Strap in kids. This one is a doozy. Between coming down with the death disease and C2E2, I never got to do the reviews for the books that came out of the 16th. And it was a big week. This week was supposed to be lighter, but there were a couple books from the 16th that exceeded my budget, so I picked those up. Sad thing is, writing these reviews I realized just how “BLEH” these books left me.
I do say so. Oh well, can’t love them all.
I don’t know what to make of this issue. Since it’s not part of the main series and has a different artist, it comes off as just a really confusing fill-in. Even after reading it, I can’t figure out if it will prove to be completely unimportant or the linchpin of the series. Will this come back in the end or was it Marvel grabbing another four dollars out of my wallet? I feel like I need to finish the series to even understand what happened here, despite mountains of exposition. Where are they going to tell me why these Avengers want to kill today’s Avengers?
The other story in the issue flashes back to the team’s first night out on patrol. It’s an interesting enough story, but everything you needed to know was handled on the first page of the first issue of Young Avengers: kid doppelgangers saving people from a fire, “Who the #*&% are the Young Avengers?”
I don’t like Alan Davis’ art as much as the people’s who has influenced, namely Bryan Hitch. It’s something about his faces, especially his character’s mouths. But I appreciate his ignoring of a grid or standard panel layouts. It’s fun to look at. It keeps your eyes on their toes.
I don’t know. This was an awkward aside. Of course, I can’t judge until Avengers: The Children’s Crusade is finished. But it’s not looking good.
I knew it had to happen eventually – a bad issue of Avengers Academy.
It’s a simple problem. There’s way too much exposition. Don’t get me wrong, I have no idea who this Korvac guy is beyond an Avengers villain, but the explanation goes on too long and is so convoluted that I still don’t get it. Most of this issue feels like an illustrated OHOTMU entry, though narrated by Korvac’s wife and with interjections by other characters. Over the 22 pages, I came to understand that Korvac is wicked powerful and it’s going to take a lot to beat him, but I could tell that from just the pictures. If I wanted the backstory, I could have dived into the longboxes at my local shop and read, ya know, THE BACKSTORY?!
This isn’t to say that the Avengers characters are wasted, set aside to focus on Korvac. It’s Veil that sets this all in motion and Speedball gets a big moment, something he really needed, even after last month’s trip to Stamford. All the others get their panels too, even if they serve as Korvac fodder.
Making sure the massacre is exciting, we welcome new artist Tom Raney. It sounds a bit back handed, but Raney is a better than average superhero artist. No more. In a nice move, he and Gage are gracious enough to illustrate the exposition not with talking heads, but with violence. Giant-Man getting giant-punched. Thor brought to his knees. Quicksilver tripped up. It keeps things visually interesting. I have a complaint though – the further into the background a character is, the worse they look. I don’t know if I should blame Raney or inker Scott Hanna, but if a character isn’t the focus on a panel, they become scantly more detailed than a smiley face.
A rough issue to be sure, but with the heavy narrative lifting out of the way, I look for AA to bounce back next month.
Steve Rogers is not the same character he was in the 1960s. Many of his defining characteristics have been negated. The man out of time, waking up after 20 years frozen in ice? Well, he’s had time to acclimate in the 15 or so Marvel years since the thawing. Remorseful for the loss of his sidekick while ending WW2? Oh … yeah … he never actually died. No problem. This is why Bucky makes an interesting Captain America. He’s got some conflict in him.
Despite that, Ed Brubaker is taking steps to get Steve back in the suit. I have no doubt it’s influenced by the movie, but because Bucky is such a good Cap, I don’t like the idea.
Despite that, Brubaker has me convinced after 22 pages. If I were a hero in the Marvel Universe, there is no one I would rather have lead me into battle. It’s not even that he’s a strategist, he can just handle any situation. He takes everything in this issue in stride, knows the right thing to do (both morally and fight-wise). My only hope is that Bucky has a place to fit in outside of the red, white and blue. I don’t want anyone to think Bucky’s story is finished and kill him off. It’d be a waste.
Mitch Breitweiser has drawn Captain America a few times in the past, so he’s no stranger to the character. His artwork is a great demonstration to anyone picking up this Point One issue, regardless of the fact that he’s not the regular artist.
Lastly, I want to call attention to letterer Joe Caramagna. I usually don’t like sound effects in my comic art. If you show me a gun with a muzzle flash, I can do the sound math. Other times, they feel intrusive or take me out of the story* Here, they’re well integrated into the art; they aren’t just pasted over it. It makes a difference.
A great done in one. A great starting point. A great issue.
* This is one reason I didn’t like the few issues of Incredible Hercules that I read. I don’t need the sound effect “NURPLE” when some twists a nipple. It’s not funny either.)
