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.