of real status quo for Green Arrow and then go from there in a better direction. It's a creative team with definite potential, but so far they've been dropping the ball in a significant way.
2.5/10
Pigs #7: For a long time, Pigs frustrated me. I wanted it to be about the complex moral and emotional issues inherent in being a sleeper agent. That seemed like what is was setting itself up to be, and the idea thrilled me. What we've been getting instead is more of a blockbuster spy action series, and if you read it at that level, it's fairly high-quality stuff. The break-in and subsequent violence in this issue were inventive, well-drawn, well-paced, and even pretty humorous when they wanted to be. That's absolutely all Pigs #7 has to offer, and I wish it had more. I feel like it wants to have more. But my theoretical vision of this series is not the scale by which it should be judged, and as far as shoot-em-up spy stuff goes, Pigs is doing a consistently enjoyable job. I will say that the cover positively sucked and made no sense, and that in the flashback sequences drawn by Will Sliney I could not get over the stupid way he draws a bunch of weird lines on everyone's noses. But the main narrative was what Pigs has been for a while: a group of young assholes raising hell and killing folks. No more, no less.
5.0/10
Swamp Thing #9: For the second month in a row, art trumps story in Swamp Thing. Lucky for us, Swamp Thing #9's art is even better than last issue's, from both Marco Rudy and Yanick Paquette. The two are an amazing match, and the transition from one to the other is hardly noticeable. And every single page has something astounding to stare at, even if its just the layout (although it's never just the layout). I would like Scott Snyder to maybe pick up the pace a bit, and some of the stuff in this issue was kind of lame, like the trick with the canned peaches or the totally predictable and long-ago announced "cliffhanger" at the end. But Alec and Abigial are good together, and their reunion felt earned, so I was glad for that. Really, though, it's all about the art with this series. And the art is fucking great.
7.5/10
Ultimate Comics Spider-Man #10: Pretty good issue, if badly paced. The discussion Miles and his Uncle Aaron have is definitely interesting and important, but I felt like it took too long. Bendis loads the first two-thirds of the script with this conversation, and while he can write dialogue for days, I wish he'd cut it down a little here. The scenes that followed---Miles considering going to The Ultimates, Miles at home with his parents, Miles actually deciding to go after the Scorpion---all deserved a page or two more than they got, and I think that space could easily have been found by trimming the opening chat. Still, I am excited to see how this Scorpion story unfolds, and David Marquez did an impressive job on art duties as always, keeping me interested in the Miles-Aaron talk even as it started to drag. Hopefully more goes on next time.
6.0/10
Thursday, April 19, 2012
Pull List Reviews 04/19/2012
Big fat stack of comics this week so let's get to it.
Avengers vs. X-Men #2: What a misfire. Really across the board, this issue was a letdown. John Romita, Jr.'s pencils were highly inconsistent and never impressive. For a book all about two teams fighting, he sure had a hard time drawing more than a couple members of either team in any given panel. But even worse, I am sad to say, was Jason Aaron's script. From the out-of-place, over-the-top, unnecessary narration to some laughable moments of dialogue (e.g. Storm screaming about a marriage counselor in the middle of combat) Aaron failed to make me the least bit interested in what was going on. Which was not much, anyway, just some rehashing of the weak, half-baked "reasons" each side has for fighting this fight, lots of punching and smack talk, and Hope continuing to be sort of a brat about the whole situation. The end. This event needs to pick up some steam real fast, because it's gotten worse each issue so far.
2.5/10
Batman #8: This whole Court of Owls thing is getting a bit tiresome, so I am excited for the crossover to get rolling and get over with. I don't hate the Court as villains, but I'm not wowed by them either, and there have been some very questionable decisions and reveals along the way from Scott Snyder and company. Luckily, Batman #8 mostly avoid those kinds of developments, telling a very brief and effective story about Wayne Manor coming under attack and how Bruce and Alfred work together to save themselves, their home, and their city. It's a lot of fun and very fast paced, with the tension and action ramping up quickly and then staying quite high for the rest of the issue. The partnership between Bruce and Alfred is very natural, and Greg Capullo makes their fear in the face of their enemies and their concern for one another come through in his art. He does a better job with Alfred than Bruce, but they each have some great moments. The best visuals, however, come from the army of slightly varied but still somehow uniform Talons. An impressive and frightening group.
I was not wild about the closing page of the main story---we'll see where it goes before passing final judgement, I guess---or any of the back-up tale (although YAY for Rafael Albuquerque Batman art!) but up until those final pages, a definite win.
6.5/10
Birds of Prey #8: This title is nothing if not reliable. Solid superhero entertainment every month, with this issue acting as a particularly nice example, if only because it more or less stands alone. Not that everything is neatly resolved at the end, but the bad guys which the Birds deal with this issue have nothing to do with Choke, the evil mastermind of the first arc. And though some larger developments are left to be resolved later, the immediate threat of the issue is handled all in one fully-contained and very well-done fight. That threat, a team called The Infiltrators who has it in for Black Canary, is a bizarre group in both their powers and personalities, but Duane Swierczynski and Jesus Saiz introduce them deftly and rapidly and in a way that never slows the story or detracts from the fun. Indeed, one of The Infiltrators, Napalm, was the funniest and most enjoyable part of the issue. I have yet to be truly floored by this title, but also yet to be at all disappointed.
6.5/10
The Defenders #5: Matt Fraction's story was a bit up-and-down here, but I thoroughly enjoyed Mitch Breitweiser's art. Particularly in the underwater sequence that makes up the first half of this issue. In fact, that first half was much stronger than the second in almost every way. It had all the action and humor and mystery this title is always seeped in, but somehow it was still a bit calmer than usual, less frantic and overwhelming, and I think Breitweiser's art is a huge part of that. Once our heroes came out from the sea and began to excavate the Nautilus, things started to get a little bit jumpy, and while nothing was all that confusing, it definitely became a few degrees more muddled. Still, from cover to cover, Fraction did a great job with Namor's voice (more than anything this made me wish Fraction could just do a Namor series) and for the few lines he had, Danny Rand's voice, too. I wish it had been a steadier story, but I suppose it was really none too shabby, and perhaps the best looking issue of this incarnation of The Defenders so far.
7.0/10
Hellblazer #290: A really good ending to a pretty good storyline, Hellblazer #290 continues to add to the ever-growing dysfunction of John Constantine's family. John's relationship to his sister Cheryl, his niece Gemma, and his father-in-law Terry all go through some pretty significant developments here. Not to mention his wife Epiphany's own relationship to Terry. And we get set up for yet another appearance of the Demon Constantine in coming issues, which is good news for us as readers. Peter Milligan has definitely found a groove on this title, and even when nothing spectacular happens (like here), he keeps me coming back for more, always anxious to see what might go down next.
6.0/10
Prophet #24: This was EXACTLY what I wanted to see after the incredible opening three-issue arc of this Prophet reboot. A brand new John Prophet in a brand new world, but still a story that builds on the notion of a universe full of these men working toward some mysterious, cosmic common goal. Farel Dalrymple provides exceptional artwork throughout, especially the little girl guide and what she turns out to really be, but the true star of this book as always is Brandon Graham. His captions are so excellently written, so deliciously paced, and always know exactly what and how much to leave to the art. It's pretty uncommon that this kind of stylized-yet-understated narrative voice is so expertly employed in the comicbook medium, because so much of the comicbook world is filled with bombastic, over-powered archetypes. John Prophet is none of those things, and it makes his book all the more worth reading. It creeps closer to the top of my list of favorite titles every issue.
Also, much better back-up story than last time. A bit of an old lesson, perhaps, but told in a very fun and simple new way. And just like in the main story, really interesting and reliable art.
9.0/10
Rachel Rising #7: While not as strong an installment as many of the preceding ones, Rachel Rising #7 certainly isn't weak, either. It's just that rather than having any new deaths or very much new horror, this issue takes some time to set up important stuff for the future. Jet is undead just like Rachel, which can't be anything less than hugely significant. There's now a local detective involved in all this madness, which is bound to add some tension to the whole scenario. And then there's the final sequence, which I won't spoil, but is higher up on the insanity scale than perhaps anything Terry Moore has given us in Rachel Rising so far. And that's most certainly a good thing. Perhaps a bit slower than what came before it, but still full of rich, compelling characters trying as hard as they can to deal with an impossible situation. That's good fiction, no matter what.
6.0/10
The Shadow #1: Essentially what Garth Ennis offers us in this debut is a chilling character study of the titular "hero." And it's the perfect way to kick off The Shadow, a character who has been reinvented and interpreted numerous times over the decades. It doesn't matter what, if any, preconceived notions you have of Lamont Cranston going into this book, because Ennis and artist Aaron Campbell make it brutally clear what their version of the man is going to be like: unrelenting, unforgiving, brilliant, deadly, and arrogant. Even when dealing with his allies, he's intentionally a pain in the ass. Hell, even with Margo Lane, maybe especially with her, his I'm-above-it-all attitude shines through. But from what we've seen so far, he can back that attitude up all the way, and it makes me thrilled to see what else this new series has in store.
