April 15 Reviews

Captain America #49
Marvel
Writing: Ed Brubaker
Pencils: Luke Ross
Inks: Rick Magyar
Colors: Frank D'Armata
Lettering: Joe Caramagna
Cover: Steve Epting
Editing: Jeanine Schaeffer, Tom Brevoort
4.5/5

This issue brings Cap back to a personal reflective level, following Sharon Carter throughout while taking brief moments to check in with others as well, and all without being cheap, skimmable or unsatisfying. Brubaker's noir-filled background brings a solid framework, style and insight into this type of introspective gesture. Characters can wander around thinking about the deepness, looking for meaning, and just plain ol' recapping and come across as believable and legitimate. There's depth. He takes it a step further by also having some serious revelations and new insights.

This book has been able to be this impressive for a long time, even through its main characters death, because of the the strength of the supporting cast. Issues like this one are a large part of what allows this group of characters to be as powerful and exciting as they are. The handful of them left standing are treated and presented as real people, and they come across that way. There's a level of emotional gusto that only a small number of writers can consistently toy with, and Brubaker is definitely one of them.

A very strong character piece with some large-scale reveals scattered within. Great comic reading.


Incognito #3
Icon
Writing: Ed Brubaker
Pencils, Inks, Colors: Sean Phillips
5/5

Ed Brubaker / Sean Phillips stylistic superhero action noir continues. It reads like Criminal. And, like Criminal, it's basically comic perfection. If you enjoy deeply flawed characters and some intensely atmospheric pulp sensibilities - you'll love Incognito. The Brullips unions seems incapable of doing wrong, or coming up short, despite industry high expectations. Riveting.


Uncanny X-Men #508
Marvel
Writing: Matt Fraction
Pencils: Greg Land
Inks: Jay Leisten
Colors: Justin Ponsor
Lettering: Joe Caramagna
Editing: Daniel Ketchum, Nick Lowe
4.5/5

This book is really starting to get on a roll. There are about half a dozen storylines happening here, each with their own charm or intrigue, and with a cohesiveness across them that gives the series a stability and focus it hasn't had in quite some time. It's really pulling itself in and getting it's business together. There are elements that have been developing for a long time in this title and the mutant world at large that are driving things forward, and it feels legitimate and substantial.

As exciting, or more so, is the degree to which Fraction is starting to settle in and hit his marks. Every little blurb description or character sidebar are spot on, razor sharp, and often hilarious. Things are 'pleasantly dragon shaped' and there are pages where 'it's time for the ritual' is the most benign, pedestrial statement anyone makes. There's new life in this book.

Uncanny continues to work its way toward a new light.


Action Comics #876
DC
Writing: Greg Rucka
Pencils: Eddy Barrows, Sidney Leles
Inks: Ruy Jose, Julio Ferreria
Colors: Rod Reis
Lettering: Rob Leigh
Cover: Andrew Robinson
Editing: Wil Moss, Matt Idelson
3.5/5

Greg Rucka continues along with threads from Geoff Johns' Action work, following a now-grown Phantom Zone Kryptonianish Christopher, and his ongoing journey.

It's a bit of a drawn out issue. There's some solid stuff, and it's got good heart, but it's not as fat-free and precise as writers like Johns or Morrison have been with this cast recently. The bar for Supes books has been raised. That this installment contains ties to and continuations from some really solid past issues is what gives it life and relevance that it in and of itself wouldn't touch on. None of the writing here is notably lacking or distracting in any way, but it doesn't have much force unexpectedly rewarding impact.

It's a solid read, but nothing to get excited about. The art is your standard DC-hero fare.


Green Lantern #39
DC
Writing: Geoff Johns
Pencils: Philip Tan
Inks: Jonathan Glapion
Colors: Randy Mayor
Lettering: Rob Leigh
Cover: Ivan Reis, Odair Albert, Nei Ruffino
Editing: Adam Schlagman, Eddie Berganza
4.5/5

Darkest Night 'begins' or is 'prelude'-ed here, but let's cut to the chase - this story started many many issues ago. Things are in full swing here, and while the Orange Lanterns may just now be pulling their seat up to the table, the dishware has already been set and the food is on its way. The next been Green Lantern event is very much upon us.

What works so well in this issue is that although the background to this story is quite complicated, the narrative here is tightly focused. It hits on many elements without feeling out of control. It's contained and can be followed without encyclopedic knowledge reserves.

Hal Jordan's current circumstance is a wonderful exercise by Johns. Hal is stuck wearing both blue and green rings, one of which is essentially forcing the character to undergo emotional change and deep psychological growth. Its any obstacle or experience that writers come up with to influence or shape a character's personality - internal things they must overcome - made into a physical item that has attached itself to the character. It's all sorts of fun to read.

The Green Lantern titles remain some of the most exciting reading in the DC stable.


X-Factor #49
Marvel
Writing: Peter David
Pencils: Valentine De Landro, Marco Santucci
Inks: Pat Davidson, Marco Santucci, Patrick Piazzalunga, Craigh Yeung
Colors: Jeromy Cox
Lettering: Cory Petit
Cover: David Yardin
Editing: Jody LeHeup, John Barber
4/5

X-Factor continues the very strong run it has been having lately. Madrox and Layla are together again, and while some elements of the pairing have changed, the dynamic that makes them so interesting together is as present and effective as ever. They find themselves in an action packed future, full of explosions and aggressive skull-using. It's a good little romp.

The rest of the cast get their usual face time as well, off in their own corners and stories. The banter is as slick and realistic as usual and the pop culture references are also fresh enough to be funny.


DMZ #41
Vertigo
Writing: Brian Wood
Pencils, Inks: Nikki Cox
Colors: Jeromy Cox
Lettering: Jared K. Fletcher
Cover: JP Leon
Editing: Mark Doyle, Will Dennis
4/5

This is a standalone issue following Zee as she leaves 'Parco City' and returns to the heart of the DMZ, away from the various forms of governing factions vying for power that have come to dominate the title in recent months.

And while this may be an issue or two away from the core storyline of this series it is, in some ways, getting the title back to its real heart. The DMZ and the people living there who are completely at the mercy governments armies and corporations were, at one point, the thrust of the title. It's nice to see things starting to get back to this type of focus and sense of anarchy.

Nikki Cox's art is very good and totally appropriate for the series. It's less gruff than a lot of what the title has seen in the past and is a nice change of pace.

DMZ is really back on track these last several issues.


Fables #83
Vertigo
Writing: Bill Willingham, Matthew Sturges
Pencils: Mark Buckingham
Inks: Andrew Pepoy
Colors: Lee Loughridge
Lettering: Todd Klein
Cover: Joao Ruas
Editing: Angela Rufino, Shelly Bond
3.5/5

Fable-world gets its crossover off the ground by recapping where the title is aat, introducing some new mysteries, and having characters from Jack of Fables and The Literals make some brief appearances.

