May 29 Reviews

Giant Size Astonishing X-Men #1
Marvel
Writing: Joss Whedon
Pencils, Inks, Cover: John Cassaday
Colors: Laura Martin
Editing: Will Panzo, Nick Lowe, Axel Alonso
5/5

It's impossible to discuss this finale without thinking about the series that it's concluding. Whedon and Cassaday's Astonishing X-Men has given us so many things. It introduced Logan's camaraderie with Armor in a charming and convincing way while still paying respects to his history with Kitty. It gave us the most interesting and empathetic Emma Frost we've ever seen. The incredibly believable love between Kitty and Peter. The big never-forget moments like Peter's return and the definitive Cyclops story culminating in the blockbuster issue #23. But the best thing it gave us was 25 issues of accessible, cinematic, emotionally moving X-Men stories that easily set the benchmark for modern mutant comics. It may have suffered delays at the press, but now that that no longer matters there's no denying this as one of the best superhero books ever produced.

This issue is a fitting conclusion to this great story. On the first read-thru I wasn't as impressed but subsequent, slower, readings have driven home just how many amazing moments there are and how well plotted it is. The issue has a great deal to accomplish, many questions and obstacles to attend to, and it does so well. Visually some details aren't as immediately clear as they need to be, and Whedon's glee in playing with Spider-Man may come across too strongly. The sudden inclusion of all these other heroes is a little off-setting as well and several other X-centric pages wouldn't have hurt, but on the whole this is a very powerful final installment that will impact people's perceptions of these characters for years to come.

Astonishing X-Men has been of a quality almost all its own. It's rested alongside All-Star Superman as the best that mainstream hero books have to offer for a long while now. Whedon got to write his love song to Ms. Kitty Pryde while readers got a story worthy of oversized hardcovers and frequent re-readings. Like All Star Supes it's been as fun as it has beautiful. And with this -- it is over, but in such a way that it feels alive. It lingers. And not long from now you'll probably find yourself wanting to read it all again.

Coming up next: Warren Ellis and the Complete Change of Tone.



Northlanders #6
Vertigo
Writing: Brian Wood
Pencils, Inks: David Gianfelice
Colors: Dave McCaig
Cover: Massimo Carnevale
Editing: Casey Seijas, Will Dannis
5/5

Brian Wood is all up on. This series has become as enjoyable or more so than DMZ, a book which is also on a roll right now. Hopefully you're paying attention because these are things you should be reading.

Wood writes living dialogue that snaps and leaps off the page. Gianfelice firmly establishes his commanding legitimacy, helped in force by McCaig's beautiful coloring. This is quite simply one of the most captivatingly good looking books out there.

The story's initial slow-burn worked perfectly to create the dynamics and momentum that come into this issue, which is fantastically loaded and compelling all over. It's soaked in awesome. It's the type of book that makes you immediately wish Vertigo did more hardcovers. One or two moments are too explainy, but overall this is one of the best books of the week, and definitely one of the best new books of the last year.



Fables #73
Vertigo
Writing: Bill Willingham
Pencils: Mark Buckingham
Inks: Steve Leialoha, Andrew Pepoy, Mark Buckingham
Colors: Lee Lougridge
Cover: James Jean
Editing: Angela Rufino, Shelly Bond
4.5/5

Everything we've read so far in Fables has been leading up to this. The war has begun.

In this issue we get thrown headlong into a grand tour of the attack plan for a battle that's already underway. A good deal of the cast gets face-time and though there's far more setup than emotional substance things move along briskly enough that the end result still feels plump, juicy and filling.

Willingham writes with his usual classical air and most of it goes down smoothly. There are several instances though that feel he took an easy way out, or missed an opportunity to do more. These moments are really only found in character's jokes, one-liners, and so forth but while they aren't crucial to the story itself they do hamper the tone of the big picture.

Buckingham really gets a chance to shine with multiple double page splashes, and the immense scale of everything that's happening in the series right now. Almost all emotional conveyance here is found in his pictures. Tack on the beautiful page borders and overall production caped by the ridiculous cover work of James Jean and you're looking at one of the most attractive books you can buy.

A strong beginning to what by all accounts should end up being the biggest Fables story we've seen. As long as future issues are able to incorporate a more poignant and personal perspective than what we saw here then there's no reason to believe this will be anything less than the moment fans have been waiting for. Everyone should be reading this.



Immortal Iron Fist #15
Marvel
Writing: Matt Fraction
Pencils, Cover: Khari Evans
Inks: Victor Olazaba
Colors: Jelena Kevic Djurdjevic, Paul Mounts
Production: Irene Lee
Editing: Alejandro Arbona, Warren Simons
4.5/5

Even in the stand-alones this book can't help but be great. Which is entirely the fault of the storytelling abilities of Matt Fraction. The narrator's voice throughout the issue comes across very naturally, and it really demonstrates the key skill that makes Fraction as good as he is -- his ability with language. Most the issue is carried by his 'telling,' and your watching, while events unfold like a slideshow in the background. In most cases with most writers this would probably turn out pretty dull. Here, with Fraction's knack for wordplay, it's a breed of fun all its own. Very entertaining.

The events of the story themselves are fun and rewarding as well. A great deal is crammed into this single issue, and it hits on all the historical, kungfuyural, mythological, and supernatural angles that've made the book so good this whole time. There isn't a moment of this series you should go without reading.

Only one issue of Fraction-related material remaining, and at this point it's an all but guaranteed good time so don't miss it. Hopefully, once Swierczynski's run is underway, we'll be able to see Fraction return from time to time in the form of one-shots, annuals, and the like. Because while we're holding out hope for the future of the title, and while indicators suggest it may maintain some of its fun-filled nature -- it's hard to imagine it having the same electricity its had for this too-short time under this particularly gifted creative team.



All Star Superman #11
DC
Writing: Grant Morrison
Pencils, Cover: Frank Quitely
Inks, Colors: Jamie Grant
Editing: Brandon Montclare, Bob Schreck
5/5

They really have put together something special with this book. It's so simple and enjoyable yet has such fantastically absurd sci-fi ideas and moments of deep emotional clarity. It's everything I want from a Superman comic and I wish it would never end.

This issue continues to meet the standards that have made the series so highly and widely regarded. Morrison switches between soothing restraint and appropriate excess at all the right moments and is one issue away from bringing to a close a book that will go down as a landmark moment in both his career and the medium.

Quitely and Grant earn just as much credit for their roles on the art which is once again incredible. Simply put -- this wouldn't be this good were anyone else behind the visuals.

Every issue of this title is a gift and it hurts to accept there only being one left before it's over. It will be very very missed.



The Astounding Wolf-Man #6
Image
Writing: Robert Kirkman
Pencils, Inks, Colors, Cover: Jason Howard
4/5

This title continues to show that it has a lot to offer. It's got the same type of complex character driven scenarios that've made Invincible the resounding success it is, as well as a similar exuberant fun-ness. This particular issue happens to forgo fun-ness, letting frayed relationships and past mistakes take the reigns.

One of Kirkman's greatest gifts is quietly developing an amazingly layered web of plot threads and seemingly sideline type details that he can drift between as he pleases, and crash together as seen fit. He has demonstrated time and again his knack for having a lot going on while still having his writing feel simple, light and neat. Every issue Kirkman develops this book a little bit more and suggests that soon he'll really have this on its feet and running. If you enjoy any of his other work this is easily recommended.