8.0/10
T.H.U.N.D.E.R. Agents #6: Pretty weak sauce. The worst Wes Craig art to date on T.H.U.N.D.E.R. Agents (which is really saying something) and also the least interesting script of Nick Spencer's entire run (yes, all 16 issues, not just the six that make up his second volume). Not the worst script, maybe, but by far the dullest. Mostly just Colleen talking to whoever it is she was seen talking to in Sri Lanka waaaaaaaay back in the first issue of the first volume, info-dumping so the reader doesn't have any hanging questions at all. And in a spy series, that kind of sucks. Everything gets so neatly tied up that it feels too neat, almost out of place for a title that has been hard to slow or pin down since it began. Cafu draws the Sri Lanka segments and does a really great job, but he has so little to draw (again, pretty much just Colleen's face or the face of her companion) and it is cushioned by such wonky Wes Craig nonsense that the overall effect is weakened. I've been a bit cool on this title for a while now anyway, I suppose, but at the very least I expected the finale to be dynamic and adventurous and full of fatalities. I got zero from that list.
4.0/10
Thunderbolts #173: No question, this was a better chapter than the first of this Thunderbolts vs. Thunderbolts story. Fixer has been a highlight of this title under Jeff Parker's writing all along, and watching him interact with his younger, wilder self is both a lot of fun and quite poignant, and takes the story in at least one unexpected direction as we prepare for the last issue before the change to Dark Avengers takes place. The best part of Thunderbolts #173, though, was Baron Zemo, not just because Declan Shalvey makes him look so awesome with his mask off, but because everything he does perfectly in character while still moving the story of the current Thunderbolts forward in great strides. He's the smartest guy in the room, and that means he can aid a team he was just fighting while simultaneously serving his own wicked goals, and it makes his solution to the long-running time travel conundrum of this title come quickly while still feeling natural. Only one issue to go before a change in name, cast, and, presumably, focus for this book, but Thunderbolts #173 renewed my faith that Jeff Parker will bring us something enjoyable and at least partially surprising for the closing chapter.
6.0/10
Uncanny X-Force #24: It's back! After a rare misstep in the "Otherworld" arc, Uncanny X-Force returns to its former glory. Phil Noto on pencils, a clear target for the team to kill, and major advancement on the always interesting Psylocke-Fantomex romance. The main thrust of the issue is AoA Nightcrawler (can we just call him "Nightcrawler" yet?) killing AoA Iceman, with a little help from Wolverine and Deadpool. Rick Remender does a really great job fleshing out this Nightcrawler through not only his captions but also his tactics during the fight against his old friend. It is an inventive and emotionally powerful battle, for the reader and the characters, and it serves as a reminder of the true potential for greatness in this book. According to Remender in recent interviews and whatnot, another major mega-arc is about to kick off, and this standalone tale (also acting as a grat epilogue to "Otherworld") is the perfect way to transition into whatever Remender has planned. It brings the cast closer together, helps completely establish the newest member, and brings back the grim and awesome violence and assassination this title does so well. Bravo!
8.5/10
Wolverine and the X-Men #9: As far as tie-ins to major events go, this was a pretty satisfying effort. It begins before the first issue of Avengers vs. X-Men, chronologically speaking, and takes us all the way to the end of that same issue seamlessly, which is an impressive accomplishment. And Jason Aaron manages to give Wolverine's choice the necessary gravitas without losing the lightweight, humorous tone that Wolverine and the X-Men has established for itself. I loved the opening sequence on Planet Sin, and had a few smiles during Captain America's visit, the brief moment of tenderness between Toad and Husk, and the conversation between Logan and Idie. All good, believable, engaging stuff. Chris Bacahlo, for his part, delivered some of the clearest art I've seen from him, which was a pleasant surprise, since I typically find myself confused for at least one whole page when he is on art duties for this book. Not a lot of big important story beats (except for maybe the last page) as far as the whole AvX conflict goes, but a solid tie-in issue nonetheless.
7.5/10
Wonder Woman #8: While Brian Azzarello's work on Wonder Woman has been really good all along, one thing I've noticed is that a lot of the time, Diana is overshadowed by the rest of the cast. Not because she isn't awesome, it's just that she is so steady and consistent and, in many ways, familiar, while the rest of the characters in her world are new and strange and full of insights and/or knowledge which she does not posses. It's not necessarily a bad thing, but the truth is Wonder Woman doesn't always feel like the star of her own title. This month, however, that all changes. In an awesome issue that sends Diana and Hermes to Hades in the hopes of rescuing Zola, we get a great version of the underworld, some really spectacular action, and most of all we get to see Wonder Woman in the spotlight. He new armor, brilliantly designed by Cliff Chang (who kills it on every page like usual) and her confident swagger make her stand out in all of her panels, and while Hermes kicks plenty of ass himself, it is Diana who leads the charge and fights the hardest. A somewhat obvious "twist" at the end, but one which makes me super excited for next month all the same. Even though it didn't deal with the controversy from last issue (and that does need to be addressed at some point for sure) Wonder Woman #8 did just about everything else right.
Also, "In its brevity is where life's importance lies." YES!!!
8.0/10
Avengers vs. X-Men #2: What a misfire. Really across the board, this issue was a letdown. John Romita, Jr.'s pencils were highly inconsistent and never impressive. For a book all about two teams fighting, he sure had a hard time drawing more than a couple members of either team in any given panel. But even worse, I am sad to say, was Jason Aaron's script. From the out-of-place, over-the-top, unnecessary narration to some laughable moments of dialogue (e.g. Storm screaming about a marriage counselor in the middle of combat) Aaron failed to make me the least bit interested in what was going on. Which was not much, anyway, just some rehashing of the weak, half-baked "reasons" each side has for fighting this fight, lots of punching and smack talk, and Hope continuing to be sort of a brat about the whole situation. The end. This event needs to pick up some steam real fast, because it's gotten worse each issue so far.
2.5/10
Batman #8: This whole Court of Owls thing is getting a bit tiresome, so I am excited for the crossover to get rolling and get over with. I don't hate the Court as villains, but I'm not wowed by them either, and there have been some very questionable decisions and reveals along the way from Scott Snyder and company. Luckily, Batman #8 mostly avoid those kinds of developments, telling a very brief and effective story about Wayne Manor coming under attack and how Bruce and Alfred work together to save themselves, their home, and their city. It's a lot of fun and very fast paced, with the tension and action ramping up quickly and then staying quite high for the rest of the issue. The partnership between Bruce and Alfred is very natural, and Greg Capullo makes their fear in the face of their enemies and their concern for one another come through in his art. He does a better job with Alfred than Bruce, but they each have some great moments. The best visuals, however, come from the army of slightly varied but still somehow uniform Talons. An impressive and frightening group.
I was not wild about the closing page of the main story---we'll see where it goes before passing final judgement, I guess---or any of the back-up tale (although YAY for Rafael Albuquerque Batman art!) but up until those final pages, a definite win.
6.5/10
Birds of Prey #8: This title is nothing if not reliable. Solid superhero entertainment every month, with this issue acting as a particularly nice example, if only because it more or less stands alone. Not that everything is neatly resolved at the end, but the bad guys which the Birds deal with this issue have nothing to do with Choke, the evil mastermind of the first arc. And though some larger developments are left to be resolved later, the immediate threat of the issue is handled all in one fully-contained and very well-done fight. That threat, a team called The Infiltrators who has it in for Black Canary, is a bizarre group in both their powers and personalities, but Duane Swierczynski and Jesus Saiz introduce them deftly and rapidly and in a way that never slows the story or detracts from the fun. Indeed, one of The Infiltrators, Napalm, was the funniest and most enjoyable part of the issue. I have yet to be truly floored by this title, but also yet to be at all disappointed.
6.5/10
The Defenders #5: Matt Fraction's story was a bit up-and-down here, but I thoroughly enjoyed Mitch Breitweiser's art. Particularly in the underwater sequence that makes up the first half of this issue. In fact, that first half was much stronger than the second in almost every way. It had all the action and humor and mystery this title is always seeped in, but somehow it was still a bit calmer than usual, less frantic and overwhelming, and I think Breitweiser's art is a huge part of that. Once our heroes came out from the sea and began to excavate the Nautilus, things started to get a little bit jumpy, and while nothing was all that confusing, it definitely became a few degrees more muddled. Still, from cover to cover, Fraction did a great job with Namor's voice (more than anything this made me wish Fraction could just do a Namor series) and for the few lines he had, Danny Rand's voice, too. I wish it had been a steadier story, but I suppose it was really none too shabby, and perhaps the best looking issue of this incarnation of The Defenders so far.
7.0/10
Hellblazer #290: A really good ending to a pretty good storyline, Hellblazer #290 continues to add to the ever-growing dysfunction of John Constantine's family. John's relationship to his sister Cheryl, his niece Gemma, and his father-in-law Terry all go through some pretty significant developments here. Not to mention his wife Epiphany's own relationship to Terry. And we get set up for yet another appearance of the Demon Constantine in coming issues, which is good news for us as readers. Peter Milligan has definitely found a groove on this title, and even when nothing spectacular happens (like here), he keeps me coming back for more, always anxious to see what might go down next.
6.0/10
Prophet #24: This was EXACTLY what I wanted to see after the incredible opening three-issue arc of this Prophet reboot. A brand new John Prophet in a brand new world, but still a story that builds on the notion of a universe full of these men working toward some mysterious, cosmic common goal. Farel Dalrymple provides exceptional artwork throughout, especially the little girl guide and what she turns out to really be, but the true star of this book as always is Brandon Graham. His captions are so excellently written, so deliciously paced, and always know exactly what and how much to leave to the art. It's pretty uncommon that this kind of stylized-yet-understated narrative voice is so expertly employed in the comicbook medium, because so much of the comicbook world is filled with bombastic, over-powered archetypes. John Prophet is none of those things, and it makes his book all the more worth reading. It creeps closer to the top of my list of favorite titles every issue.