It's not as magical as Fables can be reasonably expected to be. Despite some attempts at character moments in this issue, the series seems to have lost some of its emotional thrust and power. Everyone is talking a lot (too wordily so) and yet no one's really saying anything.

So far the Fables crossover hasn't turned from anything the regular series already had going on. let's hope that by the time the other two books get their say that the Fables universe will have become more interesting. It's a shame that this title has lost some of it's luster, and it's an even greater bummer that this happened when it did. The war against the adversary should have taken the title to new heights and record sales figures. Instead, it was a definite let down, and things haven't pulled themselves together since then. C'mon Fables. Let this be your comeback vehicle.


The Walking Dead #60
Image
Writing: Robert Kirkman
Pencils, Inks, Cover: Charlie Adlard
Gray Tones, Cover Color: Cliff Rathburn
Lettering: Rus Wooton
Editing: Aubrey Sitterson
5/5

Another great issue of a book on a roll. Rick's son Carl is starting to fill in his role more and serve as a main driving character, instead of just being someone for readers and other characters to worry about or a symbol of sorts of what's at stake. Abraham and other new-entries are serving interesting new ends and directions. There are some exciting new areas to explore that this book has stacked in its deck, and seeing them evolve is giving the title an invigorated feel.

As expected, there's some sickening and powerful moments of violence. As expected, some emotional and meaningful moments of character growth. And as expected, a bit of a cliffhanger at the end. There are also some seeds of insurrection sewn withing the group, and a handful of ticking timebombs that could go off at any moment. The plot is still moving quickly and keeping things 'on the run.' It's frenetically unsettled. The pace is a good contrast and compliment to the slow-burn talk-heavy moments and conflict, and makes for an exciting but still deep read.

The Walking Dead rolls on. May it always.


Green Lantern Corps #35
DC
Writing: Peter J. Tomasi
Pencils: Patrick Gleason
Inks: Rebecca Buchman
Colors: Randy Mayor
Lettering: Steve Wands
Editing: Adam Schlagman
4/5

This issue follows three different storylines and is an essential sister title to Johns' Green Lantern proper. This is particularly true here on the cusp of Blackest Night, as much of the need-to-known elements of that event are taking shape here in this title.

There are some fantastic visual moments in this issue, so good that they easily contend with anything else from this week's releases. Also along for the ride are some emotionally charged instances amidst the close-to-constant action.

The Green Lantern books are where it's at right now in the DC.

April 8 Reviews

Northlanders #16
Vertigo
Writing: Brian Wood
Pencils, Inks: Ryan Kelly
Colors: Dave McCaig
Lettering: Travis Lanham
Editing: Mark Doyle, Will Dennis
Cover: Massimo Carnevale
5/5

Apparently no one told Brian Wood that the penultimate issue of this storyarc was a bit underwhelming, because he delivers full force with this, the final issue.

It's a rather simple installment. The entirety of it takes place within a compact area, probably no larger than 20 yards or so in any direction. Yet in its simplicity can be found great worth and meaning, a series of small but highly impactful moments each more emotional or surprising than the next. Some of these instances are loud and violent, others are quiet and subtle - but all are meant toward an emotional end and are appropriate to the time and place of the tale.

Northlanders continues to be one of the best books on the stands, and with this issue concluding the current story arc, now is a perfect time to jump aboard if you haven't been reading. Each arc of this series is an independent peice, entirely removed from the ones before it. Common threads and geography connect the various stories, but no prior reading is at all required.


Daredevil Noir #1
Marvel
Writing: Alexander Irvine
Pencils, Inks: Tomm Coker
Colors: Daniel Freedman
Lettering: Joe Caramagna
Editing: Sebastian Girner, Axel Alonso
4/5

Daredevil Noir is really quite redundant, as the character has long been steeped in such style and atmosphere. So is there anything this book can offer that the regular Daredevil series doesn't already have covered?

Not really. But it's an enjoyable read nonetheless. One of the best elements of the character are the descriptions of his sensations and what he 'sees' around him as presented by different writers, each with their own style and voice. These elements of Irvine's script are vivid and lively and notably creative. You've been given this picture before, but he makes sure it still feels fresh and alive.

'Noir' so far in this case seems to be of the pulp variety, with Irvine twisting the main bulletpoints of the Daredevil mythos to fit the feel of a classic nickel novel. In this respect, the title differs from the regular series. It openly owns its intentions and inspirations in style. When the dark and curious 'dame'-type gal enters the fold, there's no mistaking her as anything but filling the traditional role she's meant to. The whole thing is shaped in gritty self-assessing poetics. So in some respects - everything about this is predictable. At the same time though, it's all well written and is the type of story the character has been formed to resemble. Irvine just cuts to the chase.

The art fits the mood and is littered with stylistic choices meant to references or mimic old pulpnoir stories, as well as the time period of their popularity. Much of it is obscure or hidden in shadow. It is, primarily, part of the atmosphere. The characters and their emotions exist in the words far more than the images, which do little toward pursuing such ends. Effective though not captivating.

A fun read that manages to distinguish itself with some moments of really solid writing.


Wolverine: Weapon X #1
Marvel
Writing: Jason Aaron
Pencils, Inks: Ron Garney
Colors: Jason Keith
Lettering: Cory Petit
Editing: Jody LeHeup, John Barber
4/5

Who doesn't love Jason Aaron by now? I'll tell you who - anyone who hasn't read Scalped. And who likes those people? I'll tell you - no one who reads Scalped. The guy has some wonderfully gritty chops and is a perfect fit for a new Wolverine book. So perfect in fact, that the title was created essentially due to popular demand. It's not as though people are chomping at the bit for just any ol' new snikt-centric book. The people very specifically wanted Jason Aaron writing Wolverine - and in this case the people get what they want. They get a series that opens by elegantly calling out mankind as the most vicious dangerous 'animals' the world has ever known. They get this, and much more.

As watered down as he's become over the years, it's easy to forget that Logan is, at heart, an old man and a tired soul. Aaron really understands and captures this, giving the character a quality and heart that he's often lacking. There are some great lines here. There are some absolutely riveting ones as well. The whole thing is written to capitalize on how familiar we are with the character and to use that to bring weight to the story, instead of just allowing him to seem tired and played out.

This issue does some 'opening' type things, giving us some tone and setting. there's nothing here storywise, as of yet, that goes beyond what we've seen before with the character, but the way it's told is far superior to the usual fare for his solo titles.

Garrey's art, at the same time, deserves some acclaim. Facial work is quite well done. Some of the blood effects in the art, however, distract a bit. There's a lack of detailing there that stands out. The lettering also draws some regrettable attention, being too colorful and stylized for the context.

Ultimately - this title's not doing anything particularly new, but it's definitely taking what we've seen and doing it way way better. In time, this will probably go down as one of the better Wolverine titles we've seen.


