THE WEEK (NOV 21-27, 2012)

FEATURED REVIEW

Captain America #1
(w) Rick Remender
(p) John Romita Jr.
After a long (<8 years) and fruitful run from the amazing Ed Brubaker, Rick Remender is taking over writing duties for Captain America, and he's starting out big. Cap' will forgo a lot of the 'spy intrigue' of the Brubaker era in place of sci-fi 'weird science' stories. Plus, John Romita Jr. is one of Marvel's biggest guns.

DC Universe Presents #14
(w) Marc Andreyko
(p) Robson Rocha
I wholly enjoyed the first part of "Black Lightning and Blue Devil", especially Marc Andreyko's interesting take on the relationship between these two characters. 

Green Lantern: New Guardians #14
(w) Tony Bedard
(p) Aaron Kuder
Kyle Rayner continues his quest, this month, to master all the colors of the emotional spectrum. Last time, Atrocitus managed to push the most peaceful Green Lantern into a rage-filled rampage. How will Arkillo teach Kyle about fear this month?

Hawkeye #4
(w) Matt Fraction
(p) David Aja
Instead of focusing on all the 'Marvel NOW!' stuff, executives should be figuring out any way possible to get Hawkeye on a more regular schedule. As in twice a month. This is by and far my favorite series from Marvel right now. It's amazing. Read it.

Indestructible Hulk #1
(w) Mark Waid
(p) Lenil Yu
Normally, I don't like Hulk that much. I've never really found anything much interesting about a character who's just whiny when he's a human and angry when he's Hulk. Hopefully, Mark Waid can work the same magic he did with Daredevil and turn the Hulk into one of Marvel's most nuanced heroes. Also, Lenil Yu is a fantastic artist.

Justice League #14
(w) Geoff Johns
(p) Tony S. Daniel
Apparently, "the road to 'Trinity War' goes through Justice League #14", as some promos have put it. Either way, "The Secret of the Cheetah" made the villainous Cheetah more interesting and fun than she's been in ages, so I'm down to finish up this little mini-arc.

Supergirl #14
(w) Mike Johnson
(p) Mahmud Asrar
Last week's "H'el on Earth" crossover issue, Superboy #14, was a travesty. Hopefully, Mike Johnson can right the ship and get this Superman Family crossover going the right direction. Though, last month's issue without Michael Green co-writing was the weakest issue of the series to date, so i don't know.

Extra! Extra!
Before Watchmen: Silk Spectre #4 of 4
(w) Darwyn Cooke
(p) Amanda Conner

Iron Man #2
(w) Kieron Gillen
(p) Greg Land

Journey Into Mystery #646
(w) Kathryn Immonen
(p) Valerio Schiti

Wonder Woman #14
(w) Brian Azzarello
(p) Tony Akins

EXTRA! EXTRA! (NOV 14-20, 2012)

Batgirl #14

(w) Gail Simone
(p) Ed Benes

While last month's "Death of the Family" prologue issue of Batgirl barely contained any Joker references, Batgirl #14 more than makes up for it by throwing Barbara right smack-dab in the middle of the Joker's terrifying schemes. Gail Simone's writing improves significantly this month from last as Barbara's terror and fear over the return of the Joker is positively palpable -- the mysterious caller leading Batgirl to the Joker definitely adds to the air of darkness and horror. Simone is actually tackling two plot lines here, as DC's February solicitations touted the return of James Gordon Jr, Barbara's insane brother who is revealed to the sadistic caller who manipulated Barbara into the Joker's clutches. Not only are we getting Joker-related "Family" drama, but we also get actual family drama between Barbara and her brother -- I'm seriously considering re-subscribing to Batgirl.

GRADE: 8/10

Batman and Robin #14
(w) Peter J. Tomasi
(p) Patrick Gleason

I don't know what Batman and Robin is doing anymore -- after a positively fun first arc featuring an old-yet-new villain tied to Bruce Wayne's past, Peter J. Tomasi has struggled to find solid footing with the series since, and it's starting to get annoying. Of course, Tomasi is very good about making sure each issue he writes includes some relationship-building sequence between Bruce and Damian, but when that emotional journey overshadows the actual plot right in the middle of a generally hectic sequence, then it doesn't work well anymore. And while "Death of the Family" doesn't start up in B&R until next month, the Joker is shoehorned into being the villain behind the 'zombie' outbreak in Gotham, for some reason. It doesn't make a lot of sense, making it feel like DC editorial keeps pushing Tomasi around until they get what they want from each issue.

GRADE: 6.5/10

Thor: God of Thunder #1

(w) Jason Aaron
(p) Esad Ribic

Jason Aaron's take on Thor Odinson is yet another instance where 'Marvel NOW!' has gone against the grain of my usual comic preferences -- Thor: God of Thunder #1 is the most fun I've had with Thor ever. By looking in on Thor at three different points of his life, Aaron is giving readers a much deeper understanding of the Asgardian god that's been missing from the character for years in the name of plot development (see Siege). Also, Thor's in space for the Present Day sequence, and that's just awesome in and of itself. I was surprised at how much I enjoyed Thor: God of Thunder, and how invested I am in Jason Aaron's dark and twisted tale of the God Butcher.

