Friday, March 29, 2013

Uncanny Avengers #5

(w) Rick Remender     (a) Olivier Coipel

**SPOILERS AHEAD**

On the spectrum on comic book art, it goes from being extremely cartoony/exaggerated on one end, to vividly realistic/lifelike on the other. Rob Liefeld and Humberto Ramos are the first two names that popped into my head when thinking of examples for the former, while David Finch and Ethan Van Sciver represent the latter. While most artists exist somewhere along the spectrum, there are few that find a phenomenal middle ground that represents the comic book format, yet manages to capture dynamic realism. Some of these names include Jim Lee, Jim Cheung, Greg Capullo, John Cassaday, Phil Noto, and Olivier Coipel.

Coipel has been a favorite artist of mine since I read House of M, so when I heard he was doing an issue of Uncanny Avengers with Rick Remender -- a more recent addition to my list of favorite writers -- I was immediately sold. Though, it's not like I wasn't already going to read the issue. Coipel's artwork is an absolute treat for an transition issue that begins to incorporate Remender's storylines from Uncanny X-Force he promised would resurface in this series.

There is a sequence in Uncanny Avengers #5, wherein Alex Summers begins a national dialogue about the use of the word "mutant" as a descriptor of individuals with activated x-genes. For some ridiculous reason, select critics and journalists have chosen to become incensed by the ideas put forth by Havok in his speech. These ideas deal with the perception of mutants as inherently different from humans, which Alex attempts to explain simply isn't true. The controversy surrounds Alex's insistence that the word "mutant" now carries a negative connotation, and that maybe, just maybe, the intelligent peoples of Earth might just possibly be able to think of a better way to interact with those who are different. The point of the speech was that Alex didn't want to be defined by his mutation; a noble belief that ultra-sensitives on the internet have turned into an ugly attempt at casting Rick Remender and his narrative decisions in a bigoted light. It's ridiculous and frankly appalling that a story conveying a hopeful idea for the future of an oppressed people is so viciously attacked because of the wording.


And the funny thing is, Havok's speech is only a small part of the issue. Probably the least technically interesting part about the issue is Alex's speech. It's a sentiment that's been a part of mutant life in the Marvel universe for decades. Remender conveyed that sentiment very well, but it's been done. The speech is important, but in true Remender fashion, the entire issue sets up future stories, not just the big finale at the end. There's the addition of Wonder Man, Wasp, and Sunfire to the team, the romantic tension between Captain America and Scarlet Witch, the attack on the press conference by Grim Reaper, or even the ongoing look at Captain America and Havok's struggle to keep rank.

Uncanny Avengers #5 is a fantastic issue of a fantastic series. Rick Remender knows how to write great comic books and now that we're getting to the point where his storylines from UXF are starting to connect, it's just going to get better and better.

GRADE
8/10

The Superior Spider-Man #6AU (mini review)

(w) Christos Gage     (a) Dexter Soy

As an explanation as to why Spider-Man reads like Peter Parker in Age of Ultron instead of like Otto Octavius, The Superior Spider-Man #6AU is pretty unsatisfying. As a tie-in to "Age of Ultron", the issue is an interesting look at how the Superior Spider-Man would process the oppression of Earth by someone other than he.

Truthfully, I feel like The Superior Spider-Man has stalled. The first two issues showcased Dan Slott's ability to bring a fresh new perspective on a very old character. Since then, the series has been going through the motions, unable to find sure footing for the fledgling new anti-hero. With The Superior Spider-Man #6AU, writer Christos Gage utilizes the apocalyptic nightmare of Ultron's victory to give Otto the ultimate feeling of inferiority.

Putting aside how ridiculous it is that Otto would go through to the trouble of "acting" like Peter to satisfy anyone's comfort, Spider-Man takes it upon himself to destroy Ultron simply because he's got a bit more experience with robots than anyone still living. But it's not about his plan or it's success or failure. It's about Otto's hubris and how it exceeds even the end of the world. This is what the Superior Spider-Man needs to be. This is what Otto's journey needs to represent because that's the kind of man he is, the kind that needs to be better than everyone else.

GRADE
9/10

Thursday, March 28, 2013

Teen Titans #18 (mini review)

(w) Scott Lobdell     (a) Eddy Barrows

Holy God. 

Seriously. 

Words might not be enough to describe just how much I loathe Scott Lobdell's Teen Titans. The man has single-handedly decimated years of amazing character development from Geoff Johns and others that made the Teen Titans one of DC's best books. 

Teen Titans #18 is so full of terrible, I basically stopped reading after the first half. It took everything in me to continue reading, and I was upset the entire time. Nothing about this issue is good. Tim's super awkward semi-psychotic breakdown over Damian Wayne's death is just god-awful. He just yells at a nonexistent Damian before Alfred finds him hugging nothing. If I were Alfie, I'd be calling Arkham.

Then we get the weird reuniting of the Teen Titans wherein Superboy continues to act like a complete dick to the surprise of no one. What did surprise me was that Scott Lobdell, once again, felt it necessary to reference N.O.W.H.E.R.E. It's infuriating to see that terrible acronym pop up yet again for no reason whatsoever. Get over it, Lobdell.

None of this is to mention the inclusion of the Suicide Squad. Why? Just because. Deal with it, apparently.

And isn't Red Robin supposed to be possessed by the Joker or something? I don't know. I'm so far beyond hoping or believing that Scott Lobdell can write a coherent story I just don't know what to do.

I am counting the days until Justin Jordan's debut issue on the series because it seriously could not be any worse than this steaming pile Scott Lobdell calls his work.

GRADE: 0/10

Fantastic Four #5AU (mini review)

(w) Matt Fraction     (a) Andre Araujo

Matt Fraction's Fantastic Four has been a slow burn, to say the least. Five issues in and Reed Richard's health condition is still taking precedent, and that's not really enough (for me, anyway) to carry the series. It's been fun so far, but I fear Fraction falling into an episodic format.