Jason Howard's work is again very stylish and packed with personality. It's hard to imagine anyone else doing art on this. So much of the character of the series is established thru him. He suits Kirkman well and fits nicely with the other artists working on books in the author's growing superhero universe.

If there's a complaint to be had it's that long breaks and delays between issues have killed some of the series' momentum and make it seem like things are moving too slowly. Thankfully the title is switching to a monthly shipping schedule in July, and this should help the title quite a bit.

This is a good book that deserves and audience. Check it out. They're planning on shipping a trade that collects the first seven issues which will be more than enough to hook most people.



Proof #8
Image
Writing: Alex Grecian
Pencils, Inks, Cover: Riley Rossmo
Colors: Fiona Staples
4.5/5

This was a great issue. Dinosaur toddlers crash through walls, creative fantasy spy master discussions are had, and jungle justice is viciously served! Proof ends its action-heavy Company of Men storyline here and has a blast doing so.

This arc accomplished two things -- It was an effective jungle-bound espionage action royale, and it developed Proof significantly along the way.

It also, did both those things well.

Seeing the book really cut loose and find exuberant freedom in more over-the-top visceral questing was convincing and totally exciting. It's going to be nice to see the book turn back to some more introspective stories for a bit, but it is good to know that Grecian and Rossmo have this type of thing in their skill tree. The action, at the same time, provided plenty of opportunities for them to sneak in some character moments. Seeing Proof legitimately threatened, in itself, gave whole new weight to his story. His brutally primal reaction though, revealed even more. The instinctive animalistic violence he's resorted to these last two issues reminds us just how formidable a guy he really is. At the same time this turn, powerful and righteous as it is, exposes his mortality. At the conclusion of the story Proof seems more imposing but also more vulnerable. In other words, more interesting.

Proof utterly encapsulates the idea of 'better with every issue.' It really is. The attention to production values can't go unnoticed either. The cover and title page always look great, and every issue has a true plethora of bonus materials. You will never feel this book didn't give you your money's worth. Highly worth reading.



Batman #677
DC
Writing: Grant Morrison
Pencils: Tony Daniel
Inks: Sandu Florea
Colors: Guy Major
Cover: Alex Ross, Tony Daniel
Editing: Jeanine Schaefer, Mike Marts
4.5/5

Damn. Hello Grant Morrison. Hello Batman.

This was fantastic. Up until now Morrison and Daniel have put together an exciting run that, while taking a regrettable dip in worthfulness during the Ra's crossover, is overall a consistently great read. With this issue they push out of the crossover slump and step into the diabolical madness they've hinted at occasionally and that everyone has somewhere inside been waiting for the whole time.

Morrison gathers up some of the major questions surrounding the character from over the years and shoves them right in Batman's face. 'Maybe you're crazy and damaged,' type things. It's an aggressive and fresh exploration of some familiar ideas as well as a birthing ground to many entirely new ones.

Sometimes experimental panel play has spiced up Daniel's more traditional penciling style throughout Morrison's run, making the whole thing more stylish, tense and vivid. As they've started turning away from such explorations since the end of the 'Black Hand' arc though, Daniel's work has begun to look less and less impressive. Combined with inks and colors the visuals certainly deliver the mood, but in themselves the images are a bit too traditional and plain to mix well with Morrison's more abstract tendencies. It works, but at times is very wanting.

If you're at all interested in Batman this is pretty much do not miss territory right now. Even if you've not read any of this run, you could easily jump on with this issue. Between this and a couple more issues of Frank Miller's psychizo-sadistic All Star book it's looking to be a good rest of the year for Batman fans.



Uncanny X-Men #498
Marvel
Writing: Ed Brubaker
Pencils, Inks: Mike Choi
Colors: Sonia Oback
Cover: Choi, Oback
Editing: Will Panzo, Nick Lowe
3.5/5

This is the loosest and most enjoyable storyline we've seen from Bru on the series, though the speech is still a bit waterlogged at times and there are some weirdly annoying themes. It's amazing he can be so consistently great everywhere else yet still find himself struggling to get his feet under him here with the X-Men. The good news is that he's obviously closer to getting there, and the better news is that he's about to have the help of Matt Fraction in two issues. The union of Frubaker returns. Uncanny hasn't been great lately but its horizon hasn't looked this good in years.

The colors, by Oback, are beautiful. Choi's art is impressive throughout but does have some moments that don't totally succeed, particularly in the way of facial expressions. Overall though the work is mature, attractive, and brings a sense of realism that serves the book well but that, unfortunately, can still underwhelm at times.

This is a title that should be on your radar right now. It's still got some problems but is definitely moving forward. It's bubbling with a sense excitement that it's about to become something special. If you saw Fraction's Nightcrawler short in Divided We Stand you know what we mean. Quite frankly it will be surprising if this isn't a must-read title a few months from now and issue 500 looks like a perfect place to start following.



Ultimate Spider-Man #122
Marvel
Writing: Bendis
Pencils: Stuart Immonen
Inks: Wade von Grawbadger (sic)
Colors: Justin Ponsor
Cover: Immonen, Richard Isanove
Editing: Lauren Sankovitch, Bill Rosemann, Ralph Macchio
4/5

While the writers on Amazing continue to flop around and struggle to find a Spidey that everyone will enjoy, Bendis makes it look simple in Ultimate Spider-Man. His Peter Parker is easy to love, root for, and identify with.

This issue is a one-n-done encounter with a villain that's popped up a few times in the series before. The rather generic circumstances, however, result in something much more meaningful in how they're approached -- which really gets to the crux of what makes the title so effective. It relies heavily on its supporting cast, and is always better for it, this issue being no exception. It's Bendis' great use of the people surrounding Peter that makes this as good and enjoyable as it is.

Immonen continues to show himself as the perfect artist for the series. His characters look their age, which has a surprisingly big influence in helping these stories deliver. His style is nuanced enough that the emotional aspects of the book play, but stylish & modern enough to keep it feeling fresh and appropriate for the Ultimate U.

In the end this wasn't the most crucial USM story we've seen in a while, but with a series as consistently good as this it doesn't matter. Any self-proclaiming Web Slinger fans owe it to themselves to pick this up every time it comes out.



New Avengers #41
Marvel
Writing: Brian Michael Bendis
Pencils, Inks: Billy Tan
Colors: Justin Ponsor
Cover: Aleksi Briclot
Production: Joe Sabino
Editing: Molly Lazer, Tom Brevoort
3.5/5

After the recent Mighty issue there were suddenly doubts about the quality of the remaining Avengers tie-ins to Secret Invasion. Thankfully this issue is closer to the levels established by the earlier ones and while it's not as exciting as the Nick Fury installments, it's certainly better than the Sentry-centric bore we got last week. It's pleasantly readable and manages to flesh out some backstory, answering long-standing questions and filling in a couple gaps.

Tan's art is serviceable but not great and the cliffhanger is a bit of an eye-roll at this point, but overall this was decently well done and brought some constructive elements to the event as a whole. Compared to the typical tie-in extortion we've become accustomed to, Secret Invasion continues to be better assembled and more respectful of its readers.

May 21 Reviews

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Captain America #38
Marvel
Writing: Ed Brubaker
Pencils: Steve Epting
Inks: Mike Perkins, Steve Epting
Colors: Frank D'Armata
Editing: Molly Lazer, Tom Brevoort
4/5

When all is said and done and this wonderfully long and exquisitely paced story finds itself in a big heavy hardcover collection it will go down as one of the most enjoyable runs on a mainstream superhero comic ever. It's given Captain America a new type of legitimacy he never had before. It's past comic history symbolism now. This has been just plain fantastic.