GRADE: 8.5/10

REVIEW: GREEN LANTERN CORPS #14

(w) Peter J. Tomasi
(p) Fernando Pasarin

The Guardians are really, really sick and twisted. Seriously -- these little blue guys have, in the past, suppressed ancient omens about the Blackest Night, hidden the secret of Parallax in the Green Lantern central battery, basically massacred an entire sector with their Manhunter androids, created the terrifyingly omniscient Alpha Lanterns, and now, they've built themselves a new army to destroy the Green Lantern Corps and all other free will across the universe. These plot points are worth reiterating because of all four GL titles offered by DC's 'New 52', only Green Lantern Corps has been getting deep into "Rise of the Third Army". Over in the eponymous series, Simon Baz is still coming into his own as a Green Lantern, Kyle Rayner is off recruiting new New Guardians or some such, and Atrocitus is jump beginning to understand what these Third Army soliders can do. Green Lantern Corps #14 gets personal as the Guardians' scheming to de-power Guy Gardner come to a head.

John Stewart has been sent off to rebuild Mogo using a baseball-sized chunk of the former planet as a sort of diving rod to help in collecting more pieces of the planet-sized Green Lantern. Unfortunately, Star Sapphire Fatality shows up sporting some mysterious connection to the chunk of Mogo! Right now, John's side quest isn't very interesting, thus Peter J. Tomasi doesn't seem to be writing it as such. Sure, Fatality shows up, but that's where John's side of the story ends this month, so there's no sort of resolution or even explanation. Over in Guyland, the Guardians are pretty pissed at him for abandoning a peace delegation transport after learning one of his oldest and deadliest enemies was on the loose. But in reality, it was the Guardians themselves who freed the murdering enemy of Guy, and they were the ones who made him massacre the peace delegation to embarrass and discredit Guy. It's all very sinister, and obviously part of something bigger.

Guy and John have been going down their separate, yet intertwining paths for months now -- it would be nice to see them side by side to take on the Third Army, but the events at this issue's end have me worried for the future of the Corps. 

GRADE

8/10

REVIEW: SUPERBOY #14

(w) Tom DeFalco
(p) RB Silva

Alright. Here's the situation -- the 'New 52' Superboy has become so dull and drab for me that I'm pretty much done with it. I've been holding onto the Boy of Steel's series because, to be frank, I used to really like Superboy as a character. His origin and personal motivations were so much different and unique from almost any other hero in the DC or Marvel universe. Once upon a time, Superboy had to learn how he fit into the world by actually trying to fit in, he used to want more from life than just satisfaction in proving emotional misgivings. These days, Superboy has been reduced to the comparable importance of a stage prop -- there's no personality behind his vacant eyes, no longer does he want to be a functioning member of society, and his overall attitude is just unbecoming.

I've commented before about Superboy's seemingly erratic judgements between right and wrong. In Superboy #14, Kon-El finally manages to be the biggest dick he can be by whining about not having any friends or close relationships, then bluntly pushing away those attempting to be the friends he needs. After accosting Jocelyn Lure -- a woman claiming to be from the future, come back to look out for Superboy -- Superboy ditches her (for reasons that might be completely justifiable, but I'll never know because that whole story happens in Legion Lost, which I don't read...thanks, DC) and flies off to his apartment where he finds fellow Teen Titan Bunker waiting for him. Instead of being a normal person, Superboy immediately accuses Miguel of breaking and entering. The least insufferable Teen Titan kindly reminds his asshole teammate that they had plans to hang out and that it was, in fact, Superboy who had made the gaffe by forgetting.

And I haven't even mentioned H'el yet.

Thus far, the only time we've seen the (I assume) rogue Kryptonian is at the end of Superman #13, which was a prologue to the "H'el on Earth" event. There, H'el is only on the last page, and he doesn't even interact with Superman or Supergirl. Here, in Superboy #14, Tom DeFalco apparently assumes we all just know who H'el is, why he's doing what he's doing, and what he can do powers-wise. Seriously, I have no idea how DC or any of the creative teams working on "H'el on Earth" could possibly think it was alright to just throw readers into the deep end like this. Granted, the fight between Superboy and H'el is awesome, but there's no context to it, so it's just frustratingly confusing. I couldn't help but wonder the entire time how this all came to be. How did H'el find Superboy? Does this issue take place before, after, or concurrently to Superman #13? Why does H'el seem to have green TK powers, but keeps on insulting Superboy and his TK powers? Why were the Teen Titans even included in this issue if H'el was just going to wipe them away with a single attack?

This is an issue of comics embroiled in the non-explained. That's a ridiculous, weird sentence because it's the only way I can think to express how terrible Superboy #14 was by the end. I keep holding out, hoping that Superboy will improve, that it will become something greater than a sad excuse for a story about a sad clone. 'Sad Clone' sounds like a witty, off-beat, and zany mini-series by Grant Morrison, not the theme to a series about Superboy.

GRADE

3/10

REVIEW: X-MEN LEGACY #1

(w) Simon Spurrier
(p) Tan Eng Huat

Legion hasn't been too front-and-center in recent years. He's a somewhat obscure character whose powers aren't very easy to explain. His stories tend to be heavily steeped in philosophical quandaries. His hair looks ridiculous.

X-Men Legacy #1 is an issue that I believe will surprise many, many critics and fans alike. Unlike the title's previous incarnation -- which was basically just another X-Men team book in a very ho-hum lineup -- this 'Marvel NOW!' version focuses squarely on Professor Xavier's estranged and mentally unstable son, David Haller. David's 'Legion' moniker comes from his mutant power -- the ability to absorb a person's essence as an alternate personality and access said person's superhuman/mutant powers -- as does his extreme psychosis. The thing is, stories about David's instability have been told for years, decades even. It's old news, and Simon Spurrier knows this.