Finally! an enjoyable issue of Daredevil Reborn.
After a couple issues that were derivative of … a lot of things, this finally feels like a uniquely Daredevil story. Not because Matt uses his super senses, but because we see some of the theme that ave carried the character for years, like protecting the innocent. It’s not a perfect issue though; it’s very uneven. The first half is all action, the second half all talking. Neither part is bad, but it feels like there are only two scenes over these 22 pages.
I don’t have much to say. One more issue of Reborn, then Matt heads back to Hell’s Kitchen and the hands of Mark Waid, Marco Chechetto and Marcos Martin. I wish I could hit fast forward.
Part of me didn’t want to review this until issue one of the actual event came out, but I figure they will be different enough that each deserves its own review.
I’ve heard the complaint that the plot of Fear Itself isn’t a result Marvel’s ongoing continuity as House of M, Secret Invasion and Siege have. It hasn’t been bubbling for months and years, it’s starting here and now. I see it the other way, if someone wants to read Fear Itself, they can start with this issue or Fear Itself #1. No more back story in necessary.
Take the Marvel Universe, mix in one part Hellboy, and one part Raiders of the Lost Arc, and you get this book. Though not completely original, it does a good job laying the groundwork while telling a satisfying tale on its own. Part of me feels that this new Red Skull could be Marvel’s Joker. She’s an agent of chaos. She sees an opportunity to raise hell and goes for it. She likes to make symbolic attacks, like her recent desecration of the Statue of Liberty. She quickly turns on her allies. With a shepherd as good as Ed Brubaker, she’s getting a real personality. I’m excited for her starring turn. It could be star-making.
Book of the Skull also features etter art from Scot Eaton than I expected, possibly due to the brighter coloring, especially compared to what I remember of his work on X-Men: Legacy. These big, open panels really do a service to his art. I used to shy away if I saw his name on a book, but he’ll get another look now.
This is a weird one. Phonogram 2: The Singles Club is the best comic of the past ten years, but everything else Kieron Gillen writes leaves me cold. Of course, anything McKelvie draws, even an 8-page backup, gets a look from me. So,when I saw this was a stand-alone issue and only three bucks, I gave it a shot.
It’s a cool book. You can easily see it as the newest entry in the line of New Mutants, Generation X, Academy X, New X-Men, Young X-Men, but it’s a handful of fresh characters, being defined by one clear voice (Gillen’s). I understand that due to their very nature, books like this don’t sell very well, but I hope it sticks around. These characters will only be able to blossom if they have a regular book. Pop in appearances here and there will just leave them to wither away, the way people like Surge, Prodigy and Dust have done recently.
Writers always talk about catering scripts to their artist. Gillen/McKelvie is one team where you can see this in action. Some of these jokes only work with McKelvie’s art. Could you read Prof’s “There’s few things I love more than seeing young mutants at play.” line with anyone else’s art? Greg Land? Prof would be a pervert! As it stands, he’s more of a weird uncle.
I’m not sure if it’s a flaw of the issue or a testament to Fraction’s character building, but I much preferred the Pepper Potts scenes in this issue to the Tony Stark/Doc Ock ones. I have no doubt that Dr. Octopus will somehow be saved (like he would ever die in a non-Spider-Man book) and I also don’t think he’ll set off his bomb. It’s all just pacing until the problem is finished. Because the Stark scenes are just talking, they don’t feel like they have real conflict until too late in the game. Also, the strength of this series has been each arc coming off the one before it. This has an non-Iron Man villain coming to a man who isn’t the best to solve his problem, as Stark even points out. It feels more contrived than it needs to.
To harp on the Tony/Otto scenes again, the 11-13 panel pages, with a reliance on talking heads do Larroca no favors. Those aren’t his strength. The suit is. Action is. Not these blank, plastic faces.
Sure, this is my least favorite arc of Invincible Iron Man, but with Fraction at the helm of Fear Itself, I’m sure he has big plans for his boy Tony.
Talk about a letdown. After the incredible issue #655, we get a pretty standard Dan Slott Spider-Man issue, even Marcos Martin is wasted. Just one month after Slott wrote Martin some acting-heavy silent scenes and some dynamo spreads, we get an average issue. The only page that stood out to me was the opener with the detonator in Massacre’s hand. And with Martin off to do Daredevil with Mark Waid, I’m not sure he’ll get another go.
#655 touched on a lot of things: power and responsibility, comics’ revolving door of death, etc. This issue has a lame villain and an over-the-top J. Jonah Jameson. I bought his sadness after Marla’s death, but his reprisal is a bit much. Nice job letting him take advantage of his office as mayor though.