Also, much better back-up story than last time. A bit of an old lesson, perhaps, but told in a very fun and simple new way. And just like in the main story, really interesting and reliable art.
9.0/10
Rachel Rising #7: While not as strong an installment as many of the preceding ones, Rachel Rising #7 certainly isn't weak, either. It's just that rather than having any new deaths or very much new horror, this issue takes some time to set up important stuff for the future. Jet is undead just like Rachel, which can't be anything less than hugely significant. There's now a local detective involved in all this madness, which is bound to add some tension to the whole scenario. And then there's the final sequence, which I won't spoil, but is higher up on the insanity scale than perhaps anything Terry Moore has given us in Rachel Rising so far. And that's most certainly a good thing. Perhaps a bit slower than what came before it, but still full of rich, compelling characters trying as hard as they can to deal with an impossible situation. That's good fiction, no matter what.
6.0/10
The Shadow #1: Essentially what Garth Ennis offers us in this debut is a chilling character study of the titular "hero." And it's the perfect way to kick off The Shadow, a character who has been reinvented and interpreted numerous times over the decades. It doesn't matter what, if any, preconceived notions you have of Lamont Cranston going into this book, because Ennis and artist Aaron Campbell make it brutally clear what their version of the man is going to be like: unrelenting, unforgiving, brilliant, deadly, and arrogant. Even when dealing with his allies, he's intentionally a pain in the ass. Hell, even with Margo Lane, maybe especially with her, his I'm-above-it-all attitude shines through. But from what we've seen so far, he can back that attitude up all the way, and it makes me thrilled to see what else this new series has in store.
8.0/10
T.H.U.N.D.E.R. Agents #6: Pretty weak sauce. The worst Wes Craig art to date on T.H.U.N.D.E.R. Agents (which is really saying something) and also the least interesting script of Nick Spencer's entire run (yes, all 16 issues, not just the six that make up his second volume). Not the worst script, maybe, but by far the dullest. Mostly just Colleen talking to whoever it is she was seen talking to in Sri Lanka waaaaaaaay back in the first issue of the first volume, info-dumping so the reader doesn't have any hanging questions at all. And in a spy series, that kind of sucks. Everything gets so neatly tied up that it feels too neat, almost out of place for a title that has been hard to slow or pin down since it began. Cafu draws the Sri Lanka segments and does a really great job, but he has so little to draw (again, pretty much just Colleen's face or the face of her companion) and it is cushioned by such wonky Wes Craig nonsense that the overall effect is weakened. I've been a bit cool on this title for a while now anyway, I suppose, but at the very least I expected the finale to be dynamic and adventurous and full of fatalities. I got zero from that list.
4.0/10
Thunderbolts #173: No question, this was a better chapter than the first of this Thunderbolts vs. Thunderbolts story. Fixer has been a highlight of this title under Jeff Parker's writing all along, and watching him interact with his younger, wilder self is both a lot of fun and quite poignant, and takes the story in at least one unexpected direction as we prepare for the last issue before the change to Dark Avengers takes place. The best part of Thunderbolts #173, though, was Baron Zemo, not just because Declan Shalvey makes him look so awesome with his mask off, but because everything he does perfectly in character while still moving the story of the current Thunderbolts forward in great strides. He's the smartest guy in the room, and that means he can aid a team he was just fighting while simultaneously serving his own wicked goals, and it makes his solution to the long-running time travel conundrum of this title come quickly while still feeling natural. Only one issue to go before a change in name, cast, and, presumably, focus for this book, but Thunderbolts #173 renewed my faith that Jeff Parker will bring us something enjoyable and at least partially surprising for the closing chapter.
6.0/10
Uncanny X-Force #24: It's back! After a rare misstep in the "Otherworld" arc, Uncanny X-Force returns to its former glory. Phil Noto on pencils, a clear target for the team to kill, and major advancement on the always interesting Psylocke-Fantomex romance. The main thrust of the issue is AoA Nightcrawler (can we just call him "Nightcrawler" yet?) killing AoA Iceman, with a little help from Wolverine and Deadpool. Rick Remender does a really great job fleshing out this Nightcrawler through not only his captions but also his tactics during the fight against his old friend. It is an inventive and emotionally powerful battle, for the reader and the characters, and it serves as a reminder of the true potential for greatness in this book. According to Remender in recent interviews and whatnot, another major mega-arc is about to kick off, and this standalone tale (also acting as a grat epilogue to "Otherworld") is the perfect way to transition into whatever Remender has planned. It brings the cast closer together, helps completely establish the newest member, and brings back the grim and awesome violence and assassination this title does so well. Bravo!
8.5/10
Wolverine and the X-Men #9: As far as tie-ins to major events go, this was a pretty satisfying effort. It begins before the first issue of Avengers vs. X-Men, chronologically speaking, and takes us all the way to the end of that same issue seamlessly, which is an impressive accomplishment. And Jason Aaron manages to give Wolverine's choice the necessary gravitas without losing the lightweight, humorous tone that Wolverine and the X-Men has established for itself. I loved the opening sequence on Planet Sin, and had a few smiles during Captain America's visit, the brief moment of tenderness between Toad and Husk, and the conversation between Logan and Idie. All good, believable, engaging stuff. Chris Bacahlo, for his part, delivered some of the clearest art I've seen from him, which was a pleasant surprise, since I typically find myself confused for at least one whole page when he is on art duties for this book. Not a lot of big important story beats (except for maybe the last page) as far as the whole AvX conflict goes, but a solid tie-in issue nonetheless.
7.5/10
Wonder Woman #8: While Brian Azzarello's work on Wonder Woman has been really good all along, one thing I've noticed is that a lot of the time, Diana is overshadowed by the rest of the cast. Not because she isn't awesome, it's just that she is so steady and consistent and, in many ways, familiar, while the rest of the characters in her world are new and strange and full of insights and/or knowledge which she does not posses. It's not necessarily a bad thing, but the truth is Wonder Woman doesn't always feel like the star of her own title. This month, however, that all changes. In an awesome issue that sends Diana and Hermes to Hades in the hopes of rescuing Zola, we get a great version of the underworld, some really spectacular action, and most of all we get to see Wonder Woman in the spotlight. He new armor, brilliantly designed by Cliff Chang (who kills it on every page like usual) and her confident swagger make her stand out in all of her panels, and while Hermes kicks plenty of ass himself, it is Diana who leads the charge and fights the hardest. A somewhat obvious "twist" at the end, but one which makes me super excited for next month all the same. Even though it didn't deal with the controversy from last issue (and that does need to be addressed at some point for sure) Wonder Woman #8 did just about everything else right.
Also, "In its brevity is where life's importance lies." YES!!!
8.0/10
Saturday, April 7, 2012
Smatterday 04/07/2012
ECCC 2012
As we all know, Emerald City Comic-Con was last week in Seattle, and even though I couldn't go, plenty of other awesome people did. And it seems like they got to see some pretty amazing stuff.
Personally, I wasn't too excited about most of the news and announcements coming from ECCC this year, but there were a few nuggets of interest. Michael Oeming's got a new creator-owned series, Victories, coming out in the fall that promises to look badass even if the story sounds less cool than I think Oeming thinks it is. Who knows, though? Maybe it'll be an incredible story that I judged too quickly. Wouldn't be the first time.
Of course, this biggest news was that Scott Pilgirm is getting full-color hardcover editions. YAY!!!!! And there was much rejoicing.
Also, Revival sounds alright. If I remember, I'll give that a look when it comes out.
Avengers vs. X-Men vs. Shipping Schedules
Officially, Avengers vs. X-Men #1 came out on Wednesday (04/04), but for an unknown number of readers (myself included) it actually came out last Wednesday (03/28) because Marvel, employing their typical bizarre business sense, shipped them all a week early in order to be sure retailers would have them in time. However, apparently neither Diamond nor Marvel included any kid of special instructions to retailers explaining what the deal was, so numerous stores went ahead and sold the issue a week early.
I mean...duh, right? I get that Marvel maybe didn't trust Diamond completely (who does?) with getting so many of such an "important" issue out in time, but shouldn't they have made some kind of effort to be sure that retailers knew the situation? I know Marvel can't contact evey comicbook store in the country, but some kind of insert or special packaging or SOMETHING to have Diamond include with the orders seems like a no-brainer. Or else you get exactly what you got.
In general, the Internet seems to have been cool about respectfully waiting to review or discuss the issue until this week, so no real harm done. And I mean whatever, comic info leaks online all the time so this is nothing new. But it's a pretty silly blunder, and feels like it could have been so easily avoided.
Best New Awards Controversy
Also this week, the 2012 Eisner Nominees were announced, but due to a lack of "contenders that reached the level of quality they were looking for," there is no Best New Series category this year. And people are pretty pissed. I guess the defense of the decision was that in order to qualify, a title had to be an ongoing series and also have had at least two issues published in 2011, which I'm sure does, in fact, narrows things down. Not so much that it justifies cutting the award completely, I don't imagine, but I can see where they are coming from. I think the real issue is that the difference between Best New Series and Best Continuing Series seems to be pretty thin. Three of five nominees in the latter category were new in 2011, so...what the hell? Maybe put some more established titles in that category, Eisner folks, and let Best New Series stick around. Like we all want.
Watch But Don't Listen
Everybody (even me) already hates the Avengers Movie soundtrack just based on the listing. Except depressed middle-schoolers from the nineties.