Instead of making David a victimized villain once again, Spurrier has decided to redeem the irredeemable mutant nutjob through spiritual and emotional journeying. Think of it as one part Red Hood and The Outlaws-esque redemption story, one part China Mieville's Dial H zaniness, and just a dash of Invincible-like daddy issues -- you've got Spurrier's X-Men Legacy. It sounds ridiculous, but the fact is that this issue is really, really good.

David has been undergoing spiritual therapy at a psychic retirement community in the Indian Himalayas. This setting alone was enough to make me realize this wasn't going to be just any run of the mill X-Men book. This series is going to be something special in the X-Men world: a solo book that's not about Wolverine. Yes, I know there are some solo series for other mutants of the Marvel U...but are there? Really? Or does Wolverine basically have a monopoly on solo adventures? David Haller is far more interesting that Logan, at this point, and every page of X-Men Legacy #1 reinforces that notion. Add to that a wholly personified interpretation of David's brain keeping his multiple personalities prisoner, and you've got one solid comic book, regardless of it's inclinations toward the Children of the Atom. 

The best part of the issue is when David senses his father's death at the hands of Scott Summers Dark Phoenix (at the end of Avengers vs. X-Men, true believers!) and basically erupts with emotion. I don't want to spoil the fun, but suffice it to say, I've already called my LCS and put X-Men Legacy on my subscription list. There are a lot of cool new ideas coming out of 'Marvel NOW!', and X-Men Legacy is at the fringe of it all, looking in and taking metaphorical approaches to literal problems. It's fantastic.

GRADE

9.5/10

REVIEW: FANTASTIC FOUR #1

(w) Matt Fraction
(p) Mark Bagley

I've never been a big fan of the Fantastic Four. They've always existed in a weird middle ground for me -- somewhere between science-based adventure books and superhero-filled action titles. For some, the mixture of pulp and 'weird science' is a welcome alternative to comic books that provide only one or the other...not me. I don't 'gel' with the Fantastic Four, though I've tried for years to figure out why. Turns out it's the writing.

Fantastic Four #1 is just good fun. After a few years of concept-heavy storytelling from the masterful Jonathan Hickman, Matt Fraction brings his signature style to Marvel's first family. The issue starts off with a "One Year From Now" full-page spread featuring what looks to be a de-Thing'ed Ben Grimm, then we're thrown 2 million years into the past where Reed Richards gets seriously injured for the first time since the accident that gave him his body-stretching ability. It's all very bombastic and 'in your face', which would normally go against Fraction's more subtle nature, but at it's core, this story is about something universal, something we can all relate to -- family.

Recognizing their need to balance life as a family and as super-powered heroes, Reed convinces Susan, Ben, and Johnny Storm to take a year-long vacation (with, "Less action. More adventure," as Reed puts it) in a vessel that can travel through all space and time. The catch is, Franklin and his older sister Valeria will be accompanying the team. The young Franklin Richards indirectly drives Fraction's story, as his distressed emotional state during his parents' absence leads Reed to develop one of the team's old ships into a multi-dimensional classroom wherein Franklin and Valeria can learn from first-hand experience as they jet off through worlds and times unknown. Oh, and because it's a time machine, too, they'll just return minutes after they've left even though it'll feel like a year for Richards & Company. It's a high-concept idea that comes in an extremely easy to swallow form.

After reading Marvel NOW! Point One, I was mainly just interested in reading Fraction's FF, but after this debut issue of Fantastic Four, I will most certainly be following the adventures of Marvel's first family as they steal away through the multiverse in search of adventure and knowledge. If nothing else, 'Marvel NOW!' is most assuredly bucking my usual preferences, which was kind of the point in the first place, right?

GRADE

8/10

REVIEW: BATMAN #14

(w) Scott Snyder
(p) Greg Capullo


And here I thought "The Court of Owls" was a big story. Silly me. "Death of the Family" gets expanded big time this week in Batman #14 (and in Batgirl #14). Scott Snyder reveals, with this issue, how well he knows both Batman and the Joker. Obviously, the Joker's absence from the 'New 52's first year was purposeful, but Snyder isn't letting the cat out of the bag all at once. But unlike the Clown Prince of Crime of the past, "Death of the Family" feels like it's going to be chaos with a meaning.

Joker is a villain who has always been unpredictable. So what's the best way to make a terminally unpredictable character even more unhinged? Make him do something Batman can see coming. Last month, Harley Quinn orchestrated a scenario to drown Batman in the same chemicals that turned the Joker into a psychopath. Bruce picks up on the hint and realizes that Joker is recreating their old encounters. Fans and critics alike have been debating for years whether Batman's crusade is effective, if he's actually making a difference in Gotham City, or simply abetting more crime. This is what speaks to Snyder's ability with the Dark Knight -- drudging up the past is the best way to get under Batman's skin, and Joker knows it.

Batman #14 is a stellar issue from beginning to end. Never before has Bruce's 'extended family' been such a focal point of a Batman story to such a degree. Obviously, Alfred Pennyworth was taken from Wayne Manor at the end of Batman #13, and Jim Gordon gets hit his month with a blood-thinning poison. Even without the big reveal at the end, I would highly recommend this issue. The final pages, though, change everything for Batman and the Joker. Scott Snyder is leading the march on a new era for Batman and his allies, and it's going to be a frightening, sadistic, horrifying, absolutely entertaining road.