Dark Reign: Hawkeye #1
Marvel
Writing: Andy Diggle
Pencils: Tom Raney
Ink: Scott Hanna
Colors: Guru
Lettering: Dave Sharpe
Editing: Michael Horwitz, Bill Rosemann
Cover: Clint Langley
3.5/5

Are there really folks out there clamoring for a mini about Bullseye being the fake Hawkeye? Nevertheless - that's what we get here.

Diggle, now writing Thunderbolts, soon to be writing Daredevil, seems to have been crowned the new golden boy. So it's unfortunate that he's so far not been demonstrating the capacity to fill the various shoes he's been given as fully as those before him. In some ways though, this issue is a small step in the right direction.

This title seems intent on inhabiting the same realm and temperament as Thunderbolts, and unlike in his work thus far on that title, Diggle actually has some bite here. A series about Bullseye doesn't have many options in ways to offer depth. Instead, it's all about how well you can capture the terror of this truly amoral sociopath. And he does a decent job. It's guiltily entertaining and upsetting. It crosses some lines. It doesn't, however, cross any as disturbingly or excitingly as Ellis did.

The title also plays around in the Osborn sandbox, mixes the status quo a bit.

There's really nothing insightful enough to write home about here, but it's energetic and fun enough to warrant a flipping thru.


War of Kings: Ascension #1
Marvel
Writing: Dan Abnett, Andy Lanning
Pencils: Wellington Alves
Inks: Scott Hanna
Colors: Guru
Lettering: Cory Petit
Editing: Michael Horwitz, Bill Rosemann
3.5/5

While there's nothing to be enjoyed about an angsty twenty-something hollering expletives, acting all melodramatic, and frequently dropping boringly unobscure pop-culture references - there's a lot to be enjoyed about following Abnett & Lanning as they dust off and expand upon the mythology behind Darkhawk and the Raptors. This issue basically does only that while also introducing some personalities we're going to want to know for War of Kings.

This is a good read solely for the exploration of the Raptors, who they are, what they can do, and what they stand for. DnA really have a handle on quickly and effectively introducing concepts and big picture ideas. It's what makes them such great cosmic writers. They do, at times, slip some when it comes to characters and not just using them as vehicles for ideas, but often it doesn't really matter. In some cosmic cases, its the ideas that are the point and what readers show up for.

Not a deeply satisfying jaunt, but full of enough concepts and historical bits to make it interesting and fun. Wellington Alves art looks very good as usual.

April 1 Reviews

War of Kings #2
Marvel
Writing: Dan Abnett, Andy Lanning
Pencils: Paul Pelletir
Inks: Rick Magyar
Coloring: Wil Quintana
Lettering: Joe Caramagna
Cover: Brandon Peterson
Editing: Michael Horwitz, Bill Rosemann
4.5/5

Credit this issue for not forcing itself to have a big action scene. It gives the story a chance to establish itself. To reveal insights into the dynamics of what's going on. To texturize.

This issue is all about building momentum. What's coming next, and why, and why it matters. They're really telling this story, getting into all the real details. It's rich and rewarding. Very much a drama. Annihilation was primarily an action peice that happened to also have heart. Conquest was like a big dumb blockbuster - huge on effects and style but thin on substance. War of Kings is the heavy sci-fi space opera drama. There's far more attention being paid to character than in Conquest, and it's a much better series as a result.

So far, War of Kings is a rousing success and highly enjoyable.


Invincible Iron Man #12
Marvel
Writing: Matt Fraction
Pencils, Inks: Salvador Larroca
Color: Frank D'Armata
Lettering: Joe Caramagna
Editing: Alejandro Arbona, Warren Simons
4.5/5

Fraction's run on this book continues to be an enjoyable one, and this installment was one of the better ones yet. He really plays his game well here - everything people are thinking, doing, and saying is agile and full of insightful creative smarts. There's a high level of energy. Many captions. Lots of on-edge claustrophobic thinking. The narrative moves quickly between Tony & Namor, Maria Hill & The Controller, Pepper and her adventures in her new suit, and Osborn up to his typical tricks.

It's getting closer to the type of experience that characterizes his independent work. Sometimes in his Marvel output, Fraction's lines can be fun, but feel like he sat around and came up with something because he was supposed to. Here, like when he's really on, it feels like these are the comments and statements that he really wanted to make. His big contract work is slowly starting to catch up to his creator-owned stuff in quality and charisma.

Aside from being an energetic read, there's some really good stuff happening in this series. Fraction has a strong bead on Tony and Pepper's relationship. Her suit being strictly a peacekeeping design speaks loudly toward Pepper's personality and Tony's understanding of it. There's something beautiful and important about Tony being able to create for Pepper that which he was never able to for himself. That he's enabled her to be what he was never able to. It's insightful writing on Fraction's part, and it'll be exciting to see his pulp crime background have no choice but to shatter it all to pieces.

Osborn is very well written here. Fraction's take on him is great. It's also particularly exciting to see him running with Parker Robbins, aka The Hood. He is a character that, more than most new additions to the Marvel U., seems to have some real staying power.

This is a strong superhero series that is only getting better and that may, in time, be something truly remarkable.


Cable #13
Marvel
Writing: Duane Swierczynski
Pencils, Inks, Colors: Ariel Olivetti
Lettering: Joe Caramagna
Production: Joe Sabino
Cover: Kaare Andrews
Editing: Sebastian Girner, Axel Alonso
3.5/5

Messiah War continues here. And while it's not anything unusually spectacular or special, it certainly has its shining bits. This issue is somewhat Deadpool-centric, and so it's a particular joy that Olivetti makes him look so incredibly nasty spilling out from under his old tattered suit. It very definitely has an effect. Czysnki is pretty good with the character. There's some genuine funny, and he doesn't try to do too much. Combined with the grotesqueness that Olivetti brings all issue, his humor and personality come across as cynical, detached and a bit sociopathical. It's better than the juvenile style he's often written with. Czynski does have him break the 4th wall several times, which is sort of a cheap laugh that skirts close to being innappropriate for the context.

The story is still coming together. We're still in setup mode here, piling on the backstory. Deadpool, Cable and Wolverine get lots of face time while Bishop and Stryfe get some moments as well. It's entertaining and fun but definitely isn't asking much of itself yet. So far it's taking a story that's supposedly about the fate of all mutantkind and trimming it down to a vendetta between two or three characters. It's all well written and flows, but it doesn't feel as drastic or important as it should. So far most the characters outside the key three or four all find themselves as empty vessels. There's no real lingering reminder of what's on the line.

Olivetti's work is hit and miss. Some of his close ups and facial work are very good, and his work with Deadpool is, again, great. At times though, his style is a bit too hazy. Edges and details go really soft and blurry. It's not at all crisp, and feels like someone needs to turn the contrast knob. At times characters are presented in this style laid over bled-out photos for background. It feels cheap and isn't at all immersive. You can't help but notice the craft, not the story, and not in a forigveable type way.

