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.