As we all know, Emerald City Comic-Con was last week in Seattle, and even though I couldn't go, plenty of other awesome people did. And it seems like they got to see some pretty amazing stuff.
Personally, I wasn't too excited about most of the news and announcements coming from ECCC this year, but there were a few nuggets of interest. Michael Oeming's got a new creator-owned series, Victories, coming out in the fall that promises to look badass even if the story sounds less cool than I think Oeming thinks it is. Who knows, though? Maybe it'll be an incredible story that I judged too quickly. Wouldn't be the first time.
Of course, this biggest news was that Scott Pilgirm is getting full-color hardcover editions. YAY!!!!! And there was much rejoicing.
Also, Revival sounds alright. If I remember, I'll give that a look when it comes out.
Avengers vs. X-Men vs. Shipping Schedules
Officially, Avengers vs. X-Men #1 came out on Wednesday (04/04), but for an unknown number of readers (myself included) it actually came out last Wednesday (03/28) because Marvel, employing their typical bizarre business sense, shipped them all a week early in order to be sure retailers would have them in time. However, apparently neither Diamond nor Marvel included any kid of special instructions to retailers explaining what the deal was, so numerous stores went ahead and sold the issue a week early.
I mean...duh, right? I get that Marvel maybe didn't trust Diamond completely (who does?) with getting so many of such an "important" issue out in time, but shouldn't they have made some kind of effort to be sure that retailers knew the situation? I know Marvel can't contact evey comicbook store in the country, but some kind of insert or special packaging or SOMETHING to have Diamond include with the orders seems like a no-brainer. Or else you get exactly what you got.
In general, the Internet seems to have been cool about respectfully waiting to review or discuss the issue until this week, so no real harm done. And I mean whatever, comic info leaks online all the time so this is nothing new. But it's a pretty silly blunder, and feels like it could have been so easily avoided.
Best New Awards Controversy
Also this week, the 2012 Eisner Nominees were announced, but due to a lack of "contenders that reached the level of quality they were looking for," there is no Best New Series category this year. And people are pretty pissed. I guess the defense of the decision was that in order to qualify, a title had to be an ongoing series and also have had at least two issues published in 2011, which I'm sure does, in fact, narrows things down. Not so much that it justifies cutting the award completely, I don't imagine, but I can see where they are coming from. I think the real issue is that the difference between Best New Series and Best Continuing Series seems to be pretty thin. Three of five nominees in the latter category were new in 2011, so...what the hell? Maybe put some more established titles in that category, Eisner folks, and let Best New Series stick around. Like we all want.
Watch But Don't Listen
Everybody (even me) already hates the Avengers Movie soundtrack just based on the listing. Except depressed middle-schoolers from the nineties.
Thursday, April 5, 2012
Pull List Reviews 04/05/2012
So, still no Astonishing X-Men #48 at my store. I'll probably just have to pick it up somewhere else, but won't bother reviewing it at this point. However, I did get my other missing comic from last week...
Ultimate Comics Ultimates #8: For the first time since the Ultimate line hit restart several months ago, Ultimates was actually kind of dull. Last issue, we were promised both Hulk smashing and Zorn revenging, but neither paid off this week. After a few pages, Reed handily calmed and won over Banner, and Zorn was in transit the entire time. While both of these things made for stunning visuals from Esad Ribic---particularly the Hulk-Reed scenes which I hope we get a few more of before this storyline concludes---neither were especially interesting plot beats. The stuff with the President is certainly in keeping with the spirit of the title so far, by which I mean it's high-power and batshit insane, but it only inches forward this issue. A decision made early on is only officially announced on the final page, and there's not quite a satisfying portion of meat in between.
Even the scene where the announcement is finally made loses weight because of the ridiculous facial expressions. In fact, my one quibble with Ribic's art in general is that his surprised faces are all laughable. Stark, Hulk, Congress...it's the same look every time and it is not flattering. Otherwise a beautiful if low calorie read.
5.5/10
Animal Man #8: In terms of actual story progression, not a lot happens, but several significant character turns take place that I enjoyed. Buddy finally whole-heartedly leaps into the fray. Maxine discovers some impressive if frightening new powers, and then promises to put an end to that sort of behavior while her father is away. And Ellen and her mother each reach their respective breaking points in the face of all the horror they've seen. A new chapter begins here, even more so than in this arc's official first chapter, for nearly every member of the Baker family (Cliff no so much) and it keeps me excited to see where they all end up.
On the art side of things, while Travel Foreman does a fine enough job with his portion, Steve Pugh really has all the best moments, including his first two pages (6 and 7) and his final one. As much as Foreman was one of the best parts of this series at the beginning, Pugh is a very welcome addition (and no stranger to the character). Plus I'm excited to see Foreman on Birds of Prey.
I do have one burning question, though, and it applies to Swamp Thing #8, below, as well: If the Rot has become such a worldwide problem, and the military are showing up en masse and everything, then where the hell are all the other superheroes? I mean...I'm glad the Justice League isn't showing up awkwardly in these titles, but if I am supposed to believe they exist in this world, why would I believe they choose to sit this one out? Did I miss an explanation at some point as to why they wouldn't try to take on The Rot themselves? Just something that popped into my brain while reading this week.
But other than that long, disconnected question, a solid issue throughout.
7.0/10
Avengers vs. X-Men #1: The page with the line ups of both teams really makes things look bleak for the X-Men, huh? I'm just talking numbers (even though, of course, there are TONS of Utopians not mentioned...but why?) And I also thought that, basically, this issue was exactly what everyone expected it to be in the most disappointing ways possible. A long, long set up that leads to the first blow in the fight we've been told for months is coming. Pretty boring stuff, really. Bendis does a good job with his dialogue and Romita, Jr. is serviceable if not impressive on pencils. Really nice colors by Laura Martin, but otherwise nothing to write home about. This whole Marvel-wide fight basically starts because Cyclops and Captain America decide to be dicks to each other immediately. Especially Scott, who seems like he walks into that conversation looking to pick exactly the fight he picks. Namor says that things are already ramped up, and he's 100% on the nose with that call, but why things get so ramped to quickly is sort of unclear and sort of dumb.
Other dumb thing: the Marvel AR tags all over the place. Like roaches in a TV set.
And we hear a lot of talk about fans choosing sides in this fight, but I'll tell ya...so far, the fight seems to be about whether protective custody or mutant boot camp is the best way to handle the Phoenix Force, and I just simply do not care or even see why those two sides are necessarily at odds with one another. Fairly weak sauce beginning to the year's blockbuster event.
3.0/10
Casanova: Avaritia #3: Matt Fraction can catch you up on the story so far and confuse the shit out of you in the same panel. It's really an amazing style and voice he brings to every chapter of Casanova, and this one is no different. While the primary Casanova-Xeno-Sasa threesome/escape plan was totally interesting and bananas, the best parts of this issue focussed on other characters. Suki Boutique gets a nice bit of spotlight, Seychelle re-dons the creepy villain cap quite naturally, and Kaito just generally kicks ass. I have missed the shit out of him, and his return to the title this week is more awesome and terrifying than I could have imagined. And of course, Gabriel Bá and Cris Peter go to town every page, Peter more noticeably than Bá this time, keeping the red foundation of "Avaritia" but also generous and intelligent with greens and using the blues of "Gula" for Kaito's split-second flashbacks. Entertaining, fast-paced, high-concept comicbookery for all (as long as you don't mind sex and violence and swearing and whatnot.)
8.5/10
Daredevil #10.1: The last six pages are pretty good, but everything before that is sort of a dud. A no-stakes flashback fight and a recapping Daredevil's long-term and short-term history, since this is meant to be an issue where new readers might jump on. Murdock goes to see a potential client who was put in prison by Daredevil after trying to assassinate Murdock. Not a bad idea, not even a BAD story, but most definitely not that interesting in execution. And Koi Pham's is quite underwhelming. Again, in the final scene where Daredevil and the megacrime stooges have their little scuffle, things really come to life, but in the Murdock scenes Pham's faces often lack detail or shape, and sometimes his bodies as well. He puts very little detail into anything, and it gives a real sense of the art being rushed or maybe just sloppily finished. Check out the part where fat Daredevil takes on two even fatter bank robbers. Weird stuff.
Art that felt rushed, a story that felt stretched. Meh.
4.5/10
Fairest #2: If I thought some of the other titles this week were boring, Fairest #2 gives a whole new meaning to the word. To be fair, if you ignored all the words, Phil Jimenez, Andy Lanning, and Andrew Dalhouse offer a really soothing and stunning visual trip. The Ice Queen and all of her minions look gorgeous and foreboding at once, and in the Sleepy Beauty backstory sequence, we get a great splash page of the fairy godmothers, followed by an even greater and more detailed double spread of an incredible royal hall.
That sequence, though, as far as story? Really, really lame. And why doesn't Sleeping Beauty know about it? Yeah she was young, but she's grown now. She's lived in our world. Wouldn't she have heard some version of this story? But none of that is the real problem, the real problem is that all three of the heroes (Ali Baba, Sleeping Beauty, and Panghammer) are obnoxious as hell and won't shut up. Am I rooting for them? Hell no! The Ice Queen looks the coolest, acts the coolest, and has friends who know how to keep their mouths shut. THAT is who I root for, every time.
4.0/10
Green Arrow #8: Uh...what? Seriously...???