This is definitely still a fun read that sets up well the story so far, and certainly is worth your time. It definitely gives life and purpose to this particular title. The event, overall though, is still running on potential and possibility, not the merits of anything it's done yet.


Astounding Wolf-Man #14
Image
Writer: Robert Kirkman
Pencils, Inks: Jason Howard
Colors: FCO Plascencia
Lettering: Rus Wooton
Editing: Aubrey Sitterson
3/5

This one keeps moving forward, but this issue didn't really connect. Everything feels a little contrived. In Walking Dead and Invincible, you can't help but fall for the characters, and really feel for them. You very much buy in and invest yourself in those titles. This one, for some reason, is less that way. There's a level of indifference. So whether it's fun or not depends a lot on the surface level enjoyability of what's going on in a particular issue, and in this one, goings on aren't particularly exciting.

Oppressed good guy superhero in jail is a story we've read before, recently, and it's not being done with any new tricks here. This whole issue attempts to explore character elements that are only going to work if the cast has endeared itself to its readers, which it has yet to do.

Wolf-Man still has some good cards in play, this issue just didn't capitalize on them as well as future ones hopefully will.


Secret Warriors #3
Marvel
Writing: Jonathan Hickman
Pencils, Inks: Stefano Caselli
Colors: Daniele Rudoni
Lettering: Dave Lanphear
Cover: Jim Cheung, Justin Ponsor
Production: Tony Dial
Editing: Jeanine Schaefer, Tom Brevoort
5/5

A fantastic read. Fury's portions of the book are great. His personality and aura are fully on stage, but so are his demons and failures. The psychological dissection of this old grissled most secret of all spys is a real treat. Fury's the John Wayne of the Marvel stable. He's your grandad or tough-as-nails father. This book is about what it's like to see that type of man take a loss, to know they're not invincible, to be beaten, but still be intimidating and demand respect and authority despite the fact.

The rest of the team are also getting chances to grow as personalities, some more than others. They're the frontline action element, a bit group, rowdy. They contrast well with the isolation and loneliness that always surrounds Fury. Gives the title that lil' kick and enhances the effectiveness of what Hickman's doing with Fury.

The dialogue is easily the best part of the package. There's lots of it, and it's all very tight and crisp. It's a very intelligent title, very well written. One of Marvel's best books at the moment and some of the most interesting portions of the Dark Reign playing field. The art is great as well.

And yes, Nick Fury: Agent of Nothing very very much should have been the series' title. There's no doubt the editors at Marvel know this, as is evident in it now appearing as a subtitle of sorts on the cover.


Seaguy: Slaves of Mickey Eye #1
Vertigo
Writing: Grant Morrison
Pencils, Inks: Cameron Stewart
Colors: Dave Stewart
Lettering: Todd Klein
Editing: Pornsak Pichetshote
3.5/5

Dinosaur skeletons fused with rusted machine parts. Peacocks coughing up time pieces. Totally conscious, thought processing, conversational parrots being stomped to death. Characters named She-Beard that are exactly what they suggest.

This is Grant Morrison. It's zany, full of energy, has some social commentary, and feels a bit like it should have come out ten years ago. This is Grant Morrison.

Seaguy is a character growing toward maturity. He's been bored, complacent, and naive. In this issue he beings to have his eyes opened to the realities of the world around him - and it's a weird one. Often the characters seem to be voicing some of Morrison's feelings about his craft, the professional experience, and the overall state of things.

There's no real 'hook' here, but there's some good times to be found for sure.


The Flash: Rebirth #1
DC
Writing: Geoff Johns
Pencils, Inks: Ethan VanSciver
Colors: Alex Sinclair
Lettering: Rob Leigh
Editing: Chris Conroy, Joey Cavalieri
2.5/5

Despite some legitimately funny moments, there's really not a great deal to be offered here. It's all about the fact that Barry Allen is back. Page after page after page of various characters all telling us what a big deal this is. Which is all well and good, but only if it actually is a big deal. And so far, we've been given no reason to care - we've just been told that we should. There's lots and lots of people rambling on about his return and lots of emphasis on his being old school and out of touch. This is decently good for uninitiated readers, but after a while it can't help but be said, 'Ok, he was important, but why is he important now?'.

The art has some inspired panels, and the cover is great, but most the issue doesn't really distinguish itself in any way.

It's excited that Johns has a new Flash book. This starting point though, has nothing to sink your teeth into.

March 25 Reviews

Immortal Iron Fist #24
Marvel
Writing: Duane Swierczynski
Pencils/Inks/Colors: Kano
Lettering: Nate Piekos
Cover: Patrick Zircher
Editing: Alejandro Arbona, Warren Simons
4/5

Iron Fist takes a break this issue from its current story arc and gives a one shot accounting of an Iron Fist from an ancient time and the story of his trials and triumphs. And even though it's hard to get past how much anticipation there is to see more from the Eighth City after last month's very serious cliffhanger, this is a well told story that easily does the title justice. Swierczynski has the poetic tongue needed to give the book the quality and aura that makes it so special, and this issue is a wonderful testament to this. There's a grace to his language that makes more than a small handful of these panels worth reading twice.

This issue's artist, Kano, delivers exquisitely. His work is atmospheric and detailed, majestically colored and full of grandeur. It's a departure from the kung-fu-noir the series has typically embraced, but it's a beautiful revelation for this stand alone installment. Very well done.

Another great issue of Immortal Iron Fist. Is there any other kind?


Proof #18
Image
Writing: Alex Grecian
Pencils, Inks: Riley Rossmo
Colors: Dave Casey
4/5

Proof, despite it's vast righteousness, continues to be one of the more overlooked comics on the shelves. With each passing month this seems to be increasingly rectified but as of yet it's still a title that deserves a much larger audience than it's received. It's solid comics, and this installment illustrates as much.

This issue takes a step back from the typical timeline of the series and introduces a story from the turn of the century. The second most recent such turn. 'Monsters' are relevant and interesting in any age and this is a fun little jaunt with some fantastic looking art to back it up. It continues next month before presumably returning to and continuing on with the present.

One of the more excited aspects of this title is its dedication to providing a hefty reading experience. With each installment, Grecian and Rossmo go out of their way to provide a letters page, multiple articles, fan drawn pinups, bonus comic strips written by readers or other authors, and various other bits of supplemental material. This issue is no different and will give you plenty of entertainment value for your scrilly.


Guardians of the Galaxy #12
Marvel
Writing: Dan Abnett & Andy Lanning
Pencils/Inks: Wes Craig
Colors: Wil Quintana
Lettering: Joe Caramagna
Cover: Paul Renavo
Editing: Michael Horwitz, Bill Rosemann
3/5

This issue wraps up the little aside that Guardians has been playing with before it dives into War of Kings, and while it doesn't seem as lively and fun as the one that proceeded it, there's certainly stuff to be enjoyed here. The biggest complaint to be levied against the issue is that most of it revolves around several moments of 'suspense' that are little more than empty threats, resolved quickly and without any real impact on the reader. All serving as a rather artificial series of devices used to bring back several characters that had until now been dead or something like it. In this regard this is a somewhat important issue if you follow, or intend to follow, Marvel's cosmic books, but only in the respect that you will need to know what happened in these pages. The actual reading of them is nothing extraordinary. Find, ya know, an outline or something somewhere.