So it's with slight reservation that I refer to this particular issue as being a little less enthralling than the rest. When the final page is turned I found myself wishing there was more, but not because I was so excited by what I'd read and had to see what was next, but because that feeling of elation I've come to expect never made its appearance. There were several great character moments, the title's greatest strength, but truth told it wasn't terribly suspenseful. The reservation in saying as much, however, arises in how much this is clearly just a needed step in the progression of the overall story. When a book is this well done it earns several less-than-mindblowing issues to best serve the greater good. Sometimes 'writing for the trade' is a positive thing, and this is one such occurrence.

Yet even when it receives a less enthusiastic reaction like this, Captain America is still easily one of the best books of the week. The art team has been so brilliant for so long they're almost taken for granted at this point and are worth the price of admission alone. A solid issue in a landmark run. There's still no reason to be not reading this. A new classic in the making.



Mighty Avengers #14
Marvel
Writing: Brian Michael Bendis
Pencils: Khoi Pham
Inks: Danny Miki
Colors: Dean White
Cover: Marko Djurdjevic
Editing: Molly Lazer, Tom Brevoort
2/5

Poor Marvel. They went and saddled themselves with The Sentry and now every time a major event comes around they find themselves stuck in the same position of figuring how to handle the guy's existence. When a characer in this issue asks why Tony Stark keeps The Sentry around the reply comes that, "he doesn't know what else to do with him." And neither does anyone at Marvel. Thank you Bendis, for that little bit of fourth wall transparency. He's supposedly the most powerful hero in the universe, so they have to account for him (see this issue), but unfortunately doing so is typically not that fresh or interesting (again -- this issue).

Pham's art doesn't do much to salvage the package either, coming across like a poor man's imitation of John Romita Jr., the absurdly overrated artist who, incidentally, was the penciler most recently stuck drawing a good deal of the character in the bore that was World War Hulk.

These Avengers tie-ins to Secret Invasion have been quite surprisingly good thus far, but this one was the first big miss. And a definite miss it was.



Scalped #17
Vertigo
Writing: Jason Aaron
Pencils, Inks: R.M. Guera
Colors: Giulia Brusco
Cover: Jock
Editing: Casey Seijas, Will Dennis
5/5

Every time a new issue of this series hits and I don't see it reviewed much in my usual web lurking I'm reminded why we don't have more titles of this caliber available; people clearly hate both me and themselves and want to make sure incredible books like this are few & far between. It's the same with Casanova, Ex Machina, and a handful of others. There's an election every week in the world of comics, votes cast with your wallet -- and people vote for the same redundant crap way more than they don't.

Thankfully Scalped has managed to keep its head above water, and it's easily one of the best series around. Of the Vertigo line, only Fables and DMZ belong in the same discussion and yet even those often don't have the impact this book does.

Since its onset Scalped has gone from good to great, but with this Dead Mothers arc it's become transcendent. For my money it's one of the best storylines I've read in modern comics. Emotions bleed from it to an extent almost palpable. The meat of this thing is thick and chewy and hard to swallow, leaving a weight in your stomach more noticeable than anything else out there. Dash and Red Crow are so well developed that every line of dialogue, every action, every contemplative stare, every everything is so chock full of discernible meaning it's almost shocking how realistic, believable, and human they are.

Guera is amazing. Much of the book rests on his ability to convey handfuls of feeling in every facial expression and each mood setting bit of environment, and it's a weight he shoulders with incredible skill and compassion. Often the best moments of each issue are the silent ones, and his contribution cannot be overstated.

I know it's popular to trade-wait Vertigo books. They're cheap and attractive and their stories are just as good months down the line, unlike most Big Two titles which often live very much in the moment. With Scalped though, I implore you, read it as it drops each month. Go ahead and pick up the trades already out there, and the eventually one for this arc, to catch up -- as without a full knowledge of the story you won't be able to pick up on much of the intricacies, but from then on start checking this out on a monthly basis. Jock's cover work on the title is fantastic and each installment has more than enough to offer to warrant picking up the floppys. Celebrity comic creators everywhere have said, and here now so do I; skip a trivial superhero title you're reading just to keep a full run together or out of habit and throw those bucks down on this instead. Send a message with your money, that we're tired of the status quo. Vote with your wallet, and ask for something better. Vote for the type of future comics that we readers deserve. Vote for Scalped.



Iron Man: Director of SHIELD #29
Marvel
Writing: Stuart Moore
Pencils: Roberto de la Torre, Carlo Pagulayan
Inks: Roberto de la Torre, Jeffrey Huet
Colors: Dean White
Cover: Adi Granov
Editing: Molly Lazer, Nicole Boose, Tom Brevoort
3/5

While Matt Fraction's debut on Invincible Iron Man has gotten all the attention lately, there's no taking away from what the family Knauf have put together somewhat quietly in this sibling title over the past months. A soundly executed espionage thriller, it's essentially Captain America-lite, and those who've followed it have been pleasantly surprised by its emotional depth and degree of political & techsavvy military intrigue.

This issue though, begins what is reported to be a four issue hiatus for the Knaufs, and while Stuart Moore's stand-in contribution isn't quite up to the level they've set, it doesn't wholly disappoint.

Some of the narration is a bit clunky and a few attempts to bring reflective insight into the fold feel slightly forced, but the story itself is fun and will keep your attention. Most interesting is the almost-too-heavy focus given to gadgetry and scientific noodlings. Stark is Stark here, and his gifted mind is on full display, while the criminal elements also manage to convincingly employ their own science-y jargon and technological doodads & whatsit devices. If you enjoy those aspects of Iron Man comics, then you'll find a lot to like here.

This may not be on the same playing field with the type of offerings we've seen from the main Iron Man titles as of late, but it's certainly fun and entertaining nonetheless.



Amazing Spider-Man #560
Marvel
Writing: Dan Slott
Pencils, Inks, Cover: Marcos Martin
Colors: Javier Rodriguez
Editing: Tom Brennan, Stephen Wacker, Tom Brevoort
2.5/5

Quite frankly the biggest frustration to be had with these current Slott Spidey issues is the dirty feeling they leave you with. Peter's a member of the paparazzi but doesn't understand how that's a gross misuse of his abilities. The cast surrounding him are greedy filth and totally without any class, damn near across the board. The environment has a sleazy celebutard trash television & tabloid air in which no one cares about anyone but themselves and all vigorously treat each other like crap along the way. And the villain -- straight up murders people in acts of over zealous, sickeningly manifested fandom.

Who the hell are we supposed to like in all this? Who are we supposed to root for? This isn't like classic Spidey tales where Pete's the lovable well intentioned silly-pants doofus who can't catch a break and makes goofy mistakes. There's no sense of endearing charm in watching him work his way toward a valuable life lesson. No, here it's hard to avoid just wanting him to get what he deserves for being such a worthless prick. Not all stories need a 'good guy' to identify with in order to be effective and meaningful. Amazing Spider-Man though, does.This is just too dark in all the wrong ways. People don't read Spidey to be reminded how sickeningly amoral the world is.

Slott gains some points for success in about half the attempts at playful banter, and smoother-than-Gale narrative & dialogue, but overall it doesn't make up enough to contend with, or prevent, the sour taste the package as a whole will leave you with. The sooner we get more offerings from Zeb Wells the better.