1.5/10
Swamp Thing #8: Scott Snyder does an interesting thing in this issue, filling it to the brim with combat and filth, letting Yanick Paquette and Marco Rudy pretty much run things (despite an abundance of captions for some pages). It all feels very deliberate. The art highlights the violence, the violence highlights the art, and plot more or less stands aside to let that take place. We get a big development for Abby at the end, but not an unexpected one, and beyond that little really happens. It's almost like an alternative first issue for all the naysayers who were upset at the amount of Holland and lack of Swamp Thing this series had in the previous seven installments. So now it's all Swamp Thing all the time, at least for one month, and even if it's perhaps overly simple in its narrative, you could study the panels of Swamp Thing vs. The Rot for hours without boredom. Plus this new design for Swamp Thing is balling.
7.5/10
Thunderbolts #172: I have no strong feelings about this issue either way. The Thunderbolts vs. Thunderbolts concept is a perfect ending to both the time travel story that has been running through the title for a while now, and for Thunderbolts as a title at all, since once this arc wraps it will become Dark Avengers. As cool as the idea is, though, this opening chapter is less than thrilling. All of Jeff Parker's usual humor is there (especially with Boomerang, who is always my favorite part of the book) and the fight that makes up the last half of the issue is fun and in a cool setting and generally well-drawn by Declan Shalvey, but it's all a little straightforward for my taste. I'm very excited to see if Fixer's foreshadowing pans out (or, I should say, HOW it pans out), and the cliffhanger ending definitely makes me excited for whatever comes next with Moonstone, but nothing exceptional in-and-of itself here.
5.5/10
Ultimate Comics Spider-Man #9: Three extremely well-done scenes. Admittedly, my experience with the Ultimate line before its recent reboot is extremely limited, so I do not know if Captain Frank Quaid is a new or returning character, but it hardly matters because Brian Michael Bendis so succinctly introduces him here. I really hope he's going to be a recurring character now, because Miles could use somebody like that in his corner, and also because I just like the guy.
The main event of the issue is Prowler vs. Scorpion. Both characters slowly reveal to each other, and therefore to the reader, the scope of their abilities. Prowler expects to disarm and surprise Scorpion with his new toys, but Scorpion clearly has some older, scarier, innate abilities that make him one hell of a foe. It's a fun escalation to watch, and it's also satisfying to see Uncle Aaron gradually go from arrogant to terrified. He's a pretty despicable dude (seeing as he blackmails his nephew into helping him deal with a supervillain), which makes the panels where all he can do is panic and run are some of the best in the issue, with David Marquez evoking Aaron's stunned horror perfectly.
Marquez continues to be an excellent substitute for Sara Pichelli all around, brining all the attention to detail and character and expression she always did. And all of this seems to be tumbling toward a Spidey-Scorpion meeting, which I can't wait to see.
8.0/10
Wolverine & the X-Men #8: Beast fighting Sabretooth in space is a great goddamn idea that misses the mark here. I mostly blame Chris Bachalo, who's art is unclear everywhere, but particularly during the climatic final moments of that fight. I'm sure Bachalo's style is appreciated by many, but I have always found it a little too bizarre and inconsistent to really enjoy. And he gives his characters such animal-like faces. I know Beast and Sabretooth are meant to resemble cats, but why Angel and Kilgore, and why only sometimes?
Jason Aaron's script has its highs and lows. Again, conceptually, Beast vs. Sabretooth on S.W.O.R.D. HQ is sweet, but it feels sort of cramped in the same space of the other story. The same is true of that story, wherein the students go back to Planet Sin to get a cure for Wolverine. Even though the exchange between Angel and Genesis is a highlight of not just this issue but the series to date, the rest of that mission goes by in such a blur its hard to get invested in it before they're already returning home. Between that frantic pace and Bachalo's sloppy pencils, Wolverine & the X-Men #8 just fell short for me this time.
4.0/10
Ultimate Comics Ultimates #8: For the first time since the Ultimate line hit restart several months ago, Ultimates was actually kind of dull. Last issue, we were promised both Hulk smashing and Zorn revenging, but neither paid off this week. After a few pages, Reed handily calmed and won over Banner, and Zorn was in transit the entire time. While both of these things made for stunning visuals from Esad Ribic---particularly the Hulk-Reed scenes which I hope we get a few more of before this storyline concludes---neither were especially interesting plot beats. The stuff with the President is certainly in keeping with the spirit of the title so far, by which I mean it's high-power and batshit insane, but it only inches forward this issue. A decision made early on is only officially announced on the final page, and there's not quite a satisfying portion of meat in between.
Even the scene where the announcement is finally made loses weight because of the ridiculous facial expressions. In fact, my one quibble with Ribic's art in general is that his surprised faces are all laughable. Stark, Hulk, Congress...it's the same look every time and it is not flattering. Otherwise a beautiful if low calorie read.
5.5/10
Animal Man #8: In terms of actual story progression, not a lot happens, but several significant character turns take place that I enjoyed. Buddy finally whole-heartedly leaps into the fray. Maxine discovers some impressive if frightening new powers, and then promises to put an end to that sort of behavior while her father is away. And Ellen and her mother each reach their respective breaking points in the face of all the horror they've seen. A new chapter begins here, even more so than in this arc's official first chapter, for nearly every member of the Baker family (Cliff no so much) and it keeps me excited to see where they all end up.
On the art side of things, while Travel Foreman does a fine enough job with his portion, Steve Pugh really has all the best moments, including his first two pages (6 and 7) and his final one. As much as Foreman was one of the best parts of this series at the beginning, Pugh is a very welcome addition (and no stranger to the character). Plus I'm excited to see Foreman on Birds of Prey.
I do have one burning question, though, and it applies to Swamp Thing #8, below, as well: If the Rot has become such a worldwide problem, and the military are showing up en masse and everything, then where the hell are all the other superheroes? I mean...I'm glad the Justice League isn't showing up awkwardly in these titles, but if I am supposed to believe they exist in this world, why would I believe they choose to sit this one out? Did I miss an explanation at some point as to why they wouldn't try to take on The Rot themselves? Just something that popped into my brain while reading this week.
But other than that long, disconnected question, a solid issue throughout.
7.0/10
Avengers vs. X-Men #1: The page with the line ups of both teams really makes things look bleak for the X-Men, huh? I'm just talking numbers (even though, of course, there are TONS of Utopians not mentioned...but why?) And I also thought that, basically, this issue was exactly what everyone expected it to be in the most disappointing ways possible. A long, long set up that leads to the first blow in the fight we've been told for months is coming. Pretty boring stuff, really. Bendis does a good job with his dialogue and Romita, Jr. is serviceable if not impressive on pencils. Really nice colors by Laura Martin, but otherwise nothing to write home about. This whole Marvel-wide fight basically starts because Cyclops and Captain America decide to be dicks to each other immediately. Especially Scott, who seems like he walks into that conversation looking to pick exactly the fight he picks. Namor says that things are already ramped up, and he's 100% on the nose with that call, but why things get so ramped to quickly is sort of unclear and sort of dumb.
Other dumb thing: the Marvel AR tags all over the place. Like roaches in a TV set.
And we hear a lot of talk about fans choosing sides in this fight, but I'll tell ya...so far, the fight seems to be about whether protective custody or mutant boot camp is the best way to handle the Phoenix Force, and I just simply do not care or even see why those two sides are necessarily at odds with one another. Fairly weak sauce beginning to the year's blockbuster event.
3.0/10
Casanova: Avaritia #3: Matt Fraction can catch you up on the story so far and confuse the shit out of you in the same panel. It's really an amazing style and voice he brings to every chapter of Casanova, and this one is no different. While the primary Casanova-Xeno-Sasa threesome/escape plan was totally interesting and bananas, the best parts of this issue focussed on other characters. Suki Boutique gets a nice bit of spotlight, Seychelle re-dons the creepy villain cap quite naturally, and Kaito just generally kicks ass. I have missed the shit out of him, and his return to the title this week is more awesome and terrifying than I could have imagined. And of course, Gabriel Bá and Cris Peter go to town every page, Peter more noticeably than Bá this time, keeping the red foundation of "Avaritia" but also generous and intelligent with greens and using the blues of "Gula" for Kaito's split-second flashbacks. Entertaining, fast-paced, high-concept comicbookery for all (as long as you don't mind sex and violence and swearing and whatnot.)
8.5/10
Daredevil #10.1: The last six pages are pretty good, but everything before that is sort of a dud. A no-stakes flashback fight and a recapping Daredevil's long-term and short-term history, since this is meant to be an issue where new readers might jump on. Murdock goes to see a potential client who was put in prison by Daredevil after trying to assassinate Murdock. Not a bad idea, not even a BAD story, but most definitely not that interesting in execution. And Koi Pham's is quite underwhelming. Again, in the final scene where Daredevil and the megacrime stooges have their little scuffle, things really come to life, but in the Murdock scenes Pham's faces often lack detail or shape, and sometimes his bodies as well. He puts very little detail into anything, and it gives a real sense of the art being rushed or maybe just sloppily finished. Check out the part where fat Daredevil takes on two even fatter bank robbers. Weird stuff.
Art that felt rushed, a story that felt stretched. Meh.
4.5/10
Fairest #2: If I thought some of the other titles this week were boring, Fairest #2 gives a whole new meaning to the word. To be fair, if you ignored all the words, Phil Jimenez, Andy Lanning, and Andrew Dalhouse offer a really soothing and stunning visual trip. The Ice Queen and all of her minions look gorgeous and foreboding at once, and in the Sleepy Beauty backstory sequence, we get a great splash page of the fairy godmothers, followed by an even greater and more detailed double spread of an incredible royal hall.