That said, there's still some fun to be had here for the willing. While not being as meaty as it could have been, the issue has a light playful feeling to it that makes up for some of lack of real suspense in its pages. Several lines of dialogue are joyfully creative, there are some fun spacey concepts, and there's the occasional big dragon. These things may not be totally worth the price of admission, but they definitely keep it readable.


Nova #23
Marvel
Writing: Dan Abnett, Andy Lanning
Pencils/Inks: Andrea Divito
Colors: Bruno Hang
Lettering: Joe Caramagna
Cover: Daniel Acuna
Production: Irene Lee
Editing: Michael Horwitz, Bill Rosemann
4/5

One thing's for certain - Abnett and Lanning sure have kept this title on it's toes, making drastic changes to its dynamic and style on a regular basis. The last several issues have brought the most drastic of these transformations to the table and this one contains a couple doozies as well.

Most notable in this issue though, is that the series starts to pick up some momentum again. While this may seem a weird thing to say given the many alterations it has been undergoing, the title has felt out of character and in a bit of a slump as of late. Changing, sure, but there was uncertainty whether for the better, and questions about where some of the title's charm had gone. In this issue the charisma starts coming back to the surface, and the various changes start shooting off in enough exciting directions that there's a new life to be felt here. And boy is it a relief to say as much, Nova having been one of the most rousing titles on the shelves for several years running now. It would truly be a shame to see this one fall. Very glad that things are looking up.


New Avengers #51
Marvel
Writing: Brian Michael Bendis
Pencils/Inks: Chris Bachalo, Tim Townsend, Billy Tan, Matt Banning
Colors: Justin Ponsor, Antonio Fabela
Letters: Albert Deschesne
Production: Tony Dial
Editing: Jeanine Schaefer, Tom Brevoort
3.5/5

New Avengers continues to be the most consistent of the Avengers titles, which means that it's a must-read for anyone who's interested in keeping up with the core happenings of the Marvel Universe, and that while it's only sometimes a great read it's usually at least decently entertaining and well put together. This also, being Bendis, means that there's probably a fair deal of super talkative pages that only advance the plot in baby steps.

This issue definitely fits this mold. It can be easily broken into two halves. The first - an update on Doctor Strange and the search for the new Sorcerer Supreme. We're shown several of the potential candidates and get a few pages of strange explaining without explaining exactly what the situation is with this whole deal. Most intriguing in all of this are some developments with The Hood, a character who is consistently becoming more and more viable as a major player who deserves serious screen time and attention. The second half of the issue has the team sitting around the table having a conversation over lunch. It's multiple pages of Bendis-speak with several key developments snuck in there for good measure, and ending on a bit of a cliffhanger.

Sure not a lot happens, but this is New Avengers. It's entertaining and at times charming, and it will continue in this fashion very effectively slow-building toward some future event which, when it arrives, will be a big loud substanceless mess that isn't nearly as fun as the buildup.


Unknown Soldier #9
Vertigo
Writing: Joshua Dysart
Pencils/Inks: Alberto Ponticelli
Colors: Oscar Celestini
Lettering: Clem Robins
Cover: Igor Kordey
Editing: Pornsak Pichetshote
4.5/5

This come-from-nowhere title continues to pound forward with it's devastating story of the violence, depravity, godlessness that plagues Uganda and the hearts and souls of those who must live through such an environment. It continues to be one of the most heartbreakingly real things you'll read in weeks and every act of carnage in its pages will stir anger or sorrow in even the most desensitized and jaded readers.

This issue spends more time with the perspective of characters other than the main protagonist, so it doesn't get into the internal struggles and mysterious voices that have made the previous issues so fascinating. It doesn't, however, keep it from being a great read. The supporting cast have emotions and intrigues all their own, and following them gives a great deal of context to what Moses is experiencing and doing.

This issue concludes the opening arc of the story, and in some ways concludes the transformation of Moses from the man he once was to the force of violence he has now become. New readers from hereon in may not feel the full weight of the work without having read the previous issues, and doing so is definitely recommended.

Bottom line is that Unknown Soldier is one of the best new series in quite some time and needs to be read.


Thunderbolts #130
Marvel
Writing: Andy Diggle
Pencils: Bong Dazo
Inks: Joe Pimentel
Colors: Frank Martin
Lettering: Albert Deschesne
Cover: Matt Mattina
Production: Joe Sabino
Editing: Michael Horwitz, Bill Rosemann
3/5

It's hard to know against which standard to judge this issue while reading it. In the context of a Deadpool-centric comic this is quite well done. The jokes found here are far funnier than those in the first installment of this crossover found in Deadpool #8. Far, far funnier. Held against what we've all come to expect from Thunderbolts in this last year or two though, this is a bitter disappointment and quite boring.

Of course it isn't entirely fair to hold this series in comparison against what it was under the previous creative team. Diggle isn't Ellis, and the book is going to have a different personality with him at the helm. But here's where we get to the root of the problem -- this title has no identity. What is this new Thunderbolts? Is it the poor-man's version of the sadistic playtime Ellis oversaw? Is it a goofy playful book that has characters like Deadpool as guest stars and an artist who calls himself 'Bong'? Is it something that demands to be taken seriously? Or is it just biding time for a handful of issues before it finds it's way to the chopping block? So far it's dabbling in all these areas, except perhaps the part where people take it seriously.

This was a fun issue. It didn't flirt with being offensively bad like the last issue of Deadpool did. It'll raise a laugh or two from most readers. At the same time though, it's no where near the bar that's been set for this title, and it didn't do a whole hell of a lot that's going to compel people to return for more in the coming months.


Daredevil #117
Marvel
Writing: Ed Brubaker
Pencils/Inks: Michael Lark, Stefano Gaudino
Colors: Matt Hollingsworth
Lettering: Chris Eliopoulos
Cover: Marko Djurdjevic
Editing: Alejandro Arbona, Warren Simons
5/5

It's a considerable blow that Brubaker will be leaving this book several months from now. His run has been a thing of dreams, and to think of him leaving, when the title's as good or better than it's ever been, is very much a letdown.

So thankfully, there are still a handful of issues to go before he's gone - and they are looking as though they'll be some great ones. This issue continues the Return of the King story arc that kicked off last month with the phenomenal reintroduction of Wilson Fisk to the fold. This is a story that's been a long time coming. It has roots in, and threads from, countless corners of this title's recent history. And already, it's not disappointing.

Daredevil is such captivating comics because its cast is so devastatingly real, their trials so entirely believable. The best characters are always flawed, and Bru has never written one that isn't. The saga of these people's attempts to struggle through the lives that circumstance and they themselves so frequently destroy is truly compelling reading and the type of thing that allow arguments to be made for comics (even superhero ones) to be considered serious literature.