Avengers: The Initiative #13
Marvel
Writing: Christos Gage
Pencils, Inks, Colors, Cover: Steve Uy
Editing: Molly Lazer, Tom Brevoort
3/5

For an issue with essentially no relevance or importance outside itself this was a lot of fun. Gage does his good version of himself and delivers a one-n-done about a truly lovable loser who attends 'camp' to train as part of the Initiative. The kid is cute, highly annoying, and impossible not to empathize with. The other dimension of the installment finds itself in Taskmaster who's entertainingly cold and at times quite humorously so.

The whole issue revolves around these two characters. We watch Emery, the sweet innocent recruit, as he chats and blunders his way thru what is basically a set of summer-camp scenarios, as well as the interactions between Taskmaster and what we may as well call the other camp counselors. Everyone picks on the chubby kid, but find themselves warmed to him by the end. It's all derivative and predictable, but charming all the same.

Often these fill-in type issues amount to little more than disposable duds, but the childish nature here was effective enough to give it some shine. A well welcomed bit of heartwarming nothingness in a week where supposedly 'friendly' titles are far too dreary. Gage's dialogue often leaves me frustrated but he does well here. Not worth the money if you're scraping, but a good read if you're looking for something lighthearted and fun.

May 14 Reviews

The Walking Dead #49
Image
Writing: Robert Kirkman
Pencils, Inks, Cover: Charlie Adlard
Ink Tones: Cliff Rathburn
4.5/5

It’s ridiculous that this series hasn’t been getting more attention the last few months. Very rarely has the phrase ‘things will never be the same’ been even as close to as true as it’s been here. Very rarely has there been a title that can achieve the emotionally devastatingly impact that last month’s issue did. Very rarely has a book with the expressive maturity and level of development as this one had the courage, guts, and just flat out balls to do what Kirkman has done over the last few installments.

And it’s not even over yet. The characters still left standing don’t get much time to stop and reflect on recent events and neither do readers. This is a title that inhabits a world refusing to allow such luxuries. You’d assume the worst was over with for a while, yet in this issue we see that it’s likely the hits will keep on coming. It may be a long time before anyone in this book sees a glimmer of hope, and the longer it takes the more affecting this book becomes. The issue does offer a degree of a breather in that the usually wordy Kirkman says very little this time around, letting the events of last issue loom overhead as the remaining characters flee in shocked silence with no plans in particular aside from getting out alive and surviving the next few minutes. It’s a loaded, claustrophobic and nearly overwhelming quiet that effectively drives home both the desperation and horror these individuals are irreparably saddled with. They’re functioning on instinct alone, their hearts unable to keep pace – and Charlie Adlard, the real star of this issue, delivers these truths brilliantly.

The Walking Dead may have grown too violent and upsetting for some, but if you’ve managed to stick around thus far then you’ll find the ride is still pounding forward with very few signs of slowing down. This is a top-notch book that next month will realize its fiftieth issue. And what an important issue it’s suggesting it may be.

DMZ #31
Vertigo
Writing, Cover: Brian Wood
Pencils, Inks: Riccardo Burchielli
Colors: Jeremy Cox
Editing: Casey Seijas, Will Dennis
4/5

DMZ continues to flourish in its recent return to form. Wood has managed to once again put this series in a position where several conversations are going on at once, all interesting, and all relevant to the times.

Matty’s emotions surrounding the sudden unexplained arrival of his mother keep the series’ character elements moving forward. The Delgado Nation threads raise discussions about who controls elections and what factors influence who can attain positions of legitimately recognized power in this country, conversations very topical in our own lives and political climate. Most interesting though, and the biggest focus of the issue, is the analysis of the confrontational dynamic that exists between journalists as individuals and journalism as a corporate establishment; an idea frequently explored in DMZ but more directly investigated now than for quite some time.

If there’s anything keeping the series from perhaps being as exciting or ‘can’t-miss’ as some may like it’s the relative lack of action or suspense currently on display. These last two issues have been primarily conversation pieces that are big on ideas but small on big screen theatrics. Any who raise such complaints however will most likely be satiated next month as the events closing the issue imply that things are about to kick into high gear. DMZ continues to be one of the most intelligent and worth reading titles available.

Amazing Spider-Man #559
Marvel
Writing: Dan Slott
Pencils, Inks: Marcos Martin
Colors: Javier Rodriguez
Cover: Ed McGuinness
Editing: Tom Brennan, Steve Wacker, Tom Brevoort
2.5/5

While Dan Slott’s return to Amazing is a relief from Bob Gale’s recent atrocity, it doesn’t necessarily mean it’s any good and without its own discomforts. Most of the issue revolves around Peter’s professional life out-of-costume in what is quickly becoming a shady career as a paparazzi photographer for the newly tabloid-esqued ‘DB’. New villains Screwball and Paperdoll make their first appearances as well though don’t get enough page time to leave any type of lasting impression.

The whole experience is very bittersweet. For every line that’s fun and works well there’s at least one that doesn’t. The re-embracing of thought bubbles continues to frustrate. While their use may be meant to hearken back to a more fondly remembered period in Spidey’s publishing career they more often than not just lead to the same annoyingly clunky exposition that caused writers to turn away from them in the first place. It’s not that thought bubbles can’t work; it’s that most writers apparently don’t have a handle on how to effectively and cleanly use them. Slott also makes some choices for Peter’s direction as a character that are questionable and contradictory to much of what makes Spidey such a lovable personality. Recent events have made it quite clear that everyone brings their own baggage and opinion to the table when considering what makes this character who he is, but it’s hard to imagine there are readers finding the person in this issue all that admirable and fun to identify with. Zeb Wells raised the bar of what to expect the title to aim for, and this just simply isn’t meeting it. Dan Slott has shown multiple times in the past his ability to write a damn fine Spidey story yet for some reason we’re not getting it from him here.

Brand New Day continues to flounder around between joyously great, grievously bad, and disposably middle road. It’s a mixed bag that hopefully works out some of the kinks very soon or it’s going to see even more readers stowing their optimism and turning their backs on the series.

Thunderbolts #120
Marvel
Writing: Warren Ellis
Pencils, Inks: Mike Deodato Jr.
Colors: Rain Bereto
Cover: Marko Djurdjevic
Editing: Molly Lazer, Tom Brevoort
5/5

Incredible, that’s what this is. Hardly anything is as purely fun to read. Several months of Christos Gage fill-ins and it’s easy to forget why this was such a highly regarded title. Alright maybe not, but the elation Ellis’ work on this series stirred up has certainly had time to cool off. But when he returns and drops an issue like this and we get to feel afresh the boggling excitement his work here provides there’s no doubt it was worth the wait.

Though it may not have the same visceral punch as some of the more graphic earlier issues, this was easily one of, if not the, most entertaining installments we’ve seen on Ellis’ run with the series. Hell, it may be the most brilliantly written display of dialogue we’ve seen from him in several months on any title. It’s hard to imagine there are many people out there advocating the Green Goblin’s return. Yet with the explosive humor and charisma demonstrated here there’s not likely to be many well conceived criticisms to be found.

There isn’t much to say other than that you must read this. Even if you weren’t taken in by earlier issues and dropped the series for whatever reason – you should still consider this required reading. Deodato Jr.’s art is a dream, and Ellis outdoes even himself despite it feeling like he’s just screwing around. It will truly be a loss when this creative team’s run comes to an end.

