February 13 Reviews

DMZ #28
Vertigo
Writing, Cover: Brian Wood
Pencils, Inks: Riccardo Burchielli
Colors: Jeremy Cox
3/5

This issue isn't quite sure what it wants to do. Part of it feels like illustrating that two paths is not an acceptable range of options. There has to be something else. The third, undiscovered option. Yet it's also interested in exploring the parallels in detachment between war and a deer hunt. Then again, isn't this supposedly focused on one single character? Where is he in all this politicizing?

Finally this series of one-shots comes to a close and DMZ turns to getting back into the thick of the narrative next month. In collected form these issues will read well and bring some texture to the overall series, but as six months of floppy installments they grew tired. The return of Matty will be a breath of fresh air.
-Tom



The Walking Dead #46
Image
Writing: Robert Kirkman
Pencils, Inks, Cover: Charlie Adlard
Graytones: Cliff Rathburn
4.5/5

Well. 'The shit has hit the fan,' the recap page of this issue says, as Robert Kirkman holds true to his testimony that no one is safe and that the events of this arc are the biggest the series has seen. In fact, they are the only installments to earn the distinction of being considered an 'arc' and given their title at all. And for good reason. Those who aren't current on the series and will have the luxury of reading these events in trade collection are in for the type of ride comics offer very rarely. If most anyone other than Kirkman attempted the grotesque violence depicted here it would likely be either condemned as sadistic trash, or occur in such a vile and obscure series that few would find it shocking or notable. In fact even if Kirkman had tried this in any other of his own titles, I would have found it objectable.

The Walking Dead though, exists outside standard discretion. Bringing legitimacy and feeling to scenes such as those in this issue is what this book was made to do. It implores you to turn away, but in the most satisfying fashion. The sick feeling in your stomach is you buying into these characters as real, and the damages done upon them is gut-wrenching and devastating. There are a lot of good comics out there, but very few have the emotional impact as this. But you know that, because why wouldn't you be reading it already?
-Tom



Atomic Robo #5
Red 5
Writing: Brian Clevinger
Pencils, Inks: Scott Wegener
Colors: Ronda Pattison
4/5

Talk about breakout series. Everyone is lavishing praise on Atomic Robo. Many, including us, are referring to it as Red 5's flagship title. It has gone from a six issue mini-series with wispy hopes of reaching completion to probably returning for additional future volumes. Each of these runs will focus on a single time frame in history, not necessary with a continuous story, but thematically and historically similar. This development makes the current debut run of Atomic Robo a grab bag introduction of sorts, jumping around from period to period and getting us familiar with its own particular art of absurdity.

The fifth issue is as entertaining as the ones before it, and continues to demonstrate the title as capable of longevity. Though not as focused on humor as the preceding installment there are still some great quips here, particularly the bit about the straight up 'end boss doors.' The stories this book tells are wonderfully imaginative, and the art gives it the execution it needs to succeed. Wegener has grown into a terrifically talented artist right before our very eyes. His work here is already earning him attention around the way. Even the Christian Ward plotted and drawn bonus story is fantastically entertaining, and far more visceral than most current comic reading.

Atomic Robo rules. Stop pretending you haven't heard as much and go read it.
-Tom



Punisher War Journal #16
Marvel
Writing: Matt Fraction
Pencils, Inks: Howard Chaykin
Colors: Edgard Delgado
Cover: Alex Maleev
4/5

This series switches artists and gears with this issue, turning away from the cartoonesque hilarity that's pervaded recent installments. Picking up on a thread from earlier in the series, Fraction uses the change of pace to follow lesser-known villain The Gibbon as he, and the rest of the 'Survivors Guild,' struggle to cope with the damages Frank Castle has visited unto their lives. The story isn't action packed nor full of Fraction's spastic nature, but instead acts as a standalone character study using the entire issue to explore a lone internal struggle. The writing is still charismatic and endearing, but doesn't sacrifice the human element of the tale in attempts to be so. The experience is very similar with what Fraction has done with The Order except without all the spandex, pop-culture A.D.D., and political awareness. Chaykin's art meanwhile, is a good fit for the rundown street criminal mood the series has taken, and helps bring it back to a semi-grounded reality. Start reading this if you haven't - it'll surprise you.
-Tom



Amazing Spider-Man #550
Marvel
Writing: Marc Guggenheim
Pencils, Inks, Cover: Salvador Larroca
Colors: Stephane Peru
4/5

Guggenheim's opening arc of the new thrice monthly Amazing continues here and finds him getting more comfortable with the position. His banter is witty, funnier than it was last issue, and his characters are sincere and believable. There are a few clunky transitions and a tendency to speak too directly to the fans, but overall he keeps the Spidey relaunch on its thus-far impressive course.

Starting to pull it down, however, is a too enthusiastic re-embracing of editorial comment boxes and general silliness in design. The campy nature of the production has a degree of charm that effectively succeeds most the time on the book-ends of each issue, but the in-story comment boxes are far too cheesy and derail the flow of the narrative more than they add to its appeal.