This issue certainly plays up these elements as it's primarily a series of conversations exploring where characters have been, what they feel, and where they're going in response. It's the type of installment that makes action-filled ones that follow have some severe weight and impact. In many ways, this title has never been about the action anyway. It's the setup and the fallout that is the most meaningful.

If you've not followed the past 117 issues of this book, it's time to hit the library. Daredevil is consistently one of the best titles in Marvel's or any lineup. Let's hope this somehow continues to be true when Diggle takes over the book this fall.


X-Force / Cable : Messiah War Chapter One
Marvel
Writing: Craig Kyle, Christopher Yost
Pencils, Inks, Colors: Mike Choi, Sonia Oback
Lettering: Cory Petit
Cover: Kaare Andrews
Production: Joe Sabino
Editing: Jody LeHeup, John Barber
4/5

This one-shot bridges the gap between Messiah Complex and Messiah War, recapping the first event and summarizing the subsequent happenings that lead up to the second. It does a good job streamlining all of this into a digestible and fluid story, and sets the stage well for what's to come.

After doing that due diligence, the remainder of this issue kicks off the first major move forward into the Messiah War event, bringing the casts and stories of Cable and X-Force together and expanding on elements of the threats they're up against. It's well written and entertaining and, like the set-up & opening of Complex before it, doesn't feel overly contrived or unnatural. The X books' current endeavors may have some baggage and superfluous threads that could use some trimming up, but the core of what they've been up to this last year has been well conceived and certainly very enjoyable to follow. This issue continues that trend.

It's not without possible complaints or concerns. Whenever time travel plays an intricate role in a storyline there are always handfuls of questions, plot holes and oversights that can linger and distract. It's the type of thing that just needs to be looked around / given the benefit of the doubt, and moved on from. Over-thinking time travel can overwhelm and destroy the smartest minds or the nicest afternoons. Depending on how intricate a role this element plays from here on out will determine whether it's something that needs to be given much concern.

This and some additional minor quibbles aside, Messiah War is off to a good start and is showing definite potential. If you're a mutant fan, this is definitely recommended reading.


Captain America #48
Marvel
Writing: Ed Brubaker
Pencils/Inks: Butch Guice w/ Luke Ross, Steve Epting
Colors: Frank D'Armata
Lettering: Joe Caramagna
Editing: Jeanine Schaefer, Tom Brevoort
4/5

This issue concludes the three part 'Old Friends and Enemies' storyline. It's an exciting read, opening with several scenes of intense dialogue and turning quickly into a big action piece. The art looks great as usual, and though the issue reads and is over quickly it's a fun experience in-line with what fans of the series have come to expect.

It's not the best work that the title has put forward. Some of the dialogue falls a bit flat or rings cliched. There's lots of head punching while the outcome is already inevitable to readers. But the series is able to get away with these things because of the richness of the cast, both with each character's own personal story and with their histories together. There are unspoken depths under the surface here that, along with the palpable stylistic ambiance Bru and the art team are slinging, more than make up for any lines of conversation that aren't total zingers. It's the type of storytelling environment that can guest star someone like Namor and feel like it's supposed to. There's a quality and a realness to this book that gives it a feel unlike most of its contemporaries.

Captain America is always worth your time and money. Everyone says so - and everyone knows what they're talking about.

March 4 - 18 Review Catchup

Daredevil #116
Marvel
Writing: Ed Brubaker
Pencils: David Aja
Inks: Stefano Guadiano
Colors: Jose Villarrubia
Lettering: Chris Ellopoulds
Cover: Marko Djurdjevic
Editing: Alejandro Arbona, Warren Simons
5/5

Wow. On the strength of this issue alone, one in which Matt Murdoch never appears, it's easy to see Ed Brubaker as being meant to write this series. It makes sense. Bru has proven time and again that when it comes to crime noir and the pulp underground he has few if any peers working in comics. In his worlds, hardened deplorable underworld characters become darkly romantic and sympathetic - enviable in their freedoms and crushing in their chains. In Captain America he remolded the characters to fit this form, and it worked well. In Daredevil though, the cast was already there - thanks in large part to Bendis' defining run on the series. It was, from the start, the perfect playground for Brubaker.

This prologue to Wilson Fisk's return to Hell's Kitchen, and Marvel consciousness, is easily one of the best issues of Bru's consistently good, often great, stint with the series. The whole thing is a simple but powerful character meditation, and it delivers several lines that go so directly to the heart and soul of who this man is that it can feel physically impactful. Bru does this with such grace. With so few words. He lays everything bare. It's as if people really aren't that complicated and with two or three sentences he can explain us with shocking precision. It's the same gift that belonged to the many novelists Bru must have loved coming up in life. Living in a world that's rough, cold, street hardened, seedy, poetic, beautiful and true.

The story here consumed you on many levels and by the time it ends your day will undoubtedly feel completely different, as will your outlook on this title's future. Bendis/Bru's Daredevil has been one of the strongest titles in modern comics, plowing along somewhat in the background, forgotten amongst blockbuster event books, silently winning Eisner's and captivating it's loyal audience. With the momentum it's building now though, it should be found in the very upper echelon of any comic reader's anticipated releases each month.

And let's not forget David Aja, Bru's collaborator for much of Immortal Iron Fist. What a talent he is. A true treasure. His work is gritty and moody and fits the crime noir style perfectly. They're a great pairing. There's something majestic and mystical about his work. Emotion and atmosphere are his servants. He toys with structure and creative layouts at all the right times and in ways that enhance the narrative not just the visual intake.

There's absolutely nothing negative to be said against this installment of Daredevil. You really should be following this book.


Cable #12
Marvel
Writing: Duane Swierczynski
Pencils/Inks: Jamie McKelvie, Ariel Olivetti
Colors: Guru
Lettering: Joe Caramagna
Editing: Sabastian Girner, Axel Alonso
3/5

Swierczynski has developed Hope, the new mutant child, into a substantial enough personality that she'll be able to convincingly contribute to the upcoming Messiah War. And this issue, still several away from that event, is an exercise in expanding that personality and making her feel legitimate and real for readers.

It's a somewhat slow issue focusing on character moments, several of which stand out as being something particularly well thought out and presented. There's an interesting 'message through time' bit, and some anticipation building speculation & possible hints about Hope's soon-to-arrive mutant powers.

It's nothing extremely compelling but it's charming enough. Moving into Messiah War will give the book some directive other than wandering around developing the girl and most likely will make it a more vital title. For now it's a fun lil' read with some good future outlook.