Batman #676
DC
Writing: Grant Morrison
Pencil, Ink: Tony Daniel
Colors: Guy Major
Cover: Tony Daniel, Alex Ross
Editing: Jeanne Schaefer, Mike Marts
3/5

Morrison typically isn’t a slow-build kind of guy but this issue is almost all introspective dialogue and walking/standing around. Even when there is action it’s in the backseat to the developmental conversations and internal musing taking place at the same time. This may be the first of the massive R.I.P. story arc, but it feels like a continuation of what Morrison has been putting together for a long while now. ‘Build’ is exactly what this is doing and as more pieces come into place and feelings & mental states are further explored there’s no denying there are big intentions slowly revealing themselves here. One hand is reaching out to new incoming readers while the other ignores them completely, perhaps frustrating to some but respectful to the story that’s been woven over quite some time.

The art is absolutely gorgeous and the production is fantastic. This may not be the most riveting thing you’ll read all week, but Morrison is Morrison so even issues like this one are worth checking out. If you’ve even the slightest interest in the Dark Knight there’s no reason to not be reading this.

Guardians of the Galaxy #1
Marvel
Writing: Dan Abnett & Andy Lanning
Pencils: Paul Pelletier
Inks: Rick Magyar
Colors: Nathan Fairbairn
Cover: Clint Langley
Editing: Lauren Snkovitch, Bill Rosemann
4.5/5

It’s very obvious from the get-go that this is going to be one of the most enjoyable titles on the shelves. This opening issue very smoothly introduces everyone’s personalities, the team’s formation & dynamics, as well as gives us a rollicking sci-fi story with humor and personality spilling out in excess. The issue jumps around chronologically; moving between blockbuster action, Real World type ‘confessionals,’ and the slower moments following Conquest that led to the present. Having a base of knowledge with the characters coming in amplifies the experience, but those who don’t are given enough to not feel lost.

The book is frequently hilarious. Dialogue is witty and quick and flies off the page. Each of these characters has their own defined tone that gives ample opportunities for jokes and pokes of many flavors. Some of the humor is obvious, silly, and right in your face while other bits are more subtle and buried within somewhat straight-faced demeanors. Abnett & Lanning have these characters’ voices well under control and demonstrate a masterful understanding of how to use them and give everyone an appropriate role.

Yet despite all the book’s charm and fun-filled nature it still feels heavy and has several foreboding hints at darkness to come. This is a comic that includes characters like Rocket Raccoon, Groot the sentient tree, and Cosmo the Russian cosmonaut golden retriever, but that still demands and earns the right to be taken seriously. The art crew fully and wholly delivers as well. A great debut and well worth your time whether you’re typically a fan of cosmic fare or not.

May 7 Reviews

The Boys #18
Dynamite
Writing: Garth Ennis
Pencils, Inks: Darick Robertson
Colors: Tony Avina
Cover: Robertson, Avina
3.5/5

You may have heard around the way that Garth Ennis’ irreverant foray into the seedy underbelly of a world filled with superpowered humans is hilarious. You have heard correctly. The Boys’ doesn’t owe any of its humor to creative punchlines or the like, but is full of small moments that slyly point at each other and dialogue that enhances and indirectly refers to other scenes. Much of the humor would be impossible to see if each scene was taken on its own, as though it’s a type of Arrested Development for sadists. Of course the sheer absurdity of many scenes are funny in their own right as well.

The Boys deconstructs the superhero genre but without trying to make any grand statements or reach any greater meaning like much of this type of work strove for in the 80’s. It simply suggests that in the real world superpowered people would probably be a bunch of emotionally and mentally twisted, truly screwed up individuals, and leaves it at that. There’s a decent plot and well conceived characters that come across very convincingly and give the title some weight and depth but all that lies outside the inclusion of folks who can fly and punch through buildings. Robertson’s art is clear, detailed and expressive but appropriately gritty and enhances the experience greatly. If you can stomach some of Ennis’ trademark violence and offensive themes (which run rampant here) then this is a lot of fun.

Ennis’ impressive understanding and control of language, dialect and accents are largely on display as well, bringing a tangible degree of realism and believability to a series that otherwise offers anything but. The whole thing comes across as a dark grissly urban European crime flick that just happens to have spandex wearing freaks in the peripheral. I don’t necessarily consider it the essential read many others tout it as, but if you’re looking for something outside the typical fare to flesh out your comic reading a little it’s definitely a lot of fun. This, of course, assuming you’re on semi-friendly terms with darker portions of your soul and sense of humor.

Nova #13
Marvel
Writing: Dan Abnett & Andy Lanning
Pencils: Wellington Alves
Inks: Scott Hanna
Colors: Guru
Cover: Alex Maleev
Editing: Bill Roseman, Lauren Sankovitch
4/5

Nova continues its heading as one of the most exciting cosmic runs in years. Free from its responsibilities toward Annihilation: Conquest the book rockets straight into conflict with Galactus and the Silver Surfer, wasting no time in keeping this a must-read title.

It’s great to see Abnett & Lanning cut loose with a story like this after having so many pieces to consider during Conquest, and Wellington Alves pulls his weight formidably as usual. New Nova cover artist Alex Maleev has also been proven masterful right out the gate. This remains one of the best looking, most well written comics available.

The issue is very well done and is impressive in its ability to balance a true sense of global panic, chaos, and destruction in wake of Galactus’ attack while yet showing restraint in how much it gives the reader all at once. There’s even time set aside to debate questions of morality and justice without even getting into the typical need-for-a-world-eater discussion.

Nova is such an exciting read, and if you’ve somehow ignored all the good press up until now, this is the perfect time to jump on. You don’t need to know anything about the character to dive in here and find something to enjoy. This issue was very good, but be sure to put money down on next months installment as it’s looking to be even better. Great stuff.

Punisher War Journal #19
Marvel
Writing: Matt Fraction and Rick Remender
Pencils, Inks: Howard Chaykin
Colors: Edgar Delgado, Jesus Aburto
Cover: Alex Maleev
Editing: Aubrey Sitterson
3/5

This recent arc of Punisher War Journal has shown the book to be slipping from the high bar it set for itself a few months back with the psychotic cartoon circus that was the Kraven the Hunter storyline.

More straightforward and serious lately, it’s still entertaining but feels like it’s lugging more dead weight than usual. The dialogue is smooth and effective but tends to lack the snap of typical Fraction work, including what we’ve seen from him on this title in the past. It’s not simply that the series’ change in tone leaves one pining for the sillier attitude of the aforementioned Kraven arc, but that the work itself just doesn’t come across with the passionate enthusiasm it once did.

The inclusion of a second writer, Remender, suggests that Fraction is either transitioning off the title to focus on his growing workload elsewhere, or is distracted with launching and concluding bigger projects for the time being. Either way, without him firing on all cylinders this is just a slightly better than usual run-of-the-mill Punisher title. It’s still a decent read for fans of the character but is increasingly losing its status as a sleeper-must-read for the rest of us.

Amazing Spider-Man #558
Marvel
Writing: Bob Gale
Pencils, Cover: Barry Kitson
Inks: Mark Farmer
Colors: Hanning, Mila
Editing: Stephen Wacker, Tom Brennan
1.5/5

Wow. This was just terrible. Bob Gale’s first arc revealed him as the least impressive of the new ‘Spidey Braintrust,’ and by the third page of this issue he make that abundantly clear once again. Very abundantly. He’s more than the weakest link. His dialogue is unbearably archaic, though somehow not nearly as bad as his thought bubbles which compel your brain to shut down and stop reading almost instantly.

So many things included here are so grossly tired you wonder how this wasn’t horrifically painful to write, and how in the hell it ever made it to press. Peter’s fears of being unmasked? Doc Conners feeling inadequate with only one arm? Everything the villains and well, every character, has to say? It truly feels you’re reading a bad Spidey comic from twenty or more years ago.