Altogether though, Amazing Spider-Man continues to find fresh legs in Brand New Day and hopefully is only the beginning of what will evolve into a tremendous era of wonderful Spidey goodness.
-Grady



X-Factor #28
Marvel
Writing: Peter David
Pencils, Inks: Pablo Raimondi
Colors: Jeremy Cox
Cover: Glenn Fabry
4/5

Of all the Marvel hero titles this is consistently one of the most emotionally compelling, and is easily the most so of the X-Men line. While the rest of the mutant books are revamping and heading in completely new directions in the wake of Messiah Complex, X-Factor has simply tacked the results of the event onto its already fantastically layered web of drama and kept right along going. Peter David doesn't miss a beat. The weight of months of tragedy and conflict lays heavily on this cast and the book's often fun-spirited mood is threatening to shatter under the pressure. The experience in reading it however, only grows stronger.

Rarely do superhero titles feel this real and ask as much of your heart as they do your hormones. X-Factor is currently the best X book on the shelves, and if you follow only one out of M.C. -- let it be this.
-Grady



X-Force #1
Marvel
Writing: Kyle & Yost
Pencils, Inks, Colors, Cover: Clayton Crain
2.5/5

The opening issue of Kyle & Yost's new X-Force is a polarizing read. In some respects it works. Dialogue flows well and early discussions raise some intriguing character points. Logan's protectiveness of Laura and reluctance to see her sacrifice opportunity to live life as a 'real person' is believable and interesting, as are his musings about whether he knew himself better before his memories returned. The tone is dark and brooding with an implied emphasis that killing is to be abhorred, not glorified.

Unfortunately, surrounding these readable moments is a highlight reel of the truly ridiculous. Warpath has reverted to the same one-dimensional-revenge-seeking-vessel-of-bore he was to begin with. Characters point out they just killed people, just for emphasis, immediately after very obviously doing so all over the place. Transitioning between scenes is a bit jarring and there's no substance to Rahne's presence whatsoever. Yet despite these things the aforementioned scenes with Logan still give us an idea of where Kyle & Yost are trying to take the book, and they might have a chance of succeeding if not for the truly unwelcome art of Clayton Crane. His meta-digital style is stiff and uncomfortable and, despite its attempts at realism, only acts to suck the life out of the characters and their conversations. The environments are attractive but it's the people that matter and Crane's resemble rubber dolls. Even were his technique & style not in question, his interpretations of the characters certainly still would be, as biceps bulge till they should explode and chins protrude like vicious rock formations. These are not people, these are anatomical experiments, and frankly they look stupid.

While Kyle & Yost's past output suggests they're capable of taking this book to intriguing places, their showing here is only slightly convincing. Crane's art compounds the underwhelming nature of it all. So far, the least impressive offering from the post-M.C. X-Men.
-Tom



Ghost Rider #20
Marvel
Writing: Jason Aaron
Pencils, Inks: Roland Boschil
Colors: Dan Brown
Cover: Marco Djerdjevic
3.5/5

It's somewhat apparent right out the gate that this is a Jason Aaron book, as there are very few writers working today who can make this much over-the-top brutality even at all introspective. He's just as capable with conversation and character voice as he is with supernatural violence. This is still Ghost Rider, its still dark and offensive, but now it comes with heart and some brains.

Aaron is taking over this series in a time of major changes to the character's story and motivations. The nature of the spiritual conflict driving its protagonist has undergone massive upheaval, and the newly defined status quo gives Aaron a lot of open space to play around and explore in. Seeing him work on someone else's property in a mainstream context makes his writing increasingly reminiscent of Ennis,' albeit with more self-control and humanity. This issue contains evil angels, someone going through a windshield, redneck nurses armed to the teeth, and all other manner of exciting distasteful activities, yet the elements that will have you coming back for more are the quieter questions operating in the background. As the opening to Aaron's new on-going run with the series, it's quite effective.

If you have even the slightest interest in this character -- now is the best he's been in years.
-Tom



New Avengers #38
Marvel
Writing: Brian Michael Bendis
Pencils, Inks: Michael Gaydos
Colors: Jose Villarrubia
Cover: Marko Djerdjevic
4.5/5

The broad strokes of comic fandom won't agree, but this is one of the best installments of New Avengers in the post-Civil War era. Nearly the entirety of the issue revolves around an argument between Luke Cage and Jessica Jones about the best way to keep their child safe and the future of their marriage. People will be riled at the lack of fist-throwing action. They'll call it 'Bendis-speak.' But if that's the label they want to apply to this, one of the most intensely realistic and effective conversations you'll read in a superhero comic, it shouldn't be considered anything less than high-praise. This type of realism gets the blood moving far more than any of the uninspired walloping taking place over in sister-title Mighty Avengers.

The rest of the team does get some face time, and their noticeably diminished numbers creates a lot of breathing room for everyone to make their unique presence known. Their sequence occurs in the newly christened 'Avengers Apartment' and, outside a few tired cinematic references, is a wonderfully enjoyable several pages.

Gaydos is channeling his Alias legacy and the results are quite good. Character's bodies are proportionate and believable, and for much of Luke and Jessica's fight it's easy to forget these people exist in a world of tights-wearing superfreaks.

Hate it now if you want, but when the action does start going down again - it'll be all the more meaningful because of this.
-Tom