Dark Avengers #3
Marvel
Writing: Brian Michael Bendis
Pencils/Inks: Mike Deodato
Colors: Rain Beredo
Lettering: Chris Eliopulus
Production: Paul Acerios
Editing: Jeanine Schaefer, Tom Brevoort
3/5

This issue reminds us that early on in New Avengers Bendis make the Sentry a valid, interesting character you wanted to see and read more of. The first half of this issue is that way, examining similarities between he and Norman Osborn, the man whose care he has fallen into. It's compelling reading. It's also unfortunately a reminder of how much of a disappointment just about all mention of the Sentry has been since those early New Avengers issues. Needing to keep the big picture ball moving really sucked the life out of the potential the character had. For years since he's been a bit of a one trick pony. It'll be welcome if he ever gets the attention his character needs to be interesting again. This here is a start.

The second half of the issue is a bit of a disposable fight between the team and Morgan Le Fey's magical demon army in Osborn's attempts to defend Dr. Doom. The dynamic between Osborn and Doom is decently interesting, and it's a good enough introduction to how the team works (or doesn't), but overall it's a bit boring. This is a surprisingly generic thing for them to be involved with in their first major storyline as Dark Avengers.

This title fits well alongside Bendis' New Avengers. It's a fun read and a major portion of the Marvel backbone, but is likely to only rarely do anything particularly powerful. It is, however, a much better companion than his Mighty Avengers ever was.


Deadpool #8
Marvel
Writing: Daniel Way
Pencils: Paco Medina
Inks: Juan Vlasco
Colors: Marte Gracia
Lettering: Cory Petit
Cover: Jason Pearson
Editing: Jody LeHeup, Axel Alonso
2.5/5

Being Deadpool, this was just one pre-adolescent joke after another and unfortunately not enough of them worked this time to make it satisfying in any substantial way. As a matter of fact, some moments are so painful it almost moves past ignorable to upsetting.

What's even more frustrating is how easily this could have been cleaned up into something truly funny. A shame. Definitely the least successfully fun issue of this new run for Way.


Immortal Iron Fist #23
Marvel
Writing: Duane Swierczynski
Pencils: Travel Foreman, Tonci Zonjic, Timothy Green II
Inks: Tom Palmer, Mark Pennington, Tonci Zonjic, Timothy Green II
Colors: Matt Milla
Lettering: Nate Piekos
Editing: Alejandro Arbona, Warren Simmons
4.5/5

Swierczynski's work stepping into this title has been wonderfully impressive. The narrative has wit, bite, and plenty of creative intelligence. It's totally reasonable to think that sometime soon people will talk about how great the title is without bringing up Frubaker. Czyn has a solid handle on what makes the title so fun and is off to the races. This arc retains the series' unusually high standard of quality and maintains it's status as one of the best titles around.


Invincible Iron Man #11
Marvel
Writing: Matt Fraction
Pencils/Inks: Salvador Larroca
Coloring: Frank D'Armata
Lettering: Joe Caramagna
Editing: Alejandro Arbona, Warren Simmons
4/5

Complain as many do about the contrived nature of the current direction of Marvel's Universe - there's really no denying the opportunity it has given Matt Fraction to make a powerful mark on the Iron Man franchise. Tony Stark's prominence the last several years has given him plenty of baggage for Fraction to sift through and develop out of, and with this book he's effectively streamlining the character into something digestible and exciting.

This issue is very enjoyable. It has emotional moments about personal weakness and the strength needed to overcome. There's technical jargon and a smarty pantsed idea or two. There's action, suspense, intrigue and a great set up for the next issue involving a character Fraction has so far written handily well.

Brubaker's Cap run seems to have taught everyone a reminding lesson in how key a role supportive casts can/should play, a sensibility Fraction has been bringing to this book with this issue featuring heavy moments for Henry Hellrun (of the Order), Pepper, Maria Hill, and Rhodes. With each successive issue he adds another layer.

Larocca doesn't annoy as much this issue. There's lots of sciency tech robotic device gadgetry going on, his notable strength, and probably the reason he was given this job. When he shines, he does so brightly.

Invincible Iron Man continues to be a job. Hopefully Fraction is free to shape the next 50 issues of Stark - a character that needs a savior.


Fables #82
Vertigo
Writing: Bill Willingham
Pencils/Inks: David Hahn
Colors: Lee Loughridge
Cover: Mark Buckingham
Editing: Angela Rufino, Shelly Bond
3.5/5

Fables continues to settle into its post-war reality and as such, most of this issue is a lot of wandering discussion about people's feelings and the state of things.

Sadly, the most memorable thing about the issue is the glaring absence of Mark Buckingham. It's hard to imagine someone else drawing Fables, and this issue doesn't make a case for any type of change. The title seems more generic without the feeling and quality of its long running artists. James Jean left such a standard in style and integrity in his covers that they'll probably be able to dupe his work somewhat effectively if they play their cards right, but the same is clearly not true for Buckingham.

Fables is still fun, but is in transition and as a series it feels vulnerable. Particularly with this 'crossover' on the way.


DMZ #40
Vertigo
Writing: Brian Wood
Pencils/Inks: Riccardo Burchielli
Colors: Jeromy Cox
Lettering: Jared K. Fletcher
Cover: JP Leon
Editing: Mark Doyle, Will Dennis
4.5/5

If this title has been using the last several issues to get back on track, it's there now with this one.

There are things happening with weight and potentially enormous repercussions. The title has definitely upped the ante. At the same time it has gotten back to what it really need to do, which is work on Matty Roth as a character. It was time for some growth from him. He was becoming annoying and in some ways, a burden upon the series. Wood starts turning corners with him here, much to the title's benefit.

With this 'War Powers' arc concluding so satisfyingly this book finds itself back up high on the anticipation list.


Ex Machina Special #4
Wildstorm
Writing: Brian K. Vaughan
Pencils/Inks: John Paul Leon
Coloring: JD Mettler
Lettering: Jared K. Fletcher
Cover: Tony Harris
Editing: Kritsy Quinn, Ben Abernathy
4.5/5

Anything that squeezes extra issues out of this series before its upcoming conclusion is very welcome.

Especially if it's as easy and enjoyable to read as this issue. The whole thing is a self contained little tale that hits on Hundred's past, his current self, some policy considerations of his administration, and even packs in some unsubtle messages for our own world. It's typical Ex Machina in a good way.

The writing is on par with the series, unlike in the Halloween special - one of the title's only notable missteps. John Paul Leon takes up the art duties in place of Tony Harris, and while Harris' brilliant work is a defining aspect of the series, Leon does good work here. It's a bit of a different feel for the book that he brings to these specials, and it can be a bit refreshing.

Good stuff.


Guardians of the Galaxy #11
Marvel
Writing: Dan Abnett, Andy Lanning
Pencils/Inks: Wes Craig
Colors: Wil Quintana
Lettering: Joe Caramagna
Cover: David Yardin
Editing: Michael Horwitz, Bill Rosemann
3.5/5

While this issue may be a bit of filler before Guardians leaps into War of Kings, it's hard to deny that it's very satisfying filler. This issue cuts away everything save for Drax & Phylla and the baggage they personally carry, and sends them to have a trippy assed conceptual dialog in some sliver space between living and somewhere else. It's a fun read with Abnett and Lanning's dialog snapping like it hadn't in this title for a few issues. This is a welcome deviation before the ful-on-ness of War of Kings. Not at all must-read-material, but definitely fun and entertaining for followers of these characters.