GRADE

9/10

REVIEW: AVENGERS ASSEMBLE #9

(w) Kelly Sue DeConnick
(p) Stefano Caselli

Well, I'll be damned if Avengers Assemble #9 isn't the best 'Marvel NOW!' title I've read yet. I should have guessed -- being married to Matt Fraction and all -- that Kelly Sue DeConnick would bring a much different approach to the Avengers than we've seen in the past eight years with Bendis at the helm. Instead of nonstop adventures and constant threats against humanity and the Avengers themselves, DeConnick has opted to give readers a look at the Avengers when they're not avenging as much, and it's one of the most refreshing takes on a current team that I've read in a while.

Only a few pages of Avengers Assemble #9 include any fighting, and it's against an unknown, grey group of enemies that doesn't yet have a purpose. Other than that short foray at the end, DeConnick takes the time to flesh out these characters she's just been given. We get to see how Bruce Banner and Tony Stark are polar opposites when it comes to their processes and world views, but almost the same concerning their scientific intellect. It's this dynamic between these two characters that provides the catalyst for a friendly competition between Tony and his partner Thor, and Bruce with Spider-Woman. Both teams will scout out a science lab gone silent after their lead scientist went missing, and the first one to complete the mission gets "bragging rights, then! Whoever wins gets the satisfaction of having the other recognize their point of view and general superiority."

DeConnick is similar to her husband in her ability to write amazingly grounded dialogue. There's no Shakespearean flair here or flowery vernacular. Even Thor's natural high dialect is toned down under DeConnick's hand. And I'll reiterate how refreshing it is to read these characters in a light that's not completely blood-soaked and desperate. Steve Rogers? I can't remember the last time I saw him in an issue out of costume. I was not expecting to like the 'Marvel NOW!' imprinted Avengers Assemble as much as I have. DeConnick's work on Captain Marvel has been phenomenal, but I was worried that her witty reparte would be lost in a team-based series. Fortunately, I stand corrected.

GRADE
9.5/10

FEATURED REVIEW: ALL-NEW X-MEN #1

(w) Brian Michael Bendis
(p) Stuart Immonen

I'm going to say what a lot of people won't -- this debut issue didn't not live up to its hype. Let's call this series what it really is: Brian Michael Bendis presents The X-Men. What's worried me about 'Marvel NOW!' is how the idea of the initiative is coming before the actual stories. All-New X-Men #1 by Brian Michael Bendis has me concerned for the X-Men family of books going forward. While the narrative is sound, and the idea of the original five X-Men travelling to our present sounds really fun, it always feels like there's something missing from this issue.

A big part of my coldness toward All-New X-Men #1 is that I've never totally and completely gone the way of Bendis' writing style. As a focused and plot-inspired writer, Bendis tends to extrapolate his stories to their most detailed and prolonged form. If A+X is an example of how short and concise a comic book story can be, Bendis is the exact polar opposite. The entirety of Bendis' 160 issue run on Ultimate Spider-Man turned out to encompass one year of comic book time compared to the ten years it took to get to issue #160. That's nice and all, but it really becomes a problem when Bendis' stories have to connect to other series and events.

All-New X-Men #1 is a mixed bag. All the writing is good, it's just disjointed. Instead of focusing on the plot that's been teased over the past four months, Bendis basically turns this issue into X-Men Point One -- a series of vignettes designed to give readers a 'status quo' of the various X-Men post-"Avengers vs. X-Men". 

That's not what I bought into.

Like I said earlier, Bendis tells good stories that have emotional centers and have lasting ramifications on the characters he writes, but I was led to believe this was a book about the original five X-Men, not an issue split into three sections that loosely begin a series of events. It's a by-product of Bendis' style; the use of so many characters precipitates the need for multiple storylines that will eventually connect. I'm all for layered storytelling and intricate narrative, but not in the first issue of a headlining title. If I were a new reader looking to jump back into the world of the X-Men and this is where I started, I would be completely lost.

Over the past few months, editors and creative teams have been making it a point to explain how starting with 'Marvel NOW!' books didn't require knowledge of previous events, though it would be more entertaining if you do. This is not the case with All-New X-Men #1, an issue so deeply embroiled in the fallout from "Avengers vs. X-Men" that without having read it, you'd never understand why Beast and the X-Men are trying to hunt down Cyclops. There's no true explanation, and even if there were, the story as Bendis is telling it is too dependent on prior events to be effective as a conduit for new readers.

All-New X-Men #1 is a double-edged sword. On one hand, I'm completely taken by Brian Michael Bendis' stellar writing and potential for this series, but on the other hand, I'm largely disappointed in how this issue was structured and executed. There must have been a more gracious, elegant way to introduce all the plot that's stuffed into this issue, but Bendis and Marvel managed to publish one of the least straightforward versions of that plot.

GRADE

7/10

THE WEEK (NOV 14-20, 2012)

FEATURED REVIEW
All-New X-Men #1
(w) Brian Michael Bendis
(p) Stuart Immonen
Brian Michael Bendis' tenure on X-Men books starts here with All-New X-Men #1, chronicling the time-displaced original five X-Men as they come to the present and learn to cope with the world post-AvX. BMB did wonders for the Avengers, so hopefully he can do the same with the X-Men.

Batman #14
(w) Scott Snyder
(p) Greg Capullo
"Death of the Family" continues this month as the Joker attacks Alfred! Already, "DotF" seems like it's going to involve Joker pushing all of Batman's biggest buttons. It's all deliciously sadistic. Scott Snyder is absolutely tearing it up with Batman.

