Issue one was tasked with a lot of exposition, but here, the story just moves, and not just from Manhattan to Wundagore Mountain. New players are introduced, conflicts are developed, and it’s all wrapped up with a cliffhanger of Doom. Good times. Heinberg created the Young Avengers, so his voices for them are still the ones dominant in most people’s minds. They don’t quite have the idiosyncratic personalities of Vaughan’s Runaways, but each has their own believable stake in the proceedings. He also does well in making sure the book lives up its title. This not simply a Young Avengers story: needless to say, Scarlet Witch is a key part, but Quicksilver and the old New Avengers also show up.
I don’t like the bimonthly schedule. Two months is too long a time to remember any plot intricacies. It’s not that bad this early, but nine issues is a lot for anyone to remember, nevermind those nine issues coming out over a year and a half. However, the slower distribution allows Jim Cheung to perfect every panel. Scenes regularly involve 5+ characters, but they don’t seem rushed. Cheung doesn’t even skip backgrounds all that often.
I don’t have the memory for bimonthly publication, but with a book this good, having to reread every eight weeks is not a problem.
I don’t dislike this book, but I do have some problems with it.
Bendis is trying the whole address-the-audience thing. It works, but other than addressing it “you,” it’s not all that different from the first person narration of Ultimate Spider-Man or Daredevil. Scarlet tells us she needs our help, but unless this book goes interactive all of a sudden, there’s nothing we can actually do to help her. Reading comics is a passive thing. We’re not involved in the events. Bendis certainly would be among the first to try something new like that, but until it happens, Scarlet’s request feels empty.
Then there’s the art. Maleev makes choices that confuse me. When I first read Grant Morrison and Dave McKean’s Arkham Asylum, I didn’t understand it. I could follow the plot, sure, but panels would go by and I didn’t understand their relevance. Luckily I had the 15th anniversary trade, which includes the full script. I read that and then everything clicked. I then understood Morrison’s allusions to Anubis or who certain characters were, regardless that the book hadn’t explained them. Maybe seeing the script would also make the difference here. Each issue has featured panels of solid color for reasons I can’t comprehend. Also, Maleev’s coloring is distracting; it bathes everything in an eerie glow. With Spider-Woman’s alien-centric story and Madripoor setting, this same technique made sense. Here, it doesn’t help tell the story, it’s bothersome.
The spread covering pages 2-3 shows Scarlet 12 times. Each panel shows the same facial expression and background, with her clothes, hairstyle and the panel’s coloring changing each time. Why? If it’s to break up the monotony of a floating head monologue, this is not the way to do it.
Scarlet may be one issue away from its real hook, but if not, it needs to do more for my $4.
After two months of standalone issues, Secret Six is back to doing what it does best: showing terrible people doing terrible things. After expressing his displeasure with the Six’s recent activities, Bane has assembled his own team. And next issue the two teams will fight. I can’t wait.
Simone has a great talent for infusing new characters into a story without resorting to a dead-stop to introduce them. I don’t remember reading anything with Dwarfstar or King Stark before, but I feel I already understand their personalities. Much like my introduction to Cheshire in Villains United, she has a way of making me love these people. And that’s in addition to her skill creating new characters like Scandal or the new Ragdoll.
Calafiore’s art is certainly adequate. I don’t mean that as an insult, but there is nothing unique about his art. His name will never scare me away from a book, but it won’t convince me to try something either.
Please buy this book. I don’t want it to ever go away.
Wow. This book. All action. All the time. Maybe I’m adjusting my expectations, because I didn’t hate it. Once I expected it to be all action, I didn’t mind waiting for the Daredevil tie-ins to give me real emotion. Once I accepted that Daredevil was possessed or whatever, I wasn’t bothered by his being out of character. Let’s be honest, if a correctly thinking Matt Murdock killed Bullseye, he would never EVER resurrect him. He would just cry about it for a while and say his prayers. Shadowland is not good on it’s own, but it’ll do.
I’m not going to give Billy Tan any shit this month. This is the best his art has looked in the series. I like his rendition of the Punisher and his female characters, especially Lady Bullseye. I also want to give special recognition to colorist Christina Strain this month. Between all the shadows, Ghost Rider’s flames and the streets of Hell’s Kitchen, playing with light in this book must be a bear, but she does a great job. I’ve met her at cons and she’s always very sweet and does great sketches.
Rucka and Southworth have a gem on their hands. With this 32-page closer to “The Case of the Girl Who Took Her Shampoo but Left Her Mini,” the pair has left me waiting for more. To solve the case (and not die) Dex has to use her PI skills, but also know how to read a situation and play the other parties against each other. Real crafty, this one.
Southworth’s art is perfectly unfinished. Darker books always run the risk of their art coming off too exaggerated and not fitting the mood. Looking at another Rucka series, Queen & Country, the art oscillates between cartoon and grit, much to the chagrin of some of its readers. Southworth is the regular artist on this title, so we don’t have to worry about that. What we do have to worry about is the schedule. Issue one came out on November 2009. That’s an almost three month average time between issues. The creators have assured us such delays will no longer happen, but that means a longer time between each arc.
The coloring in the book’s climax is a great experiment. The nighttime beach setting is washed in dark blue, with only a flashlight’s yellow glow to illuminate the characters. Not only does this preserve the beach’s shadows, but the contrasting colors make the players pop.
This is my new favorite book. I wish I read these characters before. I know Gravity had his own series, but I never tracked it down. Same with Araña or whatever she’s called now. These are great characters finally finding a place in my spotlight.
McKeever spends this issue throwing the Bastards’ identities into question, leading to inner-group tension as well as hinting at a larger conspiracy. I was wondering who the Allies would have as antagonists after this initial arc. That conspiracy is just what I was looking for, a hook to keep the book going.
Compared to Stumptown, this is the kind of book that can use non-realistic art. Baldeon, Bowling and Sotomayor take advantage and have given us some exciting, fun pages.
I’m running out of ways to praise this book. Just read it.