That sequence, though, as far as story? Really, really lame. And why doesn't Sleeping Beauty know about it? Yeah she was young, but she's grown now. She's lived in our world. Wouldn't she have heard some version of this story? But none of that is the real problem, the real problem is that all three of the heroes (Ali Baba, Sleeping Beauty, and Panghammer) are obnoxious as hell and won't shut up. Am I rooting for them? Hell no! The Ice Queen looks the coolest, acts the coolest, and has friends who know how to keep their mouths shut. THAT is who I root for, every time.
4.0/10
Green Arrow #8: Uh...what? Seriously...???
1.5/10
Swamp Thing #8: Scott Snyder does an interesting thing in this issue, filling it to the brim with combat and filth, letting Yanick Paquette and Marco Rudy pretty much run things (despite an abundance of captions for some pages). It all feels very deliberate. The art highlights the violence, the violence highlights the art, and plot more or less stands aside to let that take place. We get a big development for Abby at the end, but not an unexpected one, and beyond that little really happens. It's almost like an alternative first issue for all the naysayers who were upset at the amount of Holland and lack of Swamp Thing this series had in the previous seven installments. So now it's all Swamp Thing all the time, at least for one month, and even if it's perhaps overly simple in its narrative, you could study the panels of Swamp Thing vs. The Rot for hours without boredom. Plus this new design for Swamp Thing is balling.
7.5/10
Thunderbolts #172: I have no strong feelings about this issue either way. The Thunderbolts vs. Thunderbolts concept is a perfect ending to both the time travel story that has been running through the title for a while now, and for Thunderbolts as a title at all, since once this arc wraps it will become Dark Avengers. As cool as the idea is, though, this opening chapter is less than thrilling. All of Jeff Parker's usual humor is there (especially with Boomerang, who is always my favorite part of the book) and the fight that makes up the last half of the issue is fun and in a cool setting and generally well-drawn by Declan Shalvey, but it's all a little straightforward for my taste. I'm very excited to see if Fixer's foreshadowing pans out (or, I should say, HOW it pans out), and the cliffhanger ending definitely makes me excited for whatever comes next with Moonstone, but nothing exceptional in-and-of itself here.
5.5/10
Ultimate Comics Spider-Man #9: Three extremely well-done scenes. Admittedly, my experience with the Ultimate line before its recent reboot is extremely limited, so I do not know if Captain Frank Quaid is a new or returning character, but it hardly matters because Brian Michael Bendis so succinctly introduces him here. I really hope he's going to be a recurring character now, because Miles could use somebody like that in his corner, and also because I just like the guy.
The main event of the issue is Prowler vs. Scorpion. Both characters slowly reveal to each other, and therefore to the reader, the scope of their abilities. Prowler expects to disarm and surprise Scorpion with his new toys, but Scorpion clearly has some older, scarier, innate abilities that make him one hell of a foe. It's a fun escalation to watch, and it's also satisfying to see Uncle Aaron gradually go from arrogant to terrified. He's a pretty despicable dude (seeing as he blackmails his nephew into helping him deal with a supervillain), which makes the panels where all he can do is panic and run are some of the best in the issue, with David Marquez evoking Aaron's stunned horror perfectly.
Marquez continues to be an excellent substitute for Sara Pichelli all around, brining all the attention to detail and character and expression she always did. And all of this seems to be tumbling toward a Spidey-Scorpion meeting, which I can't wait to see.
8.0/10
Wolverine & the X-Men #8: Beast fighting Sabretooth in space is a great goddamn idea that misses the mark here. I mostly blame Chris Bachalo, who's art is unclear everywhere, but particularly during the climatic final moments of that fight. I'm sure Bachalo's style is appreciated by many, but I have always found it a little too bizarre and inconsistent to really enjoy. And he gives his characters such animal-like faces. I know Beast and Sabretooth are meant to resemble cats, but why Angel and Kilgore, and why only sometimes?
Jason Aaron's script has its highs and lows. Again, conceptually, Beast vs. Sabretooth on S.W.O.R.D. HQ is sweet, but it feels sort of cramped in the same space of the other story. The same is true of that story, wherein the students go back to Planet Sin to get a cure for Wolverine. Even though the exchange between Angel and Genesis is a highlight of not just this issue but the series to date, the rest of that mission goes by in such a blur its hard to get invested in it before they're already returning home. Between that frantic pace and Bachalo's sloppy pencils, Wolverine & the X-Men #8 just fell short for me this time.
4.0/10
Saturday, March 31, 2012
Smatterday 03/31/2012
The Azzarello Amazon Incident
Wow, Wonder Woman #7 certainly rocked the boat, didn't it? From Kelly Thompson's review and subsequent column, to the numerous other outcries and criticisms, people have been extremely vocal in their disapproval of Brian Azzarello's new take on the Amazons. For the most part, I agree with what has been said. The Amazons have never been so hateful and malicious as this issue paints them to be, and there is absolutely no discernible reason in terms of the story so far that this detail needed to be divulged. Discernible, however, is the operative word there, because until we see at least one if not two or three more issues of the series, it's hard to say what the final portrait of the New 52 Amazons will be. For now, though, a definite misstep for the otherwise exceptional title. #8 has a LOT riding on it.
Spurlock Does Comic-Con
Morgan Spurlock, of Super Size Me fame, has put together a Comic-Con documentary with some help from Stan Lee and Joss Whedon. And so far, the response seems to be fairly positive. I am not a fan of Spurlock as a man or a filmmaker, but supposedly he isn't on frame for even a second of Comic-Con Episode IV: A Fan's Hope, so that certainly raises my interest level to some degree. Until more reviews of the complete film have come in, I'll hold off on viewing it, but from what I've read so far I admit it does seem like he's got the right attitude about the project. Here's hoping...
What Kind of Turtles Are They? Or...Are They Still Technically Turtles?
No doubt you've heard by now, but Michael Bay is producing, arguably, a remake the Teenage Mutant Ninja Turtles. I say arguably because, from what we've heard so far, the titular characters will be neither teenage nor mutant nor, in the most literal sense, turtles, because now what they are instead is aliens from another planet that sort of resemble giant anthropomorphized Earth turtles. So not really a remake so much as a retooling. Or, more accurately, a brand new idea (aliens with ninja skills come to Earth to be heros---awesome!) squished together with an old franchise. And even that isn't entirely true, since the title is now just going to be Ninja Turtles.
For me, the problem with this is that the whole charm of the turtles, the thing that set them apart from basically every other hero or superhero in comics, TV, or movies, is that rather than being men who were given turtle-like powers and characteristics, they were TURTLES FIRST, who then grew to take on human-like characteristics. But apparently that concept is lost on Mr. Bay and company. There has been some flacid support for the project, but mostly people are pissed off, and if those behind these decisions really don't understand why people are angry, then they shouldn't have been selected for this project in the first place.
Another Event Is Born...Kinda
Finally, below is a list of reviews I happened to read of Avengers vs. X-Men #0. Just in case you missed any of them, because it is, after all, the event of the year. Because every year has to have an event now. Because that's how we do things.
Thursday, March 29, 2012
Pull List Reviews 03/29/2012
First of all, two of my titles were missing this week from my local shop: Astonishing X-Men #48 & Ultimates #8. So those are getting skipped (for now).
Avengers vs. X-Men #0: This is a pretty solid zero issue. Inasmuch as zero issues have any purpose whatsoever (but that's an argument for another time). But if you are going to do a non-essential opening chapter for your story, AvX #0 is the way to do so. Could I have skipped this entirely? You bet. Was it worth the time and money? Sure.
Brian Michael Bendis and Jason Aaron each deliver a clear, complex, and honest character piece. Bendis begins to reintroduce the Scarlet Witch to active superherosim, and in a small amount of space puts Wanda through physical and emotional triumphs and failures. Aaron's Hope story accomplishes a lot of the same things, although in that case it is mostly Hope's triumphs and Scott's failures. We get to see Hope finally confront the issue of the Phoenix, which feels like it's sort of a long time coming. Obviously Marvel has been building up to it by design, but the girl ain't no fool. It makes sense she would have figured out so much already, and it was nice to have her say so out loud after all this time. Also the Serpent Society! Oh man, I have a soft spot in my heart for those clowns, and watching Hope use all of her tactics (including excessive rage-punching) to defeat such a bizarre and ridiculous group of villains was as entertaining as it was unsettling. Frank Cho's art was also solid and consistent. Fun action scenes that had villains which played to his strengths, and good, clear, expressive emotions in the angry-man-talks-sternly-at-woman scenes.
It loses some points because...nothing all that significant happened. No Avengers fought any X-Men. It was issue zero, and it had zero importance. But a fun prologue nonetheless.
6.5/10
Daredevil #10: Daredevil against Mole Man is a pretty interesting match up. Mole Man's natural dimwittedness means that, except for arguably the first page or two, he never puts Daredevil in any real danger, but he's also smart enough to point out that the whole fight is useless because Daredevil has nothing to gain. And it's true. As the narrative captions so kindly point out to us, everybody loses this time. Mole Man may not be a threat to Daredevil, but he's already done all the damage he could do with his little grave-robbing scheme to Matt Murdock. And it is, appropriately, Murdock whose name is attached to the construction of the replacement headstones, granting him the only real victory for any of the characters. A thoroughly satisfying ending to this two-parter.