Fantastic Four #1
(w) Matt Fraction
(p) Mark Bagley
Matt Fraction is one of Marvel's best writers currently, and his FF prologue story in Marvel NOW! Point One promised amazing things from Marvel's first family and their substitutes. Also, Mark Bagley is just a phenomenal artist.

Green Lantern Corps #14
(w) Peter J. Tomasi
(p) Fernando Pasarin
Another of DC's events continues this week with "Rise of the Third Army" in Green Lantern Corps #14. So far, only GLC and Red Lanterns have come face-to-face with actual Third Army drones, so I'm excited to see where this issue goes.

The Phantom Stranger #2
(w) Dan Didio
(p) Brent Anderson
I'm definitely in the minority in my love of Dan Didio's The Phantom Stranger. It's a campy book through and through, and Didio doesn't shy away from this premise. This month, Pandora makes a guest appearance!

Superboy #14
(w) Tom DeFalco
(p) RB Silva
"H'el on Earth" starts here! We got to see H'el briefly at the end of Superman #13, and now he's center stage to take on the Boy of Steel! We know -- through various back-stories and #0's -- that Krypton once had a clone problem. How will that play into H'el's interactions with Superboy?

X-Men Legacy #1
(w) Si Spurrier
(p) Tan Eng Huat
Destined to be the black sheep to Bendis' All-New X-Men and Uncanny X-Men, Si Spurrier's X-Men Legacy will focus on the late Professor Xavier's son, David, and his uncontrollable, reality-altering powers.

Extra! Extra!

Batgirl #14
(w) Gail Simone
(p) Ed Benes

Demon Knights #14
(w) Paul Cornell
(p) Bernard Chang

Frankenstein: Agent of S.H.A.D.E. #14
(w) Matt Kindt
(p) Alberto Ponticelli

Thor: God of Thunder #1
(w) Jason Aaron
(p) Esad Ribic

X-Treme X-Men #6
(w) Greg Pak
(p) Paco Diaz

REVIEW: GREEN LANTERN #14

(w) Geoff Johns
(p) Doug Mahnke

This week, "Rise of the Third Army" continues in Green Lantern #14 as Simon Baz comes face to face with the Justice League. He's been deemed a suspected terrorist already, and now that he's got a Green Lantern ring on his finger, he's just a super-powered suspected terrorist. The first thing you're thinking is, "They get into a fight, right? Superman or Batman misinterprets something, and a construct gets thrown out, then it's just a big brawl, right?" Wrong. Simon knows he can't take on the entirety of the Justice League, and he doesn't plan to. Simon's self-awareness points to Geoff Johns' increasing efforts to make the newest Green Lantern a bit more relatable and realistic. Johns understands how cliched superhero meetings have become in recent years, so this first confrontation between Simon and JL is less about a show of force and more about a show of wits.

Simon attempts to remove his ring and give it to the Justice League when the spectral energies of Sinestro and Hal Jordan burst forth in an explosion of green energy to protest. This is where Johns could have gone the easy route and made all these heroes gang up on Simon Baz. Instead, Simon subconsciously uses the ring to build himself a getaway car, then twenty getaway cars to throw the League off his trail. Sure, the Flash and Superman are probably fast enough to have found Baz in the chaos of everything, but that's not what this story is about -- it's about Simon thinking outside the box and how that type of thinking has been absent from mainstream superhero comics for quite some time.

Johns also takes some time to build mythology through sequences featuring the Guardians conversing with the still-mysterious First Lantern, Black Hand's imprisonment in the Chamber of Shadows, and the Third Army ravaging the universe in the name of peace and order. I'm enjoying Simon Baz's personal voyage as he comes to terms with being a Green Lantern and what that means in the greater scheme of his life. And while there hasn't been a lot of crossover with the Third Army proper, Johns is obviously building to something that will test Simon as a GL and as a person.

GRADE

8.5/10

REVIEW: IRON MAN #1

(w) Kieron Gillen
(p) Greg Land

"If your ideas have at least one military purpose, you can get them paid for. You can realize your dream, as long as it's got enough nightmare to it."

Tony Stark's words ring true throughout Iron Man #1, as new writer Kieron Gillen brings about the return of the Extremis virus in the epic first issue of this new 'Marvel NOW!' series. Matt Fraction and Salvador Larroca have been handling the Iron Avenger for a few years now, so skepticism toward a new creative team is to be expected. Fortunately, Kieron Gillen and artist Greg Land seem to have a promising if not perfect formula for the title going forward.

Kieron Gillen is a prolific talent. He's the kind of writer that can put his own spin on almost any character he takes on, while still keeping said character's core qualities and personality. If you've never read Phonogram, read every issue you can before it fries your brain, then read Gillen's run on Journey Into Mystery to see what I mean. This same principle applies here to Iron Man as Gillen uses his unique style to give Tony Stark a fresh voice for the first time in ages. I don't want to sound like I disliked Fraction's take on Stark, but it was something that took a lot of getting used to, while Gillen's style has more instant appeal and witty swarth. The man is English, after all.

Everyone's favorite nano-virus, Extremis, is back for a second go-round with Tony Stark and bringing about a dangerous age of man-made metahumans. Gillen does an amazing job of blending character development, supporting cast introductions, and plot advancement that it's almost astonishing. I found myself noticing so much more about the issue on my second read-through -- the way Land illustrates emotion (at least for women; Tony looks donkey-toothed most of the time), how Tony's inner monologue is more actually about processing thoughts instead of giving readers narration, and the way Gillen effortlessly brings back one of the most popular threats in all of Iron Man history without it feeling forced.