And then there's Fantastic Four #5AU, my favorite issue of the series thus far. It has more energy, fun, and high stakes than anything else so far. Plus, it really feels like the events of this issue will have lasting ramifications going forward in Fantastic Four, so it will be interesting to see how Fraction handles this change in status quo. 

My only real problem with the Fantastic Four being involved with events on Earth is that up until now, there's been absolutely no way of contacting the team while on their journey. Now, seemingly out of nowhere, Black Panther has some deus ex machina communication device that can broadcast through all space and time. What?

GRADE: 8/10

Wednesday, March 27, 2013

Spotlight: Guardians of the Galaxy #1

(w) Brian Michael Bendis     (a) Steve McNiven

Cosmic adventures are slowly, but surely, creeping into the mainstream of the comic book industry. Even over the past five years, it seemed nearly impossible for intergalactic series to get noticed beyond a devoted, yet small fan base. Dan Abnett and Andy Lanning struck gold with their interpretation of Marvel's cosmic lineup a few years back, but it was unceremoniously ignored by most readers. 


**SPOILERS FOR THE AVENGERS [2012] (THOUGH, YOU SHOULD HAVE SEEN IT BY NOW...SERIOUSLY) AND THIS ISSUE**


Enter the Marvel Cinematic Universe (MCU) and -- more specifically -- The Avengers. Though it was classic Thor villain Loki who was pulling the strings throughout Joss Whedon's superhero epic, footage shown after a few credits roll infers that it was indeed the mad titan, Thanos, who supplied Loki with an army to invade Earth. Since Marvel took over most of the rights to their character franchises, the MCU has been teasing subsequent movies with brief epilogues at the end of each film that have succeeded in bringing a new level of connectedness to Marvel's big screen stories. Any moviegoer who stuck around long enough to see the malevolent villain setting his focus on Earth 1) wouldn't know it was Thanos because he's never named, and 2) Would merely see it as the connector to the next Avengers film. Marvel fans, on the other hand, understood this brief appearance as the first step towards a more cosmic Marvel comic universe.

The new volume of Guardians of the Galaxy is the next step in this narrative expansion. Not only did the Marvel assemble the powerhouse creative team of Brian Michael Bendis and Steve McNiven for the project, they've also included Iron Man as a member of the Guardians. Both of these elements give Guardians of the Galaxy a lot more star power behind it, instantly making it one of Marvel's flagship titles.

Guardians of the Galaxy #1 is all about Peter Quill, a.k.a. Star-Lord. We got a fairly comprehensive glimpse at Peter's personal history last month in the #0.1 issue, but it's really here, in the proper debut, that we get to see Star-Lord's new characterization under Brian Michael Bendis. Peter is a man with deep-seeded paternal issues that literally stretch across the universe. Pete's dad wants his wayward son to come home to planet Spartax and claim his rightful place as a royal figure. Obviously, Peter doesn't have much desire for this life, and thus, basically tells his old man to gent bent. It's a strikingly grounded relationship made epic by that fact that it's contextualized amongst alien planets and space-faring adventurers.

Though Star-Lord gets most of the panel time, the other Guardians get their moments in the spotlight as well. Bendis' main strength is in team books because he's so able to play the varying personalities against one another. It's what made the man's time on Avengers titles so memorable. From Guardians of the Galaxy #1, it's obvious Bendis' signature style has translated well in a cosmic setting.

Though I enjoyed it, Guardians of the Galaxy #0.1 was less than satisfactory because it was all backstory and it somewhat diluted the effect of a premier issue that hadn't even come out yet. That being said, after reading Guardians of the Galaxy #1, most of my skepticism has been washed away. It's now clear that Bendis wanted to put out a prelude issue to set up Peter Quill's character enough to carry the first issue -- readers are familiar enough with Quill to not be lost going into the issue, but also get vital information on the actual rest of the team. Guardians of the Galaxy #1 is a triumph for Bendis and Steve McNiven, pointing to a bright future in the stars for Marvel.

GRADE
9/10

Tuesday, March 26, 2013

The Week in Revue (Mar 27-Apr 2, 2013)

------- Spotlight
Guardians of the Galaxy #1
(w) Brian Michael Bendis     (a) Steve McNiven
THE GUARDIANS RETURN TO THE MARVEL UNIVERSE!

------- DC Reviews
Batman Incorporated #9
(w) Grant Morrison     (a) Chris Burnham
WHAT HAPPENS IN THE MOMENTS AFTER THE DEATH OF DAMIAN WAYNE?

The Flash #18
(w) Brian Buccellato     (a) Marcio Takara
THE TRICKSTER ACCUSED OF MURDER? AND A SPECIAL CROSSOVER WITH...DIAL H!

Justice League Dark #18
(w) Jeff Lemire and Ray Fawkes     (a) Mikel Janin
THE CONCLUSION TO "THE DEATH OF MAGIC!"


---------- mini reviews
Aquaman #18
(w) Geoff Johns     (a) Paul Pelletier
"DEATH OF A KING" BEGINS HERE! A NEW ARC IN THIS ACCLAIMED SERIES!

Superman #18
(w) Scott Lobdell     (a) Kenneth Rocafort
H.I.V.E. MAKES IT'S NEW 52 DEBUT AS THEY TRY TO TAKE OVER METROPOLIS!

Teen Titans #18
(w) Scott Lobdell     (a) Eddy Barrows
FALLOUT FROM "DEATH OF THE FAMILY" AND THE DEATH OF DAMIAN WAYNE! GUEST STARRING THE SUICIDE SQUAD!

------- Marvel Reviews
Age of Ultron #3 of 10
(w) Brian Michael Bendis     (a) Bryan Hitch
MARVEL'S POST-APOCALYPTIC EVENT CONTINUES!