Northlanders #15
Vertigo
Writing: Brian Wood
Pencils/Inks: Ryan Kelly
Colors: Dave McCaig
Lettering: Travis Lanham
Cover: Massimo Carnevale
Editing: Mark Doyle, Will Dennis
3.5/5

This issue was decent but not great. Some interesting discussions/arguments about the politics and state of life of the time, but nothing transcendent. Latter portions of the issue have some weird transitions and a few hazy moments that could have used more clarity. Kelley's art continues to have it's own undeniable style that at times is a bit rough to look at. McCaig's colors, again, are terrific.

Northlanders is definitely one of the hottest books out there right now. This issue though, is a bit underwhelming.


Green Lantern Corps #34
DC
Writing: Peter J. Tomasi
Pencils: Patrick Gleason
Inks: Rebecca Buchman
Colors: Randy Mayor
Lettering: Steve Wands
Editing: Adam Schlagman
3.5/5

While still playing second fiddle to Geoff John's Green Lanter proper, GLC has definitely found plenty of room for itself in this cosmic playhouse.

There's a ton going on, and it's as if you can feel a big event on the horizon. Blackest Night is coming, and it's clear everything is taking its place and doing some warmup laps. The title is a bit disjointed but plenty of fun - which really is all it's set out to do.


Walking Dead #59
Image
Writing: Robert Kirkman
Pencils/Inks: Charlie Adlard
Tones/Colors: Cliff Rathburn
Editing: Aubrey Sitterson
4.5/5

Another solid installment of this great series with Kirkman pushing the pieces forward inch by inch. This was an unusually light read for this title, which is nice to have once in a while. It's one of the 'in-between' issues that Kirman employs so readily, focusing on characters, but this one does so on the run, which livens the pace and keeps the feeling of momentum the book has had lately. By the time it ends, the next moment of major conflict has arrived.

Walking Dead definitely feels more alive these last few months than it had in quite some time. It was always good, but getting up and moving was what it needed.


Wonderful Wizard of Oz #4
Marvel
Writing: Eric Shanower
Pencils/Inks: Skottie Young
Colors: Jean-Francois Beaulieu
Lettering: Jeff Eckleberry
Production: Tony Dial
Editing: Nathan Cosby, Ralph Macchio
5/5

This book is drop-everything beautiful. Unbelievably incredible to behold. it's easily one of the best looking pieces of visual storytelling that has been produced in quite some time. Truly stunning.

Shanower's narrative and character voices still aren't particularly smooth or inventive. They're overtly ismple and unembelished. And that's fine. Who could care with the visual flair that's going all all around them? The plot is conveyed - which is all he needs to do. The true power of what is happening here all rests upon Skottie Young.


Invincible #60
Image
Writing: Robert Kirkman
Pencils: Ryan Ottley
Inks: Cliff Rathburn
Colors: FCO Plascencia
Lettering: Rus Wooton
Editing: Aubrey Sitterson
4.5/5

This was interesting. This entire issue, somewhat out of the blue, is a massive universe up-ending crossover mega event featuring the entire Image lineup. What with other publishers/titles would have been a multiple month undertaking is here crammed into a single issue. The results are a bit overwhelming at first.

As one incredibly huge moment follows another and another and another, it's hard not to want to scream for Kirkman to slow down. Characters who've had dozens of pages dedicated to trivial dramas in their personal lives and suddenly being brutally disemboweled or blown to pieces in a quick little panel off to the side, or in some cases, off screen altogether. Main characters fall without readers ever seeing how. Millions of people are killed and cities like New York, London, Paris and so forth are shown as being utterly destroyed. Earth is irrevocably devestated. And all basically off panel and over very very quickly. Its a bit surprising and in many ways a bit of a bummer because it's easy to feel we've been robbed of what should have been multiple mindblowing issues of this book. The weight that these events should have had definitely isn't felt.

Not to say this issue wasn't compelling reading. The story is well told considering what is being attempted, and when it's over you're dying to read more. Invincible remains a definite favorite and this is very much a must read for series followers. It feels like something big happened, but that we're being told about it, not that we experienced it. Having this drawn out over an additional issue or two definitely wouldn't have hurt. It's hard not to be impressed with Kirkman's ambition though.

Also of note - damn - there's some serious violence happening here.


X Factor #41
Marvel
Writing: Peter David
Pencils: Valentine De Landro, Marco Santucci
Inks: Pat Davidson
Colors: Jeromy Cox
Lettering: Cory Petit
Production: Paul Acerios, Maritsa Patrinos
Editing: Jody LeHeup, John Barber
4/5

The previous two issues of this title have been major write home about slices of fantastic dont miss comic reading. This issue isn't quist as mega-great but keeps the ball moving in ways most exciting. The dialogue is realistic and believable as always. Madrox's inner narrative/dialogue especially hits on all sorts of good moments.

This is a very strong series, at a critical point in its story, and this issue does a great job setting up future installments.


War of Kings #1
Marvel
Writing: Dan Abnett & Andy Lanning
Pencils: Paul Pelletier
Inks: Rick Magyar
Colors: Wil Quintana
Lettering: Joe Caramagna
Cover: Brandon Peterson
Editing: Michael Horwitz, Bill Rosemann
4.5/5

This launching installment of the next major Marvel cosmic event does a terrific job quickly explaining all the different races and people(s) involved, outlining their relationships, and setting the stage of what all is going on. There are a great deal of different factions and ins & outs to juggle here and by all rights it should be utterly confusing. Thankfully - it's not.

Abnett & Lanning's writing has a bounce to its step that has been missing the last month or two in Guardians and Nova. It's great to see it make it's return, and especially at the onset of an event that has all the makings of something great. Not to mention that along with the core series, these two are also writing the four primary tie-in/supplement titles as well. This whole project is firmly in their boat, and thankfully they seem to be well afloat.

Things get off to an exciting start here and will likely suck in any who give it a shot. Abnett and Lanning continue to take long forgotten or C-list characters and vault them back to the front lines in interesting and fun ways and this issue is full of little character moments that are full of life and totally entertaining. Even when the stage setting is out of the way and the end portion of the issue devolves into a big fight scene, it's still a well concieved experience and a good time. The writing makes it feel fresh and alive and the art is outstanding. Unlike most big fight scenes in Marvel events, you can actually follow what's happening in this battle. There's a flow to it and you know what different characters are doing. It's not suddenly-five-double-page-spreads-of-everyone-in-freeze-frame-combat-stances-against-everyone-and-no-one-omg!

This event is off to a terrific start and certainly has proven itself worthy of your time and dollar.