Prior to this, Zeb Wells had salvaged the Amazing ship from Gale’s initial blunderous arc by delivering three of the most fun Spidey comics we’ve seen in years. He and Bachalo’s issues had many fans feeling legitimately optimistic about the direction of the series and the prospects for the future. Gale stomps those feeling out with incredible vigor here and this issue is leaps and bounds worse than the lackluster arc we’ve already seen from him. Unfortunately it’s looking more and more like cherry picking Amazing based on who’s writing it may be the way to go, and it’s a shame considering how impressive or at least serviceable everyone else has been so far. Gale may be a good writer elsewhere, but this was just too frustrating for him to be given many more chances and hopefully he’s switched off the Spidey team sometime…immediately. At least Kitson was around to give us something pretty to look at.

Mighty Avengers #13
Marvel
Pencils, Inks: Alex Maleev
Colors: Matt Hollingsworth
Cover: Marko Djurdjevic
Editing: Tom Brevoort, Molly Lazer
3.5/5

It’s very rarely true that a title being hijacked for a major event makes it better than usual, but in the case of Mighty Avengers it has led to what are easily the two most interesting installments of the series’ entire run. Seeing Nick Fury back in action is very exciting, as is finding out what he’s been up to all these months. This issue has less of him than the last, but he's around enough to keep things tingling.

Cut loose from the Avengers baggage Bendis is free to let things breathe a little, and in a comic with Mighty on the cover it’s quite refreshing. The concept in motion here is a fun one and Bendis’ playful dialogue gets a chance to be its charming self without being surrounded by convoluted stupidity.

Alex Maleev, who’s been incredible on cover designs lately, does a fantastic job and it’s hard to believe he hasn’t gotten any interior work since his time on Daredevil. For a book oft-saddled with the embarrassing Frank Cho, Maleev’s time here is a moment to cherish. Cho, for the record, has absolutely zero business getting work with Marvel and hopefully doesn’t show up on any other books if Mark Bagley is indeed slated to take over this series following Secret Invasion.

It’s surprising how good these Avengers tie-ins have been, particularly in the case of Mighty. Frankly they’re nearly as interesting as the main event thus far. Bendis is better when he’s not having to find things for dozens of overpowered or uninteresting characters to do, and it’s nice to be reminded that there was a time when the majority of his work was a pleasure to read.

Secret Invasion #2
Marvel
Writing: Brian Michael Bendis
Pencils: Leinil Yu
Inks: Mark Moralez
Colors: Laura Martin
Cover: Gabriele Dell’Otto
Editing: Tom Brevoort, Molly Lazer
4/5

About a third of this issue was heroes fighting doppelganger versions of themselves which was slightly disorienting, as it was supposed to be, but at this point heroes vs. heroes is all played out and just annoying, which was probably less intentional. There were so many two page splash images that it felt very much like space and time were being wasted. The ‘who’s a skrull!?’ antics go back and forth between intriguing and aggravating all issue and hopefully we soon reach a point where ‘who do you trust?’ takes a bit of a backseat to some actual story progression. These elements can be forgiven at this point and chalked up to making things new-reader friendly, but driving them home much more is going to start raising serious doubts about the overall quality of the event.

The whole thing did feel less exploitative of the initial concept by the end of the issue though and it effectively stirred the desire to read more and see what happens next. To forego mentioning that there are some terrific moments scattered throughout wouldn’t be fair. Held up against World War Hulk or any of DC’s recent events this is on a whole different playing field. From here things may get more interesting as Bendis’ set-up has been pretty well done and complaints about repetitive themes by those of us who’ve been following them for months may fade away. The ball is definitely rolling and there are enough pieces in play that we’re likely in store for some issues with more substance and less space-filling art and driving home of the same paranoia.

Secret Invasion may not be anything incredible yet, but it’s still certainly full of that potential. Marvel’s planning and structuring of this event up to this point has been tremendous and with six issues remaining there’s still a lot of time for the series to say and do some big things. Here’s hoping most the small insightful (important/interesting) details aren’t left to the tie-in side stories.

Logan #3
Marvel Knights
Writing: Brian K Vaughan
Pencils, Inks, Cover: Eduardo Risso
Colors: Dean White
Editing: Axel Alonso, Daniel Ketchum
4/5

Though it may be slightly unreasonable, it’s hard not to feel a little disappointed with this series. Looking back I’m not sure what I was expecting considering it was always slated to be a mere three issues, but with the talent involved it was easy to anticipate something mind blowing and legendary. What we got instead was something very simple and humbly low-aiming, yet altogether wonderful in its own way once you've had time to reflect upon it.

BKV explores a single moment that had deep implications within this character’s heart and uses it to paint upon a three issue canvas the picture of a man stuck halfway between darkness and light. A man whose warmest memories are at the same time his darkest. It’s a poignant portrait, elegantly presented with simplicity and incredibly beautiful art. Risso’s pencils and White’s watercolors come together to make one of the most breathtaking presentations I’ve seen in superhero comics in a long while, and their work alone was worth the price of admission.

This was a moving little series, and though it may not have been the landmark revelatory moment in the character’s publishing history we may all have been hoping for, it’s still one we should be very pleased to have nonetheless.

April 30 Reviews Part Two

Thor: Ages of Thunder
Marvel
Writing: Matt Fraction
Pencils: Patrick Zircher, Khari Evans
Inks: Patrick Zircher, Jelana Kevic Djurdjevic
Cover: Marko Djurdjevic
Editor: Warren Simons, Alejandro Arbona
5/5

When Matt Fraction first came to Marvel and they asked which properties he was interested in working on he responded, “Anything but Thor.” He’s said in interviews that he didn’t like, know much about, or really care for the character in any way. This, of course, makes him the perfect man to be writing this series of one-shots. The investment he had to make in finding what makes Thor matter came from a place of doubt, and as such – he’s found real heart and relevance in the character.

I, also, don’t care about Thor. Never have. Quite frankly I think literary characters like Thor, Hercules, and the like have no place being in modern superhero comic universes. The whole premise seems more stupid and outlandish than superhero comic universes themselves. But as Fraction examines the Asgardian god throughout history I can’t help but realize that, dammit, he’s going to change my mind as he has his own.

Fraction makes these mythical lands and gods accessible even to those who are wholly unfamiliar with them. Yet there’s enough sneaky details throughout to please those highly versed in their lore. The man is a bastion of detail. He easily establishes a tone and voice that honors the traditions of these characters of legend, but that also makes them fresh, youthful and with the energy of the modern day.

This first issue reveals more about Thor as a character than most comics I’ve read, and does it quickly and easily without even spending much time with him at all. Simply by showing us the world he inhabits, with a few brief glimpses of where he falls within it, we’re able to discern much of who this son of Odin is without being specifically told outright. The entire thing is just exquisitely delivered and one can’t help but wonder – what can’t Matt Fraction do?

Much needs to be said of the art here as well, as it’s absolutely beautiful and gives the issue a degree of majesty and grandeur that couldn’t be achieved through words alone. Every detail is intricately rendered and results in the type of product you’re proud to own.

I don’t like Thor. I’ve often made it a point to feel this way. Every time his name comes up in the Marvel U I find my eyes rolling and that I'm angry he’s being brought back into the mix. Then Fraction comes along and does this, and rattles my foundations. I’ll probably read this several more times over the next week. How dare he.