Uncanny Avengers #5
(w) Rick Remender     (a) Olivier Coipel
WONDER MAN, WASP, AND SUNFIRE JOIN THE UNCANNY AVENGERS!

Young Avengers #3
(w) Kieron Gillen     (a) Jaime McKelvie
MORE AMAZINGNESS FROM GILLEN AND MCKELVIE ON THE LANDMARK SERIES!

---------- mini reviews
Fantastic Four #5AU
(w) Matt Fraction     (a) Andre Araujo
AN "AGE OF ULTRON" TIE-IN ISSUE!

The Superior Spider-Man #6AU
(w) Christos Gage     (a) Dexter Soy
AN "AGE OF ULTRON" TIE-IN ISSUE!

Monday, March 25, 2013

Nightwing #18 (mini review)

(w) Kyle Higgins     (a) Juan Jose Ryp


**SPOILERS FOR BATMAN INC #8**


All these "Requiem" issues lamenting the death of Damian Wayne have varying levels of actual requiem-ing. For instance, Batman and Robin #18 processed the tragedy by showcasing Bruce's spiral into depression, working for days without sleep and becoming increasingly aggressive, all while losing himself in the thought of his dead son. On the flipside, Red Hood and The Outlaws #18 barely makes mention of the events that transpired. Nightwing #18 finds a middle ground with Dick Grayson's emotional fallout.

While Kyle Higgins does a good job navigating Nightwing through his feelings of guilt and depression, it's kind of overkill. And not because of how it's written, but because most of Dick's emotional eureka moments happen twice. He talks about the destruction of Haly's Circus twice, he gets pissed at Bruce for lying twice, and he mentions how he and Damian were like brothers twice. It would have worked better if Higgins had perhaps worked his way from having Dick simply understand his situation to Nightwing accepting and processing Damian's death. Instead, the sentiments are played out by the middle of the issue, leaving Higgin's big reveal as the main focus of the second half. It's an interesting enough surprise, but already feels contrived. So, we'll see.

GRADE: 7/10

Thursday, March 21, 2013

Nova #2 (mini review)

(w) Jeph Loeb     (a) Ed McGuinness

**Spoilers Ahead...kinda**

I really want to like Nova because Jeph and Ed have done some phenomenal stuff together in the past. What sucks is that Nova isn't shaping up to be very good. Maybe it will be, and I'll totally eat my own words if that's the case, but for now, I'm not impressed.

Rocket Raccoon and Gamora appeared at the end of last issue to a bewildered Sam Alexander. Starting exactly where it left of, Sam calls Rocket a "talking raccoon", which proceeds to send the talking raccoon into a murderous rage over being called a talking raccoon. It's important to understand one's place in life, and maybe not be so completely sensitive about a pretty obvious similarity to the raccoons of Earth. Seriously, Rocket needs to get over it.

As far as Sam goes, he's nothing special. I was hoping for some real emotional nuance with this series, but all Sam has going for him is generic teenage angst and a contrived situation that doesn't make much sense. His dad's only been missing for a matter of days and now he's supposedly dead? Wait, what? Where did that come from? Loeb isn't doing himself any favors by keeping readers in the dark; we've been waiting to learn who the new Nova is since Marvel Point One over a year ago. It's about damn time we got the story, and now Jeph Loeb wants to spend six issues outlining the character's origin. Bluuuuuhhhhh. 


GRADE
6/10

Justice League of America #2

(w) Geoff Johns     (a) David Finch

After a brisk yet satisfying first issue, Justice League of America #2 stumbles a bit as Geoff Johns attempts to get the action rolling as quickly as possible. Honestly, it's kind of annoying that the "Secret Society" is already known to so many people. I know Martian Manhunter says that all the villains he's interrogated have no idea what the Society is, but the fact remains that A.R.G.U.S. knows about it so how secret can it truly be? Johns spent six issues building up to Darkseid's arrival in Justice League. Here, the team is already assembled and out on their first mission. I'm all for getting to the point, but this seems needlessly fast paced.

The most unfortunate part is that this entire issue feels very much like it could have been the first, with the first issue as a #0. I know DC already did "Zero Month", but if Johns wants things to move at this kind of speed, he's already misstepped because the first issue was so slow. Both issues have been good, but neither fit together particularly well, and that's not a good relationship between the first and second issues of a new flagship series. 

Surprisingly, Green Arrow turns out to be the surprise star of JLA #2, and he's only conscious for the latter half of the issue. I still don't know why, but Johns insists on writing Steve Trevor as a massive ass, and his conversation with a newly awake Ollie Queen reasserts this bewildering fact all over again. Back in Justice League #8, Arrow attempted to join the League proper with less than desirable results. Trevor approached Arrow and it was established that Green Arrow would be an agent of A.R.G.U.S. It seems that now, after Ollie's been through the gauntlet to uncover the Society, Trevor has no problem throwing him to the curb without a satisfying explanation. The emotional tension between Ollie and Steve is great, and Ollie's insistance that Steve "sold out" is a fantastic throwback to Green Arrow's classic counterculture characterization.

Even though JLA #2 doesn't have the same feel as the first issue, Geoff Johns is still stetting up something big. Perhaps the series is supposed to feel like it's not completely sure of itself, much like Steve Trevor and his grasp on the JLA situation in general. Last year's The New 52 #1, which came out on Free Comic Book Day, portended the coming of a Trinity War that pitted hero against hero. That reality is coming closer and closer to fruition with more characters and plot lines being introduced.


GRADE
7.5/10

Wednesday, March 20, 2013

Justice League #18

(w) Geoff Johns     (a) Jesus Saiz

Geoff Johns is taking the same route Cartoon Network's Justice League did in 2004 by expanding the roster of the League in anticipation of bigger, more ferocious enemies in the future. Honestly, it would have been nice to see more of the core team's adventures and interpersonal relationships before diving into team expansion. Sure, this is Justice League #18 and the 'New 52' has been around for close to two years, but in the modern age of decompressed storytelling, 18 issues has only produced a handful of conflicts that the League has faced. 