Both Iron Man and Deadpool debuted this week as part of 'Marvel NOW!', and many buyers are considering purchasing just one of these issues. Do yourself a favor and get Iron Man #1. Kieron Gillen has, in one issue, built a fascinating situation for Tony Stark, as well as a clear direction for the character himself. This was not a title I thought I would be buying each month. In fact, I had no plans on even reviewing this initial issue outside the 'Extra! Extra!' section. But as always (and I should have guessed), Kieron Gillen blew me away with his masterful grasp of comic book writing.

GRADE

9/10

REVIEW: EARTH 2 #6

(w) James Robinson
(p) Nicola Scott
(i) Trevor Scott

Earth 2 #6 completes the first arc from James Robinson, as well as cements the series as one of my favorites from DC's 'New 52'. It's taken seven months (counting September's "Issue Zero"), but we finally get to see the conclusion of "The Gathering", as the TPB will be named upon it's release, and it's pretty awesome. Robinson has been doing a lot of heavy lifting in this premier arc -- introducing a whole new parallel Earth, re-imagining fan favorite characters for a modern age, and crafting a story that unites both of these ideas into a cohesive narrative that's better than a lot of the 'Earth 1' titles.

This issue is titled "End Times" for good reason. Of course, we have the main problem going down in Washington D.C. with Grundy -- avatar of death -- laying waste to the four new wonders -- Green Lantern Alan Scott, Flash Jay Garrick, Hawkgirl Kendra Saunders, and Atom Al Pratt -- while simultaneously sapping the life-force from the ground and destroying every major city around the globe. Over at the World Army headquarters, past turncoat Terry Sloan (see Earth 2 #0, true believers!) has been given executive power to deal with the Grundy situation, so he's launched nuclear warheads at the Capital. Add to that Green Lantern's astral journey into the Grey, leaving his body vulnerable to attack, and all in all, it's a bad time for everyone but Grundy.

At the end of Earth 2 #5, Alan Scott had entered the void of the Grey and was immediately taken psychological prisoner by a construct of his dead fiance, Sam, who died at the end of Earth 2 #1. While Alan's resistance to the Grey's influence might seem rushed and/or lacking, the speed at which he comes to his senses says a lot more about Alan Scott as a character than it does about the narrative flow -- the sequence isn't quick because Robinson didn't write it well, it moves fast because Alan Scott is a smart man who has the added power of the Green at his literal fingertips. It's the same reason "You honestly thought my sadness at my lover's death would be the opiate of my defeat?" doesn't sound so awkward because it's coming from an intelligent man who -- as evidenced by this sequence, amongst many others -- carefully chooses his words before speaking.

Grundy's defeat is really of little concern because we always knew the new wonders would have to walk away victorious. Of course, we technically know this about any given villain in any given arc of any given comic book, but there are different kinds of defeat when it comes to massive, Earth-threatening enemies such as these. Some, in the case of Angel in Rick Remender's Uncanny X-Force, lead to bigger consequences, while others, such as Grundy's defeat here, aren't meant to alter much else. The Grey is all but nullified, and the world is being healed by Green Lantern's light. Things pretty much go back to normal aside from the fact that there's a new avatar of the Green, a man endowed with the speed of Mercury, and a girl with hawk wings just out and about.

Flash attempts to solidify their team relationship before Alan Scott abruptly puts an end to that nonsense. You see, Green Lantern is bigger and badder than any of those other mutha's, so why would he hang around with them? He doesn't. Alan leaves Flash and Hawkgirl in the dust to figure out what their next move is. It's a gangsta move.

Seriously, though, Earth 2 #6 is one of the best issues of the series to date. While that's not a huge catalog of issues with which to compare, it's still an a success. In interviews, Robinson has stated that the series is titled purposefully so that he would be free to build his second Earth without being forced to focus exclusively on the forming Justice Society. Sure, most of it will be about them, but the potential for world-building is huge. Earth 2 #6 points to how much Robinson is committed to those ideals going forward. It's a fantastic issue.

GRADE

8.5/10

FEATURED REVIEW: DEADPOOL #1

(w) Brian Posehn and Gerry Duggan
(p) Tony Moore

Am I the only one disappointed with this series? 

I've been looking forward to the 'Marvel NOW!' Deadpool pretty much since it was announced. At the time, I was blowing through my friend's complete Uncanny X-Force collection, and found myself growing to like Marvel's most comedic character (besides Howard the Duck, of course). So when the news dropped that alternative comedian Brian Posehn was co-writing along with Gerry Dugan, I was pumped. I've been a big fan of Posehn's stand up for quite some time, so I figured putting him on Deadpool would be a comedic treasure trove just waiting to be consumed.

Boy, was I wrong.

Posehn and Duggan try so hard to make Deadpool #1 funny, that it completely misses the mark. It's not just a one- or two-time thing -- the entire issue is bogged down by forced humor. The dialogue hovers at an awkward position between 'comic book campy' and relatable vernacular, the plot is flimsy at best, and the tertiary characters are devoid of personality.