Avengers: The Initiative #12
Marvel
Writing: Dan Slott, Christos Gage
Pencils, Inks, Colors, Cover: Steve Uy
Editor: Tom Brevoort
3.5/5

The key thing that’s working well here is the idea that there are visible repercussions for the events taking place in superhero comics. How many dozens of times have we seen New York, for example, utterly destroyed and reduced to mere rubble only for it to be back in fully functional condition a Wednesday later? Sentiment in these books seems to be that once the bad-guy is down the day is won. Much is said about the damages being done by enemies along the way, but once they’re defeated the impact of such destruction seems to go by the wayside. Real life doesn’t function this way, and although comic book universes clearly aren’t real life, it’s nice to see some of these realities added to the formula.

The Initiative-era Marvel books in particular are making strides to embrace the notion of the Marvel U being realistic and as close to reality as possible and, I would argue, to successful ends. New comic readers today are flocking to Marvel’s new status quo – not the DCU which is loved fervently by long time fans and those nostalgic for old fashioned comic fare but that isn’t picking up much of a new youthful audience. The uninitiated reader wants titles that appeal to them and the world they live in, and issues like this one help get Marvel one step closer to making their universe have that type of believability.

There are some quibbles though. The idea of these characters ‘graduating’ at this stage seems slightly ridiculous considering the training regiment we saw them undergo was nothing more than a series of frenzied unorganized death filled disasters. The issue suggests that, though this is true, what could better prepare these characters for a life as super heroes? Yet it ignores that avoiding this type of chaos was the exact argument made to justify creating the Initiative in the first place. The conflict between members of the superhero brass does, however, dampen this complaint as it implies that Slott understands these inconsistencies and intends to address them sometime later on.

Plot dissection aside, the issue is well written and flows nicely. The narrative is edited together well and Slott/Gage continue to balance a considerable load of story threads without leaving the reader confused, and they do so without resorting to constant unnatural explanations. If there’s a major complaint to raise against the issue it would unfortunately have to be the art, which looks decent enough but without distinctive costumes and being referenced by name characters are incredibly difficult to recognize as the ones portrayed for eleven issues previous to this.

Avengers: Initiative has been a very enjoyable title so far, and seems to be widely embraced by audiences. Seeing these characters move forward and begin being placed around the country is an exciting transition, and it’ll be fun to see where things go from here.

New Avengers #40
Marvel
Writing: Brian Michael Bendis
Pencils: Jim Cheung
Inks: John Dell
Colors: Justin Ponsor
Cover: Aleksi Briclot
Editor: Tom Brevoort
3.5/5

Well whatya know. A tie-in that actually enhances a major event. Color everyone refreshed.

Bendis has lots of intriguing moments here and succeeds in giving the Skrulls some much needed development and sense of purpose. He ends on a reveal that actually has implications and raises a lot of questions, and even manages to incorporate a few tongue-in-cheek moments in an otherwise serious issue, such as the Skrulls referring to their plans as ‘the initiative,’ a statement that certainly didn’t escape giggles along the line in Marvel’s editing process. This was a highly enjoyable issue that effectively fleshes out their current major event.

There is a sense though, that Bendis overly pussyfoot baby’s-first-steps the reader thru this material. A great deal of time is needlessly spent essentially explaining that much won’t be explained when time could be better spent in other arenas. It’s probably a safe assumption that the average comic reader is used to accepting things like ‘DNA augmentation’ and cloning without asking too many questions. Trying to justify such unspecific explanations by having them repeatedly restated with bigger words does nothing to improve the story or change that we’re really not getting a creative clarification; it only wastes opportunity to give readers more substantial information. Spending more time with the state of Skrullian culture or their sociological mindset would have been more interesting and valuable.

Overall though, Secret Invasion continues to be the best large scale plan Marvel has presented in a long time. Hopefully the main series itself will have plenty of payoff and not let-down after such fantastic peripheral planning. Only time will tell but so far this seems to be the best of Marvel’s recent conga line of universe spanning events.

Proof #7
Image
Writing: Alex Grecian
Pencils, Inks, Cover: Riley Rossmo
Colors: Fiona Staples, Frazer Irving
4/5

More of an action/suspense outing for a series that typically makes time for slower introspective moments; this month’s issue of Proof manages to really get the blood moving. It does, however, manage to sneakily (but not all that subtly) develop the characters despite the issue’s action heavy design, including a scene in which we get to see Proof remind us that somewhere inside him are some brutally vicious animalistic instincts.

There are a bunch of great moments of dialogue, many of which benefit greatly from the expanded implementation of the cryptoid boxes, now more frequently being used to supplement dialogue in a straightforward manner as well as dispensing trivia. Grecian has always demonstrated impressive control over his characters voices, but he’s increasingly coming into his own as a master of timing. Everything here is very meticulously paced to effectively deliver whatever his intentions are, be they humor or tension.

There’s lots of suspense this issue and it feels like a welcome reminder that we’re currently entering the summer blockbuster season. Proof is equal parts X-Files and Michael Crighton. The who’s good, who’s bad, what’s what conspiracy aspects work well. They do, unfortunately, happen to set up a cliffhanger ending that feels like a bit too much and robs the series of, believe it or not, some of its realness and believability. There was also some disappointment that we didn’t get to see any baby dinosaurs this time, but that may be a personal problem.

All in all this is a good continuation of a very promising new series that deserves far more attention than it has been getting. It’s difficult to believe that there aren’t more comic readers out there interested in seeing Bigfoot work for the FBI, particularly when it’s this much fun. C’mon people – you can’t deny this is right up your alley.

April 30 Reviews

Ex Machina #36
Wildstorm
Writing: Brian K. Vaughan
Pencils: Tony Harris
Inks: Jim Clark
Colors: JD Mettler
Cover: Tony Harris, JD Mettler
Editor: Ben Abernathy, Kristy Quinn
4.5/5

A wonderful return to form for a title that should get ten times the acclaim, attention and sales numbers as it does. Long operating in the shadow of the monumentally popular Y: The Last Man, the spectacle of intelligent entertainment that is Ex Machina has always been far more rewarding in execution than it's premise suggests it would be -- much like Y was. Vaughan's greatest skill is making his characters real and easy to relate to despite the slightly absurd circumstances they inhabit, and the cast of Machina is a perfect example of this. Mayor Hundred is one of the most believable characters in comics right now, approached only by members of Scalped, occassional moments in DMZ, and too-introspective-to-read very indie titles. Opening an issue of this title and seeing these characters for the first time in weeks is a physical relief. It's like coming home.

Recent arcs have, however, meandered a little and gotten (slightly) away from the heart of the book but here Vaughan brings the action back to New York, and the title back to it's basics -- watching this man suffer the realities of his life as well as ours, in ways both personal and political. If comic audiences could get past their preconceived notions about the series' foundations they'd realize just how much there is for them to find in these pages. Particularly fans of Y, as this issue finds Vaughan channeling some of that title's heartwarming humor he currently has no other outlet for.

Ex Machina is fantastic. Vaughan makes the outlandish seem topical and the American spirit more than a soundbite. If you've enjoyed anything the man has written (and who hasn't) then you'll undoubtedly find much of the same elation in aspects of what he's offering here. It will be very sad to see this one end.



The Immortal Iron Fist #14
Marvel
Writing: Matt Fraction, Ed Brubaker
Pencils: Tonci Zonjic, Clay Mann, Kano
Inks: Stefano Gaudiano
Colors: Matt Hollingsworth
Cover: Kaare Andrews
Editor: Warren Simons
5/5

Over the course of fourteen issues this story has grown into one of the most complex tales on the market. The recap page reads like a convoluted LSD-driven novella and the cast could pack a bus to the doors. So why the hell is it so easy to follow?