Back in the day, 18 issues could have been 18 different stories, a different approach to team building, but one that offered a more robust look at how said team works as a unit. Today, it's still somewhat unclear how the core League members truly work together, how their personalities play off each other, and how that affects their behavior. Johns has done an excellent job delivering character development where possible, but it's still frustrating to see new members coming in at this point. And that's not even mentioning Justice League of America, which also sees Johns bringing lesser known characters into the spotlight. It's just a geyser of new characters, it seems.


** SPOILERS AHEAD! **


Justice League #18 is an exciting issue because we get to see so many faces in one issue. With Hal Jordan out of the picture for the time being, and the near-destruction of Boston in "Throne of Atlantis", Batman and Cyborg decide it's time to reveal the Grid, a circumstantial database of all the world's superheroes. I say circumstantial because the entire Grid was a side-effect of the persistent flow of information into Cyborg's always-connected mainframe. Since he's basically a living supercomputer, Cyborg shares the curse of overabundance with Superman -- they're both continuously aware of almost everything around them. The difference is that Clark hears everyone while Victor processes digital information terabytes at a time. Thus, over the five years of the League's existence, Cyborg inadvertently collected all the known information on every superhero on Earth.

But it's just that: only the known information. Justice League #18 not only showcases established heroes like Black Canary, Zatanna, Firestorm, and Nightwing in a new light, but also gives minor and new characters a chance to shine with a chance at membership in the planet's most exclusive hero club. While the current members of the League all understand the where they are and what the stakes are going forward, most of the invited candidates have no idea what they're in for. It's this juxtaposition that provides a nervous tension that simmers throughout the issue. Even Nightwing and Batman's short interaction reflects their relationship post-"Death of the Family". And how could it not be awkward? Six of the most powerful beings on the planet are judging and choosing new colleagues to patrol everything, not just a city or neighborhood beat.

There's no escaping the fact that Justice League #18 is a good old-fashioned prelude issue. There's so much being set up from beginning to end that it's hard to squeeze a story-proper out of an issue like this. Fortunately, Geoff Johns stands up to the task and makes the entire affair feel completely fluid and natural. My bias for the structure of character development aside, JL #18 hits all the right marks. At the end of the day, it's really hard not to like seeing so many familiar (and some unfamiliar) faces in one issue.

GRADE
7.5/10

Spotlight: Constantine #1

(w) Jeff Lemire and Ray Fawkes     (a) Renato Guedes

Constantine #1 by Jeff Lemire, Ray Fawkes, and Renato Guedes is a solid read. All the right parts are there and technically speaking, everything lines up beautifully. Jeff Lemire  and Ray Fawkes hit all the right narrative beats, and Renato Guedes' artwork fits the series like a glove; rough around the edges to look just realistic enough. Realistically, Constantine #1 will be praised and hailed as another success for superstar Jeff Lemire. And that sentiment wouldn't be wrong. Lemire has a phenomenal grasp on fantasy storytelling -- as evidenced by his work on Animal Man and Justice League Dark -- so it would seem like a natural fit for him to helm the solo series for John Constantine.

What doesn't make sense is that Constantine #1 feels underwhelming. Perhaps it's that Lemire's been writing the character in the pages of JLD for over a year and I've become comfortable with Constantine in a team book, or maybe it's that the snarky Brit doesn't seem to have the same edge he did in Hellblazer. I don't want to discount Lemire's impressive work on this issue because it is good; good enough to make me want to continue reading the series. One of the most impressive aspects of the issue is it's self contained nature that simultaneously sets the stage for Constantine's ongoing adventures. Lemire knocks the ball out of the park in terms of being new reader-friendly, and he conveys the Constantine charm well enough to warrant more than just a passing once-through.

Part of why I'm interested in this series is that Lemire will be writing Justice League Dark, Green Arrow, Animal Man, and Constantine all at the same time, which means there's likely to be a crossovers and guest appearances between these titles in the future. While judging a title on it's potential for future payoff might seem somewhat redundant, it's safe to say that a cohesive comic book universe is part of what makes the medium so much fun. You can find Batman popping up in Metropolis or Coast City because he lives in the same world as Superman and Green Lantern. Similarly, when a creator is charged with multiple titles, it's not uncommon to see said books intermingle even more than the standard fare. And if Lemire's work in the 'New 52' thus far is any indication, we may be in store for some epic crossovers. 



** SPOILERS AHEAD **



Constantine #1 begins "The Spark and the Flame" which sees Constantine up against the Cult of the Cold Flame, an organization that has been floating around for a while now. The general plot progression throughout the issue isn't anything to write home about, but Lemire and Fawkes keep things interesting enough with the dialogue and Constantine's inner monologue between actions sequences to keep the story flowing. One of the biggest revelations is that Zatanna's father, Zatara, was a leader of the Cult of the Cold Flame alongside three other sorcerers who were once agents of good. It's only mentioned briefly in a moment of exposition, but it's an important piece of the DCnU history about a character who has had so little development/backstory in the 'New 52' it's almost painful. 

Of course, the bigger idea gleaned from learning about the Cult's leaders is that they all used to be good men who were corrupted by magic. Ethical quandaries have always been a staple of Hellblazer, and it's fortunate that this element of the character and his overall narrative tone has been kept intact in this new series.

The final pages of Constantine #1 prove that, in a very real way, Jeff Lemire and Ray Fawkes have a firm grasp on John Constantine. There's a lot to love, not only regarding the story and the characters, but also about the story structure and openness to future potentials. I love the ideas presented in this issue, I just struggle with the presentation itself and how the writing feels like it's vibrating at a frequency only slightly off from our own.