Then there's the weird part at the very end where...I guess maybe he's going crazy? Or he's overly paranoid? Something's up. Of course, The Omega Effect is next, as we already know, so his paranoia is probably not misplaced. But it was a sort of jarring ending to what was otherwise another great issue from Mark Waid and Paolo Rivera.
8.5/10
Justice League Dark #7: Blech. If they hadn't already announced Lemire taking over, I'd be dropping this title for good as of this week. I have a theory that Peter Milligan never wanted this job or, at any rate, once he got it he regretted the decision for some reason. Because we know damn well he is capable of writing a John Constantine with actual charm and some sliver of likability, but every month in this book all Constantine does it bitch. Bitch bitch bitch. At Xanadu and, sometimes, Deadman, who isn't even bold enough to bitch back. Instead, all he does is whine (yes, there is a difference, but they are equally obnoxious and wrong for these characters). As if that wasn't enough, Shade's only role this month was to be confused and scared. Xanadu, too, until she abandons everybody. Also Zatanna, basically, although she may not have been so scared. A few vampires did get killed, but mostly Xanadu barked orders and the others begrudgingly obeyed. Like always. I get it, Milligan, you can't think of one damn reason this group would be formed, so you just have a magic lady force them together. Stop pointing it out and just tell me a story.
The art was serviceable, but also felt a little bit rushed or...cramped, like maybe Admira Wijaya and/or Daniel Sampere might have liked an extra page or two. A lot of M-Vest activity happened off-panel, and we jumped around from Bat-people back to the main cast in a rapid, disorienting, unsatisfying way.
Basically, boo.
3.0/10
Moon Knight #11: I will be so sad to lose this title next month. The craziest hero in the game, that's the angle Marc Spector has chosen for himself, and it is working on every level. Alex Maleev draws the shit out of what is mostly just one great and sometimes humorous fight scene between Moon Knight, Madame Masque, and Agent Buck Lime over control of, you guessed it, the head of Ultron. And Bendis continues to develop the interesting partnership between Moon Knight and Buck, as well as hanging onto the Echo and Nefaria threads, all of which makes for the perfect push to what will be the inevitable final showdown in issue 12. Definitely the best title to get the axe from Marvel all year.
8.0/10
Morning Glories #17: Jade and Ike talk to each other. End of plot summary.
This was not a bad issue. This was not an impressive issue. There was some insight given into the minds of both characters, but I would argue that, for the most part, it's not a lot we didn't already know. Jade has some secret knowledge, and it is connected to her killing herself. Yep, knew that. Ike is a prick, but only sort of, because really he's kind of nice and sad and smart and understanding. Duh. Other than Jade's mom's death, which only raises more questions than it answers, nothing was really to be gained from this issue. And that, I think, is a problem with Morning Glories in general. Nick Spencer loves to throw weird and/or unexpected shit at us (see the last page of this issue) and then just makes us steep in it without any conclusive payoff. Example: Jade finally asks out loud what the school is, vaguely says it might be a test, and then...nothing. End of topic. Not helpful.
My interest shrinks with this title more and more. But Joe Eisma always brings his A-game. His A-game is not necessarily dazzling, but it's always right there, looking the same and therefore creating a real sense of consistency to the world of the book. And that is as true here as always.
5.0/10
Scalped #57: Another title which, when it ends, will be every so dearly missed. I must say, I honestly thought we'd be done with all the Diesel stuff. I guess maybe that was stupid of me, but if so I'm glad to be stupid, because I really enjoyed the surprise of it coming back into play here, at the end of everything, in such an enormous way. Diesel's murder (and the whole story surrounding it) was such a key part of the greater arc of Dash's character, really getting him in with Red Crow in a way he hadn't quite accomplished before that, so it seems fitting it would be the thing that might undo Dash in the end.
Of course, it's all really because of Carol's abortion, which is another plotline I wasn't sure we'd ever hear from again (although I was less surprised by this one). And I really, really hope we get to see Red Crow and Carol talk about it before the title comes to a close, because I just think Jason Aaron is going to write that scene into space.
Trail's End is shaping up to be one hell of a closing arc. And I didn't even talk about how it's probably one of the top ten covers Jock's ever done for the series, or how brutal Catcher gets to be one last time before it all comes to a close, or how R.M. Guera does such a great job decaying Diesel's body you feel like you're watching Bones. Only three to go, so Aaron and Guera better already have their next project locked and loaded.
8.5/10
Secret Avengers #24: I am having a hard time pinning down my feelings about this one. I have been enjoying this story, by-and-large, but under Rick Remender's pen, Secret Avengers has started to feel kind of like Justice League Dark, where the biggest common theme from issue to issue is how much everyone dislikes and fights with each other on the team. Now, there is certainly more of a sense in Secret Avengers that, eventually, some of this griping and sniping will resolve. Hawkeye obviously wishes he was doing better, Beast has been trying to keep the peace, etc. but for now I find it sort of grating. Captain Britain and The Torch bicker, Hawkeye apologizes to Beast for last month's bickering, and Flash Thompson just complains out loud to himself for a page. Enough.
However, Gabriel Hardman could not be a better fit for the title right now, I think in some ways because of all the in-fighting and negativity. His lines are rough but always clear, his characters so expressive even when they're not as detailed, and it fits the somewhat gritty and uneven feeling of the team. And he makes Father quite the imposing villain, while still letting some of the humor of a room full of arguing robots come through.
Still, mostly just more losing to Adaptoids and failing to get along for the Secret Avengers this issue. Same as last issue.
6.0/10
Spaceman #5: Coming right in the middle of this nine-issue series, Spaceman #5 is a bit of a slow burn. Each of the various seeds Brian Azzarello and Eduardo Risso planted in the previous four issues continues to grow. Orson and Tara get one step closer to getting her home once they are spotted by, and then spot, a camera crew from her show. The story of Orson's past on his space mission takes a fatal and, no doubt, highly significant turn. And by the end of the issue, Orson's past gets incrementally closer to catching up with him in the present. Steady as she goes with this story, as well as Risso's art. What can be said that hasn't been said already? He captures the gloom of the world so perfectly, while both Orson and Tara stand out as more innocent and hopeful figures. Even when compared to the other "spaceman" on the last page (whose name escapes me at the moment), Orson is far less imposing or hard in his appearance. It keeps us on his side, even as we learn that his greed led to another's death, or we wonder whether he's the best guardian for Tara at the moment. He may not be, but it's clear he's doing his personal best, and that's good enough (for me, anyway).
7.5/10
Teen Titans #7: Teen Titans is such an insane romp of a comic book, sometimes it zips by so fast it barely leaves an impression. I mean, what even happens this month? The Titans win and win and win but don't get anywhere, argue with each other a bit (Red Robin is a total dick in this issue), and then get attacked by a scary-looking villain. Not the first scary-looking villain to attack them, mind you. Not even the scariest-looking, which sort of detracts from the ending. And something so weird happens to Kid Flash for like half a page that I am guessing will be important down the line.
It wasn't bad, per se, just a bit fluffy. I will say that I found myself actively cheering on Solstice when she was scolding Red Robin, who, again, was such an ass about it. He's really not that great a leader, or even, in this issue, that great a hero. But the rest of his team are such a lively and interesting-looking group, that even when it's not doing much, Teen Titans continues to entertain from cover to cover.
6.5/10
Uncanny X-Force #23: The Otherworld story finally ends, and not a moment too soon. Man, so much about this was a disappointment. Tocchini's art, as has been pointed out elsewhere, is all wrong here. Uncanny X-Force has, to my mind, always been its best when the art has been as down-to-earth as possible. It is a team of grim characters doing dirty work, even when they are battling goat monks from the future and skinless judges, and they need an artist who can show it. Having such blurred and uneven art is a huge drawback.
The story, alas, was only the tiniest bit better. I did like the very, very end of the issue, where Betsy gets to put each of her brothers in their respective places, because Psylocke is a badass and should get to act like one as much as possible. But Mr. Skinless or Weapon III or whatever he's called just runs off, and the reveal about the goat monk's identity, while semi-interesting, was not all that inventive and made the bulk of the fighting in the last few issues seem like a lot of wasted time.
Also, the whole trial of Fantomex thing hasn't really been resolved, has it? I mean, the plan was to erase the guy from existence, and that did not happen. Is the Captain Britain Corps NOT going to come after him again for murdering kid Apocalypse? And if not, why not? And if they are going to come after him again...lame. I don't want to see those British pricks in Uncanny X-Force ever again!
EVER!
4.5/10
Avengers vs. X-Men #0: This is a pretty solid zero issue. Inasmuch as zero issues have any purpose whatsoever (but that's an argument for another time). But if you are going to do a non-essential opening chapter for your story, AvX #0 is the way to do so. Could I have skipped this entirely? You bet. Was it worth the time and money? Sure.
Brian Michael Bendis and Jason Aaron each deliver a clear, complex, and honest character piece. Bendis begins to reintroduce the Scarlet Witch to active superherosim, and in a small amount of space puts Wanda through physical and emotional triumphs and failures. Aaron's Hope story accomplishes a lot of the same things, although in that case it is mostly Hope's triumphs and Scott's failures. We get to see Hope finally confront the issue of the Phoenix, which feels like it's sort of a long time coming. Obviously Marvel has been building up to it by design, but the girl ain't no fool. It makes sense she would have figured out so much already, and it was nice to have her say so out loud after all this time. Also the Serpent Society! Oh man, I have a soft spot in my heart for those clowns, and watching Hope use all of her tactics (including excessive rage-punching) to defeat such a bizarre and ridiculous group of villains was as entertaining as it was unsettling. Frank Cho's art was also solid and consistent. Fun action scenes that had villains which played to his strengths, and good, clear, expressive emotions in the angry-man-talks-sternly-at-woman scenes.