Let's start with the man himself. Wade Wilson (a.k.a. Deadpool) as written by Rick Remender was (is) one of the funniest, wittiest comic book characters to ever grace the pages. Deadpool as written by Brian Posehn and Gerry Duggan is flat and boring. "Just roll Deadzilla to the curb. A hobo will eat it," is one of the many one-liners that's supposed to evidence Deadpool's witty charm...or maybe his deadpan style? It's not clear at all. And the line is really unfunny. "Are you hitting on me, Captain Porn-Stache? I'll be fine in a minute" is a response from Deadpool after a fireman displays concern over Wade's wellbeing. In no way do the fireman's words provide foder for innuendo, so the joke falls painfully flat. Overall, Wade simply doesn't have the same flair for comedy that he did in Uncanny X-Force and that's a real shame, especially considering the creative team.

Next, let's talk about the plot. Deadpool is recruited (in one of the loosest senses of the word) by S.H.I.E.L.D. Agent Preston to assassinate the resurrected, zombified corpses of all the past Presidents of the United States of America. Agent Preston is supposed to be relatable because she's nervous, somewhat inept, and overweight. Unfortunately, Posehn and Duggan don't give Preston any character development beyond a offhanded comment about it being her birthday and how she's upset no one remembered. Sure, that's a generally universal human story, but it's not enough to make a character interesting at all. The Presidents themselves are probably the best part of the issue, and that's only because it feels like Posehn and Duggan really did 'let go' with them in terms of craziness. FDR is raging in his wheelchair down the middle of Manhattan (before screaming "Here's a New Deal -- DIE!"), and a glowing, ranting George Washington is one of the funnier interpretations of our first POTUS I've seen.

Deadpool #1 is seriously underwhelming. Already, I've seen multiple 5-star reviews for this issue and for the life of me, I can't understand why. The only explanation I can imagine is that Posehn's position on the title preceded itself -- everyone expected it to be really funny, so it just is really funny. And unlike other series, Deadpool suffers so much more because it fails at providing the one thing it's supposed to offer that other titles can't -- humor.

GRADE

4/10

REVIEW: THE SAVAGE HAWKMAN #13

This article was first published on PopMatters.com

(w) Rob Liefeld (plot) and Frank Tieri (scripts)

(p) Joe Bennett

I don’t read The Savage Hawkman. When DC first rebooted under the ‘New 52’ moniker, I read almost every issue one that month, including Hawkman, though I didn’t enjoy it very much. I know that’s a rather drab description of my experience, but that’s what the book was for me – drab. I couldn’t understand why The Savage Hawkman needed to be so needlessly complex and intricate, especially considering the character’s pre-‘New 52’ mess of a continuity. I read the second issue then stopped following Carter Hall’s exploits. Then, of course, Rob Liefeld took over the title along with Deathstroke and Grifter, all of which he was tasked to write and draw. Personal reading habits show that I’m not a big fan of Liefeld, so there was even more of a reason for me to stay away from Hawkman’s adventures. The Savage Hawkman #13 is the first issue to be released that doesn’t feature Liefeld’s scripts or artwork. Instead, DC put Frank Tieri on dialogue (still utilizing Liefeld’s plotting) with Joe Bennett and Art Thibert on pencils and ink respectively. And while this particular issue doesn’t sit well as a self-contained tale of any sort, it still manages to be interesting and fun enough to make me want to give this series a second chance.

The Savage Hawkman #13 begins “Hawkman: Wanted”, a tale that earns it’s title through and through. At the end of issue 12, Hawkwoman made her ‘New 52’ debut in a rather violent, standoffish way by thrusting a sword into Hawkman’s face. Here in issue 13, we obviously get to see the ramifications of this event. It turns out Carter – who now fully remembers his life as Katar Hol, resident and warrior of planet Thanagar – has been labeled as an intergalactic criminal, and that the Thanagarians deployed his ex-girlfriend, Shayera, to bring him back home. Tieri does the best he can to make this somewhat clichéd plot more interesting by playing Carter/Katar between his Earthly duties (namely, his female companion Emma) and his Thanagarian heritage. Add to that a vindictive group of space pirates trying to take revenge on Hawkman, and you’ve got one intense sequence. Carter even says it himself at one point near the beginning of the issue: “…right about now, boring doesn’t seem so bad,” in reference to his life before remembering his Thanagarian roots.

One of the main faults of this issue is Hawkwoman. Sure, she’s a fan-favorite character who has come out swinging and has some (arguably) awesome Nth metal armor of her own, but who is Shayera? Pre-‘New 52’, she was Shayera Hol, existential wife to Katar Hol, their love transcending time and space throughout eons of human history. As of now, ‘New 52’ Shayera is a huge jerk. Of course, this is the first issue of an arc, meaning Shayera will more than likely be delved into a bit more, but as far as her introduction goes, there’s a lot left to be desired. Plus, Tieri commits a comic book sin with Shayera by making her the “bad cop” without a motive. Why is Katar Hol an intergalactic criminal? What has he done that’s so heinous his home planet has sent an extraction team to hunt him down? Again, I’m sure these are questions that will be answered in the near future.

Then again, it’s questions like these – ones pertaining to Katar Hol’s past – that create the biggest flaw with this issue: Katar Hol’s memory. For the first few pages, Tieri uses a first-person for Hawkman, letting him set the scene a bit before the brawling begins. This technique, however, is dropped rather quickly in favor of more traditional dialogue-only plot advancement. There’s nothing wrong with switching perspective, in theory, but here, the change has a lot more ramifications. Primary being that Katar Hol has all of his memories back! Why wouldn’t he remember being high on the universe’s most wanted list? And if he does, why doesn’t he disclose why? It seems like Tieri is simply withholding information in order to create suspense, when in reality, it just makes me frustrated that the narrative isn’t staying consistent. I have a sneaking suspicion that its Liefeld’s plotting to blame for the lack of information.