GRADE
8/10

Tuesday, March 19, 2013

The Week In Revue (Mar 20-26, 2013)

------- Spotlight
Constantine #1
(w) Jeff Lemire and Ray Fawkes     (a) Renato Guedes
JOHN CONSTANTINE GETS HIS OWN SERIES IN THE 'NEW 52'!

------- DC Reviews
Justice League #18
(w) Geoff Johns     (a) Ivan Reis and Joe Prado
THE METAL MEN MAKE THEIR 'NEW 52' DEBUT!


Justice League of America #2
(w) Geoff Johns     (a) David Finch
WILL THE NEW JLA COME TOGETHER TO STOP THIS SECRET NEW THREAT?

---------- mini reviews
Green Lantern: New Guardians #18
(w) Tony Bedard     (a) Aaron Kuder
"WRATH OF THE FIRST LANTERN" CONTINUES!

Wonder Woman #18
(w) Brian Azzarello     (a) Tony Akins
WHAT DOES THE GOD OF WAR HAVE PLANNED FOR DIANA'S FUTURE?



------- Marvel Reviews
All-New X-Men #9
(w) Brian Michael Bendis     (a) Stuart Immonen
THE ORIGINAL FIVE X-MEN GET NEW COSTUMES!

Avengers #8
(w) Jonathan Hickman     (a) Dustin Weaver
THE AVENGERS FACE THE WORLD BREAKER! LOOK FOR CONNECTIONS TO NEW AVENGERS!


---------- mini Reviews
Captain America #5
(w) Rick Remender     (a) John Romita Jr.
THE ODD WAR OF DIMENSION Z BEGINS HERE!


Nova #2
(w) Jeph Loeb     (a) Ed McGuinness
THE ORIGIN OF SAM ALEXANDER CONTINUES!

mini Reviews (Mar 13-19, 2013)

---------- mini DC reviews


Demon Knights #18
(w) Robert Vendetti     (a) Bernard Chang

Demon Knights #18 suffers from being the penultimate issue to Robert Vendetti's first run of the series -- Cain's invasion of Themyscira has been built up so much already that emotional drama is the only thing going for the Demon's Knights this month, and it's just barely enough to satisfy. While I thoroughly enjoy Vendetti's character development, the plot stalls terribly and that accounts for the dragging feel throughout the issue. Moments after Jason Blood and Xanadu are finally reunited, a simple miscommunication gets blown out of proportion, causing Jason to throw a temper tantrum and hide out in Hell. The final pages set everything up for next issue's explosive battle between the Amazons, Cain's army, the Demon's Knights, and Vandal Savage's horde, raising the anticipation significantly.

GRADE: 7/10

Batman and Robin #18
(w) Peter J. Tomasi     (a) Patrick Gleason

Robin is dead, and Peter J. Tomasi offers up the most haunting and emotional depiction of Batman's grief in Batman and Robin #18. As a silent issue, the "writing" has to come through the art, which is does so in spades -- every action, every moment in this issue is framed by Batman's emotions and that comes through over and over again. Patrick Gleason's artwork is simply incredible, which is to say he seems to have stepped it up even more beyond his already phenomenal monthly work -- the close up of Batman's frown conveys so much in one panel. It makes sense that Batman and Robin would be the most emotionally impactful of the Bat-titles, and Tomasi pulls it off with aplomb.

GRADE: 9.5/10

Superboy #18
(w) Scott Lobdell, Tom DeFalco, and Tony Lee     (a) R.B. Silva

With Tony Lee on dialogue, Superboy #18 is a noticeable step up from the past...every issue of Superboy. Now that all that "H'el on Earth" stuff is over and done with, Lobdell, DeFalco, and Lee take Kon-El back to Manhattan to take responsibility for stealing all those millions of dollars from a bank back around issue ten or so. While much of the writing is still very cringe-worthy -- like the retelling of Superboy's origin that seems to be a permanent fixture in any issue of the series -- Lee manages to make the most of what he's been given and makes Kon-El more relatable than he's been thus far in the 'New 52'. The back-up story featuring Krypto the Superdog falls flat because, unlike Superboy in general, there's no context for Krypto's appearance let alone his actions; hopefully it's building into something more substantial.

GRADE: 6/10

Thursday, March 14, 2013

Batman #18

(w) Scott Snyder     (a) Andy Kubert

Can we all stop pretending Harper Row isn't going to be the next Robin? Whenever you see "This ends now" or "It's over" without a death afterwards, it means it's not over...and it's not anywhere near being close to over. This element of comic book logic might seem obtuse, but it has merit. Days before the release of Batman #18, Scott Snyder announced his next arc, "Year Zero", and that it would be 11 issues long. Basically, the next year of Batman is going to be about the Dark Knight's earliest days, which means it's going to be a while before Snyder gets around to telling Harper's story. But that's part of the beauty -- now, we've got something to look forward to even after the next thing we have to look forward to, and isn't that what comic books are about?

All joking aside, Batman #18 from Scott Snyder and Andy Kubert is another great look at effect of Damian Wayne's death on his father. After the emotional head-trip that was "Death of the Family", Snyder wisely makes Harper the focus of the issue, leaving a grieving Batman at arms-length from the rest of his family. Losing an immediate family member is incredibly painful and can lead to feelings of resentment toward others who cannot possibly understand that kind of pain. For Batman, this resentment is compounded upon exponentially due to his very nature as well as his overwhelming feeling of responsibility for his own son's death. It would have been a train wreck if Snyder attempted to tackle Bruce's feelings with inner monologue.