It loses some points because...nothing all that significant happened. No Avengers fought any X-Men. It was issue zero, and it had zero importance. But a fun prologue nonetheless.
6.5/10
Daredevil #10: Daredevil against Mole Man is a pretty interesting match up. Mole Man's natural dimwittedness means that, except for arguably the first page or two, he never puts Daredevil in any real danger, but he's also smart enough to point out that the whole fight is useless because Daredevil has nothing to gain. And it's true. As the narrative captions so kindly point out to us, everybody loses this time. Mole Man may not be a threat to Daredevil, but he's already done all the damage he could do with his little grave-robbing scheme to Matt Murdock. And it is, appropriately, Murdock whose name is attached to the construction of the replacement headstones, granting him the only real victory for any of the characters. A thoroughly satisfying ending to this two-parter.
Then there's the weird part at the very end where...I guess maybe he's going crazy? Or he's overly paranoid? Something's up. Of course, The Omega Effect is next, as we already know, so his paranoia is probably not misplaced. But it was a sort of jarring ending to what was otherwise another great issue from Mark Waid and Paolo Rivera.
8.5/10
Justice League Dark #7: Blech. If they hadn't already announced Lemire taking over, I'd be dropping this title for good as of this week. I have a theory that Peter Milligan never wanted this job or, at any rate, once he got it he regretted the decision for some reason. Because we know damn well he is capable of writing a John Constantine with actual charm and some sliver of likability, but every month in this book all Constantine does it bitch. Bitch bitch bitch. At Xanadu and, sometimes, Deadman, who isn't even bold enough to bitch back. Instead, all he does is whine (yes, there is a difference, but they are equally obnoxious and wrong for these characters). As if that wasn't enough, Shade's only role this month was to be confused and scared. Xanadu, too, until she abandons everybody. Also Zatanna, basically, although she may not have been so scared. A few vampires did get killed, but mostly Xanadu barked orders and the others begrudgingly obeyed. Like always. I get it, Milligan, you can't think of one damn reason this group would be formed, so you just have a magic lady force them together. Stop pointing it out and just tell me a story.
The art was serviceable, but also felt a little bit rushed or...cramped, like maybe Admira Wijaya and/or Daniel Sampere might have liked an extra page or two. A lot of M-Vest activity happened off-panel, and we jumped around from Bat-people back to the main cast in a rapid, disorienting, unsatisfying way.
Basically, boo.
3.0/10
Moon Knight #11: I will be so sad to lose this title next month. The craziest hero in the game, that's the angle Marc Spector has chosen for himself, and it is working on every level. Alex Maleev draws the shit out of what is mostly just one great and sometimes humorous fight scene between Moon Knight, Madame Masque, and Agent Buck Lime over control of, you guessed it, the head of Ultron. And Bendis continues to develop the interesting partnership between Moon Knight and Buck, as well as hanging onto the Echo and Nefaria threads, all of which makes for the perfect push to what will be the inevitable final showdown in issue 12. Definitely the best title to get the axe from Marvel all year.
8.0/10
Morning Glories #17: Jade and Ike talk to each other. End of plot summary.
This was not a bad issue. This was not an impressive issue. There was some insight given into the minds of both characters, but I would argue that, for the most part, it's not a lot we didn't already know. Jade has some secret knowledge, and it is connected to her killing herself. Yep, knew that. Ike is a prick, but only sort of, because really he's kind of nice and sad and smart and understanding. Duh. Other than Jade's mom's death, which only raises more questions than it answers, nothing was really to be gained from this issue. And that, I think, is a problem with Morning Glories in general. Nick Spencer loves to throw weird and/or unexpected shit at us (see the last page of this issue) and then just makes us steep in it without any conclusive payoff. Example: Jade finally asks out loud what the school is, vaguely says it might be a test, and then...nothing. End of topic. Not helpful.
My interest shrinks with this title more and more. But Joe Eisma always brings his A-game. His A-game is not necessarily dazzling, but it's always right there, looking the same and therefore creating a real sense of consistency to the world of the book. And that is as true here as always.
5.0/10
Scalped #57: Another title which, when it ends, will be every so dearly missed. I must say, I honestly thought we'd be done with all the Diesel stuff. I guess maybe that was stupid of me, but if so I'm glad to be stupid, because I really enjoyed the surprise of it coming back into play here, at the end of everything, in such an enormous way. Diesel's murder (and the whole story surrounding it) was such a key part of the greater arc of Dash's character, really getting him in with Red Crow in a way he hadn't quite accomplished before that, so it seems fitting it would be the thing that might undo Dash in the end.
Of course, it's all really because of Carol's abortion, which is another plotline I wasn't sure we'd ever hear from again (although I was less surprised by this one). And I really, really hope we get to see Red Crow and Carol talk about it before the title comes to a close, because I just think Jason Aaron is going to write that scene into space.
Trail's End is shaping up to be one hell of a closing arc. And I didn't even talk about how it's probably one of the top ten covers Jock's ever done for the series, or how brutal Catcher gets to be one last time before it all comes to a close, or how R.M. Guera does such a great job decaying Diesel's body you feel like you're watching Bones. Only three to go, so Aaron and Guera better already have their next project locked and loaded.
8.5/10
Secret Avengers #24: I am having a hard time pinning down my feelings about this one. I have been enjoying this story, by-and-large, but under Rick Remender's pen, Secret Avengers has started to feel kind of like Justice League Dark, where the biggest common theme from issue to issue is how much everyone dislikes and fights with each other on the team. Now, there is certainly more of a sense in Secret Avengers that, eventually, some of this griping and sniping will resolve. Hawkeye obviously wishes he was doing better, Beast has been trying to keep the peace, etc. but for now I find it sort of grating. Captain Britain and The Torch bicker, Hawkeye apologizes to Beast for last month's bickering, and Flash Thompson just complains out loud to himself for a page. Enough.
However, Gabriel Hardman could not be a better fit for the title right now, I think in some ways because of all the in-fighting and negativity. His lines are rough but always clear, his characters so expressive even when they're not as detailed, and it fits the somewhat gritty and uneven feeling of the team. And he makes Father quite the imposing villain, while still letting some of the humor of a room full of arguing robots come through.
Still, mostly just more losing to Adaptoids and failing to get along for the Secret Avengers this issue. Same as last issue.
6.0/10
Spaceman #5: Coming right in the middle of this nine-issue series, Spaceman #5 is a bit of a slow burn. Each of the various seeds Brian Azzarello and Eduardo Risso planted in the previous four issues continues to grow. Orson and Tara get one step closer to getting her home once they are spotted by, and then spot, a camera crew from her show. The story of Orson's past on his space mission takes a fatal and, no doubt, highly significant turn. And by the end of the issue, Orson's past gets incrementally closer to catching up with him in the present. Steady as she goes with this story, as well as Risso's art. What can be said that hasn't been said already? He captures the gloom of the world so perfectly, while both Orson and Tara stand out as more innocent and hopeful figures. Even when compared to the other "spaceman" on the last page (whose name escapes me at the moment), Orson is far less imposing or hard in his appearance. It keeps us on his side, even as we learn that his greed led to another's death, or we wonder whether he's the best guardian for Tara at the moment. He may not be, but it's clear he's doing his personal best, and that's good enough (for me, anyway).
7.5/10
Teen Titans #7: Teen Titans is such an insane romp of a comic book, sometimes it zips by so fast it barely leaves an impression. I mean, what even happens this month? The Titans win and win and win but don't get anywhere, argue with each other a bit (Red Robin is a total dick in this issue), and then get attacked by a scary-looking villain. Not the first scary-looking villain to attack them, mind you. Not even the scariest-looking, which sort of detracts from the ending. And something so weird happens to Kid Flash for like half a page that I am guessing will be important down the line.
It wasn't bad, per se, just a bit fluffy. I will say that I found myself actively cheering on Solstice when she was scolding Red Robin, who, again, was such an ass about it. He's really not that great a leader, or even, in this issue, that great a hero. But the rest of his team are such a lively and interesting-looking group, that even when it's not doing much, Teen Titans continues to entertain from cover to cover.
6.5/10
Uncanny X-Force #23: The Otherworld story finally ends, and not a moment too soon. Man, so much about this was a disappointment. Tocchini's art, as has been pointed out elsewhere, is all wrong here. Uncanny X-Force has, to my mind, always been its best when the art has been as down-to-earth as possible. It is a team of grim characters doing dirty work, even when they are battling goat monks from the future and skinless judges, and they need an artist who can show it. Having such blurred and uneven art is a huge drawback.
The story, alas, was only the tiniest bit better. I did like the very, very end of the issue, where Betsy gets to put each of her brothers in their respective places, because Psylocke is a badass and should get to act like one as much as possible. But Mr. Skinless or Weapon III or whatever he's called just runs off, and the reveal about the goat monk's identity, while semi-interesting, was not all that inventive and made the bulk of the fighting in the last few issues seem like a lot of wasted time.
Also, the whole trial of Fantomex thing hasn't really been resolved, has it? I mean, the plan was to erase the guy from existence, and that did not happen. Is the Captain Britain Corps NOT going to come after him again for murdering kid Apocalypse? And if not, why not? And if they are going to come after him again...lame. I don't want to see those British pricks in Uncanny X-Force ever again!
EVER!
4.5/10
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