Four months in, and I’m ready to drop Amazing Spider-Man. I really liked the first “Big Time” arc, was underwhelmed with the second and only enjoyed the art of this third one. After the next issue, which ties into the Fantastic Four arc “Three,” I think I’m done. Of course, I recently saw that Christos Gage is coming on to help with a few scripts and do a bit of crossing over with his Avengers Academy kids, so I’m sure I’ll pick those up. I’m not going to add ASM to my pull list, but I’ll keep an eye on the solicits so I can be a cafeteria reader. “I have some of this … but not this.”
It’s draft day for the Thunderbolts! Issue #155 finds two units (Fixer and Songbird, and Luke Cage, Dr. Strange and Man-Thing) enlisting new recruits for their cadre of villains gone good. It may sound uneventful, but Jeff Parker keeps it interesting in a number ways. Luke and crew fight show that there’s more than one way to skin an incantation. Meanwhile, the Fixer/Songbird sequences are more low key, but the Raft’s female prisoners have some nice catcalls directed at Fixer: “I know you can rig up a piece of tech that goes in here …” When was the last time a Marvel comic objectified a male character? I like it, though I guess it only serves to balance out the “private bath for the women of Shandor-Rah” that Satana uses to tempt the ex-Power Man and ex-Sorcerer Supreme.
As an issue, it feels a bit unfinished. There are some abrupt cuts, as when Dr. Strange drops Luke on an ice beast. The ntire battle takes place while we turn the page. We didn’t even see one punch. And the scenes back at the Raft don’t have much in the way of drama. I understand this is an issue of putting pieces in place for a Thunderbolts JV team, but it could have been smoother. I also wish I could recognize some of these prospects. Though I did tell you guys to keep an eye out for Troll.
Kev Walker rules. ‘Nuff said.
After last issue’s reveal that a comics company wants to publish the adventures of Twilight Guardian, issue #3 shows us a few possibilities. It’s a fresh idea, but it leaves the issue a bit lacking, because we’re not following Pam anymore. When we go into the comics within the comic, it slows the forward motion of the issue. It pauses all the actual plot and drama of the series. I hope that these aren’t reflections of any suggestions Top Cow made to Hickman about where the character could go. Can you imagine if Twilight Guardian was shoved in Artifacts? Yeesh. Talk about not understanding the book.
The real star of this issue is Sid Kotian. Not only does he turn in the strong linework we’ve seen in the previous two issues, but he also adopts a new art style for each of the pitches Avernus Comics sends. Hopefully this guy doesn’t disappear; his style on the super-mega-superhero-crossover segment proves he’d be a great fit on a book like Legion of Super-Heroes, and his TG in the same sequence look an awful lot like my favorite Teen Titan, Raven. One question – when girls are home alone, do they really hang out in their underwear and knee-high socks? Or is Kotian spying on my dreams?
Yes, it’s a stumble, but in addition to the metafiction, this issue pushes the pieces into place for the upcoming finale. I’m not sure how, or if, all the plots up in the air – Dusk Devil, TG’s missing ex-boyfriend, her newly reappeared father – will tie in, but I’ll be there.
Last question: What parent lets their three children, none of whom seem older than 10, light firecrackers outside at 12:45 AM? (Though the lettering says PM, the sky and the fact that TG is on patrol means it’s night.)
Right before Messiah Complex, X-Factor had its only stinker of a storyline, “The Isolationist.” It featured a few stories, but I don’t remember how or if they tied together. The biggest problem was that it didn’t feel like an X-Factor story. They aren’t really fighters anymore. They work at a detective agency? Sure, they’ve got muscle in Strong Guy and fighting skills in Shatterstar, but characters like Rictor and Layla are the glue of the team and they are action oriented at all. So when an arc comes along with a real physical threat, it feels off. And here we are with another action arc.
It’s rare that I don’t like an issue of X-Factor, but it has two serious problems:
- Lame villains – We’ve got a trio of female assassins going after J. Jonah Jameson and his friends. But after two issues, we don’t know who they are or what they want.I want to root against them, but no just because they’re labeled as the bad guys.
- Proselytizing – Peter David is a man with opinions. Anyone who’s read his blog knows that. And often times I agree with his opinions. But here, he spends three pages calling out anti-Muslim protesters on their bullshit philosophies. I agree with every word he puts in his characters mouths, but an issue of X-Factor isn’t the place for discourse on culturally insensitivity.
Emanuela Lupacchino loves breasts. Sure, her male characters are attractive as well, but you can’t go four pages in this issue without an eye-grabbing cleavage shot. Not a complaint, mind you, just an observation. To her credit, she really does draw stunning people. And unlike some lesser artists, she uses more face shapes than “male” and “female.” Most importantly, she’s a great fit on this book. Between her and Valentine De Landro, X-Factor has solved the artistic inconsistency that plagued it for years. Let’s just hope the next issue can turn the rest of the book around.