Harper Row is going to be one interesting Robin, to say the least. Each of Batman's Robins has their own unique personality. If Dick was the passionate one, and Jason was the brash one, and if Tim was the witty one, and Damian was the one with the attitude, then Harper Row is the realistic Robin. Harper and Batman's confrontation brings out the darkest in the Dark Knight and most anyone else would have crumbled under the weight of Batman's terrifying reputation. Not Harper. Unlike the songbirds before her, Harper's life has been one obstacle after the other which has made her more rough around the edges than the boys who've held the mantle before (except Damian, perhaps, but his was a more refined talent). She's not afraid to rebuff Gotham's protector and tell him the reality of what's going on around him when no one else will.

While I'm excited for the upcoming "Year Zero" arc, Harper Row is what truly interests me now about Scott Snyder's Batman. Since the 'New 52' launched, Harper has been around and that's no coincidence. I'd be shocked if Snyder killed her off. I'd be even more shocked if she didn't become the next Robin because who else is there? Seriously, it's the next logical step. But it's a good next logical step.


GRADE
9/10

Wednesday, March 13, 2013

Spotlight: Age of Ultron #2 of 10

(w) Brian Michael Bendis     (a) Bryan Hitch

Perhaps I just don't know Black Widow as well as I thought. Age of Ultron #2 brings the focus squarely onto Natasha Romanova in the first act featuring the ex-KGB Avenger facing off against a nameless civilian in the streets of a devastated San Francisco. The thing is, Natasha isn't her usual collected self -- beyond the physical trauma we see that's still a mystery at issue's end, she comes across as a far more violent and angry person than ever before. Of course, it's no small thing to have one's entire planet conquered and one's entire species annihilated. It could push anyone over the edge. With that in mind, Black Widow's overly rash attitude still seems as off-putting and uncharacteristic.

Beyond this minor mishandling of Black Widow, Brian Michael Bendis does an excellent job with AoU #2. When reading the first issue, Spider-Man's captors -- The Owl and Hammerhead -- discussed their plans for turning everyone's favorite wall-crawler over to Ultron in exchange for mercy in the robot's quest to rid Earth of humans. It seemed somewhat inconsequential at first, like the awkward flailing of a fish out of water with no other option than to desperately attempt to flop back into the water. Especially when some Ultron patrol units arrive to lay the smack down on their entire operation. Now, it's very obvious that Ultron's apparent superhuman black market is more important than this reader originally anticipated.

Another important aspect of this issue is Peter Parker's flashbacks. Since Age of Ultron began in the middle of the storm, so to speak, Bendis needed to give readers more context from which to understand how things got so bad so quickly. Though he was unconscious for most of Ultron's razing of the planet, he witnessed the initial strike, and it was a doozy. Bryan Hitch's artwork again makes the issue with his sweeping spreads and skewed perspective. Peter's flashback sequences radiate with terror as Spidey swings into an onslaught he has no hope of fighting. The only place where Hitch falters is the final page; Captain America's appendages and extremities all seem deformed and the angle of his entire body looks strained and slouched at the same time, which I didn't even know was possible.

Age of Ultron #2 isn't as strong as the first issue, and that's mainly because necessary exposition is rarely ever as exciting as the drama and terror that comes from seeing a post-apocalyptic world for the first time. Bendis delivers as much as he can while still bringing readers up to speed on the current standings, piece by piece. In a way, it's a self-defeating notion to sacrifice story development for the sake of explaining the backstory of the current status quo. Fortunately, Bendis pulls it off, more or less, and gets things prepped for the next issue. At ten issues, Age of Ultron is going to need a lot of twists and turns to keep readers interested; I'm confident Bendis is up to the task.

GRADE
8/10

Tuesday, March 12, 2013

The Week in Revue (Mar 13-19, 2013)

------- Spotlight
Age of Ultron #2 of 10
(w) Brian Michael Bendis     (a) Bryan Hitch

------- DC Reviews
Batman #18
(w) Scott Snyder     (a) Greg Capullo


Green Lantern Corps #18
(w) Peter J. Tomasi     (a) Fernando Pasarin

---------- mini reviews
Demon Knights #18
(w) Robert Vendetti     (a) Bernard Chang

Batman and Robin #18
(w) Peter J. Tomasi     (a) Patrick Gleason

Superboy #18
(w) Scott Lobdell and Tom DeFalco     (a) R.B. Silva


------- Marvel Reviews
Wolverine #1
(w) Paul Cornell     (a) Alan Davis

Uncanny X-Men #3
(w) Brian Michael Bendis     (a) Chris Bachalo


---------- mini Marvel Reviews
Secret Avengers #2
(w) Nick Spencer     (a) Luke Ross

Thor: God of Thunder #6
(w) Jason Aaron     (a) Esad Ribic

mini Reviews (Mar 6-12, 2013)

---------- mini DC reviews
Earth 2 #10
(w) James Robinson     (a) Nicola Scott

"Tower of Fate" begins this month in Earth 2 #10 as James Robinson introduces Khalid Ben-Hassin, the all-new Doctor Fate. A quick flashback reveals that Khalid initially rejected the power he was destined to hold, though his encounter with the helmet containing said power left him with sporadic and uncontrollable spurts of magic, as well as some sort of psychological issues. Robinson is doing a phenomenal job building Earth 2 from the ground up, making sure to focus on the entire forest instead of just the trees of the yet-to-be-formed Justice Society. The villainous Wotan also makes his 'New 52' debut as the malevolent, yet surprisingly polite seeker of the power of Fate for himself. All of this combines to make Earth 2 #10 a strong and impressive opening salvo to "Tower of Fate."

GRADE: 8/10 

Stormwatch #18
(w) Peter Milligan     (a) Will Conrad

Stormwatch has been an oddity in the 'New 52' -- it came out of WildStorm, it's not a very high-selling title, and it sits aside from most of the DCnU proper. With Jim Starlin taking over the title next month -- seemingly complete with a revamp of the title -- Peter Milligan brings his final arc to a close by ending the Engineer and bringing some closure to Apollo and Midnighter's relationship. Though it feels rushed, Milligan does a great job tying up some of the loose ends from his run, and we finally get to see that kiss between Apollo and Midnighter that's been building since they met. I've quite enjoyed this series so far, and Stormwatch #18 is a great end to a awesome run.