While not one of the best series offered by DC, The Savage Hawkman has a lot of potential. Soon enough, Rob Liefeld’s directives will finish up, and a new creative team will have a chance to take Katar Hol in new, fascinating directions. The tools are there: the Nth metal armor is brimming with possibilities, Hawkman will be featured in the upcoming Justice League of America, and the introduction of Hawkwoman points to a greater world that includes adventures to Thanagar (perhaps in a Hawkworld fashion?)

Grade: 6.5/10

THE WEEK (NOV 7-13, 2012)

FEATURED REVIEW

Deadpool #1
(w) Brian Posehn and Gerry Duggan
(p) Tony Moore
One of America's funniest comedians takes on Marvel's merc with a mouth: it's Brian Posehn writing Deadpool! And it's going to be awesome! Deadpool vs. resurrected Zombie American Presidents? Sign me up.

Action Comics #14

(w) Grant Morrison
(p) Rags Morales
Superman faces off against the Multitude...on Mars! If I've said it once, I've said it a handful of times; Grant Morrison's stories don't have a lot of previews. His writing's too intricate to offer much in the way of sneak peeks.

Earth 2 #6
(w) James Robinson
(p) Nicola and Trevor Scott
It's the conclusion of the first arc of Earth 2 as Green Lantern, Flash, Hawkgirl, and the Atom take on Grundy, the scion of death! James Robinson's parallel Earth series has been fantastic to say the least. To say I'm looking forward to this is a total understatement.

Green Lantern #14
(w) Geoff Johns
(p) Doug Mahnke
Geoff Johns continues this great introduction of Simon Baz that will eventually intersect with "Rise of the Third Army". So far, Baz has been far more interesting than Hal Jordan's been in years. 


Iron Man #1
(w) Kieron Gillen
(p) Greg Land

Extra! Extra!

Animal Man #14
(w) Jeff Lemire
(p) Steve Pugh

Before Watchmen: Moloch #1 of 2
(w) J. Michael Straczynski
(p) John Higgins

Stormwatch #14
(w) Peter Milligan
(p) Will Conrad

Swamp Thing #14
(w) Scott Snyder
(p) Yanick Paquette

Uncanny X-Force #33
(w) Rick Remender
(p) Phil Noto

World's Finest #6
(w) Paul Levitz
(p) Kevin Maguire and George Perez

EXTRA! EXTRA! (OCT 31-NOV 6, 2012)

A+X #1
(w) Dan Slott, Jeph Loeb
(p) Ron Garney, Dale Keown
(i) Danny Miki, Cam Smith, Mark Morales

I don't know why everyone keeps thinking A+X is tied to the "Avengers vs. X-Men" crossover as it obviously has a '+' sign, a symbol that's also commonly used in place of the word 'and', which means that in this series, the Avengers and X-Men are working together -- it's not a terribly complicated idea. A+X #1 does exactly what it says it will -- give readers two stories, each featuring one Avenger and one X-Man teaming up, written and drawn by some of Marvel's top talent. The first tale features Captain America and Cable, an odd pairing but one that's more fun than it sounds, especially with Dan Slott on writing duties. The second team-up comes from Jeph Loeb between Wolverine and the Hulk, a partnership that pays homage to Wolverine's debut as a Hulk villain -- it's not as good as Slott's story, but Loeb definitely intended this vignette to be the prelude to something bigger.

GRADE: 7/10

Justice League Dark Annual #1
(w) Jeff Lemire
(p) Mikel Janin

"War for the Books of Magic" concludes this week as series regulars Jeff Lemire and Mikel Janin take the Justice League Dark beyond their battle with Nick Necro and into the world of the unknown -- even for a series about magic. After surviving the crash landing of the House of Mystery, the team recruits fellow odd-man-out Frankenstein (Agent of S.H.A.D.E.) in their fight against Nick Necro -- Constantine and Zatanna's old mentor -- as well as the turncoat Doctor Mist and the ever-evil Felix Faust. Lemire goes all out in Justice League Dark Annual #1, giving readers the blowout, nigh-cinematic 'season finale' that again resembles many popular supernatural dramas littered throughout network and cable TV. And while the inclusion of Amethyst is just plain fantastic (in a fanboy sense), the real cliffhanger is the revelation behind the Books of Magic that throws everything we know about magic in the DCnU into question -- a great way to end an arc.

GRADE: 9.5/10

Swamp Thing Annual #1
(w) Scott Snyder and Scott Tuft
(p) Becky Cloonan

While I wasn't very keen on Becky Cloonan's artwork in Batman #12 -- I found it to be a bit more manga-style than my liking -- her work here in Swamp Thing Annual #1 is a marked improvement of her already well-stylized work; maybe it's that her more jovial techniques work better with a more lighthearted story, such as this one about the real first time Alec Holland met Abigail Arcane. Scott Snyder is joined by Scott Tuft for this story about a young Alec Holland making a trip to a pot-Soviet Carpathian Mountains in an effort to use his genius knowledge of botany to help bring vegetation back to a radiation-soaked landscape. It's here that Alec meets Abby for the firs time and their feelings for each other are allowed to grow. Snyder does a fantastic job giving readers the 'secret origin' of Alec and Abby's relationship, while also setting new groundwork for Alec's vendetta against the Rot in "Rotworld: The Green Kingdom".

GRADE: 8/10