Because when Brubaker and Fraction come together they are a force not of this world. Very rarely has the history of superhero-type comic books put forth anything this absentmindedly intelligent, and yet these guys seem to produce as much on a near weekly basis with Immortal Iron Fist being the shiniest example. It boggles minds that something so rooted in overtly indulgent pulpiness could have the emotional depth and impact that this story and its characters do. No kung-fu book has any right being this good.

But it is. And in this conclusion to the aforementioned fourteen issue story arc, Fraction and Brubaker have crafted one of the most satisfying comic book conclusions I’ve ever read, particularly of those books involving spandex and self professing ninjas. The issue is perfectly paced and has a truly climactic feel, tying up dozens of plot threads and delivering evocatively on all of them. Even the complete absence of the tremendous regular artist David Aja doesn’t hurt the issue; his fill-ins more than step up to the plate. I can’t remember the last time a comic had this many double-wide splash pages and didn’t feel like it was desperately trying to fill up space and compensate for a lacking script. You can hear the events of these pages even without sound effect cues.

This revamping run of an otherwise disposable title will go down as one of the most impressive ever, and undoubtedly will be toted around and referenced by many for years to come. That we still get two more issues with these writers is a true blessing. Even the production in the covers is stomping out long boring hero-book status quos. What a gift this has been.

Ultimate Human #4
Marvel
Writing: Warren Ellis
Pencils, Inks: Cary Nord
Colors: Dave Stewart
Cover: Cary Nord, Richard Isanove
Editor: Bill Rosemann
3.5/5

There’s not much to say here. This concluding issue is entertaining, captures the characters personalities well enough, has some big explosions, takes about thirty seconds to read and will linger in memory for about as long.

It is though, the most I’ve enjoyed anything focusing on the Hulk in quite a while. Ellis gives him a very readable and funny voice, and I believe in the threat he poses much more than I do in other works. Nord was clearly selected for his fantastic Hulk drawings, which are the highlight of the book and fully deliver the character’s manic rage. Some of the other elements look a bit too bland with his washed out and muddy style, but they aren’t the point.

This was a fun little mini that probably reads better end-to-end than individually over time, and is well worth checking out if you can find the issues on the cheap somewhere. It certainly didn’t reinvent, improve upon, or dress up the wheel in any way but it definitely towed the line. Considering the state of the Ultimate U, this is satisfying. Considering the capabilities of the engineer behind the thing, it’s slightly less so.

Mice Templar #4
Image
Story: Bryan J.L. Glass & Michael Avon Oeming
Writing: Bryan J.L. Glass
Pencils, Inks, Cover: Michael Avon Oeming
Colors: Wil Quintana
Editor: Judy Glass, Will Swyer
4/5

With the lack of quality fantasy titles on the shelves right now it’s easy to really want to know what the hell is going on in this book, and with some diligence and extra invested focus on the reader’s part it’s possible. In general though it’s a bit difficult to just dive into this world every few months, despite helpful overviews, and not find oneself feeling an initial bit of bewilderment. It’s not that the plot is too dense, though it’s certainly jammed full of legends and lore, but that the writing itself is a bit muddled. Glass struggles to maintain a balance between keeping a comprehensible readability while still having the characters speak in fantasy appropriate tongues.

That said, this is a good story if you’re able to invest the patient, slow, and perhaps repeated reads necessary to decipher its many subtleties. It's chock full of wonderful ideas, depth and a wealth of richness. Once you’re past the learning curve required each issue it’s hard to not become sucked in and wanting more. The art adds immensely to this desire, as it’s fantastic to behold, and the coloring enhances the mood even further, this time stepping past some of last issue’s glaring missteps. It’s very, very, pretty to look at.

Mice Templar is easy to love despite being slightly frustrating. If you haven’t the time for ‘epic’ 30,000 page fantasy novels any longer but still yearn for them, this does a fine service to help fill the void. Please support this title so we can see more of its kind.

Black Summer #6
Avatar
Writing: Warren Ellis
Pencils, Inks, Cover: Juan Jose Ryp
Colors: Mark Sweeney, Greg Waller
Editor: William Christensen
4.5/5

If Ellis’ work on this week’s Ultimate Human felt fun, loose, and weightless – this is the exact opposite. What initially looked to be a big sledgehammer of over-the-top politicking has actually turned out to be a good deal more. As much as it does fill that role, it’s equally about the state of being people in this day in age. It’s about the depths of these characters’ humanity, what the hell that might mean, the range and effects of their perceptions and they actions they take as a result.

And by actions I don’t refer to the flashy shock-laden event that opened the series. This is one where there is more than initially meets the eye. The feeling that we’ve not yet seen the whole picture of who these people are, and what’s actually happening, has been forcefully pushing itself out of all this gorgeous carnage and thankfully it’s turning out to be more than just a hopeful inkling.

A lot of Ellis’ indie work feels like he’s just throwing ideas against the wall, ceiling, floor, door, counter, sink, and so forth without much concern for whether they stick or not. This time though, he’s found some things worth slinging and has managed to get me far more interested in his upcoming No Hero title than any of his other Avatar books have managed. Ellis is very hit-and-miss, but the impact here is resounding.

The Order #10
Marvel
Writing: Matt Fraction
Breakdowns, Pencils, Inks: Kitson, Saltares, Hanna, Olazaba, Nelson
Colors: J. Roberts, Wil Quintana
Cover: Barry Kitson
Editor: Alejandro Arbona
3.5/5

Los Angeles has been tearing itself apart for years. Fraction moves to exaggerate this reality in the final issue of the oft-praised but short-lived Order. The series ends on an expressive tone. Lives are lost. Characters are chocked up. People let their emotions get the best of them. It’s good, but it’s not the mind-blow most of us were expecting to receive.

Frankly it feels the title could have used one more issue to say goodbye. It doesn’t necessarily feel like Fraction had his knees chopped from under him, or that he jumped ship – it’s a satisfying conclusion – but it doesn’t pack the wallop it could have. Some of the issue’s (and by implication the title’s) biggest points are laxly tossed on the table and rooted thru only on a surface level. Things would have benefited greatly from some more of Fraction’s grossly entertaining saying-nothing-while-saying-everything streams of drawn out dialog that only show up fleetingly this time around. The issue feels void of personality and depth which with Fraction are usually the same thing. This isn’t to say it wasn’t good, it just wasn’t great – which was the bar The Order had set for itself.

It’s sad to see this book go, but with this slightly less than stellar issue it’s easier now to turn our eyes to the absurdly exciting prospect of having Fraction on Iron Man and Uncanny X-Men, two of Marvel’s biggest titles. Rarely, if ever, has there been a writer that’s been propelled to the top-tier properties this quickly, and it couldn’t be more exciting. The Order may be gone, but its spirit can’t die; because its spirit was Fraction and Fraction keeps rising.

April 9 Reviews

Amazing Spider-Man #556
Marvel
Writing: Zeb Wells
Pencils, Cover: Chris Bachalo
Inks: Tim Townsend
Colors: Chris Bachalo, Antonio Fabela
4.5/5

Of the four new creative duos we've seen thus far on the weekly Amazing this has been my favorite. Such sentiments may be slightly amplified coming on the heels of Bob Gale's slight misfire, but there's no doubt Wells writes Spidey with a seemingly effortless grace. This issue is wonderfully paced, fluid, and very very funny. He clearly understands the voic