GRADE: 8/10

Superman #17
(w) Scott Lobdell     (a) Kenneth Rocafort

And just like that, "H'el on Earth" meanders to a close as ridiculously as it began -- with H'el no closer to his goals and us readers no closer to actually understanding anything about this inane new villain who felt more like a toy for Scott Lobdell to fling around and smack against things than a real threat worthy of any attention. I will always make time to mention Kenneth Rocafort's exquisite artwork because, at this point, it's the saving grace of Superman, akin to Michelangelo painting the musings of pimply teenager who think's it's funny to use 'hell' as someone's name. "H'el on Earth" has been nothing but annoying, and Superman #17 takes the cake for it's "payoff" of the coming of the Oracle, an entity teased for months only to sit there like a giant bump on a log and do absolutely nothing. In the end, it really should have been a Supergirl event seeing as she was the real focal point of the entire story with H'el, she helped him along the way and had to battle inner demons whilst doing so, then she makes a massive sacrifice in the name of justice -- instead, the entire event was a cobbled together mess that made little to no sense and ended with a big, fat whimper.

GRADE: 4/10


---------- mini Marvel Reviews
All-New X-Men #8
(w) Brian Michael Bendis     (a) David Marquez

A whole lot happens in All-New X-Men #8: the two Angels have their weird you-are-me-and-I'm-you moment, the Avengers get savvy to what's going on in X-Men Land, seeds of dissent are planted, and something happens on the last three pages that changes everything for this series going forward. Brian Michael Bendis again proves that his unique brand of interpersonal storytelling is perfect for the X-Men, and that his premise for the original X-Men living in the present is a lot more viable as an ongoing series than anyone anticipated. The emotional nuance present throughout All-New X-Men #8 gets down to the core of Bendis' story: these young X-Men are here to stay, for better or worse, and with all the hurdles that come with it. All-New X-Men is one of the best series Marvel currently publishes and it gets better every issue.

GRADE: 9/10

Iron Man #7
(w) Kieron Gillen     (a) Greg Land

Tony Stark's tryst into deep space continues with a lot of talking and a trial --  it's not nearly as boring as it sounds. Charged with over a dozen different crimes concerning his part in defeating the Phoenix Force, Tony receives help from an unlikely source -- a Rigellian Recorder designated 451 -- and takes his chances in trial by combat against the best of the Voldi warriors, which proves to not be as difficult as Tony imagined. Kieron Gillen's take on Iron Man is peculiar in it's hit-or-miss quality; each issue either impresses with it's wit and subtly, or fails at grasping what makes Iron Man so interesting. Iron Man #7 contains a bit of both, which leaves me satisfied at issue's end, but not incredibly so.

GRADE: 6.5/10

Sunday, March 10, 2013

Green Lantern #18

(w) Geoff Johns     (a) Szymon Kudranski

It's the proverbial beginning of the end as Geoff Johns marches toward his final issue of writing Green Lantern. There are nine years and a whole lot of amazing stories that have come before this, and judging by Green Lantern #18, Johns is looking to change the franchise in big ways right here at his finale. "Wrath of the First Lantern" graces the issues' cover even though Volthoom never even shows up, and the sour relationship between Hal Jordan and Sinestro rears it's head, once again putting the two egomaniacs at odds.

Hal and Sinestro aren't all that different -- they both have elephant-sized egos, it's just that more often than not, Hal has luck on his side while Sinestro has had to overcome extreme adversity to legitimize his overconfidence. Where these two Lanterns diverge is in their charm because Hal can talk to and persuade almost anyone to see things his way, while Sinestro likes to yell and curse to flaunt his mental psychological superiority. Johns encourages this poisonous relationship by throwing Simon Baz into the Dead Zone along with his two predecessors to see what the ring's presence will do to them.

The biggest letdown on Green Lantern #18 is the detailed explanation of Volthoom by Tomar Re. First off, it's too long; an entire two-page spread is dedicated to the story of the First Lantern and how he came to be, which is nice. But the entire tale feels shoehorned into an issue that should have focused solely on Hal and Sinestro finding a way back to the land of the living. Instead, Tomar Re's exposition dump hits the brakes on any momentum Johns was building and leaves the rest of the issue feeling sluggish. Sure, we get a fight between Hal and Sinestro for possession of the atomically-split second GL ring, but after a long lecture from a dead guy about someone else who isn't even in this issue, the brawl felt too short and overlooked.

Green Lantern #18 is a great issue when it's focused on Hal, Sinestro, and Simon. While Johns does take some minor detours that feel underwhelming, the overall experience is pleasant. Szymon Kudranski's art is spectacular and fits with the Dead Zone backdrop perfectly. Is it a coincidence that Hal seems to look a lot like Geoff Johns himself? "Wrath of the First Lantern" is a mixed bag when it comes to quality. I wasn't impressed with the first four issues of the crossover and GL #18 doesn't even feature the eponymous Lantern. As an actual story, it's nothing to shake a stick at, but the effects of the First Lantern's existence are causing all sorts of indirect results that are far more interesting than yet another emotional spectrum conflict.

GRADE
7.5/10

Friday, March 8, 2013

Avengers #7

(w) Jonathan Hickman     (a) Dustin Weaver

The White Event is here. The machine is broken.

Jonathan Hickman's universe-altering storyline in Avengers is elegantly chaotic. While the world is literally changing around them, Earth's Mightiest Heroes attempt to keep pace with their heroic responsibilities while trying understand and analyze the transformation affecting their world. In both cases, Hickman's tale of a universal reckoning is graceful, smooth, and damn near poetic in it's exploration of new ideas. If you know your obscure Marvel history, you'd know the White Event is an element of the New Universe -- a comic book world concept in the late 1980s -- that Hickman is reviving for the first time since Warren Ellis' short-lived newuniversal series in 2006. Fortunately, Hickman keeps things interesting even if you're not boned up on Marvel minutiae.

Hickman's a master of long-form storytelling, as evidenced by his epic runs on both Fantastic Four and FF. Guiding Marvel's First Family would prove to not be enough, as it seems. Early on, Hickman promised his volume of Avengers would be bigger and greater than any iteration before it. Little did we know he meant each issue would get progressively bigger and more expansive. Seriously. Every single issue of Avengers has expanded the franchise in unique and exciting ways. The first arc, "Avengers World" showed us that there were universal machinations in play that pointed to even bigger ideas. We've seen the origins of Hyperion and the all-new Smasher, while Hickman's Captain Universe has become a surprisingly awesome deus ex machina that's more than what she seems.

Avengers #7 is the true beginning of something new. Hickman is pushing the concept of the Avengers into brand new territory and it's utterly fascinating.

GRADE
9/10

Wednesday, March 6, 2013

Spotlight: Age of Ultron #1 of 10

(w) Brian Michael Bendis     (a) Bryan Hitch



**SPOILERS AHEAD!**


And so it begins. Age of Ultron starts off with the world in ruins: cities are decimated, heroes are dead or missing, and nefarious Ultron robots patrol the skies. While reminiscent of Age of Apocalypse -- both in name and similar setting -- Brian Michael Bendis and Bryan Hitch's terrifying look at world ravaged by a vengeful android consciousness feels extraordinarily more palpable and frightening. A big part of that is due to Hitch's stellar artwork. Coupled with a surprisingly focused narrative from Bendis, Age of Ultron #1 succeeds as an opening salvo that sets up the framework for the entire series.

Longtime Marvel fans will immediately know what's going on. Besides the months of previews floating around online, anyone who knows Ultron understands the implications of the title "Age of Ultron" and scenes of a devastated New York City, complete with a crashed S.H.I.E.L.D. Hellicarrier in Central Park -- the robot won. After decades of anticipation, Hank Pym's android-gone-crazy-villain, Ultron, finally brought his reckoning upon Earth, and it's bad. Bendis has been using Ultron in various capacities for a number of years now in different Avengers titles, and interviews with both Bendis and Hitch revealed that Age of Ultron was planned and drawn a few years back, only to be delayed a numerous times. Bendis has been building to this for years, and it's no wonder executives wanted to wait for just the right time to publish the story: it's devastatingly, apocalyptically, hopelessly beautiful.

A big part of that beauty comes from how Age of Ultron is situated within Marvel continuity. Ultron as already won, which means we'll be getting the whole backstory as to how that happened on top of the plot line that follows the surviving heroes to victory over their robot opressor. Additionally, Peter Parker is still Spider-Man -- as opposed to the web slinger's current mental state as Otto Octavius -- Captain America is still wearing his old uniform as opposed to the 'Marvel NOW!' update, She-Hulk got her hair cut, and Luke Cage is still in the mix with the Avengers. All of these little details point to Age of Ultron being set either very early in the 'Marvel NOW!' timeline, or in the future. It's fun to speculate, and Bendis' open narrative allows for a lot of ideas and hypotheses about future issues.

Though, if a casual comic book fan not incredibly versed in the history of Ultron or the Avengers were to pick up Age of Ultron #1, the issue's events could be dauntingly difficult to understand. Bendis' decompressed style means information comes in slowly, which is good for fans, but bad for those who are not "in the know". There's no formal introduction to Ultron, the dialogue between characters is so fluid and reliant on previous knowledge that new readers might have to read it two or three times to really understand what happened, and since this story hasn't sprung out of any immediately recent events, there's no context outside online previews from which to gather any preconceptions about the narrative.

By the end of Age of Ultron #1, I was sold. Bendis has mentioned in more than one interview how this crossover event was his swan song to the Avengers, a franchise he helmed for over eight years. It shows throughout this issue, and Bryan Hitch's superb artwork was the perfect choice for a story with this level of emotional and narrative bearing. It seems as though Bendis also foresaw Clint Barton's recent meteoric rise of popularity from his solo series by Matt Fraction enough to make him the main player throughout this issue. While not a whole lot is revealed, Age of Ultron #1 paves the way for an epic tale that's sure to have lasting effects on the Marvel universe.

GRADE
9/10

Tuesday, March 5, 2013

The Week in Revue (Mar 6-12, 2013)

------- Spotlight
Age of Ultron #1 of 10
(w) Brian Michael Bendis     (a) Bryan Hitch

------- DC Reviews
Earth 2 #10
(w) James Robinson     (a) Nicola Scott

Green Lantern #18
(w) Geoff Johns     (a) Doug Mahnke

---------- mini DC reviews
Green Arrow #18
(w) Jeff Lemire     (a) Andrea Sorrentino

Stormwatch #18
(w) Peter Milligan     (a) Will Conrad

Superman #17
(w) Scott Lobdell     (a) Kenneth Rocafort

------- Marvel Reviews
All-New X-Men #8
(w) Brian Michael Bendis     (a) David Marquez

Avengers #7
(w) Jonathan Hickman     (a) Dustin Weaver

---------- mini Marvel Reviews
Iron Man #7
(w) Kieron Gillen     (a) Greg Land

The Superior Spider-Man #5
(w) Dan Slott     (a) Giuseppe Camuncoli

Friday, March 1, 2013

BE BACK ON WEDNESDAY


Hey Guys,

There haven't been any new posts because I've been sick. Simple as that.

It's been a long time since I've been sick, so I was taken down pretty hard this time. I tried to write, but I seriously couldn't get more than two sentences out. 

So, I've decided to cut my losses and take a short break. Just for the rest of this comic week. I'll be back next Wednesday with new reviews.

See